This research examines the relationship of two archeological populations in Southeastern Florida from the Middle Woodland Period. The two sites chosen include the Belle Glade site in the Belle Glade Cultural Area and the Highland Beach Mound site in the East Okeechobee Cultural Area. The determination of relationships was done through an analysis of nonmetric dental traits. A series of traits were recorded in an ordinal scale and later dichotomized into present or absent, in order to conduct a biological distance analysis. The statistical method chosen for this analysis was the Smith’s Mean Measure of Divergence. Results indicate that both populations have a minimal degree of divergence. These results corroborate the evidence gathered from past archeological investigations. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

Lima Barreto aborda o intelectual do seu tempo a partir do seu ideal de arte social, e dentro deste ideal de arte o intelectual é aquele que mantém articulação com o saber, e faz disto um benefício para a coletividade (OAKLEY, 2011). Portanto, este trabalho aborda as figurações da intelectualidade no Brasil utilizando a idealização de arte e intelectual de Lima Barreto em nossas análises sobre a figura do intelectual. Inevitavelmente ao tratar da temática do intelectual não poderíamos deixar de abordar a própria figura de Lima Barreto como intelectual em seu tempo. Assim sendo, busca-se compreender Lima Barreto como intelectual preterido por seus contemporâneos, bem como não engajado em lutas de classes sociais, distante de qualquer categoria de intelectual orgânico de Gramsci. Com isto infere-se que Lima Barreto não fazia parte da elite intelectual da Belle Époque, e nem era porta-voz do subúrbio. Ele foi um escritor e intelectual militante somente de uma causa: a arte como ferramenta para comunhão entre os homens. Escolhemos o gênero crônica por ela ser algo diário, escrita de observador e gênero onde Lima pode explorar a sua escrita irônica e sarcástica sobre diversos temas, em especial o intelectual (SÁ, 2005). Portanto, as crônicas de Lima Barreto podem nos oferecer uma melhor representação dessas figurações do intelectual, seja na política, imprensa ou literatura. Lima Barreto vai construir seu ideal de arte e intelectual dentro da sociedade Belle Époque, sociedade essa que abrigava um trabalho de elaboração da literatura em que a forma era mais importante do que o conteúdo e fomentava a política de modernização do país numa clara imitação dos modos e costumes europeus em nossa literatura. Ao contrário disto, Lima Barreto defendia que o importante, para o intelectual, era o trato com o conteúdo, ser contemporâneo, uma relação verdadeira com a inteligência e que sua escrita estivesse a serviço do bem comum. Evidente que a literatura idealizada por Lima Barreto era utópica, mas militante, e é por isso que ele, Lima Barreto, é um intelectual de resistência / Lima Barreto addresses the intellectual of his time from its social ideal of art, and art within this ideal of the intellectual is one who maintains liaison with knowledge, and makes it a benefit to the community (OAKLEY, 2011). Therefore, this paper addresses the figurations of the intelligentsia in Brazil, using Lima Barretos idealization of art and intellectual in our analysis of the figure of the intellectual. Inevitably, when addressing the issues relating to the intellectual, we could not fail to address the very figure of Lima Barreto as an intellectual in his time. Therefore, we seek to understand how Lima Barreto as an intellectual was underestimated by his contemporaries and did not engage himself in social class struggles, this way standing apart of Gramscis definition of organic intellectual. We argue that Lima Barreto was not part of the intellectual elite of the Belle Époque, nor was spokesman of Rio de Janeiros suburb. He was a writer and intellectual activist supporting only one cause: art as a tool for a brotherhood of men. We chose the genre crônica because it is a daily writing gender and, as a social observer, Lima Barreto explored with irony and sarcasm topics related to the intellectual (SA, 2005). Therefore, the chronicles of Lima Barreto can offer us a better representation of these figurations of the intellectual in politics, media or literature. Lima Barreto built his ideal of art and intellectual in the so called Belle Époque, when a work of literature was considered way more important for its language than content and political modernization of the country was a clear imitation of European manners and customs. Unlike this, Lima Barreto argued that what is important for the intellectual is dealing with the content, being contemporary, having a true relationship with his own intellect and directing his writing to serve the common good. Obvously, literature was idealized by Lima Barreto, a militant utopian, and that is why he, Lima Barreto, was an engaged intellectual

Lima Barreto aborda o intelectual do seu tempo a partir do seu ideal de arte social, e dentro deste ideal de arte o intelectual é aquele que mantém articulação com o saber, e faz disto um benefício para a coletividade (OAKLEY, 2011). Portanto, este trabalho aborda as figurações da intelectualidade no Brasil utilizando a idealização de arte e intelectual de Lima Barreto em nossas análises sobre a figura do intelectual. Inevitavelmente ao tratar da temática do intelectual não poderíamos deixar de abordar a própria figura de Lima Barreto como intelectual em seu tempo. Assim sendo, busca-se compreender Lima Barreto como intelectual preterido por seus contemporâneos, bem como não engajado em lutas de classes sociais, distante de qualquer categoria de intelectual orgânico de Gramsci. Com isto infere-se que Lima Barreto não fazia parte da elite intelectual da Belle Époque, e nem era porta-voz do subúrbio. Ele foi um escritor e intelectual militante somente de uma causa: a arte como ferramenta para comunhão entre os homens. Escolhemos o gênero crônica por ela ser algo diário, escrita de observador e gênero onde Lima pode explorar a sua escrita irônica e sarcástica sobre diversos temas, em especial o intelectual (SÁ, 2005). Portanto, as crônicas de Lima Barreto podem nos oferecer uma melhor representação dessas figurações do intelectual, seja na política, imprensa ou literatura. Lima Barreto vai construir seu ideal de arte e intelectual dentro da sociedade Belle Époque, sociedade essa que abrigava um trabalho de elaboração da literatura em que a forma era mais importante do que o conteúdo e fomentava a política de modernização do país numa clara imitação dos modos e costumes europeus em nossa literatura. Ao contrário disto, Lima Barreto defendia que o importante, para o intelectual, era o trato com o conteúdo, ser contemporâneo, uma relação verdadeira com a inteligência e que sua escrita estivesse a serviço do bem comum. Evidente que a literatura idealizada por Lima Barreto era utópica, mas militante, e é por isso que ele, Lima Barreto, é um intelectual de resistência / Lima Barreto addresses the intellectual of his time from its social ideal of art, and art within this ideal of the intellectual is one who maintains liaison with knowledge, and makes it a benefit to the community (OAKLEY, 2011). Therefore, this paper addresses the figurations of the intelligentsia in Brazil, using Lima Barretos idealization of art and intellectual in our analysis of the figure of the intellectual. Inevitably, when addressing the issues relating to the intellectual, we could not fail to address the very figure of Lima Barreto as an intellectual in his time. Therefore, we seek to understand how Lima Barreto as an intellectual was underestimated by his contemporaries and did not engage himself in social class struggles, this way standing apart of Gramscis definition of organic intellectual. We argue that Lima Barreto was not part of the intellectual elite of the Belle Époque, nor was spokesman of Rio de Janeiros suburb. He was a writer and intellectual activist supporting only one cause: art as a tool for a brotherhood of men. We chose the genre crônica because it is a daily writing gender and, as a social observer, Lima Barreto explored with irony and sarcasm topics related to the intellectual (SA, 2005). Therefore, the chronicles of Lima Barreto can offer us a better representation of these figurations of the intellectual in politics, media or literature. Lima Barreto built his ideal of art and intellectual in the so called Belle Époque, when a work of literature was considered way more important for its language than content and political modernization of the country was a clear imitation of European manners and customs. Unlike this, Lima Barreto argued that what is important for the intellectual is dealing with the content, being contemporary, having a true relationship with his own intellect and directing his writing to serve the common good. Obvously, literature was idealized by Lima Barreto, a militant utopian, and that is why he, Lima Barreto, was an engaged intellectual

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-02-07T13:36:01Z No. of bitstreams: 1 cristianedejesusoliveira.pdf: 429682 bytes, checksum: 105967e51b43d7bbc3521d704de744a2 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-07T14:15:57Z (GMT) No. of bitstreams: 1 cristianedejesusoliveira.pdf: 429682 bytes, checksum: 105967e51b43d7bbc3521d704de744a2 (MD5) / Made available in DSpace on 2017-02-07T14:15:57Z (GMT). No. of bitstreams: 1 cristianedejesusoliveira.pdf: 429682 bytes, checksum: 105967e51b43d7bbc3521d704de744a2 (MD5) Previous issue date: 2006-09-15 / O Rio de Janeiro foi a primeira cidade brasileira a passar por uma ampla reforma urbana, ainda nos primeiros anos do século XX (1903-1906). Esta reforma, que operou de maneira estrutural e arquitetônica, mas também ideológica, visava transformar a cidade num centro atrativo através da sua inserção num quadro maior de modernização em um momento de intensa demanda por capitais, técnicos e imigrantes europeus. Tendo em vista esse contexto, a questão central dessa dissertação é a análise da idéia de cidade que se quis implantar por seus idealizadores, através da análise de documentos oficiais produzidos para tal empreitada e a partir desta, a idéia de cidade e automaticamente da reforma, que se perpetuou nas crônicas de Paulo Barreto, também conhecido pelo seu pseudônimo mais famoso de João do Rio, através da análise de sua coluna Cinematógrapho, publicada na Gazeta de Notícias entre os anos de 1907 e 1910. / Rio de Janeiro was the first Brazilian city to undergo a comprehensive urban reform, as early as the first years of the 20th century (1903-1906). This was not only a structural and architectural reform but also ideological and cultural. It aimed to transform the city and to involve it in a larger framework of modernization, adding to its attractiveness at a moment of high demand for european investments, technicians and immigrants. Bearing this context in mind, the core of this dissertation lies in the analysis of the idea of city the proposers of the urban reform wanted to see realized. The materials employed for the aforesaid analysis were the official documents produced for the undertaking and those chronicles of Paulo Barreto – best known as João do Rio – published in the Gazeta de Notícias’ Cinematógrapho column from 1907 to 1910.

Dans la continuité des recherches menées sur les rapports entre presse et littérature au XIXe siècle, cette thèse présente et analyse une sélection d'articles de presse consacrés à la littérature, écrits par Maurice Barrès entre 1883 et 1923. La mise en perspective de la trajectoire littéraire du romancier de l'Énergie nationale à travers ce corpus de textes permet d'illustrer les enjeux liés à la figure de l'écrivain-journaliste dans le contexte historique et culturel de la Belle Époque. Barrès est en effet le représentant d'une génération littéraire qui a su construire et affirmer une légitimité durable au sein du champ littéraire grâce à sa pratique du journalisme. La presse, qui joue pour lui un rôle formateur, l'amène à définir le romancier qu'il souhaite devenir. En dévoilant le lecteur derrière l'écrivain, les études critiques et les chroniques littéraires de Barrès exposent la posture auctoriale choisie par l?artiste et proposent une genèse de la sensibilité barrésienne. L'article de presse devient un espace où se reflète et se développe l'art littéraire de Barrès. Alors que l'art romanesque influence la poétique journalistique, l'imaginaire médiatique s'épanouit au sein de l'univers fictionnel de l'écrivain. Par sa pratique de l'écriture, Barrès crée des textes hybrides qui interrogent la notion même de littérature / Continuing and supplementing previous work on the relationship between literature and the press in 19th century France, this dissertation presents and examines a selection of articles devoted to literature written by Maurice Barrès between 1883 and 1923. Considering the literary career of the author of Le Roman de l'énergie nationale through his journalistic work, this analysis throws new light on the state of "écrivain-journaliste" in the historical and cultural background of the Belle Époque. Indeed, Barrès appears here as a symbol of a literary generation that built and maintained its enduring legacy in the literary field thanks to its journalistic writing. The press played an educative role for Barrès, allowing him to define the novelist he wished to become. By revealing the reader behind the writer, close readings of Barrès' critical studies and literary chronicles exposes an auctorial "posture" chosen by the artist and offers a genesis of the Barresian sensibility. Press articles thus became a space of self-reflexivity and development for Barrès' literary art. Yet, just as the art of the novelist influenced the poetics of the journalist, a media imagination flourished in the universe of the fiction writer as well. Across all of his writing, then, Barrès created hybrid texts that interrogate the very notion of literature

Focusing on the prints of Edgar Degas, Mary Cassatt and Camille Pissarro, my dissertation explores the development of the belle épreuve, or the fine print, in relation to the Impressionist movement. I firstly consider the commercial tactics of the Impressionists in the face of the evolution of the modern art market and the decreasing relevancy of the Salon and expound on previous scholarship by demonstrating how the Impressionists' modes of presentation proved especially conducive to showcasing works on paper and how we might apply observations about the speculative nature of the Impressionists' formal innovations to their prints. Additionally I highlight contemporaneous observations about the heterogeneity of the Impressionist exhibitions that reveal meaningful insights into the nineteenth-century perception of the artists' relationships to each other, thus questioning the tendency to divide the exhibitors into two groups, the Degas-led realists and the Monet-led colorists. Then I consider the printmaking practices of Degas, Cassatt and Pissarro individually, elucidating how each artist's attitudes toward work, craft and business manifest formally in a small selection of examples from their printed oeuvres intended for exhibition or publication. Among the core members of the Impressionist group, Degas, Cassatt and Pissarro represented those most enamored with printmaking, even collaborating to create prints for a never-realized journal during the winter and spring of 1879 and 1880. I posit that the artists' shared compulsions for regular work, fascination with artistic processes, technical flexibility and curiosity and forward-thinking disregard for the traditional hierarchy accorded to media rendered them particularly suited for making rarified, laborious prints. A final factor that connects Degas, Cassatt and Pissarro is that all three artists had complicated relationships with the business of art or the need to sell. The dichotomy of art making versus art marketing manifested itself in their prints. While printmaking as a process implies multiple pulls of an original image for commercial reasons, by emphasizing handicraft through idiosyncratic techniques, Degas, Cassatt and Pissarro accentuated the artistry and labor of their prints. Because of the complicatedness of their practices, printmaking did not turn out to be particularly lucrative for any of them, yet the artists' efforts correlate to a concurrent vogue for intimate exhibitions and works, in terms of both size and technique, and Degas, Cassatt and Pissarro seemingly undertook printmaking with the progressive clientele already established for Impressionism in mind. I thusly connect my discussions of biography and personality to a consideration of Impressionism's relationship to the changing art market of the late nineteenth century, in which facture, as a record of artistic temperament, became a sought-after commodity for collectors of avant-garde art. Despite superficial differences with regard to their subject matter and approaches, an examination of Degas, Cassatt and Pissarro's printmaking practices reveals the assumed draftsmen and the colorists of the New Painting as kindred spirits, for whom the how of art-making proved just as significant as the what and for whom marketing was important but making was vital. The artists' uses of combinations of etching, softground, drypoint and aquatint demonstrates concerns for both design and tone, and each artist accordingly strove to achieve in their prints a balance of personal sensations and decorative artifice.  / Art History

Race riots have struck America’s cities large and small for more than a century, and the media have retold these brutal events for American audiences. The 1960s, in particular, endured years of violent rioting due to social and economic inequalities between whites and blacks, and many of these riots have received ample coverage from the media and academic scholars. However, a lesser-known riot that destroyed homes, devastated businesses, and took the lives of two individuals was the 1969 York, Pennsylvania race riots. Similar to more well-known riots, such as the 1965 Watts riot and the 1967 Detroit riot, the racial violence in York was the result of decades of inequalities and frustrations between blacks and whites. What sets this riot apart is that two murders that occurred over those twelve deadly days in 1969 would go unsolved for more than thirty years. The killing of a twenty-seven-year-old black woman, Lillie Belle Allen, and a twenty-two-year-old white rookie police officer, Henry C. Schaad, were not resolved until their killers were brought to justice in 2002 and 2003, respectively. This dissertation explores the development of journalistic approaches to covering race relations in the United States. The methods employed to cover the 1969 York race riots and subsequent murder trials differ greatly from those more recent racial protests today. First, an examination of coverage from 1968 and 1969 reveals how the newspaper and television news media dictated public opinion of these violent events and established the foundation for a historical narrative. Then, the study fast-forwards thirty years to when the local York media commemorated the thirty-year anniversary of the riots in 1999. Although the local media briefly revisited the story of the 1969 York riots after they transpired, this local story came back unexpectedly in full force in 1999. However, the local audience was not ready to remember those events. These commemorations not only broke the silence of many York citizens, but also magnified the inequalities and social issues facing York in the present while also instigating the reopening of the Allen and Schaad murder cases in 2000. In addition, the mayor of York, Charles Robertson, was arrested in 2001 for the murder of Allen, bringing the newsworthiness of this story to another level. Mayor Robertson’s involvement in the story suppressed the larger social issues that led to the riots and, instead, over-simplified the story as one, racist villain who instigated the violence. By examining the local, regional, and national media coverage of these events, I argue that the narratives used personified, dramatic style to express competing accounts of what caused the York race riots and the personas of the characters involved, as well as the larger issues or race relations and race reconciliation. By emphasizing the role of the news media as storytellers, this dissertation determines that the journalists created new, dramatic, and sometimes misleading, narratives that retold the story of the 1969 York race riots in the present. / Media & Communication

The large constituent quark mass of bottomonium, the bottom quark/anti-quark bound state $(bbbar)$, affords a rich spectroscopy in which the perturbative (non-relativistic) limit of Quantum Chromodynamics may be theoretically described and experimentally investigated. The radial excitations of bottomonia---with radial quantum number $n$, one unit of total angular momentum $(J=1)$, and orbital angular momentum $L=0$, labeled $Upsilon(nS)$---are copiously produced in electron--positron $(epem)$ collisions. The Belle Collaboration is a high energy physics experiment located at the KEKB B-Factory epem collider, based at KEK in Tsukuba, Japan. Belle has accumulated a large dataset near the FourS and ThreeS resonances, collectively containing more than 28 million ThreeS and 556 million FourS. Some of these decay to other bbbar states---with one unit of orbital angular momentum and total angular momentum $J=0,1,2$, labeled cbj{n} ---via the emission of a photon, with subsequent transition to the OneS with the emission of one or more gluons, which hadronize to form an om meson. This dissertation presents an analysis of the hadronic transitions $chi_{bJ}(nP) rightarrow omega Upsilon(1S)$, where $Upsilon(1S) rightarrow ell^{+}ell^{-}$ with $ell=e,mu$, at Belle. The transitions of the $n=2$ triplet states provide a unique laboratory in which to study nonrelativistic quantum chromodynamics (NRQCD), as the kinematic threshold for production of an $omega$ and $Upsilon(1S)$ lies between the $J=0$ and $J=1$ states. The results presented herein constitute the first confirmation measurement of the $omega$ transitions of the $chi_{bJ}(2P)$ states since their discovery in 2004, with evidence---in excess of three standard deviations---for the sub-threshold transition of the $J=0$ state. The branching fraction $mathcal{B}big( chi_{b0}(2P) rightarrow omega Upsilon(1S) big)$ is found to be as large as the corresponding rate for the $J=2$ transition. The ratio of the $J=2$ to $J=1$ transitions is also measured and compared with the expectation from NRQCD, which we compute, revealing a $3.3sigma$ tension between experiment and theory. This work is leveraged to perform a search for radiative transitions of the $Upsilon(4S)$ to the $chi_{bJ}(2P)$ and $chi_{bJ}(3P)$ states, which are reconstructed in an inclusive $omega Upsilon(1S)$ final state. With no significant signal seen, limits are set on the corresponding branching fractions. / Doctor of Philosophy / Atoms, the stuff of everyday matter, consist of a number of electrons bound to a compact nucleus. This nucleus, in turn, contains one or more protons and neutrons, which are themselves made up of constituent particles called quarks that interact with one another by exchanging particles called gluons. Although great strides were made during the last century to further our understanding of the fundamental structure of matter, a comprehensive description of nuclear structure, at the quark level, eludes us. What we do know is that the force responsible for binding the large number of positively charged protons within the narrowly confined nucleus of, say, a gold atom is incredibly strong---in reality, more than 137 times as strong as the electromagnetic (EM) interaction, which is responsible for binding electrons around the nucleus in atoms. Unlike the EM force, which has one charge that can be either positive or negative, the strong interaction has three. This leads to a manifestly more complicated phenomena whose mathematical descriptions are computationally intractable. To study the strong interaction, we seek out the simplest of strongly bound states---called the meson---which consist of a quark and its anti-particle counterpart. The meson made up of a bottom quark/anti-quark pair, called bottomonium, provides an ideal laboratory for our investigations. In bottomonium, the quarks are very heavy (about 4.5 times the mass of a proton) and move relatively slowly compared to the quarks within a proton. This allows for some simplifications in the mathematical description of the bottomonium system, making it possible to compute predictions that can be tested in the lab. In this low energy regime, the strong interaction gives rise to a family of excited bottomonium states that have a structure similar to the excited states of an atom. Just as scientists learned about the EM interaction by studying the decays of excited atomic states, so too do we study the strong force by measuring the decays of bottomonium states. We call this study heavy quarkonium spectroscopy. When excited bottomonium states transition to lower-energy states, they may emit photons (as excited atoms do) or gluons. These emitted gluons, in turn, produce other particles. Measurements of the decay rates of bottomonium states may be predicted from the mathematical description of the strong interaction, providing direct experimental tests of the theoretical models. This dissertation presents a study of the decays of several bottomonium states, which are produced at the Belle experiment at the KEKB electron--positron collider. The decay rates, called the branching fractions, of these transitions are measured and used to test the prediction from theory, which we calculate. This work is leveraged to search for several previously unobserved decays, which are expected to be exceptionally rare.

Decays of neutral D mesons to final states containing K + π's could provide evidence for CP-violation from a source not accounted for in the Standard Model. Due to the interference between Cabibbo-favored and Cabibbo-suppressed transitions, a decay rate asymmetry of D0 → K0S π0 compared to D0 → K0Lπ0 has been predicted to be non-zero. If New Physics interferes in doubly Cabibbo-suppressed D decays, the measurement of this asymmetry would differ from the predicted value and may provide evidence for CP-violation beyond the CKM mechanism. I present an analysis method to measure this branching fraction asymmetry, R(D0) ≡ B(D0→K0S π0)−B(D0→K0L π0)/(B(D0→K0Sπ0)+B(D0→K0Lπ0)), utilizing e+e− → cc events in the Belle dataset. / Doctor of Philosophy / The Universe appears to be made almost entirely of matter rather than antimatter; however, matter and antimatter should have been created in equal amounts in the Big Bang. We do not know exactly why we observe so much more matter as compared to antimatter. The Standard Model (SM) of particle physics accounts for some of the asymmetry through Charge-Parity (CP) symmetry violation, which explains how particles behave differently than their corresponding antiparticles. In the current state of the SM, some CP-violation is allowed in decays via the weak force, but the theory does not account for enough CP violation to explain the amount of matter-antimatter asymmetry observed in the Universe. Decays of a D meson to a kaon (K meson) plus one or more pions (π mesons) via a new mechanism beyond the weak force could provide evidence of a new source of CP-violation. In this analysis, I present a method for analyzing the decays of neutral D mesons to a neutral kaon and a neutral pion in the Belle dataset to test the SM.

O principal objetivo do trabalho é apresentar os dados encontrados no levantamento feito em revistas literárias e culturais do período que vai de 1898-1922, período este conhecido como Belle Époque e que abarca boa parte de nosso Pré-Modernismo. O intuito é o de conhecer e contextualizar as principais preocupações dos escritores e intelectuais em relação ao teatro brasileiro e confrontá-las com a realidade, de forma a desfazer certos mitos. O primeiro volume contempla um estudo interpretativo, histórico e crítico, que abrange os gêneros teatrais em voga, as declarações de decadência da arte dramática, bem como a busca por um teatro de cunho nativista. O segundo e terceiro volumes deste trabalho apresentam o índice classificatório das matérias, elaborado a partir dos dados coletados durante a pesquisa, que permite uma fácil localização de boa parte do que foi publicado sobre o teatro na época. / The main objective of this study is to present the data found and collected from some cultural and literary magazines during the period of 1898-1922, a period known as the Belle Époque and encompassing much of the Brazilian Pre-Modernism. The aim is to understand and contextualize the main concerns of writers and intellectuals in relation to the Brazilian theater and confront them with reality, in order to dispel myths. The first volume includes a historical and critical interpretive study, covering theater genres in vogue, the statements of decay of dramatic art, and the search for a theater of nativist slant. The second and third volumes of this work presents the classification index of the material, prepared from data collected during the search, which allows for easy location of much of what was published about the theater at the time.