<p> The Wapiabi-Belly River transition and the Belly River Formation was studied in detail in seven sections in the Ghost Dam spillway, near Ghost Dam,Alberta. Units in the lowest portion of the outcrop (Wapiabi) are characterized by sandy mudstones, often coarsening upwards. The mudstones are overlain by storm generated, hummocky cross-stratified sandstones and beach deposits. The vertical sequence represents a shallowing trend. </p> <p> Above the beach deposits lie sandstone and interbedded mudstone-sandstone units (Belly River) deposited in a meandering river environment. Sandstones thicker than approximately two metres were deposited as point bars, show sedimentary structures representative of channels and often pinch out, or laterally interfinger with mudstone. Interbedded mudstone-sandstone units were formed during flood stances. These overbank deposits are classified as either proximal or distal components of the meandering river system. </p> <p> Several marine trace fossils, (Macaronichnus segregatis, Skolithos, Planolites, Chondrites, Teichichnus, and Ophiomorpha nodasa), found in the Belly River rocks suggest a minor marine influence on the river system. </p> <p> The river system is inferred to have been moderately to highly sinuous and comparable in discharge to the Humber and Credit Rivers (Ontario). </p> <p> Petrographic studies show that point bar sandstones are often characterized by fining upward trends and an upward increase in the proportion of carbonate cement. </p> <p> Distal overbank deposits are normally overlain by proximal overbank deposits which inturn are overlain by either point bars or distal overbank deposits. Point bar deposits may be overlain by either proximal or distal overbank. </p> / Thesis / Bachelor of Science (BSc)

Diversas modalidades terapêuticas não tradicionais, como Ginástica, Yoga e Tai Chi Chuan, oferecem contribuições importantes na assistência a portadores de transtornos mentais em Centros de Atenção Psicossocial (CAPS), e, a Dança do Ventre, com suas características, reúne condições de oferecer a mesma contribuição, particularmente, às mulheres usuárias destes Centros. Assim sendo, o presente estudo teve por objetivo verificar a contribuição desta Dança na educação corporal, saúde física e mental das citadas mulheres. Para isto, planejamos 11 aulas de Dança do Ventre e aplicamos semanalmente a 9 mulheres usuárias de um CAPS, com diferentes diagnósticos, que se constituiram nos sujeitos do estudo, e, através de seus depoimentos, obtidos com questionários que aplicamos antes delas terem contato com as aulas; após vivenciarem toda a experiência, e, também, através de seus depoimentos, registrados ao final de cada aula por dois observadores participantes, treinados para esse fim, pudemos verificar a citada contribuição. Os resultados mostraram que, a Dança do Ventre, contribuiu na melhora da auto-estima e da auto-confiança das mulheres, auxiliou no seu tratamento no CAPS e teve contribuição considerável na educação corporal, na saúde física e mental delas, melhorando assim sua qualidade de vida, e, consequentemente, proporcionando um covívio melhor em seu meio social e familiar. / Various non-traditional therapeutic modalities, such as Gymnastics, Yoga and Tai Chi Chuan, offer important contributions to care for patients with mental disorders at Psychosocial Care Centers (PCC). The characteristics of Belly Dancing possess the necessary conditions to offer the same contribution, particularly to the women who use these Centers. This study aimed to verify the contribution of this dance type to the body education, physical and mental health of the above mentioned women. Hence, we planned 11 Belly Dancing classes, offered on a weekly basis to 9 women who attended a PCC, with different diagnoses, who were the subjects of this study. Their testimonies obtained by means of questionnaires, which were applied before they had any contact with the classes and after the entire experience, as well as their testimonies recorded at the end of each class by two participating observers, who had been trained for this purpose, allowed us to verify the above mentioned contribution. Results showed that Belly Dancing contributed to better self-esteem and self-confidence among these women, it helped in their treatment at the PCC and made a considerable contribution to their body education, physical and mental health, thus improving their quality of life and, consequently, enabling them to live in their social and family environment.

Anaplastic Lymphoma Kinase (ALK) was discovered in 1994, as a chromosomal translocation, t(2;5)(p23;q35), often seen in Anaplastic Large Cell Lymphomas (ALCL). Since then ALK has been extensively studied in this disease as well as in different model organisms. Due to its expression pattern within the central and peripheral nervous system ALK has been implicated in neuronal development. This hypothesis has been further strengthened by studies from Drosophila which have shown Alk to have an important role in optic lobe development. A recently described ALK mouse knockout model do not indicate an essential role for ALK in development, although a potential role within the central nervous system was strengthened. This since ALK-/- animals has an increased number of progenitor cells in the hippocampus and display altered behavior. The overall aim of the studies included in this thesis was to elucidate the function of ALK in the mouse. As a first step toward this goal we conducted an analysis of ALK mRNA and protein expression patterns during development. The strong expression of ALK in neuronal structures supports a role for ALK in neuronal development during embryogenesis. To further investigate the function of ALK in a physiological context we have developed two different ALK knockout strains, the ALK Kinase knockout (KO) and the ALK exon1 KO. The only visible phenotype in these strains is a reduction of total body weight which is apparent in the ALK-/- population when compared to wild type littermates. This size difference seems to take place after birth and is not due to an alteration in food consumption. We have also extensively studied the ALK Kinase KO with respect to gross development, the gastrointestinal canal and the olfactory system. ALK displays a very distinct expression pattern within the gastrointestinal canal being confined to enteric neuron precursors during embryogenesis and enteric nerves in the adult tissue. From these studies we conclude that ALK is not needed for development and viability in mice although it does play a role in regulation of body weight via a presently unknown mechanism. In addition, we have investigated the relationship between the Drosophila and mouse ALK receptor by examining the ability of the Drosophila Alk ligand Jelly-Belly, Jeb, to activate mouse ALK. Using different in vivo and in vitro techniques, we have shown that activation of mouse ALK cannot be accomplished by Drosophila Jeb. From this study we draw the conclusion that during development ligands for the Drosophila and mouse ALK has diverged to a level at which they can no longer substitute for each other.

This thesis explores ways in which some New Zealanders draw on and negotiate both belly dancing and local cultural norms to construct multiple local and global identities. Drawing upon discourse analysis, post-structuralist and post-colonial theory, it argues that belly dancing outside its cultures of origin has become globalised, with its own synthetic culture arising from complex networks of activities, objects and texts focused around the act of belly dancing. This is demonstrated through analysis of New Zealand newspaper accounts, interviews, focus group discussion, the Oasis Dance Camp belly dance event in Tongariro and the work of fusion belly dance troupe Kiwi Iwi in Christchurch. Bringing New Zealand into the field of belly dance study can offer deeper insights into the processes of globalisation and hybridity, and offers possibilities for examination of the variety of ways in which belly dance is practiced around the world. The thesis fills a gap in the literature about ‘Western’ understandings and uses of the dance, which has thus far heavily emphasised the United States and notions of performing as an ‘exotic Other’. It also shifts away from a sole focus on representation to analyse participants’ experiences of belly dance as dance, rather than only as performative play. The talk of the belly dancers involved in this research demonstrates the complex and contradictory ways in which they articulate ideas about New Zealand identities and cultural conventions. Some of their reflections on belly dancing appear to reflect consciousness of and dis-ease around issues of indigeneity and multiculturalism in wider New Zealand society. Participants in this study also talk about how they explore and perform ideas about femininity, which includes both acceptance and rejection of belly dancing as innately feminine. Looking at New Zealand identities through belly dance, and vice-versa, highlights developing, nuanced and multiple articulations of self and other in a globalised world.

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Orientador: Sandro Caramaschi / Banca: Regina Célia Faganini Lourenço Furigo / Banca: Kester Carrara / Resumo: A dança do ventre está entre as danças primitivas sagradas do contexto mítico-religioso das antigas civilizações do Oriente Médio. Provinda de rituais voltados às divindades femininas, esta dança simboliza a vida, a fertilidade e o crescimento. Investigou-se de que modo a dança, como produção cultural, atua como elemento de comunicação não verbal em diversas dimensões relativas às praticantes. Este estudo poderá contribuir para ampliar a compreensão sobre a crescente expansão de festivais, procura por aulas e materiais midiáticos da área considerando-se a falta de estudos quantitativos acerca do tema. O objetivo principal deste estudo foi investigar de que modo a dança interfere e transforma quantitativa e qualitativamente a visão que a mulher tem de si mesma e de suas relações. A amostra foi composta por 100 participantes do sexo feminino, praticantes há pelo menos um ano de dança do ventre, de 5 escolas de dança diferentes de duas cidades distintas do interior de São Paulo, cujas idades estavam entre 20 e 65 anos. A coleta de dados realizou-se através de dois instrumentos: a Escala de Autoestima de Rosenberg (EAR) e um questionário contendo perguntas abertase fechadas, com escalas quantitativas. Diante da análsie das questões fechadas de intensidade e frequência, os itens "feminilidade" e "alegria ao dançar" foram os que tiveram a maior média e o menor valor de desvio padrão de respostas. Já a menor média obtida foi o sentimento de "erotismo ao dançar", contrariando as crenças sociais. Quanto às correlações feitas entre autoestima e as outras variáveis, obtivemos resultados significativos em: frequência com que dança sozinha, melhor postura física e mudanças nos relacionamentos interpessoais. A mulher, quando dança, aprende a lidar com o próprio corpo, o qual muda dia após dia. Com disciplina e auto-observação dos seus erros e dificuldades, a mulher torna-se mais autoconfiante, pois passa... / Abstract: Belly dancing is among the primitive sacred dances in a mythical-religious context of acient Middle East civilizations. Arising from rituals geared to female divinities, this dance symbolizes life, fertility and growth. We investigated how the dance, as a cultural production, acts as a nonverbal communication element in several dimensions related to the practitioners. This study may contribute to broaden the comprehension of the growing expansion of festivals, demand for lessons and media materials of the area, considering the lack of quantitative studies on the subject. The aim of this study was to investigate how dancing interferes and transforms quantitatively and qualitatively the image that wome have of themselves and of their relationships. The study sample consisted of 100 female participants, practicing belly dance for at least one year, from 5 different dance schools in two distinct cities the countryside of Sâo Paulo State, whose ages varied between 20 and 65 years. Data were collected through two intruments: the Rosenberg Self-Esteem Scale (RSES) and a questionnaire with open and closed questions, with quantitative scales. Analyzing closed questions of intensity and frequency, the items "femininity" and "joy of dancing" were the ones with the highest average and the lowest standard deviation among the answers. The lowest average, however, was the feeling of "eroticism of dancing", contradicting social beliefs. As for correlations made between self-steem and other variables, we obtained significant results in: how often dance alone, improve physical posture and changes in interpersonal relationships. When a woman dances, she learns how to deal with her body, which changes every day. With discipline and self-observation of her mistakes and difficulties, the woman becomes more confident by getting to know herself more; learns how to deal with her a body and her emotions. From the self-confidence and positive self-concept that... / Mestre

Made available in DSpace on 2016-03-07T19:20:33Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-08-25. Added 1 bitstream(s) on 2016-03-07T19:24:09Z : No. of bitstreams: 1 000858554.pdf: 1068238 bytes, checksum: c401b755262c8aea47658c601ea64d1e (MD5) / A dança do ventre está entre as danças primitivas sagradas do contexto mítico-religioso das antigas civilizações do Oriente Médio. Provinda de rituais voltados às divindades femininas, esta dança simboliza a vida, a fertilidade e o crescimento. Investigou-se de que modo a dança, como produção cultural, atua como elemento de comunicação não verbal em diversas dimensões relativas às praticantes. Este estudo poderá contribuir para ampliar a compreensão sobre a crescente expansão de festivais, procura por aulas e materiais midiáticos da área considerando-se a falta de estudos quantitativos acerca do tema. O objetivo principal deste estudo foi investigar de que modo a dança interfere e transforma quantitativa e qualitativamente a visão que a mulher tem de si mesma e de suas relações. A amostra foi composta por 100 participantes do sexo feminino, praticantes há pelo menos um ano de dança do ventre, de 5 escolas de dança diferentes de duas cidades distintas do interior de São Paulo, cujas idades estavam entre 20 e 65 anos. A coleta de dados realizou-se através de dois instrumentos: a Escala de Autoestima de Rosenberg (EAR) e um questionário contendo perguntas abertase fechadas, com escalas quantitativas. Diante da análsie das questões fechadas de intensidade e frequência, os itens feminilidade e alegria ao dançar foram os que tiveram a maior média e o menor valor de desvio padrão de respostas. Já a menor média obtida foi o sentimento de erotismo ao dançar, contrariando as crenças sociais. Quanto às correlações feitas entre autoestima e as outras variáveis, obtivemos resultados significativos em: frequência com que dança sozinha, melhor postura física e mudanças nos relacionamentos interpessoais. A mulher, quando dança, aprende a lidar com o próprio corpo, o qual muda dia após dia. Com disciplina e auto-observação dos seus erros e dificuldades, a mulher torna-se mais autoconfiante, pois passa... / Belly dancing is among the primitive sacred dances in a mythical-religious context of acient Middle East civilizations. Arising from rituals geared to female divinities, this dance symbolizes life, fertility and growth. We investigated how the dance, as a cultural production, acts as a nonverbal communication element in several dimensions related to the practitioners. This study may contribute to broaden the comprehension of the growing expansion of festivals, demand for lessons and media materials of the area, considering the lack of quantitative studies on the subject. The aim of this study was to investigate how dancing interferes and transforms quantitatively and qualitatively the image that wome have of themselves and of their relationships. The study sample consisted of 100 female participants, practicing belly dance for at least one year, from 5 different dance schools in two distinct cities the countryside of Sâo Paulo State, whose ages varied between 20 and 65 years. Data were collected through two intruments: the Rosenberg Self-Esteem Scale (RSES) and a questionnaire with open and closed questions, with quantitative scales. Analyzing closed questions of intensity and frequency, the items femininity and joy of dancing were the ones with the highest average and the lowest standard deviation among the answers. The lowest average, however, was the feeling of eroticism of dancing, contradicting social beliefs. As for correlations made between self-steem and other variables, we obtained significant results in: how often dance alone, improve physical posture and changes in interpersonal relationships. When a woman dances, she learns how to deal with her body, which changes every day. With discipline and self-observation of her mistakes and difficulties, the woman becomes more confident by getting to know herself more; learns how to deal with her a body and her emotions. From the self-confidence and positive self-concept that...

Doctor of Philosophy / Department of Animal Sciences and Industry / Terry Houser / One experiment was conducted to determine the collagen and adipocyte characteristics in pork belly fat with different iodine values (IV) and if these factors contribute to belly firmness. An additional two experiments were conducted to create an objective method to score bacon distortion during cooking and to determine how IV and cooking method contribute to bacon distortion. Experiment 1 sorted pork bellies (n=72) into three IV categories: High 76.5 g/100g, Intermediate 70.5 g/100g, and Low 64.9 g/100g. Belly characteristics and firmness were measured before processing into bacon. After processing, 3 bacon slices were selected from the belly and analyzed for histochemistry and collagen analysis. No differences were observed between belly characteristics, while High IV bellies showed softer bellies. Adipocyte characteristics remained unchanged between IV groups. High IV bellies showed greater amounts of collagen. Experiment 2 cooked bacon slices (n=585) on three different appliances (griddle, microwave, and oven) and scored the resulting distortion using a subjective scale. Raw and cooked bacon characteristics were measured to determine which response variables contributing to distortion. Bacon slices were removed from 6 different locations within each belly sampled. Two distortion measurements were created to objectively describe distortion response (crest frequency and bacon distortion index. Subjective distortion scores, crest frequency, bacon distortion index, and raw and cooked bacon characteristics were shown to change between locations of the belly. Accuracy of predictive equations developed to predict distortion scores were low. Experiment 3 evaluated how IV interacts with cooking methodology to influence cooking characteristics, fat quality and distortion of bacon. Bacon slices (n=300) were organized into two IV categories, Low (61.52 to 65.54 g/100g) and High (78.83 to 85.34 g/100g) and cooked using three different appliances (oven, microwave, and griddle). Bacon from the Low IV group had the greatest amount of fat. Cooking bacon on a griddle showed the greatest distortion scores, while the oven produced bacon with the lowest distortion scores. Bacon with higher IV produced bacon with increased distortion scores. Bacon from the High IV group showed smaller cooked dimensions than the Low IV bacon. Neither cooking method nor IV level affected the cooked fatty acid composition.

Diversas modalidades terapêuticas não tradicionais, como Ginástica, Yoga e Tai Chi Chuan, oferecem contribuições importantes na assistência a portadores de transtornos mentais em Centros de Atenção Psicossocial (CAPS), e, a Dança do Ventre, com suas características, reúne condições de oferecer a mesma contribuição, particularmente, às mulheres usuárias destes Centros. Assim sendo, o presente estudo teve por objetivo verificar a contribuição desta Dança na educação corporal, saúde física e mental das citadas mulheres. Para isto, planejamos 11 aulas de Dança do Ventre e aplicamos semanalmente a 9 mulheres usuárias de um CAPS, com diferentes diagnósticos, que se constituiram nos sujeitos do estudo, e, através de seus depoimentos, obtidos com questionários que aplicamos antes delas terem contato com as aulas; após vivenciarem toda a experiência, e, também, através de seus depoimentos, registrados ao final de cada aula por dois observadores participantes, treinados para esse fim, pudemos verificar a citada contribuição. Os resultados mostraram que, a Dança do Ventre, contribuiu na melhora da auto-estima e da auto-confiança das mulheres, auxiliou no seu tratamento no CAPS e teve contribuição considerável na educação corporal, na saúde física e mental delas, melhorando assim sua qualidade de vida, e, consequentemente, proporcionando um covívio melhor em seu meio social e familiar. / Various non-traditional therapeutic modalities, such as Gymnastics, Yoga and Tai Chi Chuan, offer important contributions to care for patients with mental disorders at Psychosocial Care Centers (PCC). The characteristics of Belly Dancing possess the necessary conditions to offer the same contribution, particularly to the women who use these Centers. This study aimed to verify the contribution of this dance type to the body education, physical and mental health of the above mentioned women. Hence, we planned 11 Belly Dancing classes, offered on a weekly basis to 9 women who attended a PCC, with different diagnoses, who were the subjects of this study. Their testimonies obtained by means of questionnaires, which were applied before they had any contact with the classes and after the entire experience, as well as their testimonies recorded at the end of each class by two participating observers, who had been trained for this purpose, allowed us to verify the above mentioned contribution. Results showed that Belly Dancing contributed to better self-esteem and self-confidence among these women, it helped in their treatment at the PCC and made a considerable contribution to their body education, physical and mental health, thus improving their quality of life and, consequently, enabling them to live in their social and family environment.

D.Cur. / Movement is an integral aspect of daily living. Movement allows the human being to express, find meaning and reflect a part or the whole of the unfolding of the stories of their lives. In nursing movement is the dialogue and interaction between professional nurse and patient. The essence of the dialogue is the movement towards caring and healing between the professional nurse and the individual. The purpose of this research is to develop, describe, evaluate and provide guidelines for the operationalisation of a model as a framework of reference for nursing to facilitate the individual faced with mental health challenges as an integral part of wholeness. The research objectives are: •To elicit the experience of belly dancers within the belly dancing environment. •To elicit the experience of belly dance teachers within the belly dancing environment. •To describe a model to facilitate mental health as an integral part of wholeness of the individuals faced with mental health challenges. •To evaluate the model to promote the facilitation of mental health as integral part of wholeness of the individuals faced with mental health challenges. •To describe the guidelines for operationalising the model for facilitation of mental health as an integral part of wholeness. A research design consisted of theory-generative, qualitative, exploratory, descriptive and contextual in nature. The purposive sample consisted of eight individuals participating in belly dancing.