<p> An outcrop of the transition from the Wapiabi Formation to the Belly River Formation was studied in detail at Lundbreck Falls, Alberta. The observed vertical succession of sediments is as follows: 1) interbedded dark shales and Bouma B, BC and C type turbidites; 2) hummocky cross-stratified sandstones and bioturbated silts; 3) swaley cross-stratified sandstones; 4) parallel laminated sandstones; 5) mudstones interbedded with trough cross-stratified sandstone. The turbidites and hummocky cross-stratified sandstones are storm-generated density current deposits. The swaley cross-stratified sandstones have formed below parallel laminated beach deposits and above storm deposits. The section is capped by fluvial deposits containing evidence of subaerial exposure. </p> <p> Paleoflow directions in the lower portion of the section indicate that the regional paleoslope dipped northward. Density currents may have flowed down a topographically significant north-south trending trough. Net sediment transport in the shallow marine portion of the section was towards the east north-east. </p> <p> Petrographic studies indicate that the sandstones are similar to the "barren" basal Belly River sandstones of the Burmis area, studied by Mellon (1961). </p> <p> Another section consisting of continental elastics of the Blairmore Group was studied at Daisy Creek, Alberta. The lower part of the section contains interbedded grey mudstone and cross-stratified sandstone. These are erosively overlain by a 25 m thick, cross-stratified sandstone which caps the section. The sediments have been interpreted in terms of a meandering fluvial system. </p> / Thesis / Bachelor of Science (BSc)

Master of Science / Department of Animal Sciences and Industry / Terry A. Houser / The objectives of this study were to determine the impact of 0 and 20% dried distillers grains with soluble (DDGS) and increasing levels of glycerol (0, 2.5 and 5%) in grow-finishing rations on bacon quality and to determine the relationship between belly firmness and slicing yield for commercially produced bacon. A total of 84 barrows (PIC, initially 31.03 kg) were fed corn-soybean meal-based diets organized in a 2 x 3 factorial with primary effects of DDGS (0 or 20%) and glycerol (0, 2.5, or 5%) as fed. Belly length was measured from flank end to blade end. Belly thickness was measured at eight locations evenly spaced around the perimeter of the belly. Belly firmness was measured by centering bellies perpendicularly (skin side up and skin side down) over a stainless steel smokestick and measuring the flex between the edges on the ventral and dorsal edges of the belly. Bellies were injected at 12% of the skinned belly weight resulting in a final concentration of 1.74% salt, 0.5% sugar, 0.3% sodium phosphate, 120 ppm sodium nitrite, and 500 ppm sodium erythorbate in the bellies. Bellies were cooked to an internal temperature of 53oC, chilled, pressed and sliced for evaluation. Belly slice yield was calculated by determining the yield of #1 type bacon slices. Proximate analysis and fatty acid analysis were evaluated by taking every 10th bacon slice beginning from the caudal end to make a composite sample for each belly. Iodine value was calculated using the resulting fatty acid content results. Twenty bacon slices were removed from the belly one-third the length of the belly from the cranial end for sensory analysis and cooking yields. Sensory characteristics were evaluated on an 8-point scale for brittleness, bacon flavor intensity, saltiness and off-flavor. There were no significant DDGS x glycerol interactions on any parameters measured (P > 0.08). Inclusion of 20% DDGS in pig diets decreased belly firmness (P < 0.04) as measured by the belly flop fat side down method. Twenty percent DDGS decreased the percentage of myristic acid, palmitic acid, palmitoleic acid, stearic acid, oleic acid, vaccenic acid, total saturated fatty acids, and total monounsaturated fatty acids (P < 0.01). In contrast, 20% DDGS increased the percentage of linoleic acid, α-linolenic acid, eicosadienoic acid, total polyunsaturated fatty acids and decreased unsaturated: saturated fatty acid ratios, polyunsaturated: saturated fatty acid ratios, and iodine values (P < 0.01). Statistical correlation analysis of belly processing characteristics showed that by increasing belly weight there will be an increase in smokehouse yields (R = 0.81), increasing smokehouse yields will increase slice yield (R = 0.71), increasing belly thickness results in firmer bellies (R = 0.94) and increasing belly firmness will increase slice yields (R = 0.60). Fatty acid content did not correlate with any belly processing characteristic (R < 0.50). Iodine values were highly correlated with Total MUFA (R = 0.83) Total PUFA (R = 0.79), Total TFA (R = 0.75), and UFA: SFA ratio, and PUFA: SFA ratios (R = 0.83). The inclusion of 0, 2.5 and 5% glycerol in swine diets did not affect any measured parameters in this study. In conclusion, feeding DDGS at a level of 20% decreased belly firmness and changed the fatty acid profile; however, it did not affect belly processing or sensory characteristics. Glycerol fed at 2.5 or 5.0% did not affect belly quality, fatty acid profile, or sensory characteristics of bacon.

Belly Dance in the Context of the Western and Arab Islamic Societies The present work deals with the development and social status of the belly dance and professional belly dancers in the Arab Islamic society and examines to which extent that status was influenced by the West and how the belly dance made its way to the Western culture. The work concentrates on the 19 th and 20 th centuries with a special focus on Egypt as a centre of the belly dancing. This work is supplemented with a questionnaire, the results of which depict the development of the social status of the belly dance and dancers in the Arab society at the beginning of the 21 st century.

Dans cette étude, nous analysons les évolutions des modèles contemporains de féminité dans le cadre des débats sur l’identité de genre à travers l’étude de la danse orientale. Nous envisageons la danse orientale à la fois comme un terrain de confrontation, de partage et d’hybridation de différentes conceptions et vécus du corps et comme une possibilité d’exploration empirique et conceptuelle de différentes identités de genre, culturelles et esthétiques. Ce sujet d’étude nous permet de réfléchir sur l’imaginaire du ventre féminin comme symbole genré, depuis les Orientalistes jusqu’à la pratique d’aujourd’hui dans les cours de danse parisiens. Le corps dansant et ses ressentis ont été traités comme les moyens expressifs à partir desquels structurer notre réflexion incarnée sur le féminin. Une enquête de terrain dans le milieu des cours de danse parisiens actuels nous a permis d’analyser les formes de partage culturel qui s’y produisent. Cela a mis en lumière les changements que la pratique de cette danse produit dans les relations des femmes à leur intimité physique et sexuée et les influences occidentales des hybridations multiples de cette danse avec d’autres styles de danse. Dans le milieu de cours de danse orientale, les femmes qui la pratiquent sont amenées à expérimenter dans des espaces clos et exclusivement féminins la stratification de conceptions traditionnelles du corps et de différents systèmes philosophiques et esthétiques. La danse orientale modifie-t-elle donc en Occident les catégories et les formes du corps désirable ? Qu’est-ce que les femmes recherchent dans cette pratique aujourd’hui ? / This study traces the evolution of contemporary models of femininity in virtue of the mindset and self-perception of contemporary French women. My work focuses on the practice of oriental dance with respect to the question of gender identity. I intend to look at oriental dance as the catalyst of cultural confrontation and hybridization of Eastern and Western concepts of the body. Because this dance is primarily designed for women, I consider it an empirical vehicle for exploring issues of gender identity (notions of what is female, feminine, and femininity) through the investigation of the belly and the pelvis. Incorporating a qualitative survey among women practicing oriental dance today in Paris, my work seeks to understand how this dance influences the relationship a women has with her body and intimate self as well as how the Western outlook has altered and influenced oriental dance. What do contemporary dancing bodies in Paris share between themselves in the practice of this dance? How does oriental dance influence or become altered by the predominant dance forms in French culture? How do these different aesthetic concepts of the female body influence each other through Oriental dance, and how does this dance form modify the idea of what is the desirable female body? What are women searching for through the practice of Oriental dance today?

Ainda que escassa nos idiomas ocidentais, a literatura sobre dança do ventre tende à unanimidade ao tratar dessa prática artística como algo bastante antigo e de difícil acesso aos registros iniciais. O que é comum aos registros é a descrição da dança do ventre como uma espécie de ritual feminino em adoração às divindades e à celebração da prosperidade. No entanto, ainda quando a dança do ventre é considerada como prática corporal, com objetivos definidos para além da sua perspectiva artística, recai sobre ela uma visão preconceituosa sobre seus movimentos corporais e seu figurino, que não parece condizer com os objetivos ritualísticos e sagrados. Talvez isso se dê por uma tradução ou uso descontextualizado dessa prática, algo similar ao que pode ocorrer com as artes marciais ou mesmo com prática com origem também ritualística ou devocional, como diversas formas de meditação e o yoga. No caso da dança do ventre, como em outras artes, os registros e disseminação da prática foram feitos por homens que, neste caso, não dançam. Desta forma, todo registro passa por filtros do olhar e interpretação do masculino, o que pode alterar o modo como a prática é compreendida, vivida e projetada. Na tentativa de compreender a origem histórica dos sentidos da Dança do Ventre, e entender como os atravessamentos da cultura, da religião, de gênero e do pensamento capitalista foram transformando essa prática em um tipo de produto, foram entrevistadas quatro dançarinas profissionais de dança do ventre. A escolha destas mulheres foi o reflexo da preocupação em traduzir os valores mais ancestrais desta dança e, portanto, o convite à participarem da pesquisa foi pautado no conhecimento e trajetória delas com a dança, sendo o principal aspecto o seu comprometimento com os estudos e suas atuações profissionais. O método, qualitativo por excelência, foi operacionalizado por uma entrevista e análise compreensivas. Das conversas, diálogos mediados por um roteiro de conversação, surgiram temáticas como: a conexão e competição entre mulheres, a objetificação do corpo, o show de dança do ventre e os rituais e celebrações, que se constituíram eixos temáticos que organizam os capítulos do trabalhos. Todo conhecimento produzido é resultado da tessitura das falas das entrevistadas com as teorias nos campos dos estudos feministas e da dança do ventre. É evidenciado na pesquisa que a dança sofreu distorção na sua utilização, e como em outras várias manifestações de expressão e de fortalecimento do coletivo feminino, a desvalorização foi parte de um projeto maior de controle e organização da sociedade, que teve como resultado o controle do corpo e das relações sociais / Although scarce in western languages the literature on belly dance tends to unanimity in treating this artistic practice as something quite old and difficult to access to the initial records. What is common to records is the description of belly dance as a kind of female ritual in worshiping deities and celebrating prosperity. However, even when belly dancing is considered as bodily practice, with definite goals beyond its artistic perspective, a biased view of bodily movements and costume, which does not seem to conform to ritualistic and sacred goals, falls upon it. Perhaps this is due to a translation or decontextualized use of this practice, something similar to what can occur with the martial arts or even with practice also of ritualistic or devotional origin, such as various forms of meditation and yoga. In the case of belly dance this can also be attributed to the fact that the oldest records were constructed without portraying or transmitting essential values to their understanding. In addition, as in other arts, the records and dissemination of the practice were made by men, who in this case do not dance. In this way, every record passes through filters of the look and interpretation of the masculine, which can alter the way the practice is understood, experienced and projected. In an attempt to understand the historical origin of the Belly dance senses, and to understand how the crossings of culture, religion, gender and capitalist thought were transforming this practice into a type of product, four professional belly dancers were interviewed . The choice of these women was the reflection of their concern to translate the most ancient values of this dance and, therefore, the invitation to participate in the research was based on their knowledge and trajectory with dance, the main aspect being their commitment to studies and their professional performances. The method, qualitative par excellence, was operated by a comprehensive interview and analysis. From the conversations, dialogues mediated by a conversation script, topics such as: the connection and competition between women, the objectification of the body, the belly dance show and the rituals and celebrations, and are these thematic axes that organize the chapters of the works. All knowledge produced is a result of the seam of the speeches of those interviewed with the theories in the fields of feminist studies and belly dancing. It is evidenced in the research that the dance suffered distortion in its use, and as in other various manifestations of expression and strengthening of the female collective, the devaluation was part of a larger project of control and organization of society, which resulted in control of the body and social relations

O presente trabalho trata da percepção ocidental em relação à dança oriental a partir de relatos de seis viajantes inglesas que estiveram no Egito entre os anos de 1842 e 1876, período que abrange a dominação imperialista europeia no Oriente Médio. Têm-se como referenciais teóricos o conceito de “Orientalismo”, cunhado por Edward Said, e a crítica posterior realizada por feministas pós-coloniais e decoloniais. Assim, analiso estes relatos a partir de uma perspectiva interseccional, considerando-se os recortes de gênero, raça e classe que influenciaram as representações tecidas por mulheres europeias sobre homens e, sobretudo, mulheres egípcias. Examino de que modo estas representações impactaram tanto nas identidades inglesas quanto egípcias e de que maneira elas transformaram a dança que era praticada no Egito e que, a partir do contato dado no contexto colonial, se transnascionalizou e hoje é percebida como “Dança do Ventre” (em português), “Bellydance” (em inglês), “Danse du Ventre” (em francês) e “Raqs Sharqi” (em árabe). / This research investigates the Western perception of Eastern dance based on the study of the accounts of six British women who traveled to Egypt between 1842 and 1876, a period that encompasses European imperialist domination in the Middle East. The theoretical references include the concept of "Orientalism", coined by Edward Said, and the subsequent criticism by postcolonial and decolonial feminists. Thus, I analyze these reports from an intersectional perspective, considering the categories of gender, race and class that influenced the representations made by European women about men and, above all, Egyptian women. I examine how these representations impacted both English and Egyptian identities and how they transformed the dance that was practiced in Egypt, which, from the contact given in the colonial context, became transnational and is now perceived as “Dança do Ventre” (in Portuguese) “Bellydance” (in English), “Danse du Ventre” (in French) and “Raqs Sharqi” (in Arabic).

Made available in DSpace on 2016-04-28T20:39:12Z (GMT). No. of bitstreams: 1 Rafaella Brito e Silva.pdf: 1520832 bytes, checksum: 8e85b14e377af7a9cc5261f236135b9a (MD5) Previous issue date: 2015-12-15 / This thesis, which is the result of a personal and professional experience with dancing, as well as of an interest in studies and initiatives in the field of Psycho-oncology, consisted of a follow-up research study based on the theoretical framework of Gestalt Therapy. The aim of the study was to investigate how mastectomized women who underwent a group corporeal intervention, with belly dancing as a therapeutic means, perceived themselves in their corporeality three years after their experience. The importance of this study is related to the need to expand therapeutic strategies for health promotion during the breast cancer post-treatment of mastectomized women. It comprises a qualitative survey in which follow-up interviews were conducted in groups and individually. The analysis and discussion were based on the collaborators' reports, by employing the phenomenological method. It was possible to identify that belly dancing played an important role in copying with the disease and also in the participants' lives. Belly dancing helped to mobilize resources in order to deal with the changes resulting from the treatment, as well as changes in the maturing process. The dance, the music and the movement were perceptible as a trigger for the promotion of contact with femininity and sensuality in a pleasant and ludic way. The therapeutic group was significantly important as an outer support, providing a welcoming space for experiencing the body and for the exchange of experiences. It can be concluded that belly dancing is a potential therapeutic tool in the rehabilitation of mastectomized women in the long term too / Esta tese, fruto de uma experiência pessoal e profissional com dança e do interesse por estudos e ações na área da Psico-Oncologia, consistiu em uma pesquisa de acompanhamento baseada no referencial teórico da Gestalt-Terapia. O objetivo foi investigar como, mulheres mastectomizadas que passaram por uma intervenção corporal grupal com a dança do ventre como recurso terapêutico, se percebem na sua corporeidade três anos após a vivência. A importância desse estudo está relacionada à necessidade de ampliação de estratégias terapêuticas voltadas para a promoção da saúde no póstratamento do câncer de mama de mulheres que foram mastectomizadas. Trata-se de uma pesquisa qualitativa na qual foram realizadas entrevistas de acompanhamento em grupo e individuais. A análise e discussão foram feitas com base no discurso das colaboradoras, pautada no método fenomenológico. Foi possível identificar que a dança do ventre teve um papel importante no enfrentamento da doença e posteriormente na vida das participantes. A dança ajudou a mobilizar recursos para lidar com as mudanças decorrente do tratamento, assim como com as mudanças no processo de amadurecimento. Pudemos perceber a dança, a música e o movimento como um estopim que promove contato com a feminilidade e sensualidade de forma prazerosa e lúdica. O grupo terapêutico foi bastante importante no papel de heterossuporte, propiciando um espaço acolhedor para a vivência do corpo e troca de experiências. Pode-se concluir que a dança do ventre é um possível recurso terapêutico na reabilitação de mulheres mastectomizadas também a longo prazo

O objetivo deste estudo foi avaliar o efeito da densidade sobre o desempenho e o comportamento de leitões na fase de creche. Um total de 560 leitões desmamados (peso médio de 5,75 ± 0,9 kg e idade média de 20,92 ± 0,8 dias) foram aleatoriamente alojados em quatro tratamentos com diferentes densidades: T0,33, T0,28, T0,23 e T0,18 (0,33, 0,28, 0,23 e 0,18 m²/animal respectivamente). As baias continham 20 animais e a ração foi fornecida à vontade. As lesões de cauda e orelha foram graduadas em escores de 0 a 4 e o número de lesões de briga foram avaliados semanalmente. Dezesseis baias foram filmadas em três momentos (1ª, 4ª e 6ª semana de alojamento) para avaliação da frequência de brigas e de belly nosing. Foi observado um efeito linear da densidade sobre o ganho de peso diário (GPD; P=0,049), um efeito quadrático sobre o peso aos 42 dias (P=0,030) e uma tendência de efeito quadrático para o consumo médio diário (CMD; P=0,075). Não houve efeito da densidade na conversão alimentar (CA) e no coeficiente de variação (CV) do peso aos 42 dias. Foi observado um maior número de leitões apresentando lesões severas de orelha no grupo T0,18 quando comparado ao T0,33 (P = 0,019) e T0,28 (P = 0,056). Um maior número de animais com lesões moderadas ou severas foi observado no grupo T0,18 (P < 0,05) do que nos demais grupos para lesões de orelha, e do que T0,33 para lesões de cauda. Houve um efeito linear da densidade sobre a frequência de brigas, com uma maior ocorrência nos grupos com menos espaço. Contudo, não foi observado efeito sobre o número de lesões de briga ou de casos de belly nosing. Em conclusão, o aumento da densidade afetou negativamente o desempenho dos leitões, além de aumentar a ocorrência de comportamentos indesejáveis. / The aim of this study was to evaluate the effect of space allowance on performance and behavior of nursery pigs. At weaning 560 pigs (5.75 ± 0.9 kg of body weight and 20.92 ± 0.8 days of age) were randomly assigned in four treatments with different stocking densities: T0.33, T0.28, T0.23 and T0.18 (0.33, 0.28, 0.23 and 0.18 m²/pig respectively). Pens were standardized to have the same group size (20 pigs/pen) and feed was provided ad libitum. Tail and ear biting lesions and the fighting lesions were weekly observed. Sixteen pens were videotaped in three different moments (1st, 4th and 6th housing week) and the frequency of fights and belly nosing were recorded. A linear effect was observed of stocking density on average daily gain (ADG; P=0.049), a quadratic effect and a quadratic tendency of effect were observed on body weight at 42 days after weaning and on average daily feed intake (ADFI) (P=0.030; P=0.075, respectively). There was no effect of stocking density on the gain:feed ratio or weight coefficient of variation (CV) at day 42. Higher graduation of severe ear lesions was observed in pigs from T0.18 when compared to T0.33 (P = 0.0196) and T0.28 (P = 0.056). A higher number of pigs with moderate or severe tail and ear lesions was observed in T0.18 (P > 0.05). Moreover, it was observed a linear effect of density on the frequency of fights, with higher occurrence in groups housed in restricted spaces. However, no effect of stocking density was observed on fight lesions or belly nosing among treatments. In conclusion, increased density negatively affected the performance of piglets and increased the occurrence of unsuitable behaviors.

With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural act. Focusing on the works and guises of Lead Belly, Woody Guthrie, and Bob Dylan, Carpenter goes beyond the outlaw figure’s heroic associations and expands on its historical (Jesse James, Billy the Kid), folk (John Henry, Stagolee), and social (tramps, hoboes) forms. He argues that all three performers represent a culturally disruptive force, whether it be the bad outlaw Lead Belly represented to an urban bourgeoisie audience, the good outlaw Guthrie shaped to reflect the social concerns of marginalized people, or the honest outlaw Dylan offered audiences who responded to him as a promoter of clear-sighted self-evaluation. As Carpenter shows, the outlaw and the law as located in society are interdependent in terms of definition. His study provides an in-depth look at the outlaw figure’s self-reflexive commentary and critique of both the performer and society that reflects the times in which they played their outlaw roles. / https://dc.etsu.edu/etsu_books/1158/thumbnail.jpg

Esta dissertação propõe investigar, de uma perspectiva etnográfica, os processos de produção e apreensão de noções de feminino nas diferentes práticas que compõem o campo da dança do ventre na cidade de São Paulo, mapeando e descrevendo os principais espaços relacionados à produção e circulação de performatividades de gênero. Tais noções englobam não somente os movimentos inerentes à dança, mas também as concepções de comportamentos e cuidado do corpo que ela circunscreve. Busca-se, assim, verificar quais signos corporais e comportamentais compõem as noções de femininos em circulação e quais agentes e espaços contribuem para sua produção. / This dissertation investigates, from an ethnographic perspective, the production and apprehension processes of notions of femininity in different practices concerning the field of belly dancing in the city of São Paulo. The main spaces related to the production and circulation of such performativity are mapped and described. Those specific notions of femininity include not only the movements inherent to the dance, but also conceptions of behavior and body care that it circumscribes. This research aims to verify which bodily and behavioral signs create the circulating notions of femininity and which agents and spaces contribute to their production.