Thesis (Ph.D.)--York University, 2008. Graduate Programme in Social and Political Thought. / Typescript. Includes bibliographical references (leaves 468-490). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR46008

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This thesis provides a general view of maritime Scotland from c. 10.000BP, the retreat of the last glacier of the Loch Lomond Stadial, until 1018AD, the first formal agreement upon the River Tweed as Scotland's southern border following the Battle of Carham. The thesis shows the importance of water upon the physical landscape and man's dependence upon water, and his ability to travel on it, to facilitate survival, social development, development of trade and to aid immigration throughout prehistoric and early mediaeval Scotland. Emphasis is given to the geomorphology of Scotland and the development of water transport throughout the time period covered.

Thesis (M. S.)--Civil and Environmental Engineering, Georgia Institute of Technology, 2008. / Committee Chair: Aral, Mustafa; Committee Member: Guan, Jiabao; Committee Member: Pavlostathis, Spyros; Committee Member: Uzer, Turgay; Committee Member: Yiacoumi, Sotira.

Fully-dynamic, continuous fugacity-based fate and transport models have been developed to examine all natural processes and interactions in the aquatic water systems. Within a body of surface water such as a lake or a river, a dynamic interaction among different media takes place. Chemical compounds are continuously dissolving, adsorbing into solid particles, attaching to suspended particles, resuspending, reacting, diffusing, and advecting. As the inclusion of all these interactions into a model is complex, the use of fugacity concept instead of concentration, renders the modeling task relatively easy. Fugacity, which is described as the escaping tendency of a chemical from a medium, is continuous among different phases, thus easier to follow the movement of the chemical. The first model has been developed to be used as an emergency response model by decision makers, which models the fate and transport of any contaminant in a lake. Due to uncertainties involved in the analysis, Monte Carlo simulations are performed. The fate of three representative contaminants; polychlorinated biphenyls (PCBs), atrazine, and benzene in air, water, and sediment compartments are examined. The second model developed is a continuous, dynamic river fugacity-based water quality model. In order to develop a continuous model, the hydrodynamics of the river system is solved first. Water depth and velocity at each point along the river are used in the advection-dispersion equation to determine the fate and transport of a contaminant. Interactions between different phases are also incorporated into the advection-dispersion equation which is solved numerically and coupled with a mass balance equation derived for the same contaminant in the sediments. The third model is a multispecies contaminant fate and transport model which can be used for the fate of a single contaminant and its daughter products. Trichloroethylene (TCE) and its daughter products, dichloroethylene (DCE) and vinyl chloride (VC), are used as representative of multispecies contaminants. The fate and transport of TCE and its daughter products has been analyzed first in a lake environment, and then in a river environment with the addition of a biofilm compartment where all biotransformations take place.

This thesis aims to develop a new methodological concept better to understand art and curating in a post-human setting. Departing from a post-humanist ontology, my initial idea was to analyse contemporary artworks dealing with food and trace and substantiate a figuration of the gut/intestinal system (connected to post-human notions as the ideas of trans- corporeality, vibrant matter, etc.) and how it could create a productive reading of these works. During my research on food-related art projects, I realised that the gut-figuration has broader implications and could function as a tool to understand the contemporary art world and curating at large, through a post-human lens. Accordingly, I suggest my thesis to be a contribution to what I would like to name an “intestinal turn”, a contemporary post-humanist, trans-corporeal understanding of art that could change how art is perceived and how the subjectivity of the artist, and curatorial work, could be understood today.