This thesis investigates the molecular evolution of the cytosolic glyceraldehyde 3-phosphate dehydrogenase (GapC) gene family in two varieties of Amsinckia spectabilis (Boraginaceae) that differ in mating system. Examination of sequence variation suggests that the gene family consists of three or four members. Compared with GapC in Arabidopsis thaliana, the GapC locus in A. spectabilis has at least two fewer introns and one intron that is double in length. Strong purifying selection was detected at each putative locus since the divergence of the Amsinckia spectabilis lineage from species in the allied family Solanaceae. Mean nucleotide diversity across all observed loci is 0.0036 for the inbreeding variety spectabilis, and 0.0049 for the outbreeding variety microcarpa . Outbreeding populations were systematically more diverse than inbreeding populations at GapC-IV. These results are discussed in the context of theory for the fate of duplicate genes, and the background selection hypothesis.

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This document presents the development trouser role. The first part is concentrated in the seventeenth century when the use of castrati was the main business in church music. Later in the same chapter is presented the development of women in opera, which so far was not a common practice, and how and why they dominate the opera after the castrati were not an accepted practice anymore. The following chapters contain demonstrations of trouser role’s types. Each chapter is based in one role of an opera from a different period of history. From Gluck’s Orfeo ed Euridice to Strauss’ Der Rosenkavalier, the pants role is exemplified from a different point of view according to their importance in opera.

Thesis (M.A.)--Florida State University, 2003. / Title from PDF title page (viewed Apr. 12, 2005). Includes bibliographical references.

This document presents the development trouser role. The first part is concentrated in the seventeenth century when the use of castrati was the main business in church music. Later in the same chapter is presented the development of women in opera, which so far was not a common practice, and how and why they dominate the opera after the castrati were not an accepted practice anymore. The following chapters contain demonstrations of trouser role’s types. Each chapter is based in one role of an opera from a different period of history. From Gluck’s Orfeo ed Euridice to Strauss’ Der Rosenkavalier, the pants role is exemplified from a different point of view according to their importance in opera.

Thesis (MDram)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The appearance of actresses on stage during the seventeenth century gave rise to the discarding of gender boundaries and the exploration of male characters. By investigating the cause and effect and the critical value of actresses assuming breeches parts (“broekrolle”) within specific historical time lines and theatrical traditions, and a comparative study of the creation and portrayal of breeches parts within a South African context, I will endeavour to assess the success of the assumption of male characters on the stage. Actresses performing breeches parts were not necessarily in competition with their male counterparts, but were often influenced by their socio-economic situations, as well as their natural inclination to male identities. The appearance or beauty of the female performer has almost always been a defining factor in the casting of a part and it is therefore possible that some actresses chose to perform breeches parts because their natural attributes might not have fallen within the general concept of beauty. Although the assumption of male characters was often categorized as sensation seeking and selfglorification, it was accepted during certain historical periods and the theatrical traditions of the time. Breeches parts contributed towards the actress’s level of skills, and thus to their financial gain. Within a South African context a comparative and personal perception will be investigated in relation to the experiences of the above-mentioned actresses. Because of the hybrid quality of the character of Ella/Max Gericke in As die Broek Pas (Man to Man), in other words, the duality of her performed identity, the breeches part of Ella/Max differs from the traditional concept of breeches performances. This aspect contributes to the process of self-assessment through performance as research – situated knowledge. / AFRIKAANSE OPSOMMING: Die vroulike toneelspeler het reeds gedurende die laat sewentiende eeu oor geslagsgrense heen manskarakters (broekrolle) begin vertolk. Deur ondersoek in te stel na die oorsake, gevolge en kritiese waarde van aktrises se aanneming van broekrolle binne ’n spesifieke tydruimte en teaterkonvensies en ’n vergelykende proses wat hierdie skepping en uitbeelding van ’n broekrol in kontemporêre Suid-Afrika belig, kan gepoog word om te bepaal hoe suksesvol hierdie geslagsaanneming op die dramatiese ruimte van die verhoog was en is. Die emansipasie van die vrou en die ontbanning van vroulike toneelspelers het dit vir aktrises moontlik gemaak om buite hulle tradisionele geslagsraamwerk die toneelkarakters van die man te betree en te ontgin. Hierdie toetrede tot broekrolle (“breeches parts”) was nie noodwendig ’n poging om met die man op sy gebied te wedywer nie, maar kan toegeskryf word aan sosio-ekonomiese toestande, sowel as ’n natuurlike voorkeur vir ’n manlike identiteit. Die aktrise se voorkoms is en was nog altyd ’n bepalende faktor ten opsigte van die rolle waarin sy beset word. Dit is dus verstaanbaar dat sommige aktrises uit die aard van hulle ingesteldheid teenoor hul eie voorkoms die keuse maak om manskarakters te vertolk. Die gevolge van hierdie aanneming van manlike karakters is soms as sensasionele vertoon en selfverheerliking beskou, maar is steeds aanvaar binne die teaterkonvensies van sekere tydperke. Daarbenewens het dit die betrokke aktrises se aansien ten opsigte van hulle vaardighede op die verhoog en hul ekonomiese status positief beïnvloed. Die persoonlike gewaarwordinge wat ten opsigte van ’n vergelykende proses binne ’n Suid- Afrikaanse konteks gevolg is, sluit aan by die navorsing oor genoemde broekrolvertolkers. Daar is wel verskille, aangesien die geval van Ella/Max Gericke in As die Broek Pas, nie binne die tradisionele opset van die broekrol val nie, as gevolg van die dualiteit wat in die broekrol teenwoordig is, en dit as ’n hibriede karakter gesien kan word. Hierdie aspek leen hom tot kritiese selfevaluasie binne die gebruik van “performance” as navorsing – “situated knowledge”.

Ridbyxor är ett specifikt plagg för ryttare och det ställs därför vissa krav som inte uppkommer på vanliga byxor. Bakgrunden till detta arbete är att företaget bad om ett mönster till en ridbyxa med bra passform genom hela storleksserien. Ett nytt mönster med god grundpassform tas därför fram. Graderingen av byxan gjordes med tanke på hur plagget ska användas samt hur kroppen förändrar sig i de olika storlekarna. Idag tas oftast ingen hänsyn till detta utan plaggen behåller samma proportioner i alla storlekar. För att uppnå ett slutresultat har konstruktionen gjorts i Lectras konfektionsanpassade cad-program Modaris och specifikationerna har gjorts i Illustrator och PISA. En god grundpassform togs fram först genom ett antal avprovningar och mönsterförändringar innan graderingsarbetet tog vid. För att verifiera graderingen gjordes avprovningar på utvalda storlekar. Slutligen kommer grundstorleken att sys upp i fabrik och två ytterligare storlekar att sys upp i Textilhögskolans lokaler. Resultatet visar att relativt många förändringar måste utföras på grundkonstruktionen för att uppnå den passform som önskas. Samt att en gradering som ger en längre grenlängd bak skapar en bättre passform när ryttaren sitter i sadeln. / Breeches are a specific garment for equestrians and therefore it occur certain requirements which are not imposed in regular trousers. The background to this writing is that the company asked for a pair of breeches with good fit throughout the size range. A new pattern with good fit is therefore produced. The grading of the trousers was made in view of how the garment will be used and how the body changes in the various sizes. Today there is often no attention dedicated to this. The result is that the garment retains the same proportions in all sizes. To achieve a result has the patterns been made in Lectras software Modaris and the specifications are made in Illustrator and PISA. A good fit in base size is first achieved thru a number of fittings and pattern changes before the grading work started. To verify the grading fittings of selected sizes was performed. Finally will the base size be sewn at a factory and further two sizes will be sewn at Textilhögskolan. The result shows that relatively many changes must be performed on the basic pattern to achieve the desired fit. And that a grading that gives a longer back rise length is creating a better fit for equestrians when sitting in the saddle.

Submitted by Luiza Helena Kraemer Francesconi (lufrancesconi@gmail.com) on 2018-09-15T17:23:19Z No. of bitstreams: 1 Dissertação sem transcrições.docx: 318840 bytes, checksum: 37a02a4fe657ac55f79c7f06a87bc887 (MD5) / Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - O arquivo da dissertação/tese deve estar em formato .pdf - O item "resumo" deve ser apresentado em folha única. As mesmas regras servem para o item "abstract". Ou seja, o “resumo” deve constar em uma página e o “abstract” na próxima. Caso seja necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2018-09-17T17:55:03Z (GMT) / Submitted by Luiza Helena Kraemer Francesconi (lufrancesconi@gmail.com) on 2018-09-17T18:14:31Z No. of bitstreams: 1 Dissertação sem transcrições.pdf: 1924495 bytes, checksum: 814c7f62dbd4d3b3822e9fbc872e5c9c (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-09-17T18:53:41Z (GMT) No. of bitstreams: 1 francesconi_lhk_me_ia.pdf: 1924495 bytes, checksum: 814c7f62dbd4d3b3822e9fbc872e5c9c (MD5) / Made available in DSpace on 2018-09-17T18:53:41Z (GMT). No. of bitstreams: 1 francesconi_lhk_me_ia.pdf: 1924495 bytes, checksum: 814c7f62dbd4d3b3822e9fbc872e5c9c (MD5) Previous issue date: 2018-09-06 / O objetivo desta dissertação é discutir e investigar a associação de estudos em ópera, em especial dos papéis en travesti, a estudos de gênero. Para tanto, através da minha experiência com esses personagens, realizo questionamentos sobre essa faceta do mundo da ópera e sua relação com as práticas sociais dentro da cultura ocidental. Estabeleço uma revisão histórica dos papéis en travesti, baseada principalmente nos trabalhos de Naomi Andre e Thomas Laqueur, e discorro sobre as teorias de gênero que baseiam este trabalho. Além disso, analiso os resultados de entrevistas semiestruturadas feitas com dez cantoras brasileiras que já interpretaram este tipo de papel, com o intuito de investigar como essas mulheres sentem-se no palco ao interpretar papéis masculinos. Utilizo uma junção de teorias de gênero - em especial a de Judith Butler - à performance em ópera para investigar a subjetividade das cantoras, do público, e também para sugerir uma nova perspectiva de abordagem dos papéis en travesti, a qual poderá ser utilizada por intérpretes, diretores de cena e também em trabalhos futuros por estudiosos da área. / The aim of this dissertation is to discuss and investigate the association of studies in opera, especially of breeches roles, to gender studies. To do so, through my experience with these characters, I raise questions that lead to the study of this facet of the opera world and its relation to social practices within Western culture. I stablish a historical review of breeches roles, based specially on the works of Naomi Andre and Thomas Laqueur, and I discuss the theories of gender that underlie this work. In addition, I analyze the results of semi-structured interviews with ten Brazilian female singers who have performed this type of role, in order to investigate how these women feel on stage when playing male characters. I use a combination of gender theories - especially that of Judith Butler - to the performance in opera to examine the subjectivity of the singers, the public and also to suggest a new perspective of approach of breeches roles in opera, which can be used by interpreters, stage directors and can also be used by opera scholars in future works. / El objetivo de esta disertación es discutir e investigar la asociación de estudios en ópera, en especial de los papeles en calzones, a estudios de género. Para esto, a través de mi experiencia con estos personajes, realizo cuestionamientos sobre esa faceta del mundo de la ópera y su relación con las prácticas sociales dentro de la cultura occidental. Establezco una revisión histórica de los papeles en travesti, basada principalmente en los trabajos de Naomi Andre y Thomas Laqueur, y diserto sobre las teorías de género que basan este trabajo. Además, analizo los resultados de entrevistas semiestructuradas hechas con diez cantantes brasileñas que ya interpretaron este tipo de papel, con el fin de investigar cómo esas mujeres se sienten en el escenario al interpretar papeles masculinos. Se utiliza una combinación de teorías de género -en especial la de Judith Butler- a la performance en ópera para investigar la subjetividad de las cantantes, del público, y también para sugerir una nueva perspectiva de abordaje de los papeles en calzones, la cual podrá ser utilizada por intérpretes , directores de escena y también en trabajos futuros por estudiosos del área.