This thesis offers an examination of egg-collecting, which was a very popular pastime in Britain from the Victorian era well into the twentieth century. Collectors, both young and old, would often spend whole days and sometimes longer trips in a wide variety of different habitats, from sea shores to moorlands, wetlands to craggy mountainsides, searching for birds’ nests and the bounty to be found within them. Once collectors had found and taken eggs, they emptied out the contents; hence, they were really eggshell collectors. Some egg collectors claimed that egg-collecting was not just a hobby but a science, going by the name of oology, and seeking to establish oology as a recognised sub-discipline of ornithology, these collectors or oologists established formal institutions such as associations and societies, attended meetings where they exhibited unusual finds, and also contributed to specialist publications dedicated to oology. Egg-collecting was therefore many things at once: a culture of the British countryside, from where many eggs were taken; a culture of natural history, taking on the trappings of a science; and a culture of enthusiasm, providing a consuming passion for many collectors. By the early twentieth century, however, opposing voices were increasingly being raised, by conservation groups and other observers, about the impact that egg-collecting was having on bird populations and on the welfare of individual birds. By mid-century the tide had turned against the collectors, and egg-collecting in Britain was largely outlawed in 1954, with further restrictions imposed in 1981. While many egg collections have been lost or destroyed, some have been donated to museums, including Glasgow Museums (GM), which holds in its collections over 30,000 eggs. As a Collaborative Doctoral Award involving the University of Glasgow and GM, the project outlined in this thesis aims to bring to light and to life these egg collections, the activities of the collectors who originally built them, and the wider world of British egg-collecting. By researching archival material held by Glasgow Museums, published specialist egg-collecting journals and other published sources, as well as the eggs as a material archive, this thesis seeks to recover some of the practices and preoccupations of egg collectors. It also recounts the practical activities carried out during the course of the project at GM, particularly those involving a collection of eggs newly donated to the museum during the course of this project, culminating in a new temporary display of birds’ eggs at Glasgow Museums Resource Centre.

The thesis focuses on extending collecting activities across the Czech lands and the associated founding of the first institutions of museum and gallery character. The first part deals with Společnost vlasteneckých přátel umění (The Society of Patriotic Friends of Art) and its founders and supporters, which is followed by a chapter concerning collectors and patrons in Bohemia and Moravia in the 19th and early 20th centuries. The second part of the thesis deals with the area of South Bohemia, České Budějovice in particular, with one chapter devoted to the South Bohemian Museum. The author mainly focuses on the origins, history and significant personalities associated with its operation. The subsequent sections deal with two major natives of Ceske Budejovice and its surroundings, an industrialist Vojtech Lanna, later acting in Prague, and a businessman and a politician August Zátka, who, thanks to his social activities played an important role in the early days of collecting and patronal activities of the Zátka family.

To view the Shelves Catalogue in the correct format: 1. Click "view"; 2. Click "page display"; 3. Click "Two Page View"; 4. Click "Show Cover Page in Two Page View" / This study explores how a narrative view of collecting can be expanded and applied to Ilya and Emilia Kabakov’s installations, as well as to my own artworks. It focuses on personal and intimate collections of everyday objects that serve to edify their owner’s sense of being. The project is undertaken in order to arrive at new interpretations of the themes of loss, meaning and absence through Mieke Bal’s (2006) narrative theory, Susan Pearce (1994) and Mikhail Epstein’s (1995) methods of collecting and Jean Baudrillard’s (1996) notions of the collector. These theories are applied to selected installations from the Kabakovs’ series Ten Characters. My own exhibition, S(h)elves, is an exploration of collections, underpinned by conceptually relevant theories. Conclusions are reached by means of literary analysis and comparison of selected theorists and artworks. A reflexive approach to art-making means that theories inform art-making processes while practical developments facilitate re-evaluated perceptions which lead to new insights. / Art History, Visual Arts and Musicology

On the basis of written sources and actual information obtained from the forest owners a proposal for a solution has been prepared. The proposal concerns stabling system, health care and professional use of horses in the forest cover. Natural and terrain conditions as well as usability of particular cold-blooded horse breeds are taken into consideration while dealing with this matter. This study also includes a proposal for the organisation of work, necessary number of workers needed and rough financial budget of cost items. Study also compares horses to mechanical means of collecting wood. Based on the analysis, where 85 cold-blooded horses have been evaluated, an overview has been elaborated. The overview includes priorities and satisfaction of the owners with horses and horses´ current situation in forestry. In conclusion it is proven that average age of coachmen working in forestry is 42 years. The most often used breed is Slézský norik, in the age of 6 to 10 years. The coachmen usually work in a hard, sometimes even steep and chaotic, terrain. The most often stated payment for one concentrated cubic meter of wood is 80 CZK. The average number of concentrated cubic metres is 14 per day. The most often used type of stable for cold-blooded horses is tethering. The second most frequently used is stalls.

Submitted by CAMILA DA COSTA LIMA null (camila_c_lima@hotmail.com) on 2016-05-06T14:34:08Z No. of bitstreams: 1 TESE_CAMILA_COSTA_LIMA.pdf: 40996887 bytes, checksum: f27c5403b1875d690d869344980e77dd (MD5) / Rejected by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br), reason: Rejeição solicitada pela autora. Por favor realize uma nova submissão com o arquivo correto. on 2016-05-06T14:55:41Z (GMT) / Submitted by CAMILA DA COSTA LIMA null (camila_c_lima@hotmail.com) on 2016-05-09T11:21:53Z No. of bitstreams: 1 TESE_CAMILA_COSTA_LIMA.pdf: 40996887 bytes, checksum: f27c5403b1875d690d869344980e77dd (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-05-09T18:55:56Z (GMT) No. of bitstreams: 1 lima_cc_dr_ia.pdf: 40996887 bytes, checksum: f27c5403b1875d690d869344980e77dd (MD5) / Made available in DSpace on 2016-05-09T18:55:56Z (GMT). No. of bitstreams: 1 lima_cc_dr_ia.pdf: 40996887 bytes, checksum: f27c5403b1875d690d869344980e77dd (MD5) Previous issue date: 2016-03-10 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta tese promove um estudo sobre o objeto cerâmico, destacando aspectos que o relacionam com uma determinada cultura. A partir da análise de uma Coleção particular, Coleção Lalada Dalglish, propõe-se investigar processos, técnicas e conceitos a fim de definir um diálogo entre a cerâmica e sua localidade de origem. Nesse contexto são abordados temas que envolvem desde o colecionismo, passando pelo processo de documentação da Coleção, até os fatores que influenciam o fazer da cerâmica e definem sua identidade, concluindo com uma série de estudos de caso que envolvem os objetos, ceramistas e locais selecionados dentro do universo estudado. / This thesis promotes a study on the ceramic object, regarding aspects that relates it to a particular culture. Starting from the analysis of a particular Collection, the Collection Lalada Dalglish, this aims to investigate processes, techniques and concepts in order to establish a dialogue between each object and its place of origin. It includes themes involving from practice of collecting, the documentation process, to the factors that influence the making of ceramics and define its identity, concluding with a series of case studies that involve objects, potters and selected locations within the universe studied. / Este trabajo se promueve un estudio sobre el objeto de cerámica, destacando aspectos que los relacionan con una determinada cultura. A partir del análisis de una colección particular, la Colección Lalada Dalglish, se tiene como objetivo investigar los procesos, técnicas y conceptos con el fin de establecer un diálogo entre la cerámica y su localidad de origen. En este contexto se abordan cuestiones relacionadas con colecionismo, proceso de documentación, a los factores que influyen en lo hacer de la cerámica y definen su identidad, concluyendo con una serie de estudios de casos que vinculan los objetos, alfareros y lugares seleccionados dentro del universo estudiado. / FAPESP: 2013/02589-1

The local government sphere is comprised of municipalities whose functions include the provision of consumer services. A substantial portion of municipal revenue, which is also used for service provision, is derived from rates and service charges. Through the billing process, the municipality stipulates the amount due to be paid by each account holder. In the case of rates and consumer tariffs, this usually occurs on a monthly basis. Towards the end of 2002, overdue rates and service charges in the Nelson Mandela Metropolitan Municipality amounted to over R800 million. In spite of various attempts undertaken by the municipality to collect overdue amounts, some residents are struggling to pay. Various reasons have been advanced for this scenario. However non-payment of rates and service charges has a negative impact on municipal budget and service delivery. Probably, if alternatives to the current credit control and revenue collection processes could be found, non-payment of rates and service charges could be eliminated.

In Edo-Japan (c.1603 – 1868) shunga, sexually explicit prints, paintings and illustrated books, were widely produced and disseminated. However, from the 1850s onwards, shunga was suppressed by the government and it has largely been omitted from art history, excluded from exhibitions and censored in publications. Although changes have taken place, cultural institutions continue to be cautious about what they collect and exhibit, with shunga largely remaining a prohibited subject in Japan. Since the 1970s there has been a gradual increase in the acceptance of shunga outside Japan, as evidenced in the growing number of exhibitions and publications. The initial impetus behind this thesis was: Why and how did shunga become increasingly acceptable in Europe and North America in the twentieth century, whilst conversely becoming unacceptable in post-Edo Japan? I discuss how and why attitudes to shunga in the UK and Japan have changed from the Edo period to the present day, and consider how definitions can affect this. My research examines how shunga has been dealt with in relation to private and institutional collecting and exhibitions. In order to gauge modern responses, the 2013 Shunga: Sex and Pleasure in Japanese Art exhibition at the British Museum is used as an in-depth study – utilising mixed methods and an interdisciplinary approach to analyse curatorial and legal decisions, as well as visitor feedback. To-date there are no official or standardised guidelines for the acquisition, cataloguing, or display of sexually explicit artefacts. It is intended that institutions will benefit from my analysis of the changing perceptions of shunga and of previous shunga collections and exhibitions when dealing with shunga or other sexually explicit items in the future.

Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.

Notre étude vise à interroger le goût artistique des financiers du xviiie siècle, à travers l'analyse de leurs comportements face aux différents acteurs du monde de l'art. qu'ils soient financiers collectionneurs, financiers amateurs, financiers artistes, ou encore financiers mécènes, ces manieurs d'argent, parfois jalousés, parfois adulés pour leur fortune, évoluent dans une sphère complexe, où rivalité et excentricité mondaine se mêlent aux codes de bienséance et de magnificence de la société nobiliaire. sévèrement critiqués au xviiie siècle, les financiers du siècle des lumières sont pleinement réhabilités dans la société, grâce, peut-être, à leur conformisme avec les us et coutumes de leurs contemporains. cherchant à égaler leurs semblables dans le paraître, nous pouvons nous interroger sur la manière dont les financiers, qu'ils soient fermiers généraux, receveurs des finances ou encore trésoriers, collectionnent leurs œuvres. ainsi, existe-t-il une manière ' financière ' de collectionner / Our study aims at questioning the artistic taste of the financiers of the eighteenth century, through the analysis of their behaviors vis-a-vis the different actors of the world of art. Whether financial collectors, financial amateurs, financial artists, or financial sponsors, these money handlers, sometimes jealous, sometimes adulated for their fortune, evolve in a complex sphere, where rivalry and eccentricity mundane mingle with the codes of decency And the magnificence of the noble society. Severely criticized in the eighteenth century, the financiers of the age of enlightenment were fully rehabilitated in society, perhaps thanks to their conformity with the habits and customs of their contemporaries. Seeking to equal their fellows in appearance, we may question the manner in which the financiers, whether general farmers, receivers of finance, or even treasurers, collect their works. Thus, is there a 'financial' way of collecting

Cyclooxygenases (COXs) and their main renal product, prostaglandin E2 (PGE2), regulate many physiological renal functions and are involved in the pathogenesis of diabetic kidney disease. The PGE2 receptor EP3 has been repeatedly shown to be upregulated during diabetes. Physiologically, EP3 is best recognized to act as a diuretic by antagonizing arginine-vasopressin (AVP)-mediated water reabsorption. Incidentally, the first renal manifestation of diabetes is polyuria, which may trigger a cascade of events leading to DN. We hypothesize that EP3 contributes to polyuria and kidney dysfunction during diabetes. We injected EP3-/- mice with streptozotocin (STZ) and evaluated their renal function 12-weeks post injection. EP3-/- STZ mice exhibit attenuated polyuria while exhibiting increased urine osmolality suggesting enhanced water reabsorption. Western blots reveal that EP3-/- STZ mice have increased expression of aquaporin-1 and aquaporin-2 as well as reduced urinary AVP excretion compared to STZ mice. However, salt transporters were equivalently increased in STZ and EP3-/- STZ mice. In vitro microperfusion shows that EP3 completely abrogates AVP-mediated water reabsorption in STZ cortical collecting ducts. Furthermore, EP3-/- STZ mice showed blunted renal COX-2 expression as well as reduced renal hypertrophy, glomerular hyperfiltration, and albuminuria. Taken together, the data suggests that EP3 contributes to polyuria during diabetes by inhibiting expression of aquaporins. Additionally, EP3 seems to contribute to renal COX-2 induction during diabetes. The lack of an increase in renal COX-2 protein levels in EP3-/- STZ mice may be protective by preventing further renal damage.