Lingonberries (Vaccinium vitis-idaea) are edible fruit that belong to the Ericaceae plant family. A growing body of evidence suggests that consumption of berries provide considerable health benefits due to their high polyphenols, antioxidants, vitamins and mineral content. Therefore, it is beneficial to evaluate the antioxidant capacity of berries in order to select lines with higher antioxidant capacity. The aim of this study was to determine the antioxidant capacity, total phenolics, total anthocyanins, anti-apoptotic effect and the metabolomic profile of lingonberries from Northern Manitoba (wild) and Newfoundland (greenhouse-grown). A total of 159 lingonberry samples were collected from Northern Manitoba (Lynn Lake and Flin Flon) and Newfoundland. Samples were freeze dried, lyophilized, ground into powder and extracted with solvent methanol. Total anthocyanins were determined by the pH differential method. Total phenolics were evaluated by the Folin-Ciocalteau’s assay, the anti-apoptotic effect was measured fluorescently and the oxygen radical absorbance capacity (ORAC) assay was utilized to evaluate the antioxidant capacity. Our study showed that Northern Manitoba-grown lingonberries contain a higher level of anthocyanins and phenolics compared to Newfoundland greenhouse-grown lingonberries. Results show that Northern Manitoba- grown lingonberries have higher antioxidant capacity compared to ones grown in Newfoundland. Findings from the study suggest that berries grown in green house conditions and extreme climatic conditions have different antioxidant capacity, anti-apoptotic effects, total phenolics and total anthocyanins; that is, more extreme climates may result in berries with higher antioxidant capacity, total phenolics and anthocyanins. / May 2016

Thesis: S.M. in Comparative Media Studies, Massachusetts Institute of Technology, Department of Humanities, 2017. / Cataloged from PDF version of thesis. / Includes bibliographical references. / Utilizing critical and feminist science and technology studies methods, this thesis offers a new framework, called critical breaking, to allow for reflective and critical examination and analysis of instances of error, breakdown, and failure in digital systems. This framework has three key analytic goals: auditing systems, forging better relationships with systems, and discovering elements of the context in which these systems exist. This framework is further explored by the examination of three case studies of communities of breaking practice: video game speed-runners, software testers, and hacktivists. In each case, critical breaking is further developed in reflection of resonant and dissonant elements of each practice with critical breaking. In addition, artistic productions related to these case studies are also introduced as inflection points and potential alternative expressions of critical breaking analysis. The goal of this thesis is to provide a way to engage with breakdown and error and more than simply the negation of the good or as a sensationalist talking point, and instead use it as a fecund place for reflective, analytic growth. / by Christopher Kerich. / S.M. in Comparative Media Studies

Thesis: S.M. in Comparative Media Studies, Massachusetts Institute of Technology, Department of Humanities, 2017. / Cataloged from PDF version of thesis. / Includes bibliographical references (pages 73-79). / This thesis develops an intersectional, critical analysis of the field of practice known as Civic Tech and highlights other relevant community-organizing and activist practices that utilize technology as a central component. First, I develop critiques of Civic Tech as a dominant technocratic, neoliberal approach to democracy and bureaucracy and trace the history and intellectual genealogy of this specific movement. I then highlight civic technologies outside of the field of Civic Tech that have resulted in more redistributive and democratic outcomes, especially for Black people and other people of color. Finally, I define a research and design practice called Critical Community Technology Pedagogy that is demystificatory, multi-directional, transferable, and constructive, and draws upon examples from the Civic Lab for Environmental Action Research (CLEAR) in Newfoundland, Data DiscoTechs in Detroit, and the Center for Urban Pedagogy in New York City. / by Maya M. Wagoner. / S.M. in Comparative Media Studies

Gu Gang. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (p. 194-207). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

論文(碩士)--香港中文大學, 1970. / Manuscript. / Thesis (M.A.)--Xianggang Zhong wen da xue. / 前言 --- p.1 / Chapter 第一章 --- 孔子哲學的表達方式及有關問題　　　 --- p.8 / Chapter 第二章 --- 莊子哲學的表達方式及有關問題 --- p.62 / Chapter 第三章 --- 僧肇哲學的表達方式及有關問題 --- p.118

周俊輝. / "2006年9月" / 論文(藝術碩士)--香港中文大學, 2006. / 參考文獻(leaves 34-35). / "2006 nian 9 yue" / Abstracts in Chinese and English. / Zhou Junhui. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 34-35). / Chapter 1. --- 引言 --- p.1 / Chapter 2. --- 互文性一開放的文本 --- p.2 / Chapter 2.1 --- 克莉斯蒂娃 --- p.1 / Chapter 2.2 --- 巴特 --- p.3 / Chapter 2.3 --- 德里達 --- p.4 / Chapter 3. --- 悠久的文本一藝術史中的經典 --- p.7 / Chapter 3.1 --- 經典構成經驗 --- p.8 / Chapter 3.2 --- 經典之重讀 --- p.11 / Chapter 3.3 --- 與經典建立個人關係 --- p.14 / Chapter 3.4 --- 經典在當代環境中 --- p.18 / Chapter 4. --- 結語一經典的挪用合法化 --- p.23 / Chapter 5. --- 附錄一我的作品 --- p.26 / 圖片來源 --- p.32 / 參考書目 --- p.34

Collage Grrrls represents the first sustained attempt to define, historicise and analyse the contentious genre of ‘anti-chick lit’. In this thesis, I argue that anti-chick lit – while critically neglected – represents a key development in women’s writing from the 1990s onwards; alighting on the girl and the grrrl as figures of contradiction and transitional possibility, anti-chick fictions generate spaces in which the darker aspects of female experience – from mental illness, self-harming and unwanted pregnancies, to sexual excess and consumerism – can be creatively (re)imagined. In this way, Collage Grrrls makes a timely intervention into debates about feminine identity and feminism in popular culture. At the heart of these debates, however, exists a fraught paradox that Collage Grrrls will interrogate: at the same time as celebrating a female subject that is ‘untamed, ungroomed and unglossed’, does anti-chick lit’s alignment with the mass- market appeal of chick lit mean that the subject is simultaneously re-tamed, re-groomed and re-glossed in order to preserve her appeal – paradoxically – to a mass audience? I identify Emma Forrest, an Anglo-American author and journalist, as a representative for the genre. Along with Forrest’s novels Namedropper (1998), Thin Skin (2002) and Cherries in the Snow (2005), I will also include detailed reference to Stephanie Kuehnert’s I wanna be your Joey Ramone (2008) and Kristin Hersh’s Rat Girl (2010). Collage Grrrl’s scope of literary genres includes Young Adult fiction and memoir, with each key work presenting an unapologetic portrait of female pathology. The discussion will address the impact of third wave and postfeminism, and the cultural shifts in mainstream representations of gender, specifically in light of the fluxional identity politics of the 90s and their effect on young women. The politics and practices of this era paved the way for movements such as riot grrrl, with the grrrl becoming a notable figure for challenging normative meanings of femininity. By examining authors and works on which there is little critical material, Collage Grrrls aims to do the same, seeking out authors and texts that have yet to be recuperated to academic discourse.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004. / Includes bibliographical references (leaves [176]-185). / The main research question of this thesis is the following: What is the relationship between spaces and innovation in the context of design organizations such as IDEO, the MIT Media Lab and Design Continuum? This thesis explores the relationship between four types of spaces, namely, 1) urban, 2) building 3) workplace and 4) users and innovation and creative practices of these three case studies. Drawing mainly on visual ethnography, the thesis shows how the four organizations' situated spaces-in-use shape their innovation, learning and knowledge sharing practices. The findings are used to complement and expand existing theories, to reflect on the "spacing" of the three design organizations under study and to contribute to the outline of this interdisciplinary emerging field of research. / by Cristobal Garcia Herrera. / S.M.

Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies/Writing, 2016. / Cataloged from PDF version of thesis. / Includes bibliographical references (pages 94-99). / Zeki Müren is Turkey's beloved queer pop star whose career spans a period between his first radio emission in 1951 and his death during a live television program in 1996. He is a pioneer of 'Turkish Art Music', a trailblazer in utilizing novel mass communication tools, a proud nationalist who donated half of his estate to Military Veterans Organization, and an LGBTQ solidarity symbol whose gender-bending image has been an inspiration to queer individuals in Turkey. Müren's artistic production and his star image contain multiplicity of meanings that have rendered him accessible to publics from various backgrounds, subcultures, and generations. This thesis examines Zeki Müren as a media text that is scattered across music (radio and records), cinema, gazino nightclub performances, and television, during his lifetime, and deconstructed and appropriated by fans, artists, musicians, and media makers after his death. Based on their ideological and representational affordances, these media together create a polysemy - multiple meanings that Müren's star image signifies - whose elements are often in tension with each other, while providing different entry points for different audiences. With the guidance of Richard Dyer's work on intertextuality and structured polysemy of star images, and Henry Jenkin's theory of transmedia storytelling, this research follows the traces of Müren's transformation from his radio days, to cinema, gazino, and television performances, while situating these textual analyses within Turkey's political, media, and LGBTQ histories. In addition, two media components in-production - a feature-length film 'A Prince from Outer Space: Zeki Müren' and a participatory and interactive documentary 'Zeki Müren Hotline' are interwoven into this intertextual and cross-generational conversation, emphasizing the generative polysemy of Müren's star image. / by Beyza Boyacioglu. / S.M.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2009. / "September 2009." Cataloged from PDF version of thesis. / Includes bibliographical references (p. 121-126). / It is commonly accepted that media and communication technologies play pivotal roles in the complex processes of what is broadly termed "globalization." The increasing speed, volume, and scale of transnational circulation has been one of the most dramatic development in the media landscape, creating what Appadurai has dubbed global "mediascapes" that are reshaping the way we understand cultural formation. While the rise of massive global commercial media enterprises leads to renewed discussion of the dominance of the "West" upon the "Rest," the increasing portability, transmitability, and reproducibility of media has helped to generate a grassroots globalization of migrant populations who circulate and engage with media from the "homeland," creating deterritorialized social imaginaries that transcend national boundaries. In examining the flourishing online fandom around the circulation of East Asian television drama, however, the established models of transnational media audiences prove insufficient. With the emergence of internet technologies, these mediascapes have now become networked, increasing the visibility and complexity of transnational media flows and the audiences around them. No longer are we seeing transnational media flows through only commercial markets or diasporic audiences seeking to connect with a virtual "home." In the online circulation of East Asian television dramas, fans with a broad range of cultural, ethnic, and national backgrounds are consciously working to shape audience engagement with these transnational television texts through fansubbing, content aggregation and curation, and the production of vast reservoirs of information, discourse, and meta-data that is constantly being expanded. More importantly, they are doing so publicly, collaboratively, and outside the domain of commercial television markets. enabling individuals to participate in the selection, (re)production, and circulation of texts and images that shape the very social imaginaries they inhabit. This work draws on insights from work on globalization, diasporic media use, fan and audience studies, and new media and employs various ethnographic, textual, and theoretical strategies and stances in an effort to illuminate key dimensions of these collaborative grassroutes of transnational media. What manner of cultural encounters are taking place within the interplay between diasporic conditions and fan practices? How do the circulation and consumption practices afforded by new media technologies inform, and can in turn be informed by, the conditions of global media audienceship? From there we may begin to remap some of complex social, technological, and textual entanglements of cultural negotiation in an increasingly global media age. / by Xiaochang Li. / S.M.