Thesis (Ph. D.)--Washington State University, August 2007. / Includes bibliographical references.

The diploma thesis “Post-harvest Quality of Cut Flowers” aims at the description of solutions and technologies that are able to prolong the vase life of cut flowers and the other new products and techniques that lead to extending the storage time. The thesis also describes the factors that negatively influence the vitality of cut flowers and shorten the vase life. The development of the new solutions and techniques improves the care for the cut flowers, their durability and vitality. The practical part of this thesis covers the experiment which evaluates individual post-harvest commercial solutions. For the purpose of the experiment the Dahlia and Symphyotrichum had been chosen and the vase life of above-mentioned cut flowers was observed. The selected commercial solutions were FloraLife 300, FloraLife Express Clear ULTRA 200. Moreover, one of the solutions was homemade and included sugar and Savo original, which is a Chlorine- containing household disinfectant. The control sample was put into tap water.

The demand for local sustainably grown produce and flowers has increased (Low et al., 2015), and stimulated a growing interest in high tunnel production. The goal of this research project was to evaluate the production of cut flowers in high tunnel structures and in the field in the Northern Great Plains (NGP) region. The NGP offers unique climatic and environmental challenges based on its continental climate. Specialty cut flower cultivars Karma Irene and Chocolate dahlia (Dahlia x hybrida), Potomac White and Rocket Mix snapdragon (Antirrhinum majus), and Mariachi Misty Blue, Echo Blue and ABC2 lisianthus (Eustoma grandiflorum) were planted in both field and high tunnel environments at two soil temperature setpoints in the NGP to determine which of the selected crops are best suited for cut flower production. Our results indicate higher yields and more consistent quality in the high tunnel; however, the field was suitable for all species investigated.

The poetry of Dahlia Ravikovitch presents as self-writing nestled in the wide embrace of non-linear écriture féminine. Each poem offers a glimpse of the persona: body and soul, the music of her voice and the perspective of her spirit. Together the poems comprise verbal self-portraits of a lovelorn soul, torn between impulses to fully remember and deliberately forget. Through years of love, life, disappointment, bouts of depression and renewed promise, Dahlia Ravikovitch continued to compose. Through the crystals of poetry the speaker examines, from varying angles and in multiple refractions of light, those figures of alterity who are her self. For Ravikovitch poetry was the only neutral space in which her self could comfortably exist and, even so, not always. The poet-persona experiences love in unsuitable proportions. She receives too little; she goes ‘overboard’ and ‘out of bounds’ in giving too much. She experiences love, even when accessible, as an affliction. She suffers love. She laments love. The persona performs her malaise through contrasting physical sensations, idiosyncrasies and profound cravings. Her personal thermostat is erratic. She exhibits pronounced wardrobe-predilections. Her throat reacts to a flow of eros and creative vitality or lack thereof. She yearns for pure memory and thirsts for pure essence. The speaker’s gallery displays an elaborate montage of a golden apple endowed with gifts of wisdom, eros, poetry and passion, alongside portraits of a royal chanteuse and a skilled scribe. Crucial brushstrokes illuminate lovers and sinners, souls in flames, shipwrecks, lyric-expressive throats in various states of constriction and release, as well as voices of collective responsibility. Ravikovitch encrypts her poetry with rich resources of biblical, rabbinic, medieval and early modern Hebrew literature. She forwards the linguistic and literary resonance of these layers. She innovates upon their motifs through feats in the dimensions of feminine writing, intertextual engagements and postmodern poetics.

The poetry of Dahlia Ravikovitch presents as self-writing nestled in the wide embrace of non-linear écriture féminine. Each poem offers a glimpse of the persona: body and soul, the music of her voice and the perspective of her spirit. Together the poems comprise verbal self-portraits of a lovelorn soul, torn between impulses to fully remember and deliberately forget. Through years of love, life, disappointment, bouts of depression and renewed promise, Dahlia Ravikovitch continued to compose. Through the crystals of poetry the speaker examines, from varying angles and in multiple refractions of light, those figures of alterity who are her self. For Ravikovitch poetry was the only neutral space in which her self could comfortably exist and, even so, not always. The poet-persona experiences love in unsuitable proportions. She receives too little; she goes ‘overboard’ and ‘out of bounds’ in giving too much. She experiences love, even when accessible, as an affliction. She suffers love. She laments love. The persona performs her malaise through contrasting physical sensations, idiosyncrasies and profound cravings. Her personal thermostat is erratic. She exhibits pronounced wardrobe-predilections. Her throat reacts to a flow of eros and creative vitality or lack thereof. She yearns for pure memory and thirsts for pure essence. The speaker’s gallery displays an elaborate montage of a golden apple endowed with gifts of wisdom, eros, poetry and passion, alongside portraits of a royal chanteuse and a skilled scribe. Crucial brushstrokes illuminate lovers and sinners, souls in flames, shipwrecks, lyric-expressive throats in various states of constriction and release, as well as voices of collective responsibility. Ravikovitch encrypts her poetry with rich resources of biblical, rabbinic, medieval and early modern Hebrew literature. She forwards the linguistic and literary resonance of these layers. She innovates upon their motifs through feats in the dimensions of feminine writing, intertextual engagements and postmodern poetics.

京都大学 / 0048 / 新制・論文博士 / 博士(農学) / 乙第13017号 / 論農博第2827号 / 新制||農||1042(附属図書館) / 学位論文||H28||N4964(農学部図書室) / 32945 / 京都大学大学院農学研究科農学専攻 / (主査)教授 土井 元章, 教授 裏出 令子, 教授 奥本 裕 / 学位規則第4条第2項該当 / Doctor of Agricultural Science / Kyoto University / DFAM

Cotutelle Université de Montréal et Université Sorbonne Nouvelle / Ce travail se propose d’étudier la poésie d’Amelia Rosselli (1930-1996), de Toni Maraini (1941), de Dahlia Ravikovitch (1936-2005) et d’Yona Wallach (1944-1985) sous l’angle de la contestation. L’objectif principal est d’analyser l’hybridité poétique et son potentiel politico-contestataire chez ces femmes qui, à travers leur écriture, se rebellent contre les diktats du système patriarcal. L’après-guerre en Italie (Rosselli et Maraini) et la fondation de l’État d’Israël (Ravikovitch et Wallach), deux époques marquées par une forte valorisation du virilisme militariste et héroïque, constituent les contextes d’énonciation de ces œuvres. Selon notre hypothèse, c’est aussi en raison de cette valorisation du virilisme que l’expression poétique de ces femmes se conçoit comme une bataille : chacune à sa manière, les auteures aspirent à une révolution sociétale, concernant en particulier le statut des femmes et de leur écriture. Quelles sont les modalités de configuration de cette bataille, et comment celle-ci se reflète-t-elle dans la poésie de nos auteures ? Comment leur écriture s’exprime-t-elle en tant qu’espace de négociation au sein de la langue des pères ? Cette réflexion prendra la notion d’hybridité comme point de départ, examinant l’idée d’une expression contestataire qui émanerait des interstices mêmes du discours dominant (Bhabha). L’étude sera développée en trois parties principales. D’abord, il s’agira de montrer en quoi l’absorption et l’altération du langage masculin peuvent être utilisées par les femmes comme un outil de révolte aboutissant à un langage renouvelé. Ensuite sera abordée une autre manière, plus subtile, de s’approprier la langue et le pouvoir masculins : l’appropriation et l’ingestion du corpus des hommes, entendu au double sens de matière littéraire (intertextualité) et de corps stricto sensu (cannibalisme). Enfin, nous verrons comment le sujet-femme se déplace à la conquête de l’espace et du temps – ceux-ci étant définis comme des dimensions du privilège masculin – qu’elle hybride aussi. Nous constaterons que la traduction est consubstantielle à cette opération d’hybridation : l’acte traduisant se réalise par une nouvelle cannibalisation du corpus, lequel est alors déplacé vers une autre dimension spatio-temporelle, elle aussi conséquemment hybridée. En étudiant des textes en langue originale (italien, français, hébreu) et dans leurs langues de traduction (anglais, français, italien), nous verrons comment celle-ci agit comme une caisse de résonnance pour poursuivre le geste originaire de bataille et le prolonger dans une autre dynamique à même d’en amplifier le caractère hybride et d’en attiser la flamme contestataire. À travers ces nouvelles pistes interprétatives qui mettent de l’avant la dimension subversive de la poésie de ces auteures, ce travail démontre comment, substituant aux catégories fixes imposées par la société patriarcale une vision plus fluide du monde, l’écriture hybride des femmes fait de la page un espace révolutionnaire depuis lequel un nouveau paradigme peut surgir. / This thesis analyzes the poetry of Amelia Rosselli (1930–1996), Toni Maraini (1941), Dahlia Ravikovitch (1936–2005), and Yona Wallach (1944–1985) from the angle of protest. The main aim of this research is to study the subversive potential of poetic hybridity, as it shows in the work of these women poets. Through their writing, in fact, they rebel against the dictates of the patriarchal system. The context of these works are post-war Italy (Rosselli and Maraini) and the founding of the State of Israel (Ravikovitch and Wallach), both periods marked by militarist virilism and heroic values. According to my hypothesis, such virilism is one of the reasons why the poetic expression of these women is conceived as a battle. Each in their own way, the authors aspire to a social revolution, which focuses on the status of women and their writing. Which shapes does this battle take, and how is it reflected in the poetry of these authors? How is their writing expressed as a space for negotiation within the language of the fathers? Starting from the notion of hybridity, this thesis investigates the idea of a protest expression emanating from the interstices of the dominant discourse (Bhabha). This work is divided into three main parts. Firstly, I show how women appropriate and alter male language as a tool of dissent, thus creating a renovated language. Secondly, I focus on the appropriation and ingestion of the corpus of men: both in the sense of literary material (intertextuality), and as body stricto sensu (cannibalism). Finally, I analyze how the woman-subject conquers and hybridizes space and time, which have been normally defined by male privilege. The act of translation is directly connected with the process of hybridization. Translating, in fact, resolves in a new cannibalization of the corpus, which is then moved to another space-time dimension. By approaching the texts in the original languages (Italian, French, Hebrew), as well as their translations (English, French, Italian), I show how the translation acts as a sounding box, amplifying the original intention of battle. Thanks to these new interpretive trajectories, focusing on the subversive dimension of these authors’ poetry, this work highlights the transformative power of substituting fixed categories imposed by patriarchal society with a more fluid vision of the world. Thus, the hybrid writing of women has the potential to transform the written page into a revolutionary space from which a new paradigm can emerge.