This dissertation thesis is focused on the evaluation of the dissolved gas analysis in the power oil transformer diagnosis. This thesis derives from known, in standards, directives and literature shows realities which are fill in new pieces of knowledge as determining of gases important for evaluation of the transformer condition, specifying of current methods accuracy and investigating of accuracy change for interpretation of dissolved gases. The part of this thesis is the application of mathematic methods for detailed description of individual transformer failures and determining of dominant gas which are generating in power oil transformer. Obtain conclusion will be contribution for transformer diagnostics and will be applicable in industrial practice.

This dissertation thesis is focused on the evaluation of the dissolved gas analysis in the power oil transformer diagnosis. This thesis derives from known, in standards, directives and literature shows realities which are fill in new pieces of knowledge as determining of gases important for evaluation of the transformer condition, specifying of current methods accuracy and investigating of accuracy change for interpretation of dissolved gases. The part of this thesis is the application of mathematic methods for detailed description of individual transformer failures and determining of dominant gas which are generating in power oil transformer. Obtain conclusion will be contribution for transformer diagnostics and will be applicable in industrial practice.

As stated before, both the Florida State Assessment Test and the EST measure the achievement of students on minimal objectives in the areas of communications and mathematics. One might therefore ask the question, “Why is there a need to administer both tests?” It would seem that both tests evaluate similar subject areas. This study is designed to explore this similarity of test items. Its purpose is to examine the relationship between the tests in terms of the test items. It is assumed that if there is a high degree of semblance between test items, there may not be a need for the administration of both tests. Specifically, the project is designed to analyze the contents of the State Assessment Test and the Essential Skills Test to determine if the test items measure different learnings or similar areas. This examination of items will be studied through a content analysis procedure to be developed by the author.

El Plan de San Diego is the name of an important document in Texas history, but the document and surrounding history is usually discussed with little or no reference to the town of San Diego, Texas, the people who lived there, or the cultural landscape. The Plan de San Diego is an unsuccessful rebellion that is one of the few documented irredentist revolts in U.S. History, it is also a written document calling for return of lands in a multi-ethnic call to arms advocating the recovery of territory by people of Mexican descent in 1915, named for the town San Diego, TX. After the discovery of this Plan, Mexican-Americans were persecuted, violently suppressed, and murdered: 300-5,000 people of Mexican descent died violently following the discovery and publication of the Plan de San Diego in what historians have called the “Bandit Wars”. San Diego, Texas residents and the entire U.S.-Mexican borderlands changed after the discovery of the Plan. My research investigates the political landscape and changes in material and cultural assemblages during and after the Plan, examining how descendant communities retained ties to place and remembered this event in the community of San Diego. Archival research, Historical archaeology and media representations of San Diego explore expose the everyday lives, settlement patterns, and subsistence strategies of the residents of San Diego before and after 1915, showing the material and social effects of the failed rebellion. The socio-political landscape that helped create Mexican-American culture in San Diego is a silenced, violent, and misunderstood chapter of Texas history that shapes the current borderlands and contributes important insights into the study of sites of rebellion and retaliation worldwide. / text

El Plan de San Diego is the name of an important document in Texas history, but the document and surrounding history is usually discussed with little or no reference to the town of San Diego, Texas, the people who lived there, or the cultural landscape. The Plan de San Diego is an unsuccessful rebellion that is one of the few documented irredentist revolts in U.S. History, it is also a written document calling for return of lands in a multi-ethnic call to arms advocating the recovery of territory by people of Mexican descent in 1915, named for the town San Diego, TX. After the discovery of this Plan, Mexican-Americans were persecuted, violently suppressed, and murdered: 300-5,000 people of Mexican descent died violently following the discovery and publication of the Plan de San Diego in what historians have called the “Bandit Wars”. San Diego, Texas residents and the entire U.S.-Mexican borderlands changed after the discovery of the Plan. My research investigates the political landscape and changes in material and cultural assemblages during and after the Plan, examining how descendant communities retained ties to place and remembered this event in the community of San Diego. Archival research, Historical archaeology and media representations of San Diego explore expose the everyday lives, settlement patterns, and subsistence strategies of the residents of San Diego before and after 1915, showing the material and social effects of the failed rebellion. The socio-political landscape that helped create Mexican-American culture in San Diego is a silenced, violent, and misunderstood chapter of Texas history that shapes the current borderlands and contributes important insights into the study of sites of rebellion and retaliation worldwide.

Research was completed on a 300-person sample of 1985 arrestees in Jacksonville, Florida. The original focus of the study was to explore the possible relationship between crime and chemical use. Data was obtained from forms that were routinely used in the jail booking and interview process. Two booking/intake forms were used: The Arrest and Booking Report and the Medical Screening Information (P-075) form. Only 24 arrestees in the 300-person sample admitted to using chemicals. Hence, the data did not support the hypothesis of this thesis that a correlational relationship exists between crime and chemical use. This researcher observed and interviewed medical personnel closely and reviewed both forms used in the study to determine why chemical use data was under-represented in the sample. Organizational and individual deviance by the medical staff was discovered. The nurses had not asked chemical use questions during a majority of the medical screening interviews.

As a figure in the American period of California history, Mr. James D. Phelan's achievements were an outstanding example of what an honest man can do in politics. First of all, I have endeavored to show his contributions to the city of San Francisco. There is hardly any field of San Francisco life in which James D. Phelan did not leave a tremendous influence. The politics of his term as mayor were a shining model of clean and progressive measures. As senator he kept the interest of California at heart. Through his work at the World's Columbian Exposition, he made known to the world the progress and culture of California, then almost unknown. Besides being a man of great accomplishments in the government, he had a vastly interesting personality, while a quiet, reserved man, he on the other hand never backed down if he felt the issue was right, His keen witticisms always followed a merry twinkle of his eyes, within his family he was found to be very strict and demanding; more so than with his business associates, he had great affection for his sister, Mary Louise. His individuality perhaps attracted my attention in the first place by being one that could be described as "the perfect gentleman of the old school" that is rarely found in politics. The fact that he was a poet also does not suit a political career, his character was an odd one, combining many characteristics which are not often found together. He was the first modem dictator in San Francisco. Control of the city government was practically all in his hands; showing a good example of what can be done by this method with the proper type of man. Also, as his will showed, he was a rood capitalist who subscribed to the theory of "division of property." His enormous estate was divided so as to do the most good possible in the city of San Francisco in the hope that by its enrichment he might aid in turn California—a true pioneer of California was he! Thus, I have endeavored to portray the character of a man whom I felt was an outstanding Califoranian, a personality different and rare, but worthy of imitation.

Au Salon de 1847, Théophile Gautier s’enthousiasme pour l’œuvre d’un tout jeune artiste, Jeunes Grecs faisant battre des coqs par Jean-Léon Gérôme, élève de Delaroche et Gleyre. Scène de genre « à l’antique », l’œuvre se distingue par son charme, sa grâce et sa fraîcheur, loin de la peinture froide et compassée des suiveurs de la tradition davidienne. L’œuvre est aussi le point de départ de la notoriété publique d’un petit groupe de peintres appelés « néo-grecs » – Jean-Louis Hamon, Henri-Pierre Picou, Gustave-Rodolphe Boulanger, Félix Jobbé-Duval, Auguste Toulmouche, Alphonse Isambert et Louis-Frédéric Schützenberger – tous nés autour de 1825, élèves de Paul Delaroche et Charles Gleyre et installés en phalanstère d’artistes de 1846 à 1863, au Chalet, puis à la Boîte à Thé. Dès 1848 et jusqu’aux années 1860, les critiques rendent compte au fil des Salons des évolutions artistiques de ces artistes. La réception critique importance de ces artistes regroupés au sein d’une « école néo-grecque » est symptomatique de l’influence grandissante de la critique sur la constitution des écoles artistiques et sur l’évolution de la carrière des artistes. Leur esthétique va susciter des débats sur le renouvellement de la peinture à l’antique, par l’introduction des notions de pittoresque et de couleur locale, héritées du romantisme, qui vont devenir les caractéristiques du genre historique comme déclinaison légère et sensible de l’ancienne peinture d’histoire. Les premières œuvres néo-grecques vont emporter l’adhésion des critiques inquiets des derniers développements de l’école française, qui voient dans cette nouvelle peinture matière à contrecarrer le réalisme, en apportant au public un art facile d’accès, moralisant les codes de la scène de genre par le recours à l’Antique et à un classicisme formel gracieux. Pourtant, sous une facture classicisante, leur peinture, délibérément antiacadémique, déstabilise rapidement les critiques qui s’interrogent sur les buts artistiques de ces artistes. A ce groupe originel, les critiques associent rapidement d’autres artistes, issus d’horizons très variés, qui adoptent momentanément les codes de l’esthétique néo-grecque, brouillant encore davantage les différences entre peinture d’histoire et genre historique, et entérinant le changement de conception idéologique du modèle antique dans la peinture, qui sera revendiqué par la génération d’artistes des années 1870-1890. / At the Salon of 1847, Théophile Gautier is enthusiast about the work of art of a young artist, The Cock Fight by Jean-Léon Gérôme, a pupil of Delaroche and Gleyre. This piece of art, an "Antique" genre scene, is a work of elegance, grace and freshness, very different from the cold and formal painting of the Davidian tradition's followers. This artwork is also the starting point of the on coming fame of a small group of painters called "The neo-Greeks" - Jean-Louis Hamon, Henri-Pierre Picou, Gustave-Rodolphe Boulanger, Felix Jobbé-Duval, Auguste Toulmouche, Isambert and Alphonse Louis-Frédéric Schützenberger - all born around 1825. From 1846 to 1863, as students of Paul Delaroche and Charles Gleyre, they all set themselves in a community of artists at the Chalet and the Boite à Thé which one calls a “phalanstère ».From 1848 until the 1860s, all along the Salons, most critics write about the artistic evolutions of these people. The many articles written about the neo-Greeks’works at that time reveales the growing influence of art-critics in the making of artistic schools and the evolution of artists's careers. Their aesthetic will provoke an argument about the renewal of antique theme painting as they introduce the concepts of local color and picturesque, coming from Romanticism, which will become the characteristics of the historical genre as a slight and sensitive declination of the ancient painting of history. The first neo-Greek paintings will gain the support of critics, eager about the latest developments of the French scene. They see in this new stream a way to counteract Realism by giving the public an easy access to art and moralizing the codes of the genre scene by using a formal and graceful classicism with Antique themes. However, though a classical form, their deliberately anti-academic painting soon make the critics wonder about the artistic goals of these artists.In addition to the original group, the critics will soon associate other artists, from very different backgrounds who temporarily adopt the Neo Greek aesthetics's codes, blurring even more the differences between the painting of history and the historical genre. This will also confirm the new ideological conception of Antique model in art, that the painters from the following generation of the 1870’s will claim themselves.

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The pamphleteers popularized the mythology of despotism by denouncing lettres de cachet and other supposed abuses of power that had little effect on most people. Historians like Funck-Brentano may be correct in arguing that the government was really moderate at this time, but it is important to show that radical propagandists were quite successful in convincing Frenchmen that thousands of innocent victims huddled miserably in <em >cachots for having inflamed the despotic passions of a minister. Moreover the prisons that were mythological for most Frenchmen had been terribly real for Brissot, Carra, Gorsas and many other writers, and this consideration also suggests the importance of the biographical approach. The Bastille may have been nearly empty, but it was a powerful symbol, effectively exploited by pamphleteers who dealt in symbols, declamation and distortions of political realities. They were highly successful in dominating public opinion, which exerted an influence on events that has been unappreciated in relation to the weak, irresolute rule of Louis XVI. The thesis attempts to develop this interprettion of the political importance of radical propaganda with reference to the scientific, financial and literary history of the period. It may seem weak on some ponts of these specialized fields, but it is hoped that it assimilates them successfully in its main attempt to contribute to an understanding of the last years of the Ancien Regime: its analysis of the character of radical propaganda in relation to the men who created it.