Philip Glass (b. 1937) composed several works in the 1980s involving elements of film and opera. In the ensuing decade, he continued to explore new means of expression targeted for the stage. The operatic works that comprise his “Cocteau trilogy” reflect this ongoing focus. This thesis analyzes how Jean Cocteau’s earlier films are altered in Glass’s operas, focusing on the role of music in the process of adaptation. As case studies, I explore Orphée (1992), a straightforward operatic production adapted from Cocteau’s 1950 film of the same name, and La Belle et la Bête (1994), an opera for ensemble and film adapted from the 1946 motion picture. / The methodological frame is rooted in Linda Hutcheon’s theory of adaptation, which centers on conceptions of genre in the process of change. For adaptations from film to opera, Hutcheon’s theory offers two important terms that reflect her “dual-vision” in defining adaptation: “product” and “process.” Applied to Orphée and La Belle et la Bête, this model offers fresh insights into Glass’s creative approach. Insights relating to Orphée include (1) the reconstruction of the film’s dramatic structure in the opera based on the original cinematic scenes, (2) the accentuation of important scenes in the opera, and (3) musical allusions that create historical layers between the source texts and the adaptation. Discussion of La Belle et la Bête targets its hybrid performance form as well as recurring motifs that unveil aspects of Glass’s re-interpretation of the well-known fairy tale.Following Hutcheon’s framework for approaching cross-genre transitions, I contend that the process of adaptation in Orphée and La Belle et la Bête points to intertextuality as a central feature of Glass’s compositions from this period. / 菲利普‧格拉斯（b. 1937）于上世紀80年代創作了涵蓋電影和歌劇元素的作品，並于接下的十年中陸續探索新的舞台表現形式。由歌劇作品組成的“尚高克多三部曲”(“Cocteau trilogy”)正是這一主題的重要體現。此論文通過對音樂在改編過程中的角色變化以分析由高克多早期電影至格拉斯的歌劇的體裁轉換。與直接由高克多1950年的同名電影改編而成的歌劇《奧爾菲》(Orphée)一樣，根據與其1946所拍的《美女與野獸》(La Belle et la Bête)同名的歌劇亦是本文的研究案例。 / 本論文的理論框架來自琳達‧赫琦安(Linda Hutcheon)的改編理論。她的理論主要關注“體裁”(genre)這一觀念在改編過程中所發生的變化。對於由電影改編至歌劇的議題，赫琦安提供了兩個重要的理念：“製成品”(product)與“過程”(process)。這兩個概念反映了她在定義“改編”(adaptation)這一理念中所涉及的“雙重視覺”(“double-vision”)。在分析《奧菲斯》和《美女與野獸》的過程中，此模式為分析格拉斯的創新性改編提供了全新的分析視角。通過借助赫琦安的理論，《奧菲斯》體現出以下幾點：（1）電影的戲劇結構基於原電影段落基礎上的重建；（2) 對於歌劇中重要情節的突顯；(3)使用音樂指涉用於揭示原文本與改編文本中的歷史層次。尤其對《美女與野獸》而言，其後現代的表演方式和再現動機的運用揭示了格拉斯對此童話的重新演繹。根據赫琦安在關於跨媒介轉換中所提出的規則，我認為格拉斯的《奧菲斯》和《美女與野獸》的改編過程足以證明了互文性是為格拉斯于此創作時期的主要特點。 / Liang, Danni. / Thesis M.Phil. Chinese University of Hong Kong 2014. / Includes bibliographical references (leaves 93-98). / Abstracts also in Chinese. / Title from PDF title page (viewed on 12, September, 2016). / Detailed summary in vernacular field only. / Detailed summary in vernacular field only.

>Magister Scientiae - MSc / Introduction: Together with bonding to both enamel and dentine, an ideal restorative material would display physical properties similar to that of natural tooth tissue and would not be prone to degradation as a result of the oral environment. This includes changes in colour. Glass ionomer technology has undergone many changes to its original chemistry since it was developed in the early 1970’s. In 1988 resin-modified glass ionomers were introduced and in 2008, nano-ionomers were introduced. As a result of the progression in material sciences and the use of more sophisticated techniques and methods in restorative dentistry, it is possible to accomplish much improved aesthetics and functional durability of a restoration, both anteriorly and posteriorly. However, for as long as aesthetic restorations have been available, and in spite of advances in material structure and performance, one of the greatest challenges facing clinicians still remains that aesthetic restorations have to be replaced relatively frequently as staining and discolouration is a common problem. Aim of the study: The aim of this study was to determine the stainability of four resin-modified glass ionomers and one glass ionomer cement when exposed to a staining broth. Objectives: To record any change in colour before and after exposing the sample with the staining broth using a spectrophotometer, to compare the stainability, to examine the depth of staining using a light microscope and to observe the particle size of the powder and the surface texture using Scanning Electron Microscopy of the four resin- modified glass ionomer cements and one glass ionomer cement. Materials and Methods: Four resin-modified glass ionomers (one nano-ionomer) and one glass ionomer (zinc-reinforced ionomer) were selected. All were shade A2, except for Vitremer™ which was not available in A2. 15 discs of each material were prepared. The discs were 15 mm in diameter and 2 mm in thickness. All the materials were handled and cured according to the manufacturers’ instructions. After curing, only one side of each disc was polished using Sof-Lex™ discs (3M ESPE, USA). The unpolished side of each disc was designated as a matrix finish. The specimens were all immersed in distilled water at 37 °C for one week. They were then immersed in a staining broth for a period of one week and readings were taken after a period of 2 hours, 4 hours, 8 hours, 24 hours and one week. Colour was read on each side of each disc at the indicated intervals with a spectrophotometer. The colour difference was calculated using the CIELAB colour co-ordinates. Sample discs were then sectioned to determine the depth of staining. An additional sample disc of each material was made for observation with the SEM and was therefore not stained. Also, an unmixed sample of each material was prepared for examination with the SEM. Results: In general, for all materials there was an increase in staining when assessed with the colour difference between the baseline colour and the 7 day reading. Ketac™ N100, showed the highest total colour change of 43.84 for the unpolished surface followed by Riva™ which showed the total colour change of 28.55 for the unpolished surface. This was similar to Fuji II LC® which had a total colour change of 28.16 for the unpolished surface. For Vitremer™, the total colour change increased to 18.07 for the unpolished surface. For the unpolished surfaces, ChemFil™ Rock showed the least colour difference from baseline to 7 days (ΔE*ab = 10.45), followed by Vitremer™ (ΔE*ab = 18.07). Both Fuji II LC® and Riva™ Light Cure showed similar colour change from baseline to 7 days for unpolished surfaces (ΔE*ab of 28.16 and 28.55 respectively). Ketac™ N100 showed the highest staining after 7 days in the staining broth with a colour difference of 43.84. For the polished surfaces, the colour change for Fuji II LC® was 25.72 which was similar to Riva™ Light Cure which was 22.44 and Ketac™ N100 which showed a colour change of 22.79 on the polished surface. ChemFil™ Rock showed the least colour change of 17.69 for the polished surface followed by Vitremer™ which showed a colour change of 23.63 for the polished surface. Thus, for both the unpolished and polished surfaces there was a similar staining pattern. Conclusion: In this study it was demonstrated that all products evaluated in this study showed some degree of staining when exposed to a staining broth when evaluated using the ΔE*ab CIELAB colour evaluation. Ketac™ N100 showed the highest colour change compared to the other materials, but the reason for this was not explored. Both Vitremer™ and ChemFil™ Rock showed similar patterns of staining. / 2020-09-01

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

In this thesis we describe two separate experiments involving the use of gold nanoparticles. The first experiment looks at the use of gold nanoparticles as a localized heat source and the potential application as a cancer treatment. The second experiment, which is the real focus of this thesis, applies gold nanoparticles in the study of the free surface dynamics of glassy thin films. Gold nanoparticles have the ability to strongly absorb the energy in an incident laser beam and convert that energy into heat. Photothermal therapy is a proposed cancer treatment which exploits this ability to irreparably damage cancerous tissues surrounding gold nanoparticles. In the first chapter of this thesis we explain an experiment designed to probe the local temperatures achieved in such a process. Gold nanoparticles are used to stabilize the boundary of an inverse micelle system which contains an aqueous fluorescent dye solution on it's interior. A temperature dependent fluorescence intensity allows us to probe the temperature changes induced by laser irradiation. In the remainder of this thesis we describe a separate experiment involving the use of gold nanoparticles to study the free surface dynamics of thin glassy films. There is a growing body of evidence in the literature that thin polymer films in the glassy state exhibit heterogeneous dynamics; specifically that the first few nanometers from an air-polymer interface exhibit enhanced mobility relative to the interior of the film. The underlying mechanism responsible for this enhanced mobility remains elusive, however some believe it to be a direct consequence of the polymeric nature of these films. We describe in detail an experiment aimed at addressing this concern. We deposit gold nanoparticles onto the surface of a molecular (non-polymeric) glassy film and monitor their behaviour upon heating using atomic force microscopy. Our results clearly show the existence of enhanced surface mobility in the system studied and provide strong evidence that enhanced surface mobility should be expected in all glass forming systems.

My work centers around the fact that I am a glassblower working with glass objects within a glasstradition. My BFA project from 2009 entitled ”the bastards have landed” was my first attempt atmapping out what that ultimately meant to me as a practitioner in a contemporary craft context. Theresult of that project was a discovery of my making as a way of using tradition to tell stories aboutitself. My conclusion was that by using the traditional objects as symbols I had a channel throughwhich I could communicate. Glass is a material who´s domains are closely connected to a domesticand consumeristic environment. It is put in a position where we react to its appearance with ourbody memory while also carries different social and material values depending on its appearance.When entering the master program at Konstfack University of Art Craft and Design, my idea wasthat over the next coming two years my focus would lie in the exploration and research of thesemechanisms as well as my own position as a maker and practitioner within these mechanisms.Craft, design and making are subjects that are constantly being talked about and analyzed from anumber of perspectives. There are philosophers, sociologists, historians and art historians constantlynegotiating what the field of craft is dealing with. This is something that I over the years have foundas something quite disturbing in some cases. This leaves me in a situation where I am no longerdefining my own practice. And when I am to define my practice I always do it through the ideas ofpeople from ”outside” my own position. There are many good writers from variousdisciplines writing about craft and making that I have had great use of and input from but I feel thatthere is a big lack of craft practitioners who are defining their discipline from their own standpoint.This situation is to me a bit outdated.So as mentioned above I have entered the master program with an idea to find out how to deal withveiled subjects such as tacit knowledge and material culture in order to try to transform them into acommunicative body of knowledge. My work during the past three semesters have been spread outover a number of different projects dealing with these subjects both based on objects as well asforming a discussion together with my master group.The main cause in this thesis is as always in my case to shed light on and to formulate questionsand hopefully answers around my own practice and its related subjects.The main reason for this is that craft and making as a tool for knowledge production is a cloudedsubject but according to me it holds a lot of potential. Not only for understanding questions outsidethe field but also to unveil and strengthen the practice itself.

No description available.

In this thesis we describe two separate experiments involving the use of gold nanoparticles. The first experiment looks at the use of gold nanoparticles as a localized heat source and the potential application as a cancer treatment. The second experiment, which is the real focus of this thesis, applies gold nanoparticles in the study of the free surface dynamics of glassy thin films. Gold nanoparticles have the ability to strongly absorb the energy in an incident laser beam and convert that energy into heat. Photothermal therapy is a proposed cancer treatment which exploits this ability to irreparably damage cancerous tissues surrounding gold nanoparticles. In the first chapter of this thesis we explain an experiment designed to probe the local temperatures achieved in such a process. Gold nanoparticles are used to stabilize the boundary of an inverse micelle system which contains an aqueous fluorescent dye solution on it's interior. A temperature dependent fluorescence intensity allows us to probe the temperature changes induced by laser irradiation. In the remainder of this thesis we describe a separate experiment involving the use of gold nanoparticles to study the free surface dynamics of thin glassy films. There is a growing body of evidence in the literature that thin polymer films in the glassy state exhibit heterogeneous dynamics; specifically that the first few nanometers from an air-polymer interface exhibit enhanced mobility relative to the interior of the film. The underlying mechanism responsible for this enhanced mobility remains elusive, however some believe it to be a direct consequence of the polymeric nature of these films. We describe in detail an experiment aimed at addressing this concern. We deposit gold nanoparticles onto the surface of a molecular (non-polymeric) glassy film and monitor their behaviour upon heating using atomic force microscopy. Our results clearly show the existence of enhanced surface mobility in the system studied and provide strong evidence that enhanced surface mobility should be expected in all glass forming systems.

Tribological properties of a mica glass-ceramic designed for use in dental applications were assessed experimentally in accord with the ASTM pin on disk technique. The glass ceramic was produced through controlled crystallization of the glass in the system SiO2, Al2O3, CaO, MgO, K2O, and F. Crystallization was accomplished by subjecting the parent glass to a regulated heat treatment that resulted in the nucleation and growth of crystal phases formed in the glass. The tests were conducted by sliding a zirconia ball against the glass and glass ceramic disk. The friction coefficient and wear rate were determined as functions of the applied load, sliding speed and sliding time in ambient laboratory conditions and in acidic and basic solutions. The friction coefficient was monitored during the tests. The wear volumes determined from surface profile traces obtained on the wear tracks after completion of the tests were used for calculation of the wear rates. The wear rates increased with increasing applied load and sliding speed but decreased with increasing sliding distance. Results were correlated with the tribological properties of the parent glass, and tribological properties of selected glasses, glass-ceramics and ceramics reported in the literature.

Thesis (PhD)--University of South Australia, 1996

Thesis (M.S.)--University of Missouri--Rolla, 2007. / Vita. The entire thesis text is included in file. Title from title screen of thesis/dissertation PDF file (viewed March 25, 2008) Includes bibliographical references (p. 52-54).