Weight stigma has negative psychological and physical consequences including anxiety, depression, suicidal ideation, eating disorders, and lower quality of life. The purpose of this cross-sectional study was to explore the relationships between weight stigma, ethnic identity, and acculturation in Latinas. The intersectional theory provided the framework for this study. A sample of 154 Latinas over the age of 18 living in the United States or 1 of its territories was gathered through social media, a fat acceptance organization, and a research participant pool. The online survey consisted of 3 psychometric tools-Modified Weight Bias Internalization Scale, Multi-Group Ethnic Identity Measure-Revised, and the Abbreviated Multidimensional Acculturation Scale. Descriptive, correlational, and regression analyses were conducted. Results from this study indicated that ethnic identity was not significantly related to weight stigma and that acculturation to either the U.S. or culture of origin did not significantly interact with ethnic identity to predict weight stigma. This study was focused on a vulnerable population experiencing weight stigma, and provides the professional community with culturally relevant data on weight stigma in Latinas, information on weight stigma reduction interventions, and contributions to policy and paradigm changes about body diversity.

The purpose of the study is to confirm the reasons behind young Chinese women’s eating disturbances and self-esteem. The researcher uses the Tripartite Influence model to illustrate the relationship between internalization and pressures in the form of peer, family, and media pressure. It further reveals the relationship between internalization and self-esteem and eating disorders. Besides conforming with the mode of young Chinese females, it aims at finding out the reasons behind each relevant relationship. One point of the study is the different impact of media pressure on young Chinese females; the influence of media tends to be much lower in China and the reasons have been discussed in their entirety.

This research undertaken through photographic studio practice and theory is the culmination of a four-year study into the nature of intimacy that answers the question: How can photographic practice assist our quest for intimacy with an ideal Other? Working closely with a number of adult volunteer participants living in South-East Queensland, the work commenced by mapping the intimate relationships between people, objects and space in bedrooms. Some of the initial works dealt with notions of sexual intimacy, because this is the most common understanding of intimacy in our society today, but the bedroom is also the place for other kinds of intimacy, such as contemplation or reading, and whether we are young or old, bedrooms are also used as a repository for intimate keepsakes and mementos. Intimacy is difficult to define, and furthermore, the meaning of the term has changed over the centuries. Intimacy is not a place, or a thing, or a person. One of the better definitions, by Thomas Moore, states, ‘The word intimacy means ‘profoundly interior.’ It comes from the superlative form of the Latin word inter, meaning ‘within.’ It could be translated ‘within-est,’ or ‘most within.’ In our intimate relationships, the ‘most within’ dimensions of ourselves and the other are engaged’. Therefore, it is a feeling that we might recognise in a moment with a partner, or a particular landscape, or the thoughts evoked by an object like a photograph, and most often these feelings concern ourselves and other people. While accepting that most photography (and human experience for that matter) is not intimate, snapshot and documentary portraiture often record moments of intimacy, revealing for example, the expression of another person’s face and subverting the barriers that usually mask our inner selves. But the photography in this project refused the relatively easy option of portraiture. Instead, in its final form, it sought to develop responses from the viewer to unusual conjunctions of skin and cloth – that evoke looking, touch and shape – and by implication suggest more historic ideas of intimacy than those commonly based on sexual intimacy today. The work shows that intimacy has aspects to it that are uncanny (in the Freudian sense), that intimacy does not always have to be invested in interpersonal human relationships, and that keeping aspects of oneself from others and knowing oneself can offer a richer experience of intimacy than giving oneself in the all-or-nothing tradition of Romanticism. The research also demonstrates that scholarly and common notions of intimacy – based respectively on interpersonal relationships and sex – are often reductive and partial within a desire for an authentic experience of intimacy, because they are usually based on the binary oppositions that underpin Western thought. To counter these tendencies, the theory and practice in this research evidences a ‘middle way’ – centred on androgyny within male psychosexual development, expressed through the psychological theories of the desire between the Self and Other – that can collapse the binary oppositions of masculine/feminine and thereby offer new insights into gender, self and interpersonal relationships. These ideas are suggested by the studio practice that constitutes the final body of artworks – the Intimacy Series – plus the analytical and theoretical research that supports my conclusions, and my observations of the responses to the works by audiences at exhibitions. In my experience, the mix of pleasure, intrigue and uncertainty that audiences exhibit suggests that they are often ‘caught’ by the Lacanian gaze of the artworks, which suggests a more complex range of characteristics within intimacy than is usually recognized today.

Such personality idiosyncrasies of creative persons as a preference for disorder and complexity rather than neatness and simplicity may erroneously have earned them the nomenclature of maladjusted, emotionally unstable and eccentric. This field study explores the conventional approach to the evaluation of creative behaviour and suggests that there is an urgent need to revolutionise our acceptance and encouragement of such behaviour in an integrated social and educational sense. Chapter 1 reviews various definitions of creativity and in particular the sociological discrimination against creativity in contemporary society. The notion of the relativity of the predominant social, educational and psychological research perspective is raised. The confusion in meaning which the terms &quotegiftedness&quote, &quotegenius&quote and &quotecreativity&quote evoke in the context of classical research efforts is discussed in Chapter 2. Chapter 3 reviews traditional psychoanalytic, psychiatric and psychometric research into creativity. Orthodox methodology which fragments the total human individual, is seen as detrimental to understanding, accepting and facilitating research into creativity. It has only been where total personality has been considered, that research has proved meaningful. Chapter 4 attempts to correlate the theoretical viewpoints of various authors on creativity, in particular Jung, Barron, Maslow, Assagioli and Hudson. The empirical chapter 5 is divided into four sections. Section I explores teacher attitudes towards creative personality characteristics using Torrance's Ideal Pupil Checklist. The results of the sample of A.C.T. teachers surveyed,correspond closely with those found by Torrance in five other countries, although creativity is markedly less encouraged in Australia than in the United States. Section II explores the attitudes of a sample of Year 10 A.C.T. high school students towards creative personality characteristics. Results show an alarmingly low correlation with expert rankings. Section III compares the teachers' and students' responses on the checklist and finds interesting discrepancies. Section IV is concerned with identifying &quotecreativity&quote in students using a number of instruments, in particular the Myer-Briggs Type Indicator. Additionally, results on this instrument are compared with WL/WQ results and career preferences, where few trends emerged. Chapter 6 restates the necessity of adopting a total personality perspective when considering creativity. The &quotepsychosynthesis&quote model is suggested as fundamentalising and facilitating creative growth personally, educationally and socially. Futuristic aspects of evolution and creativity are raised. Wholeness as opposed to separatism and synthesis as opposed to fragmentation are considered paramount contemporary psychological issues, as exemplified by the &quotesoul searching&quote associated with the drug culture. The need to achieve growth and balance between the different, diverse and complementary, aspects of the psyche, both in individuals and in society is seen as being paramount and of increasing sociological relevance.

Une pile à combustible est un système électrochimique (générateur d'énergie) qui permet la conversion directe et en continu, de l'énergie chimique libérée lors d'une réaction d'oxydation d'un combustible, en électricité et en chaleur, et ce avec un très faible (voire aucun) impact sur l'environnement. Diverses stratégies ont été envisagées pour améliorer la performance de ces dispositifs parmi lesquelles l'intégration de matériaux architecturés innovants présentant une formulation chimique et une microstructure propices à l'obtention de meilleures propriétés électrique ou électro catalytique. Une autre voie permettant d'atteindre le même objectif est ce à quoi aspire ce travail en proposant le développement d'un concept de pile à combustible fonctionnant à température intermédiaire. Ce nouveau concept se base sur la jonction de la partie anodique d'une PCFC avec la partie cathodique d'une SOFC, par l'intermédiaire d'une membrane centrale dans laquelle l'eau est formée puis évacuée. Les activités dans le cadre de cette thèse se sont orientées vers la fabrication de prototypes, pour la preuve du concept, et la caractérisation de la membrane centrale. Les prototypes pour la preuve du concept sont des assemblages multicouches simplifiés par rapport à la cellule complète, pour lesquels les deux électrodes ont été substituées par un dépôt de platine. Ces premiers modèles ont été testés et les résultats montrent qu'ils se comportent comme une pile à combustible, en respectant 4 critères prédéfinis : (i) une tension en circuit ouvert (OCV) stable, (ii) une courbe de polarisation stable, (iii) une signature sur les spectres d'impédance complexe typique de la formation d'eau et (iv) une mesure et quantification de l'eau évacuée en fonction du courant traversant la cellule. L'aptitude de la membrane centrale à former et évacuer l'eau a été évaluée par analyse quantitative de la longueur de ces sites réactionnels actifs. La méthode proposée est basée sur l'analyse des images 3D de la membrane centrale, enregistrées par microtomographie X. L'écoulement de l'eau à travers la structure poreuse de la membrane a été étudié. Pour cela, les images 3D de deux microstructures distinctes ont été utilisées pour résoudre les équations de la vitesse d'écoulement et de transfert de masse par la méthode des éléments finis.

<p>The present dissertation deals with the artistry of the Swedish artist Vera Frisén (1910-1990). The emphasis is being put on her landscape paintings from Västerbotten, in the northern parts of Sweden, but also includes self-portraits from her early years as a painter. Vera Frisén was born in Umeå, but lived more than half her life in Stockholm. During springtime and summer, she did however return to Västerbotten and the vil¬lages of Stöcksjö and Kolksele, where she painted the majority of her landscape paintings.</p><p>The study has been given a chronological frame, where the first part sketches out the contexts and environments that came to have an influence on Vera Frisén and her artistic development. Consequently, the thesis starts with a brief biographical presen¬tation, but then moves forward to issues more central to the subject. Important as¬pects are for example her years as a student in the art academy of Otte Sköld in Stockholm during the late 1920’s, and her first separate exhibition at the gallery Färg & Form in 1941. Other issues that are being illuminated in the study are the artistic and cultural conditions in Vera Friséns hometown Umeå. The discussion mainly cen¬ters on issues that took place during the 1930’s and the 1940’s – the time when Vera Frisén established herself as an artist.</p><p>The second part of the dissertation includes analyses of Vera Friséns paintings. In the search of concepts that further can explain the more profound existential values in her work, the study also links the themes in her paintings to other painters in the his¬tory of landscape painting. Concepts central for discussion are for example the aes¬tethical and philosophical issue of the sublime, as it is formulated in the discourse of Immanuel Kant during the late 18th century. Thoughts expressed by other artists, writers and philosophers, linked to Vera Friséns own thoughts on the subject, are also valuable instruments in gaining a deeper understanding of her work.</p>

<p>Syftet med uppsatsen är att se hur verkligheten som är skolan som organisation tar till sig idealet som innebär de olika styrdokumenten. Ett annat syfte är att se om två olika skolor skiljer sig i att förebygga och hantera konflikter. Undersökningen delas på två studier. Den första är en dokumentanalys. Detta innebär att jag tittar på de olika dokumenten från staten, kommunen och den lokala arbetsplanen och jämför dessa med varandra. Den andra delen är intervjuer där viktiga nyckelpersoner på skolor intervjuas. Detta för att jag ska kunna ta del av respondenternas tankar, erfarenheter och se hur verkligheten är ur ett lärarperspektiv. Resultatet av studien visade att idealet kan tolkas på olika sätt och att verkligheten inte ser ut som idealet. Resultatet från intervjuerna visade att lärare kände sig trygga med att hantera konflikter och att de arbetade i ett förebyggande syfte. I en av skolorna var arbetet under utveckling medan den andra skolan var väl organiserade i sitt förebyggande syfte. Detta gör att skolorna skiljer sig från varandra i några punkter. Resultatet visade också att lärarna önskade mer tid för att hantera konflikter och de önskade sig mer fortbildning inom området.   </p>

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<p>Stabilization of proteins is of great interest for the biotechnological society, industrial as well as research areas. Proteins with high stability are more suitable as reagents, easier to handle, store, transport and use in industrial processes. One way to stabilize a protein is to introduce a disulfide bridge into the structure by protein engineering. In this report the formation of a disulfide bridge between engineered cysteines in non ideal conformations in human carbonic anhydrase has been investigated. The disulfide bridge is not formed when the protein is in its native state. It is shown that when the protein is exposed to mild concentrations of urea in the presence of DTTox the disulfide bridge is formed. Also upon refolding in vitro, in a non oxidative environment, disulfide bridges are formed. This observation is worth to notice, since the disulfide bridge does not form to any appreciable extent when the protein is expressed and folded in vivo in Escherichia coli.</p>

<p>The aim for this study was to describe Social Physique Anxiety and </p><p>Self-Efficacy in the school year of 7 and 9. To that the aim for this </p><p>study was to describe if there was differences between girls and boys, </p><p>but also between the school years, when it comes to the estimation of </p><p>Social Physique Anxiety and Self-Efficacy. The method for this </p><p>report was of statistic design, with a deductive methodology who was </p><p>analysed and presented in. The empirical material was collected thru </p><p>questionnaires where the level of information was of quantitative </p><p>characteristics. The results from this study showed that girls estimate </p><p>higher Social Physique Anxiety then the boys, in school year 7 and 9. </p><p>The results also showed that boys estimated a higher Self-Efficacy </p><p>then the girls, in school year 7 and 9. The conclusion of the study was </p><p>that they who estimated high Social Physique Anxiety also estimated </p><p>a lower Self-Efficacy, independently of age. We suggest continued </p><p>research of decisive factors that effects Social Physique Anxiety and </p><p>Self-Efficacy, too increase the understanding of those factors that </p><p>affects an individual’s health.</p>