The Madden-Julian Oscillation (MJO) and the Convectively Coupled Equatorial Waves (CCEW) are coherent structures of convection and various large-scale fields. These phenomena are not well understood, despite their importance to the tropical climate. A toy model of the CCEW consisting of a pair of shallow water wave modes coupled by a simple convective parameterization is considered. The linear behavior of the system is analyzed, showing a growth spectrum that is similar to the spectrum that is observed. To explore the processes involved in propagation and maintenance of the MJO disturbance, we analyze the MSE budget of the disturbance within a numerical model. In an idealized experiment, the column-integrated long-wave heating is the only significant source of column-integrated MSE acting to maintain the MJO-like anomaly balanced against the combination of column-integrated horizontal and vertical advection of MSE and Latent Heat Flux. Eastward propagation of the MJO-like disturbance is associated with MSE generated by both column-integrated horizontal and vertical advection of MSE, with the column long-wave heating generating MSE that retards the propagation. The contribution to the eastward propagation by the column-integrated horizontal advection term is dominated by meridional advection of MSE by anomalous synoptic eddies caused by the suppression of eddy activity ahead of the MJO convection. This suppression is linked to the barotropic conversion mechanism; with the gradients of the low frequency wind experienced by the synoptic eddies within the MJO envelope acting to modulate the Eddy Kinetic Energy. The meridional eddy advection’s contribution to poleward propagation is dominated by the mean state’s (meridionally varying) eddy activity acting on the anomalous MSE gradients associated with the MJO. In a follow-up experiment, the variations in the propagation speed of MJO with variations in the imposed SST distribution are seen to be driven by the variations in meridional advection of the mean MSE profile by the MJO-related winds, which are in turn dominated by the variations in the mean MSE profile due to the variations of the SST. A brief investigation of the MSE budget for a more realistic case shows an increase in the MSE sink due to meridional advection as the MJO progresses from genesis over the Indian Ocean to decay in the central Pacific. The increase in this sink appears to be the cause of MJO’s demise. / Physics

This thesis considers atmospheric superrotation, a state of westerly equatorial winds which must be maintained by up-gradient eddy momentum fluxes. Superrotation has appeared in simulations of warm climates that generate enhanced Madden-Julian Oscillation (MJO)-like variability. This led to hypotheses that the warmer atmospheres of the early Pliocene and Eocene may have been superrotating, and that the phenomenon may be relevant to future climate projections. / Earth and Planetary Sciences

The early twentieth century saw the beginning of modern environmentalism. Intellectuals dreamed up solutions to the world’s problems and hoped for a better future being made possible by advances in science and technology. However, Aldous Huxley produced Brave New World which, as this essay argues, mocks the enthusiasm of his intellectual peers. The dystopian novel depicts a future in which technology dehumanizes the population, and uses a great deal of animal imagery to make this point. This essay analyses the use of animal imagery from an ecocritical perspective arguing that the “pathetic fallacy” is reversed. By examining the use of biotechnology and central planning in the novel, and applying the ecocritical perspective that humanity and nature are part of a whole, this essay argues that society resembles a farm for human animals, which is partly expressed by Huxley’s use of the image of a bee colony. The argument is presented that Huxley satirizes his environmentally concerned peers by depicting a totalitarian state which, though unconcerned with environmental issues, echoes the eco-fascist methods proposed by the author’s friends and family.

Cette thèse étudie les relations artistiques entre le Canada et la France à la fin du XIXe siècle et définit la place qu’occupe l’atelier libre qu’est l’Académie Julian dans le réseau artistique parisien, tout en privilégiant comme étude de cas le passage de ses élèves canadiens entre 1880 et 1900. Soucieux d’entreprendre une étude fouillée sur cette institution artistique et de revenir aux documents d’archives et autres témoignages, nous privilégions la voix des étudiants et des journalistes de l’époque pour décrire tant l’atmosphère que le fonctionnement de l’Académie Julian en précisant notamment les stratégies développées par Rodolphe Julian lui-même pour faire de cette école un lieu quasi incontournable pour qui veut suivre une formation artistique de qualité. La personnalité de Rodolphe Julian, tout comme celle de Marie Bashkirtseff – que nous percevons comme le porte-parole « visible » de l’Académie Julian – seront mises à l’avant-plan puisque, en plus des élèves eux-mêmes, ces deux personnes furent les véritables ambassadeurs promotionnels de l’établissement. Rodolphe Julian, entrepreneur hors norme, doit être étudié pour lui-même afin d’appréhender la complexité propre au personnage et de saisir pleinement l’originalité de son école. Notre étude se penchera sur l’homme et son établissement qui ont incité des générations d’étudiants, dont les peintres canadiens – amateurs curieux ou professionnels accomplis – à cumuler, en plus d’un savoir-faire technique acquis par leur formation dans cet établissement, des labels de promotion et de visibilité (prix, médailles, distinctions) favorables au plein épanouissement commercial d’une carrière artistique au Canada. L’art français est alors fort prisé par la classe dominante canadienne désireuse d’acquérir pour ses salons un portrait ou un paysage. En cela, l’acquisition d’un enseignement rigoureux basé sur l’étude de la composition et du modèle nu répondra à cette attente de la clientèle tout en ayant par la suite un impact direct dans les méthodes d’apprentissage offertes au pays. Un grand nombre des anciens élèves canadiens de l’Académie Julian chercheront par leur formation à propager et à implanter un système d’enseignement des arts similaire à celui acquis à l’Académie Julian, permettant ainsi à des générations d’artistes de bénéficier de leur expérience outre-Atlantique comme d’autres artistes-professeurs l’avaient fait avant eux. L’axe principal de la thèse repose sur l’idée selon laquelle l’éclatement progressif de la reconnaissance de l’École des beaux-arts au profit des ateliers privés transforme les prérequis à l’accès à la formation et présente, dans son lien à l’économie – dans le rapport art et industrie – l’artiste comme un entrepreneur qui adapte et développe son discours et sa production à la demande du marché. Au Canada, l’offre d’éducation technique et de formation professionnelle met de l’avant un modèle artistique français. En ce sens, le voyage qu’entreprennent les artistes en direction de la ville de Paris prend tout son sens comme destination d’étude et de labellisation du statut de l’artiste. En plus de faire l’histoire de l’Académie Julian et de son fondateur, Rodolphe Julian, l’objectif de cette thèse est de répertorier la présence des artistes canadiens dans cette école tout en soulignant l’apport qu’offre cette institution dans la reconnaissance de la formation artistique liée au système honorifique que l’école et ses professeurs parviennent à contrôler en favorisant leurs élèves au Salon. Pour atteindre notre objectif, nous privilégions une division en trois chapitres, reliés l’un à l’autre par une thématique commune, soit l’éducation artistique française. Dans la logique qu’impose le déplacement outre-Atlantique des peintres, le premier chapitre aborde cette question du point de vue canadien pour ensuite définir le contexte français. Dans cette première partie, nous présentons les structures à la disposition des artistes au Canada et nous précisons le réseau de formation disponible au XIXe siècle. Les figures clés que sont Napoléon Bourassa ainsi que l’abbé Joseph Chabert sont prises en exemple pour aborder la question de la formation artistique au pays où le modèle pédagogique français est utilisé. La commande du curé Sentenne pour la chapelle Notre-Dame du Sacré-Cœur de la basilique Notre-Dame de Montréal illustre la quasi-nécessité qu’ont les peintres canadiens de devoir faire le voyage en direction de Paris pour poursuivre leur formation artistique et permet de comprendre que le lieu de production est tout aussi important pour l’œuvre que pour l’artiste. À cette époque, la renommée de l’École des beaux-arts de la ville de Paris, avec la réforme de 1863, fait de cet établissement l’un des plus prestigieux du monde. Toutefois, malgré des efforts de restructuration, l’établissement reste en marge de son époque ce qui favorise l’essor des « Académies libres » dont la plus célèbre est l’Académie Julian. Le second chapitre est entièrement consacré à cette école et à son fondateur, présenté comme un homme d’affaires avisé et un petit maître de la peinture. Jusqu’alors reléguée au second plan par rapport à son Académie, l’étude du personnage permet de saisir l’originalité de son établissement lorsqu’il décide, entre autres, d’y accepter les femmes. Conscient du potentiel qu’offre son école – susceptible d’accueillir des artistes du monde entier – nous analysons les stratégies d’expansion et de promotion de l’Académie mises en place par Rodolphe Julian et nous nous attardons à l’utilisation du personnage de Marie Bashkirtseff pour atteindre ces deux objectifs. Le troisième chapitre définit pour sa part les motifs et la formation acquise auparavant qui incitent les peintres de notre corpus à vouloir poursuivre leur formation artistique à Paris, et plus particulièrement chez Julian. Le milieu socio-économique (et socio-linguistique, tous deux liés) et l’influence d’un maître de formation européenne apparaissent comme des facteurs propices à leur inscription à l’Académie Julian et c’est par les archives de l’école que nous mettons à jour les différents abonnements et le temps passé dans cet établissement par les peintres canadiens. Les inscriptions disponibles sur les fiches d’abonnement permettent – avec l’analyse de témoignages connexes – de définir le fonctionnement de cette institution de formation artistique. Ainsi, à partir de documents d’archives, le séjour parisien du peintre canadien Joseph Saint-Charles fait l’objet d’une étude de cas qui permet de relier l’artiste à l’Académie Julian, mais aussi de déterminer les stratégies qu’il met en place pour se faire reconnaître comme peintre professionnel, en France, mais aussi au Canada lorsque ses succès sont rapportés dans les journaux. Malgré la disparition des registres de l’école, nous abordons cependant la question des Canadiennes de passage à l’Académie Julian et soulignons les inégalités qui subsistent entre les sexes. Malgré certaines disparités, il n’en demeure pas moins que même pour la gent féminine, l’établissement se présente comme un tremplin d’insertion et de reconnaissance de la pratique artistique, que ce soit par l’acquisition d’un apprentissage académique traditionnel où prédomine la maîtrise du dessin ou par le fait d’obtenir la « correction » des maîtres consacrés de la peinture française. Bien qu’il faille reconnaître le fondement des critiques que rapportent les élèves sur leur passage à l’Académie Julian, nous remarquons que, pour la plupart, le but véritable de leur inscription vise à les préparer à leur future carrière comme artistes professionnels et leur permet d’obtenir la consécration qu’offre le fait d’être admis au Salon national des artistes français avec l’appui de l’école et de ses professeurs, qui orienteront ce que certains qualifieront de « produit Julian ». / This thesis examines the artistic relations between Canada and France at the end of the nineteenth century, and the legacy of the ‘ateliers libres’ of the Académie Julian within the Parisian arts network. Through a case study, it focuses on the experience of Canadian students at the institution between 1880 and 1900. A conscious desire to provide a detailed study of this art institution drawing upon its annals and various personal accounts underlies the recourse to testimonies by students and journalists of the time to describe the prevailing atmosphere at the Académie Julian as well as its general management, its origin, and the strategies adopted by Rodolphe Julian himself to shape his school into ‘the institution de rigueur’ for those who sought artistic training of the highest calibre. Along with the students themselves, the personality of Julian as well as that of Marie Bashkirtseff – considered to be the "visible" spokesperson of the Académie – are at the forefront of this research since these two individuals were the true ambassadors of the Académie. Rodolphe Julian, an exceptional entrepreneur, must be examined in his own right to provide an understanding of his complexity and to fully grasp the originality of his Académie. This research examines both the man and his school, which together enticed generations of students, including Canadian painters (curious amateurs and accomplished professionals alike) to acquire not only the technical know-how during their training at the Académie Julian but also earn accolades and awards (prizes, medals and distinctions) inextricably associated with a commercially successful artistic career in Canada. During that period, French art was highly valued by the dominant Canadian upper and middle classes eager to purchase portraits and landscapes to adorn their living rooms. Indeed, rigorous instruction based on the study of composition and nudes met students’ expectations and directly influenced training methods in their home country. As a result of their training, a large number of former Canadian students of the Académie Julian sought to perpetuate an art education system similar to that of the Académie Julian, thus enabling generations of artists to benefit from their transatlantic experiences as other artist-professors had done before them. The main thrust of this thesis is its contention that the progressive change in perception of the École des Beaux Arts towards recognition of the "ateliers privés" influenced training prerequisites, shifting the artist into an economic space, intertwining the arts with industry: the artist as entrepreneur capable of adapting and developing his discourse and production in response to market conditions. In Canada, the diversification of technical education and professional training favoured the French artistic model. For artists, studying in Paris was meaningful; it was also a means of enhancing their status. In addition to tracing the history of the Académie Julian and that of its founder, Rodolphe Julian, this thesis also seeks to identify the presence of Canadian artists in the Académie, and to highlight its contribution to the recognition of fine arts training and its interplay with the honorary system of the Salon, which the Académie and its instructors controlled, by favouring their students. This thesis comprises three chapters, each linked by an overarching theme: the French art education system. Defining the French artistic context from a Canadian perspective, Chapter 1 deals with painters who were compelled to cross the Atlantic. The first section outlines the training possibilities available to artists in Canada and the training network available to artists in the 19th century. In covering the topic of art education in a country where the French teaching model prevailed, key figures such as Napoléon Bourassa and Abbé Joseph Chabert, are cited. Curé Sentenne’s commission for Montréal’s Notre-Dame Sacré-Cœur chapel of the Notre-Dame Basilica illustrates the near necessity for Canadian painters to travel to Paris to pursue their artistic training and helps explain why the place of production was just as important for an artwork as it was for the artist. At that time the reputation of the École des Beaux-Arts in Paris, consolidated by the reform of 1863, made this establishment one of the most prestigious in the world. However despite restructuring efforts, the Académie remained out of touch with the times, and this favoured the rise of the ‘Académies libres’, the most famous of all being the Académie Julian. Chapter II is devoted entirely to the Académie Julian and its founder, an astute businessman and ‘petit maître de la peinture’. The study of the man himself, which has so far served as a backdrop to a more detailed study of the Académie reveals the innovative nature of his establishment particularly with regard to his decision to admit women to study in his studios. Aware of the prospects his school offered, he was willing to accommodate artists from all over the world. His strategies for the expansion of the Académie are analyzed as well as the role of Marie Bashkirtseff in this respect. Chapter III describes the motivations and preliminary apprenticeships, which encouraged the artists being studied here to pursue their education in Paris, specifically at the Académie Julian. The socio-economic context – perhaps the socio-linguistic as well, since they are interrelated – and the influence of a master of European training appear to be the deciding factors. The institution’s archives shed light on the registration of Canadian painters and the time they spent there. The entries in the records of the Académie along with various personal accounts make it possible to understand how this training institution was managed. Based on information retrieved from the archives, the time that Canadian painter Joseph Saint-Charles spent in Paris is used as a case study not only to link the artist to the Académie Julian but also to determine the strategies which enabled him to be recognized as a professional painter in France as well as in Canada where his successes were widely reported in the press. Although there is no record of Canadian women in the archives of the Académie Julian, their role is nevertheless analyzed, underlining the prevailing gender inequalities. In spite of certain disparities, for female artists the Academy nevertheless constituted a springboard for inclusion and recognition of their artistic practice, whether it was through acquiring a traditional academic apprenticeship where the mastery of drawing prevailed or by working “under the guiding hands” of acclaimed Masters of French painting. Although the validity of criticisms leveled by students against their school must be acknowledged, for most of them the real purpose of their enrolment was to prepare their future careers as professional artists, facilitate their rite of passage to the "Salon national des artistes français", thanks to the support of the Académie and its instructors, and be “emblazoned” with the ‘Julian trademark’. / Thèse dirigée sous la direction conjointe de Lise Lamarche et Jean Trudel.

Over the 1951-2009 time period, 47% of all tropical systems in the Atlantic Basin transitioned to post-tropical storms. These storms are capable of producing hurricaneforce winds, torrential, flooding rains and storm surge that floods coastal areas. This study adds to previous climatological work by completing a case-study of Hurricane Ike (2008) and examining how teleconnections such as the El Niño Southern Oscillation (ENSO), the Madden-Julian Oscillation (MJO), the Atlantic Multidecadal Oscillation (AMO) and the Pacific Decadal Oscillation (PDO) contribute to the strength of a transitioning post-tropical storm. T-tests performed show strong statistical relationships between an increase (decrease) in post-tropical storm frequency and warm PDO – La Niña (cold PDO – La Niña), cold PDO – ENSO neutral (warm PDO – ENSO neutral), and warm (cold) AMO conditions. Moreover, nearly significant results were found for the same increase (decrease) and La Niña seasons since (pre) 1980 and for cold (warm) PDO conditions. Modeling the MJO suggests that increased (decreased) relative humidity associated with the wet (dry) phase could increase (decrease) precipitation output from the storm and decrease (increase) forward speed of the storm, decreasing (increasing) wind speeds observed at the surface.

"This study enquires into the accounting standard system in Australia and questions the appropriateness of its core democratic participatory vehicle, the due process. In doing so it highlights issues associated with self-regulating authorities and their policy making practices. The study is pertinent to the extent it reviews a major paradigm shift within the Australian public sector and more specifically local government financial reporting. Spanning the course of three decades it examines the reasons for such a paradigm shift, the major actors involved, the actual changes made and the effectiveness of those changes." / Doctor of Business Administration

Zugl.: Bayreuth, Univ., Diss., 2005

Thesis (D. Min.)--Catholic Theological Union at Chicago, 1997. / Abstract and vita. Includes bibliographical references (leaves 237-252).

Thesis (Ph. D.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains vi, 215 p. Includes abstract. Includes bibliographical references (p. 196-215).

Thesis (Th. M.)--Regent College, 1992. / Abstract and vita. Includes bibliographical references (leaves 213-224).