This thesis is out from the relationship between imagination and memory. Imagination is always from memory. After expressing my imagination through pencil, things that are invinted are actually familier to the past. Based on what I have done about my thesis, the invention of using mirror image as a dimension system come up. / Master of Architecture

Ephedra (Gnetales) is a gymnosperm genus with a long evolutionary history; the first dispersed pollen grains with affinity to the group are known already from the Permian. This thesis focuses on the evolutionary history of the group and different aspects of its pollination mechanisms. Despite the limited number of extant species of the genus (50-60), and a low morphological and genetic divergence among species, there is variation in pollination syndrome in the genus. The prevailing state in Ephedra, and most gymnosperms, is wind pollination. It is therefore surprising that one species, E. foeminea, is insect-pollinated. Together with co-workers I documented the pollination syndromes of E. foeminea and a sympatric species, E. distachya, based on long term field experiments in north-eastern Greece and aerodynamic investigations and calculations. Placing the results into an evolutionary framework reveals that the insect-pollinated species E. foeminea is sister to the remaining (mostly wind-pollinated) genus, and indicates that insect pollination is the ancestral state in the Gnetales. During the course of evolution of the group there has been a shift to wind pollination, which may have played a crucial role for the diversification of the crown group in the Paleogene. Pollination biology is often correlated with the morphology of the pollen such that pollen grains of anemophilous plants are small with a smooth surface, whereas pollen grains of entomophilous plants are larger with an ornamented surface and a covering of pollenkitt. The pollen morphology of Ephedra can be broadly divided into two types: an ancestral type with an unbranched pseudosulcus between each pair of plicae, and a derived type with a branched pseudosulcus between each pair of plicae. Further, the pollen morphology and ultrastructure of the pollen wall in Ephedra are to some degree correlated with the pollination syndrome and capability of long distance dispersal. Pollen of E. foeminea has a denser ultrastructure, as a result a higher settling velocity and is therefore capable of flying shorter distances than does pollen of the anemophilous E. distachya, and other investigated anemophilous species that show a more spacious ultrastructure of the pollen grain. These results can be useful in the reconstruction of the pollination mechanism of extinct taxa of the Ephedra-lineage in the future.

abstract: During the nineteenth century, it was common for pianists to publish their own editions of Beethoven’s piano sonatas. They did this to demonstrate their understanding of the pieces. Towards the end of the century, musicians focused their attention on critical editions in an effort to reproduce the composer’s original intention. Unfortunately, this caused interpretive editions such as those created in the nineteenth century to fade from attention. This research focuses on situating these interpretive editions within the greater discourse surrounding the editorial development of Beethoven’s piano sonatas. The study opens with the critical reception of Beethoven, his Sonata in C-sharp minor, Op. 27 No. 2, also known as the “Moonlight” Sonata, the organology of the nineteenth-century fortepianos and the editorial practices of subsequent editions of the piece. It also contextualizes the aesthetic and performance practice of nineteenth-century piano playing. I go on to analyze and demonstrate how the performance practices conveyed in the modern Henle edition (1976) differ from those in selected earlier interpretive editions. I will conclude with an assessment of the ways in which nineteenth-century performance practices were reflected by contemporary editions. This study compares the First edition (1802) and seven selected editions of Beethoven’s “Moonlight” Sonata by Ignaz Moscheles (1814), Carl Czerny (1846), Franz Liszt (1857), Louis Köhler (1869), Hugo Riemann (1885), Sigmund Lebert and Hans von Bülow (1896), and Carl Krebs (1898) with the Henle edition. It covers the tempo, rubato, articulations, phrasing, dynamics, fingerings, pedaling, ornamentation, note-stem and beaming, pitch, and rhythm. I evaluate these editorial changes and performance practice to determine that, compared to modern practice, the 19th century fostered a tendency of applying rubato, longer slurs, diverse articulations, and expanded dynamic range. Furthermore, the instructions of fingerings, pedaling and ornamentation became more detailed towards the end of the century. / Dissertation/Thesis / Doctoral Dissertation Music 2020

The dissertation includes a critical essay on Jorie Graham's "The Guardian Angel of the Little Utopia and a full-length collection of poetry entitled Moonlight in Quota. The essay is a critical examination which argues that Graham's poems question Western anthropocentric thought through her constant arrangement of particular images (flowers, yellow sky, leaves) and her subsequent questioning of such intellectual and linguistic arrangements. Graham grapples with ideas of perception, questions the historical concepts of truth and knowledge, and engages in linguistic play both musically and imagistically. Each section is tied together by some overriding theme or persistent image: 1.) forgetting, Mexican-American border scenes 2.) poverty and faith shown through images of marginalized characters 3.) Artistic creation as a means for the survival for the "other."

No description available.

No description available.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2006. / Title from first page of PDF document. Includes bibliographical references (p. 146-148).

The greater sage-grouse (Centrocercus urophasianus) is a species of conservation concern that has undergone serious declines in the last century. The Strawberry Valley sage grouse population in Utah underwent such a decline from an estimated 3,500 sage grouse in the 1930s to 150 sage grouse in the early 2000s. This decline initiated a long-term conservation and monitoring project in Strawberry Valley with the goal of preserving the sage grouse population. As part of this ongoing conservation project, we investigated factors that impact the success of capturing sage grouse using the night-lighting method (Chapter 1). We found that capture success is influenced by precipitation, frost, vegetation, flock size, capture crew size, mode of transportation, and sex of the sage grouse. We provide information on these influential factors as well as recommendations on equipment and technique. We also compiled a dataset beginning in the 1930s of sage grouse clutch sizes from the Strawberry Valley population to determine the average number of eggs per clutch (Chapter 2). We investigated average clutch size over time, factors that influence average clutch size, and the accuracy and reliability of our clutch size counts. We found yearly variation in average clutch size that shows a weak, positive correlation with population size. Clutch sizes were smaller if laid as a re-nest or by sage grouse recently translocated from a different population. We found evidence that some of our clutch size counts are approximately two eggs fewer than the actual number laid by the sage grouse.

This thesis argues that a prominent concern among contemporary writers of fiction is the recuperation of lost or occluded histories. Increasingly, contemporary writers, especially postcolonial writers, are using the medium of fiction to explore those areas of political and cultural history that have been written over or unwritten by the dominant narrative of “official” History. The act of excavating these past histories is simultaneously both traumatic and liberating – which is not to suggest that liberation itself is without pain and trauma. The retelling of traumatic pasts can lead, as is portrayed in The God of Small Things (1997), to further trauma and pain. Postcolonial writers (and much of the world today can be construed as postcolonial in one way or another) are seeking to bring to the fore stories of the past which break down the rigid binaries upon which colonialism built its various empires, literal and ideological. Such writing has in a sense been enabled by the collapse, in postcolonial and postmodernist discourse, of the Grand Narrative of History, and its fragmentation into a plurality of competing discourses and histories. The associated collapse of the boundary between history and fiction is recognized in the useful generic marker “historiographic metafiction,” coined by Linda Hutcheon. The texts examined in this study are all variants of this emerging contemporary genre. What they also have in common is a concern with the consequences of exile or diaspora. This study thus explores some of the representations of how the exilic experience impinges on the development of identity in the postcolonial world. The identities of “displaced” people must undergo constant change in order to adjust to the new spaces into which they move, both literal and metaphorical, and yet critical to this adjustment is the cultural continuity provided by psychologically satisfying stories about the past. The study shows that what the chosen texts share at bottom is their mutual need to retell the lost pasts of their characters, the trauma that such retelling evokes and the new histories to which they give birth. These texts generate new histories which subvert, enrich, and pre-empt formal closure for the narratives of history which determine the identities of nations.