The ATP binding cassette (ABC) transporters represent the largest family of transmembrane proteins and play important roles in human inherited disease such as the multi-organ disease cystic fibrosis and cholesterol transport disorder Tangier’s disease. These proteins are also implicated in conferring multidrug resistance, rendering many cancer therapies ineffective, as well as contributing to the pathogenicity of some organisms. The yeast ABC proteins, Pdr12p, a weak acid efflux pump, and Ste6p, the a-factor exporter, were screened for interacting partners using the integrated membrane yeast two-hybrid (iMYTH) system to gain further insight into their biological function. Two interactors were identified for Ste6p, however, the Pdr12p screen identified 13 novel interactions, most notable of which are three other ABC transporters, Pdr5p, Pdr10p and Pdr11p. Subsequent functional analysis of double deletion mutants supports a genetic interaction between Pdr12p and Pdr10p as the pdr12Δ pdr10Δ strain showed resistance to increasing concentrations of weak organic acids.

The ATP binding cassette (ABC) transporters represent the largest family of transmembrane proteins and play important roles in human inherited disease such as the multi-organ disease cystic fibrosis and cholesterol transport disorder Tangier’s disease. These proteins are also implicated in conferring multidrug resistance, rendering many cancer therapies ineffective, as well as contributing to the pathogenicity of some organisms. The yeast ABC proteins, Pdr12p, a weak acid efflux pump, and Ste6p, the a-factor exporter, were screened for interacting partners using the integrated membrane yeast two-hybrid (iMYTH) system to gain further insight into their biological function. Two interactors were identified for Ste6p, however, the Pdr12p screen identified 13 novel interactions, most notable of which are three other ABC transporters, Pdr5p, Pdr10p and Pdr11p. Subsequent functional analysis of double deletion mutants supports a genetic interaction between Pdr12p and Pdr10p as the pdr12Δ pdr10Δ strain showed resistance to increasing concentrations of weak organic acids.

C. S. Lewis’s novel, Till We Have Faces, has been misunderstood by both scholars and readers alike. This paper seeks to read the text through the lens of Lewis’s own literary criticism. It begins by presenting Lewis’s fundamental dilemma of the mind, the rift between the rational and the imaginative faculties. Lewis posits myth as a “partial solution” to this problem. This paper traces Lewis’s ideas from his early position on myth as “beautiful lies” to the more nuanced, later position where myth is connected with terms like “truth,” “reality,” “fact” and “history.” Using the text of “On Stories,” and the chapter “On Myth” from Lewis’s book An Experiment in Criticism, this paper argues that Lewis, because of the basic elusiveness of mythic experience, steps into the use of story or narrative as a provisional solution for the dilemma of the mind. This is then applied to Till We Have Faces, arguing that the story is not a myth or an allegory, but a realistic novel with a hidden mythic reality, a Lewisian narrative that fulfills his requirements of Story. A close reading of Till We Have Faces connects the text with Lewis’s realism of content and realism of presentation. This reading then places the text within the problem of rationality set against imaginative reception. Till We Have Faces is a test case for Lewis’s extensive ideas about Divine Myth, its hiddenness behind and within narrative, and its power to heal a divided mind. The narrative of Till We Have Faces, for the main character Orual, as well as for the receptive reader, comes to embody the transformative power of extra-literary myth within the containment of word-dense, tensed story.

none

C. S. Lewis’s novel, Till We Have Faces, has been misunderstood by both scholars and readers alike. This paper seeks to read the text through the lens of Lewis’s own literary criticism. It begins by presenting Lewis’s fundamental dilemma of the mind, the rift between the rational and the imaginative faculties. Lewis posits myth as a “partial solution” to this problem. This paper traces Lewis’s ideas from his early position on myth as “beautiful lies” to the more nuanced, later position where myth is connected with terms like “truth,” “reality,” “fact” and “history.” Using the text of “On Stories,” and the chapter “On Myth” from Lewis’s book An Experiment in Criticism, this paper argues that Lewis, because of the basic elusiveness of mythic experience, steps into the use of story or narrative as a provisional solution for the dilemma of the mind. This is then applied to Till We Have Faces, arguing that the story is not a myth or an allegory, but a realistic novel with a hidden mythic reality, a Lewisian narrative that fulfills his requirements of Story. A close reading of Till We Have Faces connects the text with Lewis’s realism of content and realism of presentation. This reading then places the text within the problem of rationality set against imaginative reception. Till We Have Faces is a test case for Lewis’s extensive ideas about Divine Myth, its hiddenness behind and within narrative, and its power to heal a divided mind. The narrative of Till We Have Faces, for the main character Orual, as well as for the receptive reader, comes to embody the transformative power of extra-literary myth within the containment of word-dense, tensed story.

Pauline Melville’s The Ventriloquist’s Tale is an intricately layered novel in which the myths and folktales of the Amerindians of Guyana, as they are represented in Melville’s novel, are engaged in a dialogue with their reality. This narrative/mythical dialogue results in enactments and re-enactments of the myths and folktales, not only retelling them, but also recycling them, resulting in the Amerindians interpreting their myths and folktales nonmetaphorically. Mikhail Bakhtin’s concept of settings as chronotopes, “timespaces” in which time and space are inseparable from each other and from the theme, is used to define the distinct thematic qualities of the three narrative layers in the novel. I label these three chronotopes unfixed space, the juncture, and the interior. The interior is established as the chronotope in which the enactments and reenactments of myths and folktales primarily take place, re/enactments which add yet another layer to the novel. I argue that the reason the chronotope of the interior is the nexus of these myths and folktales is largely because the Amerindians adhere to a concept of time which is cyclical rather than linear. The enactments and reenactments are then unfolded as intentionally complex and contradictory threads, which are then untangled to show how the myths and folktales are recycled in the novel. This untangling reveals how the threads interconnect, and how they can all be traced back to the narrator, the trickster deity Macunaima, suggesting he is as unbound by temporal and spatial limitations as the narrative layer of myths and folktales from which he has emerged.

Thesis (M.A.)--State University of New York at Binghamton, Department of English, General Literature and Rhetoric, 2006. / Includes bibliographical references.

Thesis (Ph. D.(N.T.)--University of Pretoria, 2004. / Includes bibliographical references (leaves 203-215).

Thesis (D.A.)--Illinois State University, 1986. / Title from title page screen, viewed July 7, 2005. Dissertation Committee: Lucia C. Getsi (chair), Glenn A. Grever, William E. Piland, Stanley W. Renner, Ray L. White. Includes bibliographical references (leaves 162-173) and abstract. Also available in print.

Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 251-256). Also available for download via the World Wide Web; free to University of Oregon users.