No description available.

No description available.

No description available.

Bibliography: leaves 117-120.

Abstract Tidal wave may be distorted when entering the river of large topography variations. The traditional tidal harmonic may not be applied well to data collected in such a shallow river. Godin (1998) indicated that the hydrodynamics of rivers is dominated by the damping and the distortion induced by quadratic bottom friction. This research try to analyze the distortion of tidal wave in the Tanshui River (northern Taiwan) based on field measurements. Sea levels data are collected at fours stations along the lower river: Pole (4km offshore), Tanshui harbor(on the coast), Kuan-Do Bridge (7km inland) and Yuan-Shan Bridge (18km inland). The total distance of the four stations is 22 km. The synchronizing sampling period is January 10 to February 28 of 2001 (50 days). The analysis is trying to identify the following issues. (1) The transformation of tidal wave from coastal into the river and upper stream. (2) The errors of tidal prediction based on harmonic analysis. Several different conditions are examined including spring-neap tides, influence of fresh water output and peaks of high-low water. The influence of bottom friction of the inner river stations is emphasized. The results show that distortion of tidal wave is more pronounce inside the river. The main reason is explained due to the strength of bottom friction, which is proportional to the flow velocity. (1) During spring tide, a stronger flow contributes a larger bottom friction. (2) A higher water level (h) may have a faster wave speed ( ) that high water occurred before the forecast. The deviation in high water also is more significant than that of low water. (3) River flow increases the water level and cause the deviation of wave propagation inside the river.

An explorative examination of the phenomenon of New Dance is undertaken through a case study of events at Dartington College of Arts over the period 1971-1987. This socio-historical study, informed by the firsthand accounts of a group of practitioners (artists/teachers), highlights the New Dance development in an educational context. Moving from the broad to the specific, the chapters present contextualised evidence from multiple sources in chronological order. Each chapter substantiates the claim that Dartington was an original and important source of New Dance development in the UK throughout the period of its development (1970s-1980s). Firstly, a broadly sketched contextual frame links the New Dance development to features from other realms and the movement of the New in dance to its own tradition. Then the historical background to Dartington illuminates how the College became a key educational forerunner in the complex of UK dance culture during the 1970s. Documentary and oral sources serve to illustrate the unique position of Dartington and its dance programme at the time. Phase One of the New Dance development (1971-1978) sees new approaches to dance, movement and the body incorporated in the structure and curriculum of the 'Theatre Language' BA (Hans) course and accredited as a main subject of study by the CNAA in 1977. With the UK dance domain and cultural conventions as context, different features and aspects of the New Dance development are revealed. The New Dance era is established as a turbulent period of change, challenge and innovation. These contexts implicitly demonstrate Dartington's special place and pioneering role as an institute of higher education in the overall development and formation of the New Dance movement and community. Dartington's function in the articulation, expansion and dissemination of practice and ideas becomes even more pronounced during Phase Two of the continued New Dance development (1978-1987). This is exemplified by a decade of annual dance festivals hosted by the College and attended by hundreds of dancers from the UK and abroad. A gradual transition out of this optimum time can be detected both at the festivals and the Theatre Department from 1985 onwards. By the late 1980s a notably changed cultural climate signals the end of an erä and allows the assessment of this creative period of development in dance, both in and outside of Dartington. The detailed insight provided by the case study helps to unravel the multi-layered nature of the New Dance phenomenon. This includes the identification of a dynamic network of relationships, people, organisations and events as elements in a movement of change, which contributed to the broadening base of dance. As exemplified by the case study, the structural developments in arts education played a major part in this expansion and this is where Dartington College of Arts made its key contribution.

Thesis (MPsy(Specialisation))--University of South Australia, 2003.

Thesis (Ph. D.)--University of Adelaide, 1988. / Includes bibliographical references (leaves 117-120).

The impostor phenomenon (IP) refers to a feeling of intellectual inadequacy which is especially prevalent in university contexts and leads to high attrition rates (Parkman & Beard, 2009), depression (McGregor, Gee, & Posey, 2008), and anxiety (Fraenza, 2016) among students. The impostor phenomenon is negatively related to career development, as sufferers may fail to plan for their careers or to create appropriate strategies to reach their goals (Neureiter & Traut-Mattausch, 2016). The primary purpose of this study was to determine whether participants enrolled in a university course which is dominated by the opposite gender are more likely to experience the impostor phenomenon. This study specifically looked at engineering and nursing undergraduate students. The objectives of this study included exploring the relationship between the impostor phenomenon and self-efficacy, as well as exploring the occurrence thereof among participants in either traditional or non-traditional university courses. This quantitative study (N = 214) made use of a factorial design and data were collected through the use of the Clance Impostor Phenomenon Scale (Clance, 1985) and the Career-Decision Self-Efficacy Scale, short form (Betz, Klein, & Taylor, 1996). Results indicated that, as expected, women who are enrolled in male-dominated engineering courses do score higher on the Impostor Phenomenon Scale than both men and women in traditional courses. However, this study did not find differences in the level of career-decisions self-efficacy between the male and female samples, regardless of the gender composition of their specific courses. The researcher postulates that this may be due to the sheer determination of the women in atypical courses to succeed and persist in their studies. The researcher also found a negative relationship between IP and self-efficacy. / Mini Dissertation (MA (Research Psychology))--University of Pretoria, 2020. / Psychology / MA (Research Psychology) / Unrestricted

A 42-year-old woman with idiopathic Raynaud's phenomenon developed localized necrosis of her fingertip after using an aerosol can of spray hair color. Laboratory measurements indicated that while such products did not achieve freezing temperatures, they did become cold enough to potentially produce vasospasm. Patients with Raynaud's phenomenon should be cautioned that use of some aerosol products may result in a cold induced injury.