This thesis is devoted to the problem of the production of hulls of the gearboxes. The text of this final thesis shows the production technology for single and series production. At the same time, a critical amount of products for a different production options were established.

Diploma thesis are considered of direct and undirect cost's assesment connected to material's incompleteness on assembly line. The main aim of the thesis is judgement of inside nonquality specialy with sight to overcosts value caused by inside differences and inkompleteness.

Smokefree policies (SFPs) have diffused throughout the US and worldwide. However, the development of SFPs in the difficult policy environment of tobacco-producing states and economies worldwide has not been well-explored. In 2007, Tennessee, the third largest tobacco producer in the US, enacted the Non-Smoker Protection Act (NSPA). This study utilizes the multiple streams model to provide understanding of why and how this policy was developed by triangulating interviews with key stakeholders and legislative debates with archival documents. In June 2006, the Governor unexpectedly announced support for SFP, which created a window of opportunity for policy change. The Campaign for Healthy and Responsible Tennessee, a health coalition, seized this opportunity and worked with the administration and the Tennessee Restaurant Association to negotiate a comprehensive SFP, however, a weaker bill was used by the legislative leadership to develop the NSPA. Although the Governor and the Tennessee Restaurant Association's support generated an environment for 100 % SFP, health groups did not fully capitalize on this environmental change and settled for a weak policy with several exemptions. This study suggests the importance for proponents of policy change to understand changes in their environment and be willing and able to capitalize on these changes.

Cellulase-producing microorganisms are considered as a key player in various environments to degrade the plant biomass and were isolated from various environment like soils, mangroves and oceans. The Red Sea has a unique environment in terms of high seawater temperature, high salinity and low nutrients. This study aims of examining if the Red Sea is a potential resource for cellulase-producing microorganisms and cellulase genes. First, I investigated types of microbial cellulase genes in the Red Sea based on public metagenomic datasets. The analysis revealed 3,383 microbial cellulase were more abundant in shallow depth than in deep seawater, and were classified into 16 sub-GH orthologous groups. These results suggest that the Red Sea environment is potentially an excellent gene resource of microbial cellulases due to its high diversity. Next, cellulase-producing microorganisms were isolated and screened from the Red Sea. Three bacterial and one fungal strain were successfully obtained. The MLTS analysis showed that the three bacterial strains belong to Bacillus paralichiniformis. The 18S rRNA of fungal strain showed 99% similarity to Aspergillus ustus and the enzymatic assay of the four strains showed high cellulase activity. These results suggest that these four isolates secreted active cellulases. Next, I tried to identify cellulase genes actually working during their cellulolysis by conducting comparative transcriptome analysis of the candidate genes and identified cellulase genes that are highly expressed during cellulolysis. To my knowledge, it is the first attempt to find out cellulase genes functioning during their cellulolysis among distinct cellulases on genomes of microorganisms. The results showed that although all the candidate genes were upregulated in general, a limited number of cellulase genes were highly expressed, which are highly expected to have a crucial role in cellulolysis. I also identified operon structures composed of genes including cellulases. This will provide us with the information to elucidate the cellular mechanisms occurring along with the cellulolysis in bacterial strains. We can expect that the Red Sea is a potential resource for new cellulase genes applicable for the industry. These information can be significantly useful for the bio-prospecting research of microbial cellulases in the Red Sea.

京都大学 / 0048 / 新制・課程博士 / 博士(医学) / 甲第18898号 / 医博第4009号 / 新制||医||1009(附属図書館) / 31849 / 京都大学大学院医学研究科医学専攻 / (主査)教授 木原 正博, 教授 中川 一路, 教授 一山 智 / 学位規則第4条第1項該当 / Doctor of Medical Science / Kyoto University / DFAM

Kultur ur ett socialt hållbarhetsperspektiv är något som både Stockholm stad, Region Stockholm och även Statens Kulturråd värderar högt, där den producerande kulturverksamheten idag ofta ses som en viktig faktor i skapandet av en konkurrenskraftig och attraktiv stad. Ändå har konstnärer i de producerande kulturverksameterna låga löner, trots långa utbildningar och lång arbetslivserfarenhet. Detta kan ses i mediebilden där Stockholm stad ofta beskrivs som att de istället för att främja kulturverksamhet snarare motverkar kulturverksamhet genom förtätning och omvandling.Med denna undersökning är syftet att undersöka behoven som den producerande kulturverksamheten har. Både ur Stockholm stads synpunkt och från konstnärernas håll. Genom att undersöka olika kulturstrategier är målet att få en klarare överblick på problemen kring kulturverksamheter. Genom en: litteratur-, dokument- och fallstudie har den producerande kulturverksamhetens behov, lokalisering och förutsättningar identifierats. I Stockholm stads ateljéstrategi uttrycker Kulturförvaltningen ett mål med 200 nya ateljéer till 2020. De menar i sin strategi att dessa ateljéer bör byggas i områden som har få eller inga ateljéer. I dagsläget lokaliserar sig Stockholms ateljéer likt kluster där högst täthet är kring: östra Södermalm, Liljeholmen, Telefonplan, Slakthusområdet och Hagalunds industriområde. Kulturens lokalisering begränsas av betalningsförmågan och den nuvarande bristen på lokaler och fastigheter som till ett rimligt pris uppfyller de krav som verksamheten ställer på lokalen och dess lokalisering. Lösningen på problematiken med bristen på produktionslokaler ligger inte på någon enskild faktor som enkelt kan lösas. Det handlar istället om en budget och prioriteringsfråga som kommunen och regionen bör se över. Politiker måste värdesätta kulturverksamhet på ett annat sätt än som de gör idag. Annars kommer kulturverksamheten aldrig att kunna få rätt förutsättningar för att utvecklas. / Today, local production of arts and culture is viewed as an important factor in making of a competitive and attractive city. Stockholm stad, Region Stockholm and the Swedish Arts Council express a high value of culture from a social sustainability perspective. Despite this, the majority of people working with making or producing art statistically can be seen to have a low median salary in comparison to the general population. The media points towards how Stockholm stad contributes to this situation through densifying and converting areas at the expense of maintaining cultural entities and production venues, as well as creating the right opportunities for cultural businesses. The purpose of this report is to examine the needs of the individuals, groups and organisations working with the making and production of arts and culture. Various strategies are examined, with an aim to understand challenges cultural practitioners and entities face as well as creating an understanding of how these strategies deal with producing cultural entities. As identified through literature, document and case studies, the report outlines the localisations of art studios and cultural entities, their need and their opportunities presented through the economic and social structures.In Stockholm stad’s studio strategy, the Kulturförvaltning expresses an aim to create 200 new studios for artists before 2020. Furthermore, they express that these studios are mainly to be situated in areas which are lacking or in absence of spaces for art production. Currently artist studios in Stockholm are concentrated in clusters, mainly in areas such as: östra Södermalm, Liljeholmen, Telefonplan, Slakthusområdet and Hagalund’s industrial area. The main factors affecting the localisation of studios in the urban space, is the shortage of spaces with adequate facilities and the lack of adequate facilities at an affordable rental cost. There is no simple solution for solving the shortage of production facilities for artists, since the problem depends on numerous factors. As a matter of city budgets and political prioritisation, this problem needs to be handled at both a municipal and regional level. Politicians need to value cultural businesses in a new way. In order for the cultural field to progress and prosper, artists require the right opportunities and for their needs to be met out of an economic, geographic and social perspective.

Drosophila melanogaster is an attractive model organism for the study of numerous fundamental processes including nervous system development and function. This is due to the power of Drosophila genetics combined with the high degree of similarity between this organism and vertebrate systems, not only at the molecular level but also at the cellular and behavioural levels. The first part of my thesis focused on trophic interactions occurring in Drosophila larval central nervous system. Specifically, it describes the interaction of serotonin (5HT)-producing neurons with other three groups of neurons: the larval photoreceptors expressing Rhodopsin 5 (Rh5), the photoreceptor subset expressing Rhodopsin 6 (Rh6), and the larval circadian pacemakers (LNv). I found that both Rh5-and Rh6-expressing fibers contact a 5-HT arborization in the larval optic neuropil, where the 5-HT processes also overlaps with the dendrites of the LNv. The results of my experiments also indicate that the Rh6-expressing terminus is the neural process providing the signal required for the outgrowth of the serotonergic arborization. Furthermore, proper branching of this arborization requires normal Rae function. These findings further support the importance of extrinsic and intrinsic signalling for the assembly ofthe nervous system. The remainder of my studies attempted to investigate candidate neurons modulating Drosophila larval photobehaviour. Using the larval response to light as a behavioural paradigm and neuronal silencing experiments, my results demonstrate that 5HT neurons located in the brain regulate the larval photoresponse during development. In addition, my findings suggest that this modulation occurs at a central level and that is mediated by 5-HT1A(Dro) receptors. These observations provide new insights into the functions of serotonergic neurons in Drosophila as well as how neuromodulators shape neuronal circuit function and ultimately behaviour. / Thesis / Doctor of Philosophy (PhD)

京都大学 / 新制・課程博士 / 博士(農学) / 甲第23251号 / 農博第2458号 / 新制||農||1085(附属図書館) / 学位論文||R3||N5341(農学部図書室) / 京都大学大学院農学研究科応用生命科学専攻 / (主査)教授 阪井 康能, 教授 小川 順, 教授 井上 善晴 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DFAM

I examined how one may establish directorial and choreographic proficiency in the contemporary society of American musical theatre. I did so by completing an examination of five personal observations in my craft. These observations included: (1) Directorship and choreography of Welcome to Vegas, an original jukebox musical; (2) Mentorship on Theatre UCF’s Nine as Assistant Director and Co-Choreographer; (3) Research on the methodologies of various directors and choreographers; (4) Directorship and choreography of Welcome to Broadway, an original jukebox musical; and (5) Assistant to the Program Director of Broadway Theatre Project. I evaluated parallels of my directing and choreography methodologies with those of noted directors and choreographers in the entertainment industry. These industry professionals include famed choreographer Ernest O. Flatt, Ron Field, Hermes Pan, Joe Layton, and Lee Theodore, acclaimed directors Harold Clurman, Dr. Louis E. Catron, and Jon Jory, and prolific director-choreographers Patricia Birch, Donald Saddler, Bob Avian, Bob Fosse, Tommy Tune, and Michael Bennett, as well as Professor Weaver. I have worked for people who believe that experience alone is enough to make one a successful director, choreographer, or director-choreographer. My experience working with and observations of professional directors, choreographers, and director-choreographers, however, has proven that it takes more than experience alone in order to succeed. I predicted the process of establishing my own directorial and choreographic proficiency will stem from a combination of inspiration, mentorship, trial and error, and experience.

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