This thesis is an exploration of the novella The Malady of Death by Marguerite Duras and my subsequent production of this book. It covers Duras' history and influences in writing this book while at the same time gives an account of all my directorial attempts with this piece. With regards to Duras, the influence of the nouveau roman writers in the mid twentieth century and her relationship at the time of her writing Malady is discussed. For my part, I divulge my initial exposure to the piece, the previous attempts to stage the work, my latest attempt with extensive research, and finally providing self analysis with regards to this latest production. It is my hope that after reading this thesis the reader will immerse themselves into the world of Duras while at the same time rethink their approach to theater.

My thesis addresses the role of the assistant director within the realm of today's American theatre. I determine who the assistant director is in today's theatre, what qualities they need to possess, and how a director can use an assistant director most effectively. To come to these conclusions, I analyze my experiences as an assistant director and a director over the last four years, as well as conduct interviews with directors and assistant directors currently working in professional and academic.

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Gasification is a very efficient method of producing clean synthetic gas (syngas) which can be used as fuel for electric generation or chemical building block for petrochemical industries. This study performs detailed simulations of coal gasification process inside a generic two-stage entrained-flow gasifier to produce syngas carbon monoxide and hydrogen. The simulations are conducted using the commercial Computational Fluid Dynamics (CFD) solver FLUENT. The 3-D Navier-Stokes equations and seven species transport equations are solved with eddy-breakup combustion model. Simulations are conducted to investigate the effects of coal mixture (slurry or dry), oxidant (oxygen-blown or air-blown), wall cooling, coal distribution between the two stages, and the feedstock injection angles on the performance of the gasifier in producing CO and H2. The result indicates that coal-slurry feed is preferred over coal-powder feed to produce hydrogen. On the other hand, coal-powder feed is preferred over coal-slurry feed to produce carbon monoxide. The air-blown operation yields poor fuel conversion efficiency and lowest syngas heating value. The two-stage design gives the flexibility to adjust parameters to achieve desired performance. The horizontal injection design gives better performance compared to upward and downward injection designs.

This thesis documents my rehearsal and performance of the role of Tiger in Rajiv Joseph’s Bengal Tiger at the Baghdad Zoo, including research, character analysis, role development, rehearsal journal, and an evaluation of my performance. Bengal Tiger at the Baghdad Zoo was produced by the UNO Department of Film and Theatre, under the direction of David W. Hoover. The play was performed at the Robert E. Nims Theatre of the Performing Arts October 2 - 4, 9 - 11 at 7:30pm, and October 12, 2014 at 2:30pm. The play was performed at the Kennedy Center American College Theatre Festival Region 6 in San Angelo TX, February 23, 2015 at 8pm, February 24 at 11am and 8pm. It was awarded the Director’s Choice Trophy, receiving awards for Distinguished Director (David W. Hoover), Lighting Design (Diane Baas), Scenic Design (Kevin Griffith), and Actor in a Principal Role (John Neisler).

The purpose of this thesis is to investigate factors which influences product launch strategies.

No sudeste e sul do Brasil, os peixes da família Sciaenidae estão entre os peixes mais pescados sobre a plataforma continental interna. O conhecimento da ocorrência tanto espacial quanto temporal dos indivíduos na fase de transformação, que se estabelecem no local onde se desenvolverão, torna-se informação fundamental para o entendimento do ciclo de vida das espécies e, por extensão, para ações de preservação e de manejo de recurso. Porém, descrições das espécies de Sciaenidae na fase de transformação são escassas, impedindo a identificação desses peixes. Neste trabalho são estudadas 22 espécies das 28 de Sciaenidae do sudeste e sul do Brasil no estágio de desenvolvimento de transformação com base em material acumulado nas instituições que mantém coleções de peixe. Séries de crescimento de 16 dessas espécies foram morfologicamente descritas e ilustradas, bem como elaborada uma chave de identificação das espécies que ocorrem na área. A ocorrência espacial e temporal das amostras foram mapeadas, sendo estimada a época de nascimento e confrontada com a literatura sobre crescimento e reprodução. Foi observado que a maioria das espécies se restringe a estuários e baías, em águas rasas, havendo indícios de predomínio da época de nascimento (e portanto, de desova) no verão. / In the southeast and south of Brazil, the Sciaenidae are among the most caught fishes on the shallow waters of the continental shelf. Spacial and temporal occurrence knowledge of individuals at the transformation stage is a fundamental information for understanding the life cycle of the species and, by extension, for preservation and management action. Morphological descriptions of Sciaenidae fishes at that developmental stage are scarce, preventing their taxonomic identification. In this work 22 species from the 28 of Sciaenidae in the southeast and south of Brazil are studied on the transformation stage based on material from the institutions that maintain collections of fish. Series of growth of 16 of these species were morphologically described and illustrated, as well as draft a key to identify the species that occur in the area. The spacial and temporal distribution of the samples were mapped, being estimated the time of birth and faced with the literature on growth and reproduction. It was observed that most species are strict to shallow waters of estuaries and bays, with evidence of the predominance of the time of birth (and therefore spawning) in the summer.

This dissertation demonstrates that seventeenth-century dramatists and theatrical practitioners invented a dazzling series of specialized technologies for representing space. I argue that ubiquitous stage technologies, such as doors, props, musical instruments, and curtains, were used to create a dynamic sense of location—both fictional locations within the represented action and the audience’s location within a specific theater structure. Scholarship on the early modern spatial imaginary has tended to focus on broader cultural changes in how English people understood the world around them, in part through the massive growth of London as an urban center, and in part through England’s burgeoning empire and increasing contact with the world beyond its shores. At the same time, theater scholars have increasingly emphasized the material conditions of theatrical production, including the composition of theatrical companies, the features of different theater buildings, and the nature of costumes and cosmetics. My research extends this theater historical work to show how the details of theatrical practice shaped perceptions of space, including the space of the theater itself as well as the rapidly expanding sense of both urban and global space outside the theater’s walls. My chapters are organized around the different tools used to represent particular types of place, while also tracing a chronological development marked by both continuity and change. In part, this means looking back towards the theatrical traditions out of which this drama sprang, as when I show how the disposition of stage doors in Roman New Comedy or the use of props in medieval morality plays were redeployed by playwrights such as Ben Jonson or Thomas Dekker. I also argue for a more complex relationship than we have assumed between the spatial arrangements of the prewar Shakespearean stage and that of the Restoration. While the introduction of painted scenery is typically taken to mark a break in how space was represented onstage, I establish that playwrights in this era continued to experiment with many of the same spatial techniques used by their precursors in the prewar theaters. By carefully tracing how the same spatial tools – the movement of actors in and out of the doors, the management of discovery spaces, and the positioning of musicians and sound machines – continued to be used alongside the painted scenery, I help us see more clearly how those tools were already active in shaping the perception of theatrical space in the pre-1642 theaters.

A highly effective vaccine against malaria is urgently needed, with leading vaccination strategies involving the induction of protective antigen-specific CD8⁺ T-cells via heterologous prime-boost viral vector immunization, targeting primarily the pre- erythrocytic liver stages of the Plasmodium falciparum lifecycle. To date, the greatest immunogenicity has been obtained through a heterologous prime boost regimen, where vaccination with an Adenoviral vector is followed 8 weeks later by a Modified Vaccinia Ankara virus (MVA) boost. Experimental work directed at providing a greater understanding of CD8⁺ T-cell memory responses induced by Ad-MVA vaccinations lead to the development of a novel vaccine strategy aimed at priming CD8⁺ T-cells in the periphery and subsequently targeting them to hepatic tissue with protein loaded poly(lactic- co-glycolic acid) nanoparticles or recombinant viral vectors. Durable Ag-specific CD8+ T- cells exhibiting a phenotype of tissue-resident memory T-cells were generated in the liver, with a ten-fold increase over the conventional heterologous vector regimen. Importantly, in P. berghei sporozoite challenge models of liver-stage malaria, this strategy was found to result in unprecedented levels of sterile protection across multiple clinically relevant antigens and mouse strains. This prime and target immunization strategy for liver-stage malaria may provide a novel general approach for prevention or immunotherapy against other hepato-trophic pathogens.

Illustrative matter in pocket. / Digitized by Kansas Correctional Industries