Prostaglandin E2, postulated to be immunosuppressive to the tumor bearing host, is produced and excreted in elevated quantities by many tumors. Arachidonic acid, the precursor molecule for PGE2, is released from membrane phospholipids by phospholipase A2. Phospholipase A2 has been proposed as the rate limiting enzyme in the production of prostaglandin E2.Phospholipase A2 from different sources varies in substrate specificities, pH optima, and Ca ++ concentration requirements. Therefore, the determination of its specific activity depends on the development of appropriate incubation, extraction, and identification methodologies.This study attempted to develop methodologies for determination of PLA2 activity using enzymes from snake venom, mouse liver, and normal and tumored mouse mammarytissue. The method of substrate preparation, kind of substrate, amount of protein, length of incubation, and addition of KC1 and deoxycholate were varied. Reaction products were extracted and isolated with hexame, and methylated with diazomethane. The methyl esters were identified by gas liquid chromatography. Quantitative analyses were based on proportionality of experimental peak areas to internal standard peak area.Activity could not be demonstrated with snake venom or liver PLA2 preparations. Low specific activity was obtained in some tumor and normal mammary tissue extracts. These studies will be used as a basis for developing an optimal assay system for PLA2 from normal and tumored mouse mammary tissue.

The purpose of this creative project was to create a functional and aesthetically pleasing line of garments. The goals of this project were to: 1) produce three textile designs (motifs), 2) screen print the textile designs on fabric, and 3) design and construct a functional/aesthetically pleasing garment line using the three original textile motifs. There were several processes involved in creating the end result. The processes involved in this project were designing a motif for fabric, screen printing the designs on to the fabric, and designing and constructing the clothing line.The work of three artists from the Surrealism movement in art history were used as a source of inspiration for designing the motifs printed on the fabric. The three artists were Joan Miro, Salvador Dali and Max Ernst.The images of the motifs were first sketched and redrawn on the MicroDesign I Cad system. The motifs were printed on 100% cotton using the stencil process in screen printing. Five alternating colors were used to print the three different images. After the fabric was printed, three garment designs were created to be constructed using the new fabric. The patterns for the garments were created using the draping method for pattern making.The results of the project were favorable. The fun spirited motifs represented the feel of the Surrealist movement. The completed garments looked like the original illustrations. Although much was achieved through this project, it far exceeded the time expectations for completion. / Department of Family and Consumer Sciences

Dissertation deals with the flow of time and it's influence on the adhesion of memories in mind in terms of the philosophy of Henri Bergson and Gilles Deleuze. Dissetration has two parts- theoretical and practical. The practical part deals with memory of the current time shown on the silkscreen ceramic tiles.

My Master´s thesis is based on my personal experience from one year staing in West Sumatra. Journey was the reason for arising of my thesis and it´s content although little bit inarticulate in the first wiew. My thesis is not travelogue. I deal with it which for many years - women, decoration and "something" what is hidden behind the picture - soal and atmosphere. The name of my thesis is - Journey, reason for picture. Theme of my work is Indonesian tradition - folk versus contemporar. My work takes place on two levels - Wedding and Beauty competition. In boath I deal with formal celebration situation and it's dress code - dress, decor and jewel.

This thesis deals with the development of my own brand, primarily by defining the basic and important information on the topic. Introduces the development of their own brand, its name, logo, color, character and visual forms. A key element of the silkscreen printed prototypes paper products and their presentation on the Web.

This document investigates the concept of why man creates animal images and introduces the influences and focus of the artwork contained in the public exhibition. These original images focus on the similarities between animal and human personalities. Also included is a brief history of each "ink on paper" printmaking process used and a comparison of the results. All of the techniques discussed generally have a photographic process as their basis and use personal photographs and drawings for the foundation of each original print. In conclusion, areas for growth, enhancement, and future work are discussed, including a summary of the personal insights gained through the body of work. This thesis also supports the visual exhibition in the B. Carroll Reece Museum, East Tennessee State University, in fulfillment of the Master of Fine Arts degree.

This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.