The foundation of this research was to establish a framework based on ceremonial work, gathering around fires of the longhouse to honour our ancestral wisdom. As a Sḵwx̱wú7mesh, Coast Salish researcher and social work practitioner, I noticed an absence of specific west coast Indigenous and Coast Salish knowledge that would help inform social work practices, experiences and understanding in order to be good helpers and relatives within Indigenous community. I applied the Tl’áḵtax̱an longhouse model as a research methodology framework that guides an approach of traditional story-telling and place- based Coast Salish teachings and weaves together a cedar basket of knowledge. The intention of this study was to explore traditional knowledge that may offer pathways to build relational practice for social workers to form a deeper understanding of how to be good helpers and relatives in community. Respectful practice that is foundational to restore harmony, dignity and repair from colonial harm. / Graduate

Made available in DSpace on 2016-04-25T19:20:40Z (GMT). No. of bitstreams: 1 VandaAzevedo.pdf: 1339417 bytes, checksum: e6245a8175c215420e4f8f05d794efd1 (MD5) Previous issue date: 2006-06-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ìyàmi, primordial mother, deity of practical the religious Afro-Brazilians in its originary symbol, are our object of study. Ìyàmi is basic in the cults of African origin. To study and to investigate the real knowledge on the conception of ìyàmi, its venerability,its influence in the practical one of the cult to òrìsàs, as well as its symbols, its celebration, its prayers and its praises are our objectives. To rescue the identity of Ìyàmi is arduous task, therefore it implies in the overcoming of the preconception and the duturpation reductia vision that if made on the feminine ancestral aspect. Ìyàmi ancestral mother, mythical deity,collective representation of the feminine ancestral genitor entities, deity of practical the religious Afro-Brazilians. Ìyàmi came to Brazil with descendants of populations of Africa Occidental person, primordial, matrix first of which begin all the creation of the material world / Ìyàmi, mãe primordial, divindade das práticas religiosas afro-brasileiras em seu símbolo originário, é nosso objeto de estudo. Ìyàmi é fundamental nos cultos de origem africna. Estudar e investigar os conhecimentos reais sobre a concepção de Ìyàmi, sua venerabilidade, sua influência na prática do culto aos orixás, bem como seus símbolos, sua celebração, suas rezas e suas louvações são os nosso objetivos. Resgatar a identidade de Ìyàmi é tarefa árdua, pois implica na superação do preconceito e da visão redutiva deturpada que se fez sobre o aspecto ancestral feminino. Ìyàmi, Mãe Ancestral, divindade mítica, representação coletiva das entidades genitoras ancestrais femininas, divindade das práticas afro-brasileiras. Ìyàmi veio para o Brasil com descendentes de populações da África Ocidental, mãe primordial, matriz primeira da qual advém toda a criação do mundo material

In Hong Kong, the legislation to protect Declared Monuments is the Antiquities and Monuments Ordinance (Chapter 53), which was enacted in 1976 for the protection of Hong Kong’s heritages. While the Ordinance protects the Declared Monuments, it also prohibits any work being carried out on the Monuments except under permit granted by the Antiquities Authority (a role held by the Secretary for Development). This causes a lot of extra time and effort in carrying out repair and maintenance work on these Monuments. 　　 Besides Declared Monuments, Hong Kong also has an inventory of Graded Historic Buildings, in which such buildings are given Grade I, II and III status with the first grade being of “outstanding merit,” the second of “special merit” and third grade of “some merits.” However, these Graded Historic Buildings have no legal protection, and there is no restriction in the way work is carried out. Under this situation, owners or users of Graded Historic Buildings can carry out their own repair and maintenance work without due consideration of the buildings’ heritage significance. Such heritage insensitive work is most problematic for traditional Chinese heritage buildings mostly found in villages of the New Territories, such as ancestral halls, temples, study halls, village houses and pagodas. Many villagers do not have enough knowledge in repairing and maintaining their heritage buildings, and they employ unsuitable contractors and workers, who carry out the repair and maintenance like the renovation of a modern building. Another problem is that the villagers may not realize the important features of their historic buildings and just replace any damaged or worn parts with new one using modern materials and techniques. They do not have in-depth consideration for the heritage values of the buildings. They think that they can minimize future repair and maintenance problem by shortcuts. For example, paint is applied to fair-face green-brick walls, cement sand mortar is used to repair brick joints. Such works affect the appearance of the historic buildings as well as accelerate the deterioration of the historic building fabric. As explained above, the repair and maintenance of a traditional Chinese heritage building can only be properly done when there is good understanding of the traditional materials and techniques involved. The scope of this dissertation is to contribute to this understanding by documenting the detailed restoration work of a traditional Chinese heritage building type in Hong Kong. The ancestral hall is chosen because it is arguably the most important village building type. The dissertation will focus on a case example – the Tang Ancestral Hall at Ha Tsuen, a Declared Monument. This case is chosen because the author, as a technical staff of the Antiquities and Monuments Office, has been personally involved in the restoration work as well as repair and maintenance work carried out on this building from 2008 to 2014. It would be too large a topic if every detail of the restoration work is documented, and this would exceed the limits of this dissertation. A more feasible scope is to focus on a part of the restoration process to provide a starting point for future researchers to complete the documentation on other parts of the restoration. The restoration of the roof is chosen, because for a traditional building with tile-roof, brick walls and timber structures, the roof is arguably the most important component of the work process. / published_or_final_version / Conservation / Master / Master of Science in Conservation

Made available in DSpace on 2016-08-29T15:09:22Z (GMT). No. of bitstreams: 1 tese_7652_Fernanda Couto.pdf: 1993328 bytes, checksum: 61036f0c8fd9ac88c02c272a9a80e880 (MD5) Previous issue date: 2014-04-11 / Animais híbridos representam um desafio à taxonomia e sistemática, pois correpondem a unidades evolutivas sem clara delimitação morfológica, comportamental e molecular. Híbridos podem ser morfologicamente intermediários aos parentais ou, devido à introgressão e retrocruzamentos, suas características podem se misturar tornando difícil a identificação. No entanto, resultados conflitantes entre dados moleculares provenientes do DNA mitocondrial (DNAmt) e DNA nuclear (DNAn) podem ser devido ao sorteamento incompleto de polimorfismos ancestrais (ILS). Em localidades do Espírito Santo, Brasil, foram coletados indivíduos de morfologia distinta de Trachycephalus mesophaeus e T. nigromaculatus, que são as únicas espécies do gênero conhecidas para esse estado. Porém, estudos piloto usando o gene mitocondrial COI agruparam esses espécimes com amostras de T. typhonius. Devido a estas incongruências, foram sequenciados fragmentos de dois genes mitocondriais (COI e ND2) e um exon nuclear (tirosinase) de 173 indivíduos de Trachycephalus, de forma a clarificar as identificações taxonômicas e investigar a correspondência entre caracteres morfológicos e genéticos nesta linhagem, na sua área de ocorrência As filogenias moleculares, divergências genéticas, redes de haplótipos e polimorfismos de nucleotídeos únicos (SNPs) confirmaram as três espécies acima mencionadas como linhagens evolutivas distintas e revelaram mais sete indivíduos potencialmente híbridos, mas morfologicamente assinalados a uma espécie. Devido à taxa de evolução lenta da tirosinase, as espécies mais recentes T. typhonius e T. nigromaculatus parecem não terem sido sorteadas completamente nesse gene. Já T. mesophaeus é a espécie mais antiga das três e foi recuperada inequivocamente em todas as análises. De forma inédita, as análises moleculares evidenciaram a ocorrência de introgressão bidirecional entre T. nigromaculatus e T. typhonius e entre T. nigromaculatus e T. mesophaeus, sendo que há indícios de indivíduos F1. A utilização do gene ND2 mostrou-se mais eficiente do que o gene COI nas filogenias e, apesar da tirosinase ser um gene nuclear de evolução lenta, contribuiu para a identificação de incongruências citonucleares. Nossos resultados mostram que a história filogenética de Trachycephalus é complexa e que o uso de marcadores nucleares de evolução mais rápida e ampliação dessas análises para outras espécies do gênero podem revelar eventos de hibridação.

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Obra audiovisual para optar al título de realizador de cine y televisión / Al comenzar el invierno, la abuela Paya llega a vivir junto a su hija porque está enferma, mientras que Ayelén, su nieta, lee insistentemente su libro de árboles de Chile. Paya crítica los conocimientos que éste le entrega, por lo que decide introducir a su nieta en la oralidad mapuche, que es fuente de un conocimiento más auténtico que cualquier libro científico. Termina el invierno y Paya se va con él. Ayelén comprende la valiosa cultura que guarda su sangre y es testigo de una transformación.

Master of Visual Arts / Abstract of Dissertation Where a person is situated in space and time determines the way an artwork is perceived. The result of this experience implies a relationship between the viewer and the artwork, thereby creating a liminal space. The terms liminal space and nonduality in this paper refer to the threshold, or in-between space that both separates and unites two opposing forces, creating a unique place that transcends memory and time. An artwork can serve as a mediatory object between artist and viewer because with each encounter, a unique meeting occurs. Thus, the meeting of audience and art object is transitory, ephemeral and temporal by nature and will be discussed in relation to the artwork as a vehicle to foster a subjective perception. Using my ancestral memories as a starting point, I refer to the art object as a means to explore time as a cross section of experience. Like dreams, where time is non-linear and memories exist side by side, I refer to the nondual space that exists between artist, artwork and audience as an opportunity to access an intuitive reaction to perception. The yearning to represent subjective space stems from my desire to understand perception and the brain. By presenting an overview of approaches from art history and contemporary art, this paper will discuss the various philosophical approaches that have been employed to represent space and time. I emphasise the ability of visual art to record the multifarious nature of experience, and the ability of the picture plane as a means to employ illusory and abstract space simultaneously. I have approached the research of time, memory and space through the lens of my own ancestry, which is essentially a combination of eastern and western in origin. Through this model I explore the tendencies throughout art history to depict space and time and the influences that culture and science have had upon the visual arts. My own paintings, and the work of Louise Bourgeois, Amy Cutler and Mamma Andersson are discussed with the intention of describing how the subjectivity of space can be expressed through a method that embraces the theories of nonduality and liminal space. Between the junction of east/west and abstract/illusory space, lies a point of union that I will refer to as ‘transcendent space’. By existing in the nondual, access is granted into a field that transcends the ‘either/or’ and allows access into a temporal space that permeates all experience. Studio work The studio component of the MVA will comprise of a series of paintings and an installation entitled, Only the memories are new. The paintings are of small scale and play with depictions of flatness and illusion. I have referenced Arabic miniatures as a means to employ a vertical perspective, whilst the inclusion of windows and doorways imply an opening to the nondual and the liminal. For the installation, components of the paintings come to life and occupy a space that invites the viewers’ participation. The installation presents an environment that asks the viewer to navigate the space that they occupy by way of memory and time.

This study examines the relationship between indigenous identity, ancestral land, and socio-politics in Brazil. The author analyzes the practices by which contemporary indigenous communities in Brazil physically reclaim their land from cattle ranchers and the impact of these practices on their self-representation, ideology, and social discourse. The first section of the study provides a historical overview of cultural politics from colonization to the 1991 Constitutional Decree that guaranteed Indians' rights allowing for the demarcation of ancestral lands. The second section examines the Xukuru do Ororubá in Northeastern Brazil with a focus on their struggle with local cattle ranchers and government officials as they move from peasant-farmers who rented their ancestral land from fazendeiros (ranchers or plantation owners) to legal occupants of their demarcated territory. The third section introduces the organization made up of Xukuru and non-indigenous advocates at the helm of projects in “sustainability”, and analyzes how and why these projects promote a new subjectivity and become en emblem of indigeneity and land ownership. / text

Master of Visual Arts / Abstract of Dissertation Where a person is situated in space and time determines the way an artwork is perceived. The result of this experience implies a relationship between the viewer and the artwork, thereby creating a liminal space. The terms liminal space and nonduality in this paper refer to the threshold, or in-between space that both separates and unites two opposing forces, creating a unique place that transcends memory and time. An artwork can serve as a mediatory object between artist and viewer because with each encounter, a unique meeting occurs. Thus, the meeting of audience and art object is transitory, ephemeral and temporal by nature and will be discussed in relation to the artwork as a vehicle to foster a subjective perception. Using my ancestral memories as a starting point, I refer to the art object as a means to explore time as a cross section of experience. Like dreams, where time is non-linear and memories exist side by side, I refer to the nondual space that exists between artist, artwork and audience as an opportunity to access an intuitive reaction to perception. The yearning to represent subjective space stems from my desire to understand perception and the brain. By presenting an overview of approaches from art history and contemporary art, this paper will discuss the various philosophical approaches that have been employed to represent space and time. I emphasise the ability of visual art to record the multifarious nature of experience, and the ability of the picture plane as a means to employ illusory and abstract space simultaneously. I have approached the research of time, memory and space through the lens of my own ancestry, which is essentially a combination of eastern and western in origin. Through this model I explore the tendencies throughout art history to depict space and time and the influences that culture and science have had upon the visual arts. My own paintings, and the work of Louise Bourgeois, Amy Cutler and Mamma Andersson are discussed with the intention of describing how the subjectivity of space can be expressed through a method that embraces the theories of nonduality and liminal space. Between the junction of east/west and abstract/illusory space, lies a point of union that I will refer to as ‘transcendent space’. By existing in the nondual, access is granted into a field that transcends the ‘either/or’ and allows access into a temporal space that permeates all experience. Studio work The studio component of the MVA will comprise of a series of paintings and an installation entitled, Only the memories are new. The paintings are of small scale and play with depictions of flatness and illusion. I have referenced Arabic miniatures as a means to employ a vertical perspective, whilst the inclusion of windows and doorways imply an opening to the nondual and the liminal. For the installation, components of the paintings come to life and occupy a space that invites the viewers’ participation. The installation presents an environment that asks the viewer to navigate the space that they occupy by way of memory and time.

L'augmentation du nombre de génomes totalement séquencés rend de plus en plus efficace l'étude des mécanismes évolutifs à partir de la comparaison de génomes contemporains. L'un des principaux problèmes réside dans la reconstruction d'architectures de génomes ancestraux plausibles afin d'apporter des hypothèses à la fois sur l'histoire des génomes existants et sur les mécanismes de leur formation. Toutes les méthodes de reconstruction ancestrale ne convergent pas nécessairement vers les mêmes résultats mais sont toutes basées sur les trois mêmes étapes : l'identification des marqueurs communs dans les génomes contemporains, la construction de cartes comparatives des génomes, et la réconciliation de ces cartes en utilisant le critère de parcimonie maximum. La qualité importante des données à analyser nécessite l'automatisation des traitements et résoudre ces problèmes représente de formidables challenges computationnels. Affiner le modèles et outils mathématiques existants par l'ajout de contraintes biologiques fortes rend les hypothèses établies biologiquement plus réalistes. Dans cette thèse, nous proposons une nouvelle méthode permettant d'identifier des marqueurs communs pour des espèces évolutivement distantes. Ensuite, nous appliquons sur les cartes comparatives reconstituées une nouvelle méthode pour la reconstruction d'architectures ancestrales basée sur les adjacences entre les marqueurs calculés et les distances génomiques entre les génomes contemporains. Enfin, après avoir corrigé l'algorithme existant permettant de déterminer une séquence optimale de réarrangements qui se sont produits durant l'évolution des génomes existants depuis leur ancêtre commun, nous proposons un nouvel outil appelé VIRAGE qui permet la visualisation animée des scénarios de réarrangements entre les espèces / Abstract