Chemical inhibition of acid production by acidophilic thiobacilli was tested using a variety of metals and chelators (alone and in combination) including Hg(II), Ag(I), Co(II), Mo(VI), Cu(II), Zn(II), Cd(II), EDTA and NTA. When tested individually, Hg(II) and Ag(I) showed toxic effects at concentrations of 10-5 M and below; Cd(II), Zn(II) and NTA were noninhibitory at millimolar concentrations. Combination experiments showed both synergistic and antagonistic effects on chemical toxicities. Antagonism was apparent in experiments involving Cu(II)-EDTA, Cu(II)-Fe(III) and Cu(II)-Co(II). Synergism was apparent in experiments involving simultaneous addition of Mo(VI), Cu(II), Co(II) and Zn(II). In general, inhibitors either completely blocked or delayed the onset of acid production. In those cases where delayed reactions were observed, acid production began following an acclimation period on the order of days to weeks. Acclimation and metals speciation experiments suggest that adaptation events are due to biologically dependent changes in inhibitor speciation.

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År 2009 hade dokumentärfilmen Bananas!* premiär. Filmen skildrar rättegången i en långdragen konflikt mellan nicaraguanska bananarbetare och fruktföretaget Dole, där skadliga bekämpningsmedel anses ha gjort bananarbetare sterila. Bananas!* skapade debatt inför premiärvisningen vid Los Angeles filmfestival, då Dole ansåg att filmens innehåll bar på osanning, och ville stoppa filmen. Efter visningen stämde Dole filmens regissör Fredrik Gertten, producenten Margarete Jangård och filmbolaget WG Film. Detta blev starten på en kamp mellan ett företag och ett journalistiskt arbete, och en medial uppståndelse blev till. Den här uppsatsen undersöker hur tidningar i USA och Sverige rapporterade om konflikten kring Bananas!*. Tidningarna Los Angeles Times och Sydsvenskan analyseras för att ta reda på hur olika karaktärer i konflikten framställdes. Breven och den stämningsansökan som Dole skickade, där företaget uttryckte sin misstro gentemot filmen, analyseras även för att ta reda på hur Dole ramade in händelsen och hur detta kan ha påverkat tidningarnas rapportering. Detta med hjälp av teorier som framing, nyhetsvärdering och nyhetsretorik. Resultatet av denna undersökning visar att framställningen av karaktärerna skiljer sig åt i de två tidningarna. I Sydsvenskan är den generella framställningen av Fredrik Gertten positiv och av Dole negativ, medan framställningen av bananarbetarna och advokaten Juan Dominguez blir något positiv. Los Angeles Times framställer Dominguez, och delvis bananarbetarna, på ett negativt sätt, medan Dole och Gertten till stor del blir neutrala i dessa artiklar. Undersökningen visar även att Doles inramning av konflikten kan ha påverkat vad tidningarnas rapportering fokuserade på, där Sydsvenskan fokuserade mer på Doles felaktiga agerande och deras stämningsansökan medan Los Angeles Times rapportering överensstämmer med Doles inramning.

From the release of their first single “Surfin’” in 1961 to the release of the album Pet Sounds in 1966, rock history traces the arc of the American rock group the Beach Boys in broad terms of the early-sixties Southern California surf music trend and the revolutionary effects of the Beatles’ stateside arrival in 1964. Typical claims for progress, autonomy, the significance of the album, and myths of authenticity in the study of the emergence of the rock concept, however, tend to promote an essentialist understanding of what rock music is about and what it is for. This study proposes an alternative narrative in which the regulating dichotomies of rock—art versus commerce, seriousness versus schlock, the authentic versus the inauthentic— are historicized, in the case of the Beach Boys’ transition from surf band to a complex studio recording project, as matters of creative practice and conflicting sensibilities. Questioning the conventional wisdom of rock history, this project suggests a counter-story about the significance of creative achievement, failure, and advancement

Before addressing how gentrification affects a community, there must be an explanation of how gentrification looks at a community. Tom Borrup in Protecting Cultural Space or Urban Re-colonization: When Do Cultural Districts Cross the Line? refers to cities as “cultural districts” and defines “progenitors” and “driving forces” (Borrup, 2015). Progenitors are “people who feel a sense of attachment to a neighborhood such as those who live, work, and operate small businesses there…often active in and integral to the formation of cultural districts and to the identity the community adopts” (Borrup, 2015). Based on Borrup’s definition of progenitors, this paper will identify residents, small businesses, property owners, non-profits and artists as progenitors of a community.

This paper aims to investigate how film neo-noir functions as an ideal medium to engage in a postmodernist critique of our society, focusing on its negotiation in the city of Los Angeles. Through incorporating postmodernism theorists Fredric Jameson and Linda Hutcheon’s arguments of the themes of the Nostalgia Mode, Parody and Pastiche, and the Decentered, Destructured and Dehumanized, this paper will demonstrate how they manifest in neo-noir’s Los Angeles to totalize contradictions in society and evoke a critical awareness.

Memoria (arquitecto) / Desarrollar este proyecto de arquitectura, ha significado encontrar nuevas trazas, vestigios, leyes y referencias para la ocupación y reconstrucción de un fragmento de esta ciudad Los Ángeles, y durante su desarrollo se han ido acumulando imágenes, papeles, lápices, planos, conversaciones, dibujos y otras referencias que se han transformado en mucho más que información. Trabajar en Los Ángeles es, por un lado, una inquietud de reconocer y reconocerme, así como una manera de enfrentar e intervenir un lugar ausente de programa específico, pero repleto de actividades espontáneas y colectivas que permiten pensar en una manera de entregar este lugar a la ciudad y a su gente. Esta memoria, se ha desarrollado como una investigación de esas mismas inquietudes y condicionantes de la ciudad de Los Ángeles, de sus habitantes y de su realidad, y está aquí para complementar el proceso que significó desarrollar este proyecto de arquitectura. Es por este motivo que (esta memoria) se manifiesta como una serie de capítulos, que son en definitiva, la serie de pasos que hubo que llevar a cabo para concretar este proyecto, donde entre ellos no existe una jerarquía y están dispuesto de manera secuencial en el tiempo, del mismo modo como se necesitaron para la elaboración del proyecto de título, una suerte de bitácora… más bien, una bitácora de estudio de arquitectura. Así presento esta memoria, de este proyecto de título en el cual la ciudad me dio muchas más cosas que sólo un soporte donde trabajar, lugar que alimentó mis preguntas, que reconstruyó mis recuerdos y me permitió explorar en sus espacios otorgándome nuevas lecturas de sí misma, y sobre todo de mi mismo

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Orientador: Renata Coelho Marchezan / Banca: Arnaldo Cortina / Banca: Matheus Nogueira Schwartzmann / Banca: Maria de Lourdes O. G. Baldan / Banca: Rubens César Baquião / Resumo: Tanto sucesso de bilheteria quanto possível desafeto da crítica canônica, de fato, o cinema hollywoodiano é um tema pouco presente em teses brasileiras. Nos entornos dessa relação, ora contratual, ora polêmica (entre público, crítica e arte), serão descritas as estratégias semióticas no âmbito dos processos de significação inerentes ao cinema, de maneira a explicar, a partir dos processos semióticos visuais, a organização dos ritmos de expressão e de conteúdo possíveis que os filmes de Hollywood contemporâneos são capazes de manifestar. Ao explicar a organização dos planos de conteúdo e de expressão dos filmes mais vistos na primeira década deste século, defendem-se hipóteses em torno dos diferentes tipos de estrutura fílmica, conforme a incidência de ritmos paratáticos e hipotáticos (com efeito predominantemente sintagmático ou paradigmático), de aspecto contínuo ou descontínuo. Essas noções terão como ponto de partida os conceitos estruturalistas (Saussure, Roman Jakobson, Christian Metz) e como ponto de chegada a semiótica discursiva (Algirdas J. Greimas e Joseph Courtés), a plástica (Jean-Marie Floch), e a do ritmo (Louis Hébert). O corpus é organizado a partir dos filmes mais vistos na última década, de 2001 a 2010 (segundo o site Box Office Mojo). Será examinado um conjunto de unidades significantes (as sequências relevantes) de quatro filmes mais vistos: Avatar (2009), de James Cameron, Piratas do Caribe - o baú da morte (2006), de Gore Verbinski, Toy story 3, de Lee Unkrich (2010), e O Senhor dos anéis - o retorno do rei, de Peter Jackson (2003). Tendo como meta a descrição dos processos de significação na linguagem cinematográfica, serão estabelecidos critérios semióticos que ajudem a observar as relações estruturais pertinentes nos filmes em questão (quando possível, comparando-os a outras semióticas visuais e verbovisuais), a fim de indicar diferenças e... / Abstract: Both box office success and possible disaffection of canonical criticism, in fact, the Hollywoodian cinema is a theme not too attractive in Brazilian academic theses. In the surroundings of this relationship - sometimes contractual, sometimes controversy (since they involve different opinions amongst public, critics and art) - it is necessary to describe the semiotics strategies within the meaning processes inherent to the movies, in order to explain, by means semiotics visual processes theory, the organization of expression rhythms and content rhythms that contemporary Hollywood films are able to manifest. In explaining the organization of plane of content and plane of expression of the most viewed films on the first decade of this century it is possible to defend hypotheses on different types of film structure, as the incidence of paratactic and hypotactic rhythms (with predominantly syntagmatic or paradigmatic effects), which aspect can be continuous or discontinuous. These concepts have a starting point on the structuralism (Saussure, Roman Jakobson, Christian Metz) and an arrival point on discursive semiotics (Algirdas J. Greimas and Courtes Joseph), also on the plastic approach (Jean-Marie Floch ) and on the studies of rhythm (Louis Hébert). The corpus is organized from the most viewed films in the last decade, from 2001 to 2010 (according to Box Office Mojo website). A set of significant units (the relevant sequences) four most watched movies will be analized: James Cameron's Avatar (2009), Gore Verbinski's Pirates of the Caribbean (2006), Lee Unkrich's Toy Story 3 (2010) and Peter Jackson's Lord of the Rings (2003). In order to describe the processes of meaning in film language, semiotic principles will be established to help observe and analize the relevant structural and resemblances in the movies mentioned (when possible, comparing them to other visual and verbal visual objects), to indicate differences and ... / Doutor

This thesis examines the effect of neighborhood crime rates on childhood obesity in Los Angeles County over a five-year period 2012-2016. Using yearly pooled cross-sectional geocoded data from the University of Southern California (USC) Price Center for Social Innovation Neighborhood Data for Social Change (NDSC) interactive platform, I run multiple ordinary least squares regressions using different measures of crime to determine if neighborhoods with higher crime rates influence the unhealthy percentage of 5th, 7th, and 9thgrade public school students. I hypothesize that crime influences obesity, violent crime has a stronger correlation than property crime, and that greater parks access reduces obesity. My regression results fail to support hypotheses one and two. Hypothesis three is supported by the available data.