The Upper Pearl River and its watershed is the main source of water flowing into the Ross Barnett Reservoir, the City of Jackson’s major drinking water supply. Groundwater characterization of the watershed was achieved by analyzing viable groundwater wells and a groundwater spring best representing the land use and land cover extraction map created. Incorporated surface geology demarcated specific stratum, helping describe the different hydrogeochemical interactions observed. Analysis indicated that chloride and nitrate exceeded the Maximum Contamination Levels (MCLs) possibly contributing to eutrophication in the reservoir. Several of the metal and trace elements analyzed were below the MCLs, with the exceptions of manganese, aluminum, and iron. No pharmaceuticals, pesticides, or industrial residues exists in Carthage and Philadelphia’s groundwater, the largest cities in the region. Conclusively, the watershed’s groundwater contains high concentrations of anions along with metal concentrations associated with the ferruginous sandy-clay surface geology moving closer to the reservoir.

In this thesis I argue that legal punishment is far from perfect, and that the most common defenses used to justify it prove to be unsuccessful when examined closely. I propose that if there exists an alternative, non-punitive, practice capable of achieving the same benefits, then that practice should be preferred over punishment. I then proceed to introduce one such alternative, the theory of pure restitution, and resolve some problems raised by its critics. I ultimately demonstrate not only that pure restitution is capable of achieving the same benefits as punishment, but that it is capable of achieving even further benefits. / Thesis / Master of Arts (MA)

Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, Programa de Pós-Graduação em Artes, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-01-30T09:42:26Z No. of bitstreams: 1 2013_VeraMarisaPugliesedeCastro.pdf: 29066073 bytes, checksum: 8eff92aa278479b1c2eff9941aa2de56 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-01-31T13:18:35Z (GMT) No. of bitstreams: 1 2013_VeraMarisaPugliesedeCastro.pdf: 29066073 bytes, checksum: 8eff92aa278479b1c2eff9941aa2de56 (MD5) / Made available in DSpace on 2014-01-31T13:18:35Z (GMT). No. of bitstreams: 1 2013_VeraMarisaPugliesedeCastro.pdf: 29066073 bytes, checksum: 8eff92aa278479b1c2eff9941aa2de56 (MD5) / A presente investigação se debruça sobre a associação entre os Sudários de Bené Fonteles, que formam a série Sudários / Auto-Retratos, o painel cerâmico Le Chemin de la Croix, de Henri Matisse e a exposição The Stations of the Cross. Lema Sabachtani, realizada em 1966, por Barnett Newman, assim como sobre a natureza desta associação e como ela pode ser abordada pela História da Arte, teórica e metodologicamente. Esta pesquisa trata, portanto, da espessura do olhar entre aquele que vê a obra de arte e a própria obra porque trata dos espaço-tempi em que sua percepção se abre a uma rede de relações. Diante de uma obra nos desfiguramos e reconfiguramos enquanto sua imagem se modifica. Mas quando a obra concerne a uma transformação exemplar, esses conteúdos de desdobram e se redobram em inúmeras questões, como é o caso do tema da transformação mais recorrente em nossa cultura cristã e ocidental, no grande drama expresso pela Paixão. O interesse por essas obras, portanto, foi imposta pela expressa categoria de identificação autoimpingida do artista com o tema, com o pathos do processo de criação e com a temporalidade complexa que a constelação dessas obras acaba por sedimentar. Assim, a investigação levou à reflexão sobre o impacto do jogo entre o pathos e o anacronismo sobre o discurso na História da Arte como montagem de tempos heterogêneos, baseada em pressupostos oferecidos por Aby Warburg, Walter Benjamin e Georges Didi-Huberman. _______________________________________________________________________________________ ABSTRACT / The subject of this PhD research project is the association of Henri Matisse's Chemin de la Croix, Barnett Newman's Stations of the Cross. Lema Sabachtani Exhibition and Bené Fonteles' Sudários, as well as what the order of this association and how it can be brought up by Art History, theoretically and methodologically. Therefore, this research is about of the thickness of the outlook between the one who sees the artwork and the artwork itself, because it talks about the space-times in that perception that opens itself into a web of relations. In front of an artwork we desfigure and reconfigure ourselves as the image modifies. But when the artwork approaches to a model transformation, these contents unfold and refold themselves in numerous questions. That is the case of the more recurrent transformations in our Western Christian culture, in the great drama expressed by the Passion. The interest by these artworks, therefore, was imposed by the artist’s self-inflicted identification category with the subject, with the pathos of the creation process and with the complexity of the temporality that the constellation of these works deposits. Thus, the inquiry induced to the speculation about the impact of the relation between the pathos and the anachronism about the discourse in the Art History as montage of heterogeneous times, based in presuppositions offered by Aby Warburg, Walter Benjamin and Georges Didi-Huberman.

Indiana University-Purdue University Indianapolis (IUPUI) / This study seeks to elucidate the concept of resources at risk as detailed in the Coordinated Management of Meaning (CMM) theoretical framework. Risk is the possibility that a communicator’s resources are in jeopardy of change, and this study seeks to explicate how a communicator places his or her resources at risk. An undergraduate spring break study abroad program was selected as the context for this examination, with six students participating in before and after interviews. Results showed that three types of resources at risk were identified, with a fourth type unable to be identified through transcript analysis. This study demonstrates theoretical and practical implications that further the understanding of CMM and its execution. In addition, limitations and areas for future research are discussed.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Marc Chagall est un artiste juif qui a défié l’interdiction mosaïque de représenter la divinité. Il a entre autres réalisé plusieurs tableaux sur le thème de la Crucifixion, un sujet particulièrement délicat pour un artiste attaché à son identité juive et à un art à tendance autobiographique. Ce mémoire examine les conditions qui ont permis l’adoption et le développement, par Chagall, d’une iconographie revisitée d’un important motif chrétien. Parmi les circonstances qui ont facilité l’hybridation culturelle à laquelle se livre Chagall dans ses Crucifixions, il faut signaler la liberté nouvelle, à la fois au niveau des dispositifs figuratifs et du traitement pictural, apportée par le modernisme dans l’approche des grands genres traditionnels dont relève la peinture religieuse. Dans un tout autre registre, le mémoire se penche sur les circonstances historiques exceptionnelles ayant exercé une pression pour que l’expérience tragique des Juifs du XXe siècle trouve à s’exprimer dans des images à portée universelle. / Marc Chagall is a Jewish artist who challenged the Mosaic interdiction to represent the deity. He has among others in the modern period made several paintings on the theme of the Crucifixion, a particularly sensitive issue for an artist attached to his Jewish identity and practising an art with a strong autobiographical component. This dissertation examines the conditions which allowed the adoption and the development, by Chagall, of an important Christian subject whose iconography he freely revisited. Among the circumstances that facilitated the cultural hybridization in which Chagall engaged in his Crucifixion, we must point out the new freedom, both at the level of figurative devices and pictorial treatment, brought by modernism in the approach of major traditional genres to which religious painting belongs. On a quite different register, the dissertation examines the exceptional historic circumstances met by Chagall before and during the execution of the Crucifixions. These circumstances have exerted pressure that allowed the tragic experience of the Jews of the XXth century to find expression in images of universal significance.

"June 2003" 2 maps in pocket on back cover. Bibliography: leaves 285-308. This thesis critically examines the processes involved in the construction of the linguistic historical record for the north-west region of South Australia. Focussing on the work of Norman B. Tindale, the thesis looks at the construction of Tindale's Pitjantjatjara, Yankunytjatjara and Antikirinya representations. It argues that Tindale effectively reduced a diversity of indigenous practices to ordered categories more reflective of Western and colonial concepts than indigenous views. Tindale did not consider linguistic criteria in depth, had few informants, worked within arbitary tribal boundaries, was biased towards the category 'Pitjantjatjara' and was informed by notions of racial/linguistic purity. These factors which shaped the linguistic record must be taken into account when interpreting records for use as historical and native Title evidence.

"June 2003" / 2 maps in pocket on back cover. / Bibliography: leaves 285-308. / xiv, 308 leaves : ill., maps ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This thesis critically examines the processes involved in the construction of the linguistic historical record for the north-west region of South Australia. Focussing on the work of Norman B. Tindale, the thesis looks at the construction of Tindale's Pitjantjatjara, Yankunytjatjara and Antikirinya representations. It argues that Tindale effectively reduced a diversity of indigenous practices to ordered categories more reflective of Western and colonial concepts than indigenous views. Tindale did not consider linguistic criteria in depth, had few informants, worked within arbitary tribal boundaries, was biased towards the category 'Pitjantjatjara' and was informed by notions of racial/linguistic purity. These factors which shaped the linguistic record must be taken into account when interpreting records for use as historical and native Title evidence. / Thesis (Ph.D.)--University of Adelaide, School of European Studies and General Linguistics, 2003

A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework. / text

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Marc Chagall est un artiste juif qui a défié l’interdiction mosaïque de représenter la divinité. Il a entre autres réalisé plusieurs tableaux sur le thème de la Crucifixion, un sujet particulièrement délicat pour un artiste attaché à son identité juive et à un art à tendance autobiographique. Ce mémoire examine les conditions qui ont permis l’adoption et le développement, par Chagall, d’une iconographie revisitée d’un important motif chrétien. Parmi les circonstances qui ont facilité l’hybridation culturelle à laquelle se livre Chagall dans ses Crucifixions, il faut signaler la liberté nouvelle, à la fois au niveau des dispositifs figuratifs et du traitement pictural, apportée par le modernisme dans l’approche des grands genres traditionnels dont relève la peinture religieuse. Dans un tout autre registre, le mémoire se penche sur les circonstances historiques exceptionnelles ayant exercé une pression pour que l’expérience tragique des Juifs du XXe siècle trouve à s’exprimer dans des images à portée universelle. / Marc Chagall is a Jewish artist who challenged the Mosaic interdiction to represent the deity. He has among others in the modern period made several paintings on the theme of the Crucifixion, a particularly sensitive issue for an artist attached to his Jewish identity and practising an art with a strong autobiographical component. This dissertation examines the conditions which allowed the adoption and the development, by Chagall, of an important Christian subject whose iconography he freely revisited. Among the circumstances that facilitated the cultural hybridization in which Chagall engaged in his Crucifixion, we must point out the new freedom, both at the level of figurative devices and pictorial treatment, brought by modernism in the approach of major traditional genres to which religious painting belongs. On a quite different register, the dissertation examines the exceptional historic circumstances met by Chagall before and during the execution of the Crucifixions. These circumstances have exerted pressure that allowed the tragic experience of the Jews of the XXth century to find expression in images of universal significance. / Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.