The reaction of potassiumtetrachloroplatinate with 2-aminothiophenol, yielded a dark blue solid product. This work is about the characterization of this dark blue solid and the investigation of its binding interaction to DNA and enzyme activity. The blue solid product or the &ldquo / blue complex&rdquo / (as we called it in this work) is soluble in acetone, acetonitrile and DMSO yielding a blue solution. It is stable in solution and has a very strong absorption band at 724 nm. The product is paramagnetic and displays one kind of platinum in XPS (platinum binding energies were obtained at 71.1 and 74.6 eV, respectively). The elemental (C, H, N, S, Pt) analysis indicated that the platinum to ligand (2- aminothiophenolate) mole ratio is 1:2. The interpretation of the data collected from elemental analysis and ESR, XPS, NMR, CV measurements leads to conclude that the blue complex prepared in this work is a new platinum blues. This is the first example of platinum blues, in which the bridging ligand is a nitrogen and sulfur donor one. The proposed structure can be visualized as a dimer of binuclear head-tohead isomer of the green product, with C2h symmetry. The band at 724 nm is assigned to an allowed electronic transition from a metal-5dz orbitals based MO to metal-6pz orbitals based MO in tetranuclear core. In order to determine the binding mode of the blue complex to ct-DNA, electronic absorption spectroscopy is employed and hyperchromism about 17.5 percent is observed, which indicates a weak binding of the blue complex to DNA, such as electrostatic interaction of metal ions or H-bonding through the hydroxyl group of the complex. Voltammetric titration carried out in solution suggested the preferential stabilization of Pt(III) to Pt(II) on binding to DNA. The blue complex inhibits the GSTs activity between 45-200 micromolar, in sheep liver GST enzyme. The GST enzymes causes drug resistance, therefore inhibition of this enzyme suggests that this complex can be used in combined chemotherapy.

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This thesis considers how the Black dancing body constitutes both Black history and dance history by reading the body in Pearl Primus' Hard time blues, The Negro speaks of rivers and Strange fruit as physical auto/biography, or what I shall herein refer to as auto/body/graphy. The Black dancing body, because it is a repository of the Black experience, actively engages in the act of self-naming, self-shaping, and self-recognition. As such, it may be considered an auto/body/graphy that is situated in Black history, an instrument through which histories of origin and migration, struggle against oppression and colonialization, and the forging of identities and self-definition are inscribed and communicated. This thesis examines Primus' early choreographies as a discourse through which to consider the impact of Black cultural consciousness and the emergence of a Black aesthetic and Black corpo-reality in dance and theatre on the development of American modern dance before mid-century, and upon later choreographers who followed Primus. / text

This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme.

This study focus on six video tutorials found on YouTube that teach how to improvise blues guitar solos. The study has grounded theory as its theoretical perspective and uses two kinds of scientific observations: unstructured and structured. First unstructured observations were made of all the video tutorials, whereby eleven categories and twelve undercategories was found. These where then used as observational categories for new observations of the video tutorials. The categories where then analyzed and found to be connected through a central category object of teaching (in Swedish: lärandeobjekt) which then was formulated into a grounded theory.

Resumo: Esta pesquisa tem como objeto de estudo a aplicação e adaptação da teoria de Schenker como ferramenta analítica aplicada ao jazz, tendo em vista a possibilidade de encontrar estruturas fundamentais distintas na música popular. Tendo como base as análises feitas por Larson (1998; 2009), Forte (2011) e Stock (1993) a pesquisa abordará, em um primeiro momento, as origens do jazz (blues e ragtime) como parte essencial para sua abordagem analítica, através da ótica etno-schenkeriana proposta por Stock (1993) relacionando o som musical, contexto e comportamento como elementos interdependentes. Em um segundo momento ocorrerá a aplicação das estruturas propostas no blues em peças de jazz, apontando traços de sua evolução com base no pressuposto histórico (HOBSBAWM 1986; GIDDINS 2009), musicológico (FORTE 2011) e etnomusicológico (STOCK 1993) de que as origens folclóricas possuem um papel determinante para o seu desenvolvimento musical. Através desse estudo é possível compreender o desenvolvimento de aspectos particulares do jazz como o tratamento da dissonância e sua ambiguidade melódica, oriundos da miscigenação cultural entre a tradição musical africana (com sua inflexão melódica e de estruturação musical) e a tradição musical europeia (com suas progressões harmônicas e estruturas formais), dentro do contexto afro-americano.

Made available in DSpace on 2016-12-08T17:06:47Z (GMT). No. of bitstreams: 1 122572.pdf: 2024977 bytes, checksum: 267e2777a9a8b05edb914df323b9131e (MD5) Previous issue date: 2015-03-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho é um estudo etnográfico sobre a cena musical blues na cidade de Porto Alegre. A partir da experiência em campo com grupos de blues atuantes na referida cidade, proponho um estudo dessa cena musical com o objetivo de estabelecer um diálogo entre suas definições sobre o blues, bem como sua rede de significados, sob a perspectiva daqueles grupos que tocam, produzem, gravam, escutam e se envolvem com os blues representados pelos agentes envolvidos neste trabalho. Minha interpretação é que o conteúdo expressivo presente no fazer musical dessa cena local, resultado das definições locais sobre o blues e sobre o blues em Porto Alegre, organiza-se em torno de cinco chaves interpretativas: (1) blues como estado de espírito; (2) blues como um veículo de expressão do sujeito; (3) blues e as representações de características sociais expressas no discurso do sujeito; (4) blues de POA como prática musical e interação pessoal; (5) blues de POA como musicalidade local inserida na indústria fonográfica global.

abstract: This thesis discusses the intersection of Christian and Blues exegesis and hermeneutics in the life and lyrics of Eddie "Son" House, a Baptist and Methodist preacher and Blues singer who was born in Lyon, Mississippi. It is intended as a biographical case study that highlights and explores the complex and multifaceted relationship between Black Protestant Preaching and Blues Singing/Preaching. In doing so, it critically appropriates Religious Studies theoretical and methodological considerations, orientations, and insights--particularly those from Charles Long and Paul Ricoeur--to examine the life, artistry, ministry, and lyrics of House in light of his expressed religious orientations and dual, often conflicting roles as a Christian Minister and Blues Preacher. / Dissertation/Thesis / M.A. Religious Studies 2013

This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of Blacks in America as the sole theme.

The changes of the seasons are a phenomenon we as people in many cases are affected by multiple times a year. However, how much this change affects us differs from where in the world you live. In the northern hemisphere, life can change drastically when the sun goes from shining the majority of the day to the day being mostly in darkness during wintertime. Most people are affected by this change somehow, especially the change from brighter days to darker. This is when feelings of community, hopefulness and happiness can be switched out with feelings of loneliness, malaise and even depression. This paper shows that although not all people experience the changes in these black-or-white ways, it is clear that the gray area between not being affected at all or shutting down completely is large and sometimes hard to define.  In this study, we have examined the general outlook towards winter darkness and the experiences of students at Umeå University, Sweden, who moved here from a more southern part of Sweden where the darkness is not as drastically changing during wintertime. We also interviewed the student health team at Umeå University to gain knowledge about however this is something they are working actively against or not. / Förändringarna i årstid är något vi människor utsätts för flera gånger varje år, men hur denna förändring ser ut skiljer sig väldigt mycket beroende på var i världen man bor. I den nordliga delen av världen förändras livet väldigt mycket då man går från sol större delen av dagen till mörker större delen av dagen under vintertid.  De flesta människor påverkas av denna förändring i årstid, framförallt den förändring där vi går ifrån ljusare tider mot mörkare. Här kan känslor av gemenskap, hoppfullhet och lycka bytas ut mot känslor av ensamhet, nedstämdhet och depression. Uppsatsen visar att alla människor självklart inte lider av säsongsförändringarna på detta svart-eller-vitt sätt. I spektrumet av att inte påverkas alls till att sluta fungera på grund av säsongsförändringar så är det tydligt att det finns flera olika svar på hur människor påverkas.  I vår studie har vi undersökt inställningen till vintermörkret och upplevelserna hos studenter på Umeå universitet som flyttat upp till Norrland samt att vi har intervjuat Studenthälsan på Umeå Universitet för att se huruvida detta är något de arbetar aktivt mot.