Polar bears are found in Canada in a region which lies between the 60th and 95th meridians and the 63rd and the 75th parallels. They are particularly abundant in Northern Baffin Island, Southampton Island, Simpson Peninsula, and the small islands near Cornwallis Island. [...]

Riparian areas connect terrestrial and aquatic environments. The objectives of this research were to compare the vegetation community composition and structure eight years after harvesting and to explore successional trends among buffer widths at year eight after disturbance and in a chronosequence. A series of small clearcuts were harvested in 1998 in a 70 year old second growth stand at the Malcolm Knapp Research Forest and 0m, 10m and 30m reserve zones were established adjacent to the streams. Each treatment was replicated 3 times and 3 unharvested streams were identified as controls. Overstory and understory vegetation was measured annually from the year of harvest. Canopy density was measured using a densiometer. For comparative purposes, four vegetation plots were added in riparian areas within an 1868 and an old-growth stand during the summer of 2006. Eight years after harvesting, understory vegetation development is affected by buffer width due to higher light levels, and species richness in the 10m and 0m buffers is higher than in the 30m buffer and control. Shrubs and deciduous trees dominate the 0m and 10m buffer treatments. Proximity to the stream does not affect the composition and abundance of species with the exception of herbs and mosses. In the 10m and 30m buffer treatments, up to 15% overstory trees were windthrown in the first 2 years after harvest producing large canopy gaps. Consequently, the understory development in the 10m and 30m buffers is more like that in the 1868 and old-growth stands than in the controls, but these treatments still lack the very large trees and microsite heterogeneity of the older stands. In the unharvested controls, self-thinning continues and there has been 30% mortality of mostly smaller trees over the past 8 years. However, overstory density remains high. The 0m buffer was quickly colonized by shrubs and ferns and within the last 2 years has become dominated by juvenile deciduous trees. Overall, the 10m buffer balances timber production with the maintenance of overstory and understory structure dynamics. The combined effect of light from the edge and partial windthrow is accelerating succession towards a more mature or ‘old-growth’ condition.

The final issue of Assemblage marks a new form of discourse in architecture: compilations of short responses to general provocations about architecture from numerous writers active in the field. Why are polls of this nature being taken now? The provocations imply a fundamental uncertainty, a gnawing existential angst. This trend relates to a current fascination in the broader architectural discourse with self-organizing systems. Yet self-organizing discourse fails to resolve the fundamental issues concerning architecture. In fact, soliciting input and disseminating it in this fashion, with no attempt at synthesis, provides a false sense of accomplishment. This shifts focus away from the question generating crisis and may contribute to dissolution of the discipline of architecture as we know it through appropriation by an emerging body of thought on the broader role of creativity and aesthetics in culture. The question then becomes, who cares? Architectural autonomy and critical practice are at stake.

Plant growth, fruit yield and composition of nutritional constituents of bakeapple and partridgeberry were monitored and analyzed over 2011 and 2012 growing seasons. Data were collected from three locations on different latitudes at Lanse’au Clair, Red Bay and Cartwright in southern Labrador. Soluble solids content, titratable acidity, total phenolics, total anthocyanins, chlorogenic acid, caffeic acid, quercetin-3-glucoside, cyanidin-3-glucoside and ellagic acid (bakeapple only) were determined by using standard laboratory procedures. The fruit yields were higher than in Finland, Norway and USA. Temperature, precipitation and other environmental factors can affect growth and composition of harvested fruits. Soluble solids content, titratable acidity, anthocyanin, chlorogenic acid and cyanidin in partridgeberry and phenolic compounds and anthocyanins of bakeapple were significantly (P<0.05) affected by the combination of growing season and location. To our knowledge this is the first comprehensive study of plant growth, yield, and fruit composition of partridgeberry and bakeapple conducted in southern Labrador.

Light Traveller is motivated by the works of Czech photographer Josef Sudek. Masterfully portraying contrasts of light and dark in his black and white photography, Sudek has been described as a &ldquo;traveler in light&rdquo; for his photography work. In creating this orchestral composition, I was interested in exploring compositional methods that aurally express how Sudek manages space, texture, and most specifically the use of light and dark variances in his photos. I consulted specific collections of photographs from his body of work. The subject materials in these photographs became metaphors that I explored sonically. Light Traveller is structured into four main sections: a beginning section, two middle sections, a final section that recapitulates ideas from the first section, and lastly a coda at the end of the final section. This work embraces measured and deliberate pacing, and is mainly concerned with exploring the range of timbre and resonance possibilities that the orchestra is capable of creating. The composition utilizes static harmonies and slowly unfolding harmonic changes. Quarter tones are employed as a means of expanding the colour and harmonic palette used for this composition. Differing textures are generated through intricate rhythmic materials, gradually moving materials, and static material.

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This dissertation revises the historical narrative of critical pedagogy in college writing classrooms. It argues that the key principles of critical pedagogy, first articulated by Paulo Freire in Pedagogy of the Oppressed, were practiced by a number of pedagogues as early as the eighteenth century. It examines the teaching practices of these men and shows that they anticipated the methods of critical pedagogy. This dissertation spotlights the need to reinterpret the history of critical pedagogy and to select a wider lens through which to understand the current pedagogical scene. Chapter I defines critical pedagogy as method and explains the Freirean project. Chapter II locates parallels between critical pedagogy and the process and expressive pedagogies of the late 1960s and early '70s. Specifically, it argues that the works of Peter Elbow and Donald Murray embody the principles of critical pedagogy. Their emphasis on the epistemological power of language, for example, prefigures the theoretical foundation upon which Freire constructs his critical methodology. Chapter III argues that the pedagogical advancements of I. A. Richards in the early twentieth century anticipated the teaching methods of critical pedagogy, especially insofar as they established student-centered writing classrooms. Richards's attempts to place student interpretations at the center of the course situate his pedagogy more comfortably among contemporary approaches to writing instruction like critical pedagogy than it does among the formalist approaches to which he is generally linked. Chapter IV argues that Isaac Watts and Philip Doddridge, two eighteenth-century educators, employ teaching methods that parallel contemporary critical pedagogy. Foremost, Watts and Doddridge create participatory learning environments that center on practical subjects. They are among the first educators to teach in the English vernacular and to supplement the traditional classical curriculum with new learning. Chapter V examines the historical contexts in which these preludes to critical pedagogy emerge and shows that Murray, Elbow, Richards, Watts, and Doddridge taught at times when educational access was expanding. It argues that their pedagogies developed in an effort to address classroom diversity and to discover strategies for bringing people into dialogue with each other about the world.

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