A highly sulphated, methylated polysaccharide, aeodan, isolated from the red seaweed Aeodes orbitosa was shown to contain galactose, 2-̲̲O-methyl-D-galactose, 4-O̲-methyl-Lgalactose, 6-O̲-methyl-D-galactose, xylose, and glycerol. The polysaccharide was desulphated with methanolic hydrogen chloride. Periodate oxidation of aeodan and desulphated aeodan, followed by reduction and hydrolysis, revealed the presence of 1,4- and 1,3-linked galactose residues and 1,3-linked 6-O̲-methy l-D-galactose residues in aeodan. Treatment of aeodan with sodium hydroxide revealed that the majority of the ester sulphate groups were alkali stable. Methylation of desulphated aeodan revealed that the polysaccharide was composed entirely of 1,3 and 1,4 links. Methylation of aeodan revealed the presence of 1,3- and 1,4- linked units, 1,3-linked galactose-2-sulphate, and 1,3-linked galactose-2, 6-disulphate units in the polysaccharide. Partial hydrolysis of aeodan resulted in the isolation and characterisation of 3-O̲-D-galactopyranosyl-D-galactose and 4-O̲-ß-D-galactopyranosyl- D-galactose. A sulphated, methylated polysaccharide, phyllymenan, isolated from the red seaweed Phyllymenia cornea was shown to contain galactose, 2-O̲-methyl-D-galactose, 4-O̲-methyl L- galactose , 6-O̲-methyl -D-galactose, and xylose. The polysaccharide was completely desulphated with methanolic hydrogen chloride. Periodate oxidation of phyllymenan before and after desulphation revealed that removal of the sulphate ester groups had not produced any new adjacent hydroxyl groups. Alkali treatment of phyllymenan revealed that the ester sulphate groups were alkali stable. Methylation studies on phyllymenan revealed the presence of 1,3- and 1,4-linked units, 1,3-linked galactose-2-sulphate, and 1,3-linked galactose- 2,6-disulphate units in the polysaccharide. Partial hydrolysis of phyllymenan revealed the presence or 4-O-̲ß- D-Dgalactopyranosyl- D-galactosc, 4-O-̲ß-D-galactopyranosyl -2-0- methyl-D-galactose, a galactosylgalactose composed of D and L-galactose, and adjacent 6-O̲-methyl- and 2-O̲-methyl-D- galactose units in the polysaccharide.

Hot-water extraction of Anatheca dentata, a red seaweed belonging to the family Solieriaceae, yielded a mixture of polysaccharides. Fractionation of this mixture with Cetavlon gave a glucomannan as minor component and a highly sulphated major component, which gave D- and L-galactose, D-xylose and small amounts of 3-0 (underscore)-methylgalactose, pyruvic acid and uronic acid on hydrolysis. All subsequent investigations were carried out on the sulphated major component. The sulphate was not labile to alkali, but was removed with methanolic hydrogen chloride. Periodate oxidation of the polysaccharide before and after desulphation indicated that new a-glycol groups were formed during desulphation. All the xylose units in the polymer were cleaved by periodate and this, together with the fact that the major xylose product from methylation analysis of the desulphated polymer was the 2,3, 4-tri-0 (underscore)-methyl derivative, indicated that the xylose occurs as a non-reducing end-group. Methylation of the desulphated polysaccharide revealed the presence of 1,4- and 1,3- linked D- galactose and 1,4- linked L-galactose units in the polymer. D-Glucuronic acid occurred as non-reducing end-groups. Summary, p. 1.

<p> Developing awareness of the inseparable link between mind and body and their mutually informing relationship is critical to contemporary dancers who want to enhance creativity and somatic intelligence. While there are multiple, if not numerous, approaches to somatic learning and mindful practices, I propose a mindfulness-based dance practicum to achieve a self-reflective and inquiry-based relationship of mind to body. My study was devised over a semester-long exploration in the studio, following six years of studying modalities such as yoga, Bartenieff Fundamentals and mindfulness. Mindfulness can be used as a way to generate and activate movement through the practice of Bartenieff fundamentals, breath work and sensing. The dancer can engage in more profound awareness of bodily sensations and begin to develop a deeper and more exploratory connection to their own body. Through different practices, exercises, and activities to engage students, students are able to let go of the product mentality and dive into the process, encouraging exploration of movement pathways and &lsquo;saying no&rsquo; to the voices that are filled with judgment and fear. Creating this self-practice, students can grow as movers and individuals who interact with the outside world and whose heightened emotional self- awareness encourages greater creativity. Ultimately, a dancer can experience changes in perception of both self and environment that lead to the opening of new vistas of experiences. The goal of this practicum is to provide tools for students to develop and/or heighten their somatic intelligence ultimately discovering their own somatic practice. This not only creates a smarter body but enhances understanding and acceptance of our individual bodies while deepening reflexive practice as a dance artist.</p><p>

My composition May-SHEE-Ka from Atzlan for orchestra and choir creates a sound world that imagines what some of the sounds might have been like when the Mexica people first arrived on the banks of Lake Texcoco in the early development of the Mesoamerican region. This along with my research of the Mexicas musical and cultural practices provides the context for this work for full orchestra and SATB choir. The title of my work May-SHEE-Ka from Aztlan is derived from the pronunciation of the word Mexica in the Nahuatl language of Mesoamerica. Mexica is the name of the nomadic tribe more commonly referred to as the Aztecs. It is believed that the Mexica came from Atzlan, which is said to be the ancestral home of the Nahua peoples, a key cultural group of Mesoamerica. The word Azteca comes from the Nahuatl word for people from Atzlan. The title of this work is my own extraction of this historical understanding.

D’improvviso da immobile s’illumina is a concerto for bass clarinet, two orchestras, piano, and percussion, that I composed during my graduate studies at Florida International University in Miami. The work is approximately 16 minutes long and is scored for 30 independent instrumental parts in addition to the bass clarinet soloist. Although the piece does not incorporate electronics, electronic music was a major influence in its creation, and the computer was used extensively as a compositional tool. In addition, the writings of Henry Cowell and the music of Sofia Gubaidulina influenced the concerto in a number of ways. While writing this work, I had to discover new ways to allow pure instinct to intermingle with strict calculation. This paper will discuss in detail the various techniques used in the creation of the concerto as well as some of the works that influenced it.

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. / Forestry, Faculty of / Graduate

This essay will address the evolving nature of, and diversity, in method types of musical analysis. It will explore the connection between methods and approach types to musical analysis and related conceptions of what constitutes meaning in music. These methods will be largely understood as operating inside given parameters of musical meaning. Following a short history of some of the developments concerning structure in music from the 17th to late 19th century, I will discuss some of the dominant analytical methods and aim to highlight common features between them. I will discuss the different approaches these methods employ and highlight areas where a given method might be seen as using more than one approach. I will then investigate some approaches to composition that fall outside the conventional view of musical meaning and ultimately suggest the application of an eclectic model to musical analysis.

No description available.

Cette thèse pose un regard nouveau sur un discours méconnu qui pourtant, joue un rôle d'influence important dans notre vie quotidienne: celui des banques. À l'aide des théories de l'énonciation, on arrive à dégager de ce discours qui se dit objectif des marques explicites et surtout, implicites, de subjectivité. Par l'analyse des choix lexicaux et des figures présentes dans ces textes, il devient possible de circonscrire un ensemble de valeurs constitutives de l'image et du rôle social que s'attribuent ces puissantes sociétés. Par un ensemble d'exemples tirés des textes entourant le débat sur les projets de fusions bancaires au Canada en 1998, nous arrivons à poser l'hypothèse que le discours des banques se caractérise par sa visée: imposer l'image d'une industrie solide qui se veut au service et à l'écoute des besoins de sa clientèle tout en étant une industrie responsable dont l'ensemble des activités sert les intérêts de tous les citoyens.

Abstract not available.