We study the spin dynamics in a high-mobility two dimensional electron gas (2DEG) system with generic spin-orbit interactions (SOIs). We derive a set of spin dynamic equations which capture the purely exponential to the damped oscillatory spin evolution modes observed in different regimes of SOI strength. Hence we provide a full treatment of the D'yakonov-Perel's mechanism by using the microscopic linear response theory from the weak to the strong SOI limit. We show that the damped oscillatory modes appear when the electron scattering time is larger than half of the spin precession time due to the SOI, in agreement with recent observations. We propose a new way to measure the scattering time and the relative strength of Rashba and linear Dresselhaus SOIs based on these modes and optical grating experiments. We discuss the physical interpretation of each of these modes in the context of Rabi oscillation. In the finite temperature, We study the spin dynamics in the presence of impurity and electron-electron (e-e) scattering in a III-V semiconductor quantum well. Starting from the Keldysh formalism, we develop the spin-charge dynamic equation at finite temperature in the presence of inelastic scattering which provide a new approach to describe the spin relaxation from the weak to the strong spin-orbit coupling (SOC) regime. In the weak SOC regime, our theory shows that when the system is near the SU(2) symmetry point, because the spin relaxation due to DP mechanism is suppressed dramatically, the spin relaxation is dominated by the Elliott-Yafet (EY) mechanism in a wide temperature regime. The non-monotonic temperature dependence of enhanced-lifetime of spin helix mode is due to the competition between the DP and EY mechanisms. In the strong SOC regime, the our theory is consistent to the previous theoretical results at zero temperature.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaf 93). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaf 93). Also available on the Internet.

Thesis (M.A.)--Briercrest Biblical Seminary, 2001. / Abstract. Includes bibliographical references (leaves 81-83).

Thesis (M.A.)--Memorial University of Newfoundland. / Typescript. Bibliography: l. 112-117. Also available online.

Thesis (Ph. D.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 185-192).

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En 1969, le gouvernement de Pierre Elliott-Trudeau réalisa la plus grande expropriation de l’histoire du pays au nom du développement, pour construire le plus grand aéroport au monde : Mirabel. Le projet fut un cuisant échec pour plusieurs raisons sociales, politiques et économiques. Ce mémoire se concentre surtout sur les impacts post-expropriation sur la population de Mirabel et le positionnement politique de ces-derniers. / In 1969, the government of Pierre Elliott-Trudeau made the biggest expropriation of all time in the history of the country. The project was a total failure for social, political and economic reasons. This study focuses on the post-expropriation impact on the population of Mirabel and their political positioning.

En 1969, le gouvernement de Pierre Elliott-Trudeau réalisa la plus grande expropriation de l’histoire du pays au nom du développement, pour construire le plus grand aéroport au monde : Mirabel. Le projet fut un cuisant échec pour plusieurs raisons sociales, politiques et économiques. Ce mémoire se concentre surtout sur les impacts post-expropriation sur la population de Mirabel et le positionnement politique de ces-derniers. / In 1969, the government of Pierre Elliott-Trudeau made the biggest expropriation of all time in the history of the country. The project was a total failure for social, political and economic reasons. This study focuses on the post-expropriation impact on the population of Mirabel and their political positioning.

Examination of the relationship of musicianship and educatorship of teacher and students as interacting partners in a specific musical context proceeded with investigation of how formal, informal, impressionistic, and supervisory musical and educational knowledge were evidenced in rehearsal. Attention was also given to how the teaching strategies of modeling, coaching, scaffolding, fading, articulating, reflecting comparatively, and exploring were used to develop student musicianship. The research methodology may best be described as an inductive analytical case study approach. Multiple data sources included: videotaped observations of 19 bi-weekly rehearsals, audio taped interviews of the 12 participants, supplemental materials, (a published interview, journal articles, rehearsal schedules), and member checking with the teacher and David Elliott. Rehearsal data were initially organized into categories identified in David J. Elliott's (1995) model. The relationship of teacher and student musicianship, and teacher educatorship emerged during analysis. Musical details of problem finding, reducing and solving were also identified. Three themes emerged from the student interviews: their perceptions of the teacher's musicianship, general rehearsal strategies, and the teacher's use of specific teaching strategies. Interviews with the teacher illuminated his perception of musicianship and teaching strategies employed in the context. The findings confirmed that as music making transpired in the rehearsals, the kinds of knowing present in the musicianship of teacher and students and the teacher's educatorship were not only intertwined but were utilized at the same time. The level of student musicianship was allied to the relationship of the teacher's musicianship and educatorship. The intricate relationship between the kinds of procedural knowledge that Elliott identifies as integral to music making and music teaching are illustrated in a set of diagrams. Additionally, they show the wide range of technical and musical problems the teacher and students solved together in order for the multifarious nature of the vocal jazz repertoire to be performed effectively in a series of concerts.