Dans le domaine de l’optique, les savants ont réfléchi, depuis l’Antiquité, aux couleurs. Dans les beaux-arts, par sa nature accidentelle, la couleur a été traitée comme un élément inférieur au dessin. L’enseignement scolaire a suivi cette tendance. Cependant, au milieu du XIXe siècle, apparaissent divers ouvrages de vulgarisation traitant des couleurs. Leur point de vue est alors le savoir-vivre, l’éducation, l’ésotérisme, l’optique, l’art ou la technologie. Notre thèse a pour objectif de comprendre en quoi le traitement des couleurs est original dans les poèmes en vers de Rimbaud, en relation avec l’épistémè du XIXe siècle. Dans les poèmes de Rimbaud, les couleurs parlent du poète ; de son éducation, ses préoccupations, sa pensée politique ou religieuse et même l’enjeu poétique de son œuvre. Nous nous sommes concentré sur le symbole des couleurs, négligé jusqu’à présent, et sur les effets physiologiques et les impressions visuelles dont Goethe ou Chevreul ont traité. Rimbaud n’invente ni les couleurs spectrales, ni les correspondances entre sons et couleurs, ni le symbolisme des couleurs. Il s’inspire d’idées existantes, et les combine pour inventer une nouvelle langue poétique. Il superpose les couleurs symboliques provoquant des associations d’idées, aux couleurs spectrales. Dans « Voyelles », le poète implique sa méthode dans la description de l’arc-en-ciel, dans l’évocation sonore des lettres de l’alphabet grec et dans le symbolisme de cinq couleurs. L’originalité de sa démarche tient à la convergence de ses différents moyens d’expression. C’est cet emploi des couleurs qui contribue à la création d’une nouvelle langue poétique. / In the field of optics, scientists have studied colors since ancient times. In Arts, because of its accidental nature, color is treated as a element lower than drawing. School education has followed this tendency to neglect the color. However, during the mid-nineteenth century appeared various books about colors, in the fields of etiquette, education, esotericism, optics, art and technology. Our objective is to find what makes the use of colors unique in the verse poems of Rimbaud, in consideration of the nineteenth century episteme. In his poems, colors speak of the poet; his education, his concerns, his political or religious thought and his poetics. We focused on the symbols of colors, which was neglected so far, and on the physiological effects and visual impressions treated by Goethe and Chevreul. Rimbaud do not invent neither the spectral colors, nor the correspondences between sounds and colors, nor color symbolism. He draws inspiration from existing ideas, and combines them to invent a new poetic language. He superimposes symbolic colors creating associations of ideas, on spectral colors, which maintain order in optics. In "Voyelles", he introduces his poetics through the description of a rainbow, the sonorous evocation of letter of the Greek alphabet, and the symbols of five colors. The originality of his approach lies in the convergence of its different means of expression. His use of color thus leads to the creation of a new poetic language.episteme. In his poems, colors speak of the poet; his education, his concerns, his political or religious thought and his poetics. We focused on the symbols of colors, which was neglected so far, and on the physiological effects and visual impressions treated by Goetheand Chevreul. Rimbaud do not invent neither the spectral colors, nor the correspondences between sounds and colors, nor color symbolism. He draws inspiration from existing ideas, and combines them to invent a new poeticlanguage. He superimposes symbolic colors creating associations of ideas, on spectral colors, which maintain order in optics. In "Voyelles", he introduces his poetics through the description of a rainbow, the sonorous evocation of letter of the Greek alphabet, and the symbols of five colors. The originality of his approach lies in the convergence of its different means of expression. His use of color thus leads to the creation of a new poetic language.

This study was aimed at exploring data analysis techniques for generating accurate estimates of the loss in quality of fresh fruits, vegetables and cut flowers in chilled supply chains based on data from advanced sensors. It was motivated by the recent interest in the application of advanced sensors, by emerging concepts in quality controlled logistics, and by the desire to minimise quality losses during transport and storage of the produce. Cut roses were used in this work although the findings will also be applicable to other produce. The literature has reported that whilst temperature was considered to be the most critical post-harvest factor, others such as growing conditions could also be important in the senescence of cut roses. Kinetic modelling was the most commonly used modelling approach for shelf life predictions of foods and perishable produce, but not for estimating vase life (VL) of cut flowers, and so this was explored in this work along with multiple linear regression (MLR) and partial least squares (PLS). As the senescence of cut roses is not fully understood, kinetic modelling could not be implemented directly. Consequently, a novel technique, called Kinetic Linear System (KLS), was developed based on kinetic modelling principles. Simulation studies of shelf life predictions for tomatoes, mushrooms, seasoned soybean sprouts, cooked shrimps and other seafood products showed that the KLS models could effectively replace the kinetic ones. With respect to VL predictions KLS, PLS and MLR were investigated for data analysis from an in-house experiment with cut roses from Cookes Rose Farm (Jersey). The analysis concluded that when the initial and final VLs were available for model calibration, effective estimates of the post-harvest loss in VL of cut roses could be obtained using the post-harvest temperature. Otherwise, when the initial VLs were not available, such effective estimates could not be obtained. Moreover, pre-harvest conditions were shown to correlate with the VL loss but the correlation was too weak to produce or improve an effective estimate of the loss. The results showed that KLS performance was the best while PLS one could be acceptable; but MLR performance was not adequate. In another experiment, boxes of cut roses were transported from a Kenyan farm to a UK distribution centre. Using KLS and PLS techniques, the analysis showed that the growing temperature could be used to obtain effective estimates of the VLs at the farm, at the distribution centre and also the in-transit loss. Further, using post-harvest temperature would lead to a smaller error for the VL at the distribution centre and the VL loss. Nevertheless, the estimates of the VL loss may not be useful practically due to the excessive relative prediction error. Overall, although PLS had a slightly smaller prediction error, KLS worked effectively in many cases where PLS failed, it could handle constraints while PLS could not.In conclusion, KLS and PLS can be used to generate effective estimates of the post-harvest VL loss of cut roses based on post-harvest temperature stresses recorded by advanced sensors. However, the estimates may not be useful practically due to significant relative errors. Alternatively, pre-harvest temperature could be used although it may lead to slightly higher errors. Although PLS had slightly smaller errors KLS was more robust and flexible. Further work is recommended in the objective evaluations of product quality, alternative non-linear techniques and dynamic decision support system.

Botanical exploration in northern British Columbia has lagged behind that of adjacent Alaska and the Yukon Territories. This is particularly true of alpine and sub-alpine areas. For the most part, limited accessibility has restricted plant collecting to within a short distance of the few available roadways. During the course of the present study, botanical field work was conducted in an alpine, sub-alpine area in the Three Sisters Range of the Cassiar Mountains (northwestern British Columbia). Over 1000 vascular plant collections were idenified from the study area. A total of 239 Taxa were recognized representing 116 genera and 44 families. Taxonomic keys to the local flora and an annotated species list are provided. The annotated species list includes : habitat information for each taxon, a list of associated species and, where applicable, a discussion of noteworthy features of the taxon in question. Approximately 13% of the flora examined is listed as rare in British Columbia in Straley et al. (1985). Virtually all of northern British Columbia was overridden by the Cordilleran Ice Sheet during the last major Wisconsin advance (approximately 22,000-15,000 yrs. b.p.). Potential Refugia from which taxa now present in the study area may have migrated post-glacially are discussed. Worldwide distributions of each taxon were examined and seven phytogeographic elements are recognized in the flora. / Science, Faculty of / Botany, Department of / Graduate

This study examines Hawthorne's use of symbols, particularly flowers, in The Scarlet Letter and The House of the Seven Gables. Romantic ideals stressed the full development of the self¬reliant individual, and romantic writers such as Hawthorne believed the individual would fully develop not only spiritually, but also intellectually by taking instruction from the natural world. Hawthorne's heroines reach their full potential as independent women in two steps: they first work together to defeat powerful patriarchies, and they then learn to read natural symbols to cultivate their artistic sensibilities which lead them to a full development of their intellect and spirituality. The focus of this study is Hawthorne's narrative strategy; how the author uses symbols as a language his heroines use to communicate from one generation to the next. In The Scarlet Letter, for instance, the symbol of a rose connects three generations of feminine reformers, Ann Hutchinson, Hester Prynne, and Pearl. By the end of the novel, Pearl interprets a rose as a symbol of her maternal line, which links her back to Ann Hutchinson. Similarly in The House of the Seven Gables Alice, Hepzibah, and Phoebe Pyncheon are part of a family line of women who work together to overthrow the Pyncheon patriarchy. The youngest heroine, Phoebe, comes to an understanding of her great, great aunt Alice's message from the posies her feminine ancestor plants in the Pyncheon garden. Through Phoebe's interpretation of the flowers, she deciphers how the cultivation of a sense of artistic appreciation is essential to the progress of American culture.

This thesis rediscovers the Swedish painter Märta Rudbeck (1882–1933). During her lifetime she was an esteemed composer of flower still lifes and portraits. Her forgotten heritage follows those of other female artists, whose legacies are long forgotten. By retracing her life through archives and newspaper articles, a picture of her upbringing, education, career and network affiliations emerges. By using the French sociologist Pierre Bourdieus field theory, the aim of the thesis is to analyse the social, educational, cultural and economic aspects that affected Märta Rudbeck’s life, and how this was manifested in her art. The strategies Märta Rudbeck encompassed, are highlighted in the analysis. She chose to exhibit her work with a variety of associations and also took commissions for portraits and copies of older works of art. The analysis also reveals how she followed in her mother’s footsteps and embraced female networks to further her career. Furthermore, the thesis uncovers how her heritage, social class and upbringing most likely influenced her choice of genre, which in turn has prevented her from staying relevant since her untimely death in the early 1930’s. The thesis finally discloses how Märta Rudbeck’s artistry is once again made relevant, through a major museum acquisition as well as an exhibition at one of the greater art institutions in Sweden.

My work uses plant material and soil as a record of personal, cultural, and ecological history. History is not only held in the buildings and monuments, but in the soil itself. I gather this soil and foliage from both cultivated and uncultivated locations for my artwork. Using traditional domestic techniques of drying and canning, I preserve the materials that I have gathered. These will then be sewn together, cooked, and encrusted into objects. Despite my labor of preserving, these organic art supplies are transient. When made into works of art, they can be viewed in their vulnerable state, fighting against time, as they decay. .

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"transgression" is a poetry collection with claws and nail polish. Across four acts, Reres uses a chorus of voices to interrogate the role of the transgressing woman—both present and past, privately and publicly. Transgressing, for Reres, is a performance. Moreover, it is a performance in which women have been asked, coerced—even forced—to participate for millenia. By stepping into the role of the transgressing woman deliberately, Reres turns this tradition on its head. In these pages, she shows that there is power in putting on masks and costumes, just as there is power in taking them off. The difference—between performance as power and performance as prison—resides in the freedom to choose. / Master of Fine Arts / "transgression" is a poetry collection.

In my thesis, I examined impacts of nesting and floral resources on ground-nesting bee assemblages at nine ranch sites with differing grazing histories. Because ecological disturbances can strongly affect the availability of foraging and nesting resources over time, I also examined the impacts of grazing history on nesting and floral resources for ground-nesting bees. I sampled bee assemblages, a comprehensive array of vegetation and soil measures, and floral abundance and richness. I used these data to determine (1) the importance of different nesting habitat resources and livestock grazing history for ground-nesting bees and (2) how livestock grazing history influenced the availability of nesting and floral resources. I found that sites with sandier soils had greater abundance and richness of ground-nesting bees, and sites with less compacted soils had greater bee abundance. Contrary to many other studies, the availability of bare ground was not important for ground-nesting bee abundance or richness. Grazing history did not affect any measures of nesting or floral habitat, and had negligible effects on ground-nesting bee abundance, richness, and community composition. My results suggest that the availability of sandier or less compacted soils may be limiting for ground-nesting bee abundance or richness, especially in areas with predominately clay soil types. In this context, the availability of such nesting resources may be more limiting than floral resource availability. More research is necessary to tease apart the effects of different nesting and floral resources for bees, and how different grassland management types affect bees through those resources. My findings highlight the importance of considering nesting habitat resources in bee conservation and restoration efforts.

Made available in DSpace on 2016-08-15T20:30:57Z (GMT). No. of bitstreams: 1 DanielSP_DISSERT.pdf: 1561196 bytes, checksum: b284038c0016d3ae3285d101b795f237 (MD5) Previous issue date: 2008-07-25 / Néctar; entomofauna; Merremia aegyptia / O objetivo deste trabalho foi o de investigar se os diferentes horários de coleta de néctar em áreas apícolas influenciam no volume, concentração de açúcar e açúcar total produzido por suas flores, no momento da antese, bem como verificar possíveis alterações nas características do néctar ao longo do tempo e discutir as conseqüências no potencial apícola das áreas de jitirana-branca (Merremia aegyptia). E ainda, a relação entre esta produção de atrativos florais e o comportamento dos polinizadores potenciais, dentre estes a Apis mellifera L. (abelha africanizada), e os requerimentos de polinização da jitirana branca. A pesquisa foi realizada em uma área de preservação de Caatinga, no Campus da FATEC Sertão Central, Quixeramobim-Ceará. Foi constatado que: A jitirana branca é uma cornucópia; sua densidade floral por m² foi em média 33,7 flores; apresentou ampla gama de visitantes florais (hymenopteros, coleópteros, hemípteros, dípteros, e pássaros); seu volume de néctar variou de acordo com o horário de coleta e não há reposição de néctar na flor após as 11:00 horas (A.M.); e a polinização mais eficiente corresponde a autopolinização.