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51	The Influence of Seawater and Sulfate Reduction on Phosphate Release from Tidal Wetland Soils in the St. John’s River, Florida Williams, Asher 01 January 2012 (has links) Climate change and increasing sea level elevation are predicted to increase salinity in estuarine tidal wetlands in the Southeastern United States. Since much of the ecosystem function in these areas is predicated upon salinity regimes, many fundamental changes are likely to occur as a result. The influence of salinity and SO4 2- reduction on PO4 3- release from tidal wetland soils was evaluated along a salinity gradient at three sites in The St. John’s River, Florida using both field and laboratorybased methods. Porewater was sampled over the course of 10 months to determine ambient levels of SO4 2- and PO4 3-. Lab-based experiments, soils samples were subjected to seawater and SO4 2- treatments in an attempt to induce PO4 3- release. Salinity was lowest at Sixmile Creek (0.45 ± 0.1 g kg-1) and Goodby’s Creek (2.05 ± 2.3 g kg-1) and much higher at Sister’s Creek (27.81 ± 3.1 g kg-1). The organic content of soils was highest (82.35% ± 5.11) at Sixmile Creek, intermediate at Goodby’s Creek (64.45% ± 7.02) and lowest at Sister’s Creek (32.11% ± 9.61). Total soil P was highest at the freshwater Sixmile Creek (1101.64 ± 220.2 μg g-1), intermediate at the brackish Goodby’s Creek (719.61 ± 114.3 μg g-1) and lowest at the Sister’s Creek saltmarsh (475.85 ± 110.9 μg g-1). Porewater PO4 3- was higher at Sixmile and Goodby’s Creek sites (9.44 ± 15.6, 8.99 ± 14.7 !g L-1, respectively) compared to Sister’s Creek (0.6 ± 3.1 !g L-1). Porewater SO4 2- was lower at Sixmile (70.73± 57.58 !g L-1) and Goodby’s Creeks (124.35 ± 152.5 !g L-1) compared to Sister’s Creek (1931.41 ± 557.82 !g L-1). Temporal and spatial trends indicated that SO4 2- and PO4 3- in porewater was likely due to floodwater content and that direct reaction between analytes in soils was unlikely. The addition of aerated seawater failed to cause PO4 3- release from any sites. The incubation of soils under anaerobic conditions, in the presence of Na2SO4 induced SO4 2- reduction, but inhibited PO4 3- flux from both Sixmile and Goodby’s Creek, which is attributed here to likely S- toxicity (Roychoudhury et al., 1999). PO4 3- flux from Sister’s Creek increased in association with Na2SO4 concentration, likely due to more Fe availability to mitigate Stoxicity. Ambient seawater additions to soils under anaerobic conditions followed a similar trend, but the results were not statistically conclusive. Overall, both field and labbased data indicated that Tidal wetland porewater PO4 3- likely originates from floodwaters and that increased salinity and SO4 2- reduction did not directly enhance soil PO4 3- fluxes. University of North Florida UNF Sulfate Reduction Tidal Wetlands St. John's River, Florida Thesis University of North Florida Salt marsh ecology Phosphates Wetlands -- Florida Biology
52	Incorporating Flow for a Comic [Book] Corrective of Rhetcon Castleberry, Garret 05 1900 (has links) In this essay, I examined the significance of graphic novels as polyvalent texts that hold the potential for creating an aesthetic sense of flow for readers and consumers. In building a justification for the rhetorical examination of comic book culture, I looked at Kenneth Burke's critique of art under capitalism in order to explore the dimensions between comic book creation, distribution, consumption, and reaction from fandom. I also examined Victor Turner's theoretical scope of flow, as an aesthetic related to ritual, communitas, and the liminoid. I analyzed the graphic novels Green Lantern: Rebirth and Y: The Last Man as case studies toward the rhetorical significance of retroactive continuity and the somatic potential of comic books to serve as equipment for living. These conclusions lay groundwork for multiple directions of future research. Flow Y: The Last Man rhetcon Kenneth Burke capitalism Victor Turner Green lantern graphic novel Graphic novels -- History and criticism. Vaughan, Brian K. Y, the last man. Attention.
53	Barbro Östlihn och New York : Konstens rum och möjligheter Öhrner, Annika January 2010 (has links) The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework. Barbro Östlihn post war art history American post war art history Swedish art history pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Barbro Östlihn post World War II Art History American post World War II art Swedish Art History pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Art Konstvetenskap
54	Papers and related collections of James A. Van Allen, Van Allen, James Alfred, Unknown Date (has links) Includes Van Allen thesis (M.S.)--University of Iowa, 1936, and thesis (Ph.D.)--University of Iowa, 1939.

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