Thesis (Ph.D.)--University of Melbourne, the Australian Centre, 2004. / Typescript (photocopy). Includes bibliographical references (leaves 294-320 (v. 1)).

Thesis (Ed.D.)--Boston University.

Of the common adult lanternfishes found off Oregon, two species have fat-invested swimbladders (Stenobrachius leucopsarus Eigenmann and Eigenmann 1890 and Stenobrachius nannochir Gilbert 1891), two species have reduced swimbladders (Lampanyctus ritteri Gilbert 1915 and Lampanyctus galis Gilbert 1891), two species have gas-filled swimbladders ((Protomyctophum thomp soni (Chapman 1944)) and (Protomyctophum crockeri (Bolin 1939)). Adult Diaphus theta Eigenrnann and Eigenmann 1891 and adult Tarletonbeania crenularis Jordan and Gilbert 1880 however, have either gas-filled or reduced swimbladders. Small individuals of all the above species have gas-filled swimbladders. The primary buoyancy mechanism is lipids for large S. leucopsarus, S. nannochir, L. ritteri andD. theta, is reduction of dense material for large L. regalis, and is gas for all juveniles and for P. thompsoni, P. crockeri and some adult T. crenularis and D. theta. / Graduation date: 1971

No description available.

No description available.

A family of new [PtM(SAc)4(pySMe)] (M = Mn (42), Fe (43), Co (44), Ni (45), Zn (46)) lanterns and an expansion of the [PtM(SAc)4(pyNH2)] family to include M = Mn (47) and Fe (48) lanterns have been synthesized and their detailed structural and magnetic characterization are reported. Compounds 43-45 have been found to contain exceptionally long Pt…Pt metallophilic contacts with antiferromagnetic coupling across the staggered dimers in the solid state. The utility of the [PtVO(SOCR)4] lanterns as monodentate, terminal oxo-bound ligands is proven in the formation of trimetallic lanthanide complexes [Ln(ODtbp)3{PtVO(SOCR)4}] (Ln = Ce, R = Me (49); Ln = Ce, R = Ph (50); Ln = Nd, R = Me (51); Ln = Nd, R = Ph (52)). Structural and magnetic studies are reported of the four, four-coordinate lanthanide complexes. All four complexes were found to exhibit antiferromagnetic coupling between the 3d-4f ions, the strongest of which is observed in 50. Through AC magnetic susceptibility studies, xii SMM behavior was also observed in all four complexes, with the slowest relaxation found in 52. A pair of [PtNi(SAc)4(L)] (L = pyCN (54), HpipCN (55)) and new {S,N} chelated mercaptopyridine lanterns [PtNi(mpyS)4(L)] (L = H2O (56), MeCN (57), pyCN (58)) have been synthesized and a detailed structural comparison of the systems made. The stronger field mercaptopyridine ligand is shown to decrease the Pt (donor) – M (acceptor) character within the lantern, reducing the Pt(II) Lewis acidity and therefore preventing the formation of intermolecular interactions in Ni(II) complexes 56-58. Additionally, the development of an improved air- and water-stable synthesis for the formation of the di-Pt mercaptopyridine para-hydro lantern, [Pt2(pyS)4], is reported along with its previously unknown crystal structure. In an attempt to make a diamagnetic [PtZn(mpyS)4(L)] analog to the previous Ni(II) mercaptopyridine lanterns, a new series of {PtnZn2} HEMACs has been discovered and structurally characterized with n = 1, 2, 3,. The discovery of a trimetallic {Pt(IV)Zn2} (60) para-methyl mercaptopyridine bridged complex with novel {Pt(IV)S6} ligation is discussed. The use of para-H substituted mercaptopyridine led to insoluble tetranuclear {Pt2Zn2} (61) while use of the para-methyl substituted ligand led to the insoluble pentanuclear {Pt3Zn2} (62) through solvothermal syntheses.

This thesis maps the existence, extent and diverse applications of the magic lantern in the Australasian colonies and brings to light a cultural practice that had remained largely invisible in histories of photography, cinema, and popular culture in nineteenth century Australasia. The thesis demonstrates that the magic lantern was popular as entertainment on both a private, domestic and a public scale. It traces its widespread adoption in two broad institutional contexts, the educational and the religious, and shows how this wide-ranging practice and consumption was supported by developing social and commercial infrastructure in the colonies and a network of touring lanternists. It argues that the magic lantern located the Australasian colonial culture within a global one centred around the consumption of visual technology and an international exchange of images. Colonial audiences were not, however, merely the passive recipients of a globalised imagery or culture. They were active contributors to it, constructing their own meanings in response to imported images. The thesis argues that, while the magic lantern functioned to affirm a sense of imperial identity in both colonisers and the colonised, it was adapted locally to the creation of colonial, intercolonial and regional identities, as an alternative to a dominant Eurocentric mass-mediated world view. Colonial practitioners applied this powerful medium to the generation of images at a local level that reveal an enthusiasm for colonial events and stories, a sense of place, and a celebration of local identity on the big screen.

This thesis maps the existence, extent and diverse applications of the magic lantern in the Australasian colonies and brings to light a cultural practice that had remained largely invisible in histories of photography, cinema, and popular culture in nineteenth century Australasia. The thesis demonstrates that the magic lantern was popular as entertainment on both a private, domestic and a public scale. It traces its widespread adoption in two broad institutional contexts, the educational and the religious, and shows how this wide-ranging practice and consumption was supported by developing social and commercial infrastructure in the colonies and a network of touring lanternists. It argues that the magic lantern located the Australasian colonial culture within a global one centred around the consumption of visual technology and an international exchange of images. Colonial audiences were not, however, merely the passive recipients of a globalised imagery or culture. They were active contributors to it, constructing their own meanings in response to imported images. The thesis argues that, while the magic lantern functioned to affirm a sense of imperial identity in both colonisers and the colonised, it was adapted locally to the creation of colonial, intercolonial and regional identities, as an alternative to a dominant Eurocentric mass-mediated world view. Colonial practitioners applied this powerful medium to the generation of images at a local level that reveal an enthusiasm for colonial events and stories, a sense of place, and a celebration of local identity on the big screen.

In the early years of the twentieth century, the unique new medium of motion pictures was the focus of significant theorization and experimentation at the fringes of the American advertising industry. Alongside the growth of the nickelodeon, and the multiple shifts in the American cinema's business model in the 'transitional era,' various individuals at the margins of the advertising industry attempted, and most often failed, to integrate direct consumer-goods advertising regularly into motion picture theaters. Via techniques as diverse as the glass slide, the commercial trailer, and the advertising wall-clock, cinema patrons of the 1910s witnessed various attempts by merchants and manufacturers to intrude upon their attention in the cinema space. Through research in the trade presses of the cinema, advertising, and various consumer-goods industries, along with archival ephemera from the advertising companies themselves, this dissertation explores these various on and off-screen tactics for direct advertising attempted in silent cinemas, and their eventual minimization in the American cinema experience. Despite the appeal of the new, popular visual medium of cinema to advertisers, concerns over ticket prices, advertising circulation, audience irritation, and the potential for theatrical 'suicide-by-advertising,' resulted, over a mere fifteen years, in the near abandonment of the cinema as an advertising medium. As a transitional medium between the 19th century forms of print and billboarding, and 20th century broadcasting, the silent cinema was an important element in the development of modern advertising theories.

In the early years of the twentieth century, the unique new medium of motion pictures was the focus of significant theorization and experimentation at the fringes of the American advertising industry. Alongside the growth of the nickelodeon, and the multiple shifts in the American cinema's business model in the 'transitional era,' various individuals at the margins of the advertising industry attempted, and most often failed, to integrate direct consumer-goods advertising regularly into motion picture theaters. Via techniques as diverse as the glass slide, the commercial trailer, and the advertising wall-clock, cinema patrons of the 1910s witnessed various attempts by merchants and manufacturers to intrude upon their attention in the cinema space. Through research in the trade presses of the cinema, advertising, and various consumer-goods industries, along with archival ephemera from the advertising companies themselves, this dissertation explores these various on and off-screen tactics for direct advertising attempted in silent cinemas, and their eventual minimization in the American cinema experience. Despite the appeal of the new, popular visual medium of cinema to advertisers, concerns over ticket prices, advertising circulation, audience irritation, and the potential for theatrical 'suicide-by-advertising,' resulted, over a mere fifteen years, in the near abandonment of the cinema as an advertising medium. As a transitional medium between the 19th century forms of print and billboarding, and 20th century broadcasting, the silent cinema was an important element in the development of modern advertising theories.