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A limnological survey of Lake Laura and its tributary streams was conducted from June to October 1986 to evaluate causes of excessive algal blooms experienced in past years. Lake Laura was classified as mesotrophic based upon total phosphorus surface water, chlorophyll g, and secchi disc levels measured. Due to atypical meteorological conditions experienced during the study, the Vollenwieder model was utilized to evaluate the impact of various nutrient sources on Lake Laura under more typical conditions. Nonpoint source runoff from agricultural and pasture land and effluent from the Orkney Springs waste water treatment plant were determined to be the main sources of nutrient inputs to Lake Laura. A description of lake and drainage basin monitoring methods, model results, and an analysis of recommended lake management practices to control future algal blooms is included. / Master of Science

La thèse se propose d’analyser l'utilisation et les représentations de la figure maternelle dans les cultures politiques italiennes et françaises du long XIXe siècle. L’examen accorde un intérêt particulier à deux sujets : le réseau de relations de la patriote milanaise Laura Solera Mantegazza et l'Archiconfrérie des Mères Chrétiennes. Proche de la démocratie radicale, le groupe de Solera fonda, entre 1850 et 1870, trois instituts, assises fondamentales pour la philanthropie italienne : le Pieux institut de maternité pour les nourrissons et les enfants sevrés de Milan, la Société de secours mutuel des ouvrières et l’Ecole Professionnelle Féminine. Elles furent, à différents titres, destinées au secours et à l'instruction des travailleuses et furent aussi un moyen utile pour accomplir une action nationalisante sur grande échelle. L'Archiconfrérie des Mères Chrétiennes fut fondée en 1850 par Louise Josson et placée sous la direction spirituelle de l'abbé Théodore Ratisbonne, un juif converti au catholicisme. Elle se développa vite en France et se répandit particulièrement en Italie. L’association fut un espace de formation et de coordination d'une action politique féminine contre-révolutionnaire et antimoderne. Déterminées à instaurer une société "authentiquement chrétienne", les Mères agirent sur plusieurs fronts : dans la patrie, elles convertirent les pères, les fils et les maris éloignés de la foi et de l'Église; en même temps, en Italie et en France, elles défendirent les droits du pontife et du Saint-Siège, en soutenant le volontariat "blanc". En Algérie, elles appuyèrent le projet de conversion de Mgr Lavigerie, en finançant la construction d’orphelinats. / My dissertation analyses how motherhood was used and represented by different political cultures in nineteenth century Italy and France. I focus on two case studies: on the one hand, the friendship and political network of the milanese patriot Laura Solera Mantegazza; on the other hand, the Archiconfrérie des Mères Chrétiennes. The first group was close to radical italian democracy; between 1850 and 1870 its members founded three important philanthropic institutions: the Pio istituto di maternità per i bambini lattanti e slattati di Milano, the Società di mutuo soccorso per le operaie di Milano and the Scuola professionale femminile. These institutions were aimed to educate and support women workers and were a useful tool of nationalization too. The Archiconfrérie des Mères Chrétiennes was founded by Louise Josson in 1850 and had its spiritual director in Théodore Ratisbonne, a Jew converted to Catholicism. Starting from France, the organization spread throughout Europe and reached Italy. The Archiconfrérie developed and coordinated female counterrevolutionary action against the modern world. Determined to establish a truly catholic society, the Mères Chrétiennes were active in many different spheres: in France they converted fathers, sons and husband that had lost their faith; in Italy and France they supported zouaves; in Algeria they were involved in Lavigerie's religious project, aimed to convert all of the African society, and gave money to build orphanages for Muslim children.

H.D., Djuna Barnes et Laura (Riding) Jackson incarnent trois visages du modernisme américain expatrié. C’est autour de leur place paradoxale dans le contexte d’instabilité et de circulation de ce moment littéraire que s’articulent leurs parcours respectifs. Cette thèse cherche à montrer comment l’expérience du déplacement géographique s’incarne dans le texte thématiquement, stylistiquement, grammaticalement, génériquement et dans le genre (gender) pour produire une écriture autobiographique déplacée qui interroge et transgresse les frontières. On analysera comment l’expatriation des trois auteurs et leur marginalité dans la communitas des expatriés produisent une écriture qui remet en question la limite entre personnel et impersonnel. On explorera les représentations du déplacement géographique lui-même comme thématique et esthétique. En adoptant une méthode de cartographie littéraire, nous mettons au jour une écriture nomade et interrogerons le rapport à la nation dans les textes qui travaille le trope du Grand Tour. L’analyse de l’esthétique du déplacement de l’autobiographie sur les éléments organiques du texte met au jour la métaphorisation du déracinement et le processus de déterritorialisation/reterritorialisation de l’expatriation et du genre féminin chez H.D., Barnes et (Riding) Jackson. / H.D., Djuna Barnes and Laura (Riding) Jackson embody three facets of American expatriate modernism. Their trajectories hinge on their paradoxical place in modernism’s context of instability and circulation. This thesis purports to show how their works are imbued with the experience of geographical displacement at various levels (thematic, stylistic, grammatical, generically and in gender). This porosity between life and work results in a displaced autobiographical writing which questions and transgresses frontiers. The first section deals with how these authors’ expatriation and marginality in the expatriate communitas produce texts which probe the limit between the personal and the impersonal. The second part focuses on the representations of the geographical displacement itself—both as theme and aesthetics. By resorting to a literary cartography method, we argue for a nomadic writing and interrogate the writers’ relation to the concept of nation in texts which deploy the Grand Tour trope. The final section analyzes the aesthetic transference of the autobiography on the organic elements of the text. These motifs act as metaphors of the subject’s uprootedness and of the deterritorialization/reterritorialization process at work for expatriate women writers.

This research uses the interpretive framework of the Psychological Grotesque to address a protagonist's response when she is unable to integrate the experience of interpersonal trauma into her psyche. The framework reveals a survival mechanism, identity incorporation, with roots in the transgressive and evolutionary nature of the grotesque as discussed in the work of Mikhail Bakhtin, Mary Douglas and Leonard Cassuto. The psychological grotesque is explicated using Stvgo by Laura Hendrie, The Life Before Her Eyes, by Laura Kasischke, and Linden Hills by Gloria Naylor.The psychological grotesque reveals how the protagonist within each of these novels, when positioned within a specific matrix of contributing factors engages in flawed survival strategies to reconcile psychic fragmentation. Drawing on theories of trauma from the work of Bessel Van Der Kolk, Dori Laub, Sigmund Freud, Mardi Horowitz, Ronnie Janoff-Bulman, Laurie Vickroy, Cathy Caruth, Peter Woods and Tim Middleton, the definition of the matrix includes: interpersonal trauma, prior history of emotional problems, no social support network, and self-perceived complicity in the violence. Where these criteria are present, the protagonist is incapable of achieving the repair of her damaged psyche in order to reintegrate into society and relief from the pain of trauma. In an effort to repair her brokeness through the incorporation of parts of the identity of others, the protagonist creates a grotesque mental hybrid living in fractured time. The protagonist experiences destabilization of time due to incorporating the temporal perspective of the other identities. A flawed survival strategy, identity incorporation leads to further psychic fragmentation.The psychological grotesque takes up the challenge of communicating the effects of trauma and addresses the lack of a literary interpretive mechanism for trauma literature in which a critical component of the narrative is the story of female victims of interpersonal violence. This framework confronts the fact that representations of women and trauma are problematic due to how trauma resists linguistic representation and because women have historically been denied a voice in the canon. Therefore, by drawing on elements of the grotesque, specifically hybridity and transgression, this interpretive framework recuperates the experiences of traumatized protagonists. / Department of English

Made available in DSpace on 2016-12-08T16:18:50Z (GMT). No. of bitstreams: 1 sabri.pdf: 3040500 bytes, checksum: e5e29ce0169bb2ffc9b85e1fa7f357dc (MD5) Previous issue date: 2012-10-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is about some works of artist Laura Lima and the relationships of these works to the theme of the human body in contemporary visual arts. The works will be studied here belong to the artistic production of Laura Lima gives some works in the period of 90 years to the present day. This dissertation takes as its guiding principle the study to the different questions prioritized are some tools to reflect on how the artist works the body in their works. Based on the foregoing, the theory has been prioritized by different authors, and philosophers, critics and art historians as well as an interview with the artist herself in her home / studio in Rio de Janeiro / A presente dissertação trata a respeito de algumas obras da artista Laura Lima e as relações dessas obras à temática do corpo humano nas artes visuais contemporânea. As obras que serão estudadas aqui pertencem à produção artística de Laura Lima no que confere alguns trabalhos do período dos anos 90 até os dias atuais. Esta dissertação toma como fio condutor o estudo no qual, em decorrência dos diferentes questionamentos surgidos a partir de tais trabalhos, priorizaram-se algumas ferramentas para refletir acerca da forma como a artista trabalha o corpo humano em suas obras. Com base no exposto, foi priorizada a teoria de diferentes autores, como filósofos, críticos e historiadores de arte, bem como uma entrevista com a própria artista na sua casa/ateliê no Rio de Janeiro

Este trabalho apresenta uma análise da coleção de livros Little House, de Laura Ingalls Wilder, e está dividido em três capítulos. No Capítulo I, O Romanesco como base de sustentação da ideologia norte-americana, mostramos quais são as estratégias literárias utilizadas por Wilder para compor suas obras, de forma a transmitir e sustentar a ideologia norte-americana. Utilizamos como base comparativa os volumes Little Town on the Prairie e The First Four Years, e tentamos evidenciar as diferenças entre os volumes publicados em vida e o volume póstumo, no que concerne ao estilo e a visão de munome do aluno: Fabiana Valeria da ndo apresentadas. Para tanto, baseamo-nos em autores da teoria literária, como Northrop Frye (1957), Philip Stevick (1967), e Rosemary Jackson (1983), e em pesquisadores anteriores das obras de Wilder, como Ann Romines (1997) e Caroline Fazer (1994). No Capítulo II, O lugar da História em Farmer Boy, exploramos o livro em que Wilder descreve uma vida de fartura numa fazenda para discutirmos as diferenças entre o período narrado e o contexto histórico que gerou as condições de produção da coleção Little House. Assim, realizamos uma análise de excertos do livro que diziam respeito ao trabalho e ao dinheiro com a intenção de relacionar ambos os contextos, explicando que a época narrada dependeu do contexto sócio-econômico do qual surgiu para que transmitisse as lições de sobrevivência em tempos difíceis a leitores que se encontravam em meio à crise da Depressão. Neste capítulo, baseamo-nos em historiadores como Arthur Schlesinger Jr. (1958). No Capítulo III, Desdobramentos ideológicos nas obras de Wilder, apresentamos uma discussão teórica acerca da ideologia e de como ela trabalha na formação, transmissão e reafirmação de seus valores. Para tanto, baseamo-nos em autores como Terry Eagleton (1997) e Raymond Williams (1977). Em seguida, retomamos o contexto histórico para discutirmos que a ideologia trabalha em três níveis: na constituição de Wilder como sujeito histórico, na produção dos Little House e no consumo, por parte dos leitores da década de 1930. Para explicar a dinâmica de relacionamento desses três níveis, baseamo-nos na leitura de Tempo Livre, de Theodor Adorno (1962). Finalmente, procuramos mostrar ao leitor, ao analisarmos trechos de Farmer Boy e Little Town on the Prairie, que em todo o tempo estivemos lidando com o inconsciente político apresentado por Fredric Jameson (1980), de forma a mostrar que, apesar de Wilder ter planejado e ter um método para transmitir a ideologia, a fim de reafirmar a identidade norte-americana, a crise que deu origem ao texto surge em vários momentos através de brechas que expõe sua crítica à economia e ao momento histórico da Depressão. / This dissertation presents an analysis of the Little House Books collection, by Laura Ingalls Wilder, and it is divided into three chapters. In Chapter I, Romance as the sustaining basis of the North-American ideology, we show which are the literary strategies used by wilder to compose her books, in order to transmit and sustain the North-American ideology. We use, as a comparative basis, Little Town on the Prairie and The First Four Years, and we try to put in evidence the differences between the books published during her life and the posthumous work, concerning style and the change in her point of view. In doing so, we base ourselves on authors from the literary theory, such as Northrop Frye (1957), Philip Stevick (1967), and Rosemary Jackson (1983), and in previous reasearchers of Wilder\'s works, such as Ann Romines (1994) and Caroline Fraser (1994). In Chapter II, History\'s place in Farmer Boy, we explore the book in which Wilder describes a wealthy life in a farm, so we can discuss the differences between the narrated period and the historical context that generated the conditions that allowed the appearance of the Little House books. Afterwards, we present an analysis of some excerpts taken from Farmer Boy that are related to work and money, with the intention of establishing the interrelations between both contexts, and explaining that the narrated time depended on the social and economical context from which it has appeared, so to pass on the lesson about how to survive in such hard times to readers that experienced the crisis during the Depression years. In Chapter III, Ideology unfolded in the works by Wilder, we present a theoretical discussion concerning ideology and how it works on formation, transmission, and reafirmation of its own values. In doing so, we base ourselves on authors such as Terry Eagleton (1997) and Raymond Williams (1977). Then, we take the historical context again in order to explain that ideology work in three levels: in the constitution od Wilder as a historical person, in the production of the Little House books, and in its comsumption, made by the readers in the decade of 1930. In order to explain how these three levels relate among themselves, we base ourselves on the texto \"Leisure Time\", by Theodor Adorno (1962). Finally, in the moment we analyze some exceprts taken from Farmer Boy and Little Town on the Prairie,we try to show to the reader that all the time we deal with Fredric Jameson\'s political uncounscious (1980). Thus, in spite of trying to commit herself to her plan of transmission and reafirmation of the North-American ideology, her criticism about economy and politics of the thirties breaks the path of the way she had made, in order to figure althrough the books.

No description available.

Este trabalho apresenta uma análise da coleção de livros Little House, de Laura Ingalls Wilder, e está dividido em três capítulos. No Capítulo I, O Romanesco como base de sustentação da ideologia norte-americana, mostramos quais são as estratégias literárias utilizadas por Wilder para compor suas obras, de forma a transmitir e sustentar a ideologia norte-americana. Utilizamos como base comparativa os volumes Little Town on the Prairie e The First Four Years, e tentamos evidenciar as diferenças entre os volumes publicados em vida e o volume póstumo, no que concerne ao estilo e a visão de munome do aluno: Fabiana Valeria da ndo apresentadas. Para tanto, baseamo-nos em autores da teoria literária, como Northrop Frye (1957), Philip Stevick (1967), e Rosemary Jackson (1983), e em pesquisadores anteriores das obras de Wilder, como Ann Romines (1997) e Caroline Fazer (1994). No Capítulo II, O lugar da História em Farmer Boy, exploramos o livro em que Wilder descreve uma vida de fartura numa fazenda para discutirmos as diferenças entre o período narrado e o contexto histórico que gerou as condições de produção da coleção Little House. Assim, realizamos uma análise de excertos do livro que diziam respeito ao trabalho e ao dinheiro com a intenção de relacionar ambos os contextos, explicando que a época narrada dependeu do contexto sócio-econômico do qual surgiu para que transmitisse as lições de sobrevivência em tempos difíceis a leitores que se encontravam em meio à crise da Depressão. Neste capítulo, baseamo-nos em historiadores como Arthur Schlesinger Jr. (1958). No Capítulo III, Desdobramentos ideológicos nas obras de Wilder, apresentamos uma discussão teórica acerca da ideologia e de como ela trabalha na formação, transmissão e reafirmação de seus valores. Para tanto, baseamo-nos em autores como Terry Eagleton (1997) e Raymond Williams (1977). Em seguida, retomamos o contexto histórico para discutirmos que a ideologia trabalha em três níveis: na constituição de Wilder como sujeito histórico, na produção dos Little House e no consumo, por parte dos leitores da década de 1930. Para explicar a dinâmica de relacionamento desses três níveis, baseamo-nos na leitura de Tempo Livre, de Theodor Adorno (1962). Finalmente, procuramos mostrar ao leitor, ao analisarmos trechos de Farmer Boy e Little Town on the Prairie, que em todo o tempo estivemos lidando com o inconsciente político apresentado por Fredric Jameson (1980), de forma a mostrar que, apesar de Wilder ter planejado e ter um método para transmitir a ideologia, a fim de reafirmar a identidade norte-americana, a crise que deu origem ao texto surge em vários momentos através de brechas que expõe sua crítica à economia e ao momento histórico da Depressão. / This dissertation presents an analysis of the Little House Books collection, by Laura Ingalls Wilder, and it is divided into three chapters. In Chapter I, Romance as the sustaining basis of the North-American ideology, we show which are the literary strategies used by wilder to compose her books, in order to transmit and sustain the North-American ideology. We use, as a comparative basis, Little Town on the Prairie and The First Four Years, and we try to put in evidence the differences between the books published during her life and the posthumous work, concerning style and the change in her point of view. In doing so, we base ourselves on authors from the literary theory, such as Northrop Frye (1957), Philip Stevick (1967), and Rosemary Jackson (1983), and in previous reasearchers of Wilder\'s works, such as Ann Romines (1994) and Caroline Fraser (1994). In Chapter II, History\'s place in Farmer Boy, we explore the book in which Wilder describes a wealthy life in a farm, so we can discuss the differences between the narrated period and the historical context that generated the conditions that allowed the appearance of the Little House books. Afterwards, we present an analysis of some excerpts taken from Farmer Boy that are related to work and money, with the intention of establishing the interrelations between both contexts, and explaining that the narrated time depended on the social and economical context from which it has appeared, so to pass on the lesson about how to survive in such hard times to readers that experienced the crisis during the Depression years. In Chapter III, Ideology unfolded in the works by Wilder, we present a theoretical discussion concerning ideology and how it works on formation, transmission, and reafirmation of its own values. In doing so, we base ourselves on authors such as Terry Eagleton (1997) and Raymond Williams (1977). Then, we take the historical context again in order to explain that ideology work in three levels: in the constitution od Wilder as a historical person, in the production of the Little House books, and in its comsumption, made by the readers in the decade of 1930. In order to explain how these three levels relate among themselves, we base ourselves on the texto \"Leisure Time\", by Theodor Adorno (1962). Finally, in the moment we analyze some exceprts taken from Farmer Boy and Little Town on the Prairie,we try to show to the reader that all the time we deal with Fredric Jameson\'s political uncounscious (1980). Thus, in spite of trying to commit herself to her plan of transmission and reafirmation of the North-American ideology, her criticism about economy and politics of the thirties breaks the path of the way she had made, in order to figure althrough the books.