HAITI, 1965 is a historical novel set in Haiti where a struggling taxi driver, Raymond L’Eveillé, struggles to provide for his family under the rule of the infamous dictator François Duvalier Sr. Raymond’s brother Nicolas, a professor and attorney, lives a more luxurious lifestyle, and both brothers are at odds over finances. When Nicolas decides to write a book about the crimes committed by the government, the inevitable happens. The brutal Tonton Macoutes militia raid his home and find notes that are as evidence enough to send him to Haiti's most notorious gulag of the era, Fort Dimanche, It will be up to Raymond to save his brother. He will have to use his resources and street smarts to get himself arrested, infiltrate the dungeons of Fort Dimanche to find Nicolas, and plan a near-impossible escape.

This paper discusses how the author created a comic as a way to explore their personal suffering and the suffering of those around them throughout schooling. It defines the inspirations, both personal and technical for how the comic was produced and how it will expand to a graphic novel after college.

Since Truman Capote's In Cold Blood: A True Account of a Multiple Murder and its Consequences was published in 1965, there have been many attempts to define and explain the phenomenon of the "non-fiction novel" as a unified narrative genre. Some of these attempts have been highly theoretical and scholarly, but most have been rather loose definitions referring to an extremely wide range of diverse factual narratives. Over the years, so many different works have been called "non-fiction novels" that it now seems as if the notion of such a unified genre is questionable. Surely it is not generically useful to say that such functionally distinct works as Oscar Lewis's La Vida: A Puerto Rican Family in the Culture of Poverty (1967) and Hunter S. Thompson's Fear and Loathing in Las Vegas: A Savage Journey to the Heart ot the American Dream (1971) belong in the same narrative category. The purpose of this study is to show that many of the works routinely referred to as "non-fiction novels" perform fundamentally different narrative functions and do not belong together in a unified genre. Roman Jakobson's model of communication and his notion of the "dominant function" are used to identify three functional categories into which the narratives discussed in the study logically fall: first, there are predominantly sociological works in which the referential function is the most important element of the communication; second, there are predominantly journalistic works in which the opinions of the writer or emotive function constitute the central narrative concern; and thirdly, we have works performing a dominant novelistic or aesthetic function in the sense that the secondary meanings and themes implied are the most important elements communicated. The thesis follows the following structure. In the introductory chapter, a critique of some of the major generic theories of the "non-fiction novel" as unified genre is offered. The purpose here is not to caricature what are sometimes extremely sophisticated studies. (Indeed, in my own analysis of texts, I am often indebted to the critical insights of the scholars whose theories I question in the introduction.) My purpose is merely to show that the corpus of works each writer refers to can be divided more logically between different dominant narrative functions. The introduction ends with a more detailed explanation of the adaptation of Jakobson's notion of "the dominant" and how it relates to the functional categories identified. Chapter 2 offers analyses of a group of documentary narratives that perform a dominant sociological function but have often been referred to as "non-fiction novels." The chapter starts with an analysis of James Agee's Let Us Now Praise Famous Men (1941), a text widely regarded as the first real American example of the "genre." This is followed by an examination of the anthropological works of Oscar Lewis: Five Families: Mexican Case Studles in the Culture of Poverty (1959), The Children of Sanchez: Autobiography of a Mexican Family (1964), Pedro Martinez: A Mexican Peasant and his Family (1964) and La Vida: A Puerto Rican Family in the Culture of Poverty. I conclude the chapter with an analysis of the recent sociological works of Studs Terkel: Division Street: America (1968), Hard Times: An oral History of the Great Depression (1970) and Working: People talk about what they do all day and how they feel about what they do (1974). In Chapter 3, the notion of subjective participation journalism is explained. This is followed by an analysis of three of the most famous and creative of the works that fall into this functional category: Hunter S. Thompson's Hell's Angels: The Strange and Terrible Saga of an Outlaw Motorcycle Gang (1966), Michael Herr's Vietnam classic, Dispatches (1977), and Norman Mailer's account of a famous protest march, The Armies of the Night: History as a Novel, The Novel as History (1968). Chapter 4 offers a discussion of three works that perform a dominant novelistic function in the realistic tradition of Dostoevski's Crime and Punishment. All three are based on actual murder cases, but the facts of the stories are subordinated to the novelistic themes the author wishes to abstract. They are: Meyer Levin's Compulsion (1957), Mailer's The Executioner's Song (1979) and Capote's In Cold Blood. From this outline, it may appear as if the study is loaded in favour of the sociological works discussed in Chapter 2. This is intentional because, although many critics have referred to them as "non-fiction novels", very little systematic and detailed analysis of these works as a corpus has been forthcoming. This long chapter is an attempt to redress the balance.

An array of different cyclopropanes have been synthesised, including the structurally simple 1-phenylcyclopropanol. These were synthesised in yields upwards of 60%, using the well published Kulinkovich reaction. From 1-phenylcyclopropanol, variations of the cyclopropane core structure were synthesised, creating species ideal for palladium cross coupling reactions, such as 1-phenylcyclopropyl methanesulfonate and 1-phenylcyclopropyl 4-methylbenzenesulfonate. These were formed in 50 and 60% yield respectively. Once obtained these cyclopropanes were used to perform Suzuki cross coupling reactions towards the formation of 1,1- diphenyl cyclopropane. Unfortunately, despite various attempts, the palladium cross coupling reactions were unsuccessful. The work did facilitate the discovery of a novel methodology for the synthesis of tetra substituted alkenes. Using similar methodology as that developed for the formation of 1- phenylcyclopropanol, a McMurry reaction was able to be performed on a number of different ketones. This reaction formed a wide array of different tetra-substituted alkenes with yields ranging from 20-99%, depending on the nature of the starting material. The method, involving the use of 9 equivalents of Grignard reagent and stoichiometric amounts of titanium isopropoxide, is a unique way of making low valent titanium in situ, as well as being homogeneous. Methodology for the formation of vinyl cyclopropanes containing an amide moiety has been developed, allowing a variety of different amines to be coupled to two different cyclopropanes. Once these species were synthesised, a palladium catalysed cyclisation, Heck reaction, carbonylation cascade was developed. This allowed the core cyclic structure of the stemona alkaloids to be obtained in a single reaction vessel with good yields of up to 52% depending on the amine used. The cascade was then applied to a fully substituted cyclic natural product core. However, the cascade reaction was unsuccessful. Efforts to alter the structure of the starting material, to remove the potentially hindering bromine, provided no improvement. It was established that the tetrakis(triphenylphosphine) palladium (0) catalyst used was too encumbered for insertion in to the sterically hindered starting material, which is likely to be causing the failure of the reaction.

Masters of Science / A nitrile and amide hydrolysing Nesterenkonia sp. was isolated from Antarctic soil and was characterised as a psychrotolerant, halotolerant and alkaliphilic extremophile. Amidases are widely distributed in both prokaryotic and eukaryotic organisms. These enzymes hydrolyze C-N bonds other than peptide bonds and are particularly interesting for their potential industrial application. This study aimed to identify and characterize amidase genes from this novel psychrotolerant microorganism. Using BLAST analysis, two ORFs with conserved amidase sequences were identified from the complete genome sequence of the organism. Two ORFs, AmiF and AmiS, were assigned to two different gene families, the aceta/formamidase family and amidase signature family, respectively. On the genome, the spatial orientation and intergenic distance (1bp overlap) of the ORF‟s suggested that amiF and amiS could possibly be cotranscribed which was confirmed by reverse transcription PCR. A third ORF with a conserved amidase sequence was found ±500bps downstream from amiS, suggesting the possible presence of a multi amidase operon. The two genes were cloned and expressed as N-terminal 6x His-Tag fusion proteins. AmiS and Ami F were partially purified using Ni-chelation chromatography. Although both proteins were subjected to activity assay, their activities are yet to be established. Homology modeling of the AmiF and AmiS translated sequences showed that the proteins had the significant similarities to the members of their families. Although the sequence identities between the AmiF and AmiS and their templates were very low (24 % and 25% respectively), the evaluation of the models showed that the quality of the models were good. This study reports the genetic and functional characterisation of amidase genes from the cold adapted microorganisms. / South Africa

No description available.

La réappropriation de l’eschatologie judéo-chrétienne par les doctrinaires politiques du XIXe siècle est un topos de l’histoire des idées ; le soubassement religieux de l’idéologie démocratique du XXe siècle, quoique moins éclatant, est tout aussi réel. Quant à l’art, ouvrant dans un monde ultra-territorialisé le champ de l’extraterritorialité par excellence, il constitue peut-être la dernière altérité du discours rationnel positiviste. La théorie spéculative de l’Art a montré en quoi la littérature se rapproche plus d’un logos que d’une tekhnè, et l’écrivain de la figure du messager plutôt que de celle de l’artisan. En outre, dans sa tentation des origines, l’inspiration artistique appelle la surenchère : de mot en mot, on en vient au Verbe, et d’idée en idée au Saint-Esprit. Qu’il le transpose ou le critique, l’illustre ou le rejette, le livre a toujours entretenu des rapports étroits au Livre — et il y a là plus qu’une simple homothétie médiologique, où tout incipit vaudrait genèse. Parmi les pratiques actuelles de transplantation de l’héritage chrétien dans le roman, rares sont les ambitions architectoniques, les prolongements majestueux ; plus fréquents sont les greffons ou les scories. Fragments d’ensembles qui n’existent plus. Il s’agira donc ici de mettre en lumière ces nouvelles insertions du sacré dans l’univers profane de la littérature et d’en étudier la nature singulière en lien avec l’actuelle société française. Et de démontrer qu’entre modèle descriptif, recours spéculatif et détour narratif, le christianisme, plus qu’un simple référent parmi d’autres, demeure, en dépit d'une sécularisation de la société, l’un des horizons privilégiés de la création romanesque française d’aujourd’hui. / The taking back of the Judeo-Christian eschatology by political theorists of the nineteenth century is a topos of the history of ideas. Though it is less obvious, the religious foundation of the democratic ideology of the twentieth century is just as real. As for art, since it is perhaps the last otherness of positivist rational discourse, it leads, in an overterritorialized world, to the extraterritorial field par excellence. The speculative theory of Art showed how literature is much more a logos than a tekhnè, and how the writer is closer to the figure of the messenger than to that of the craftsman. Moreover, in its temptation of origins, artistic inspiration calls for upmanship: word by word, we come to the Word, and from idea to idea to the Holy Spirit. Shall it transpose or criticize it, illustrate or reject it, the book has always had close relations to the Bible – and those relations are much deeper than an simple mediological homothety, where every beginning would count as a genesis. Among the current practices of transplantation of the Christian heritage in the novel, few are architectural ambitions or big extensions; most common are grafts or slags. Fragments of bigger schemes that no longer exist. Our aim is to highlight the new insertions of the sacred in the profane world of literature and to study its unique nature in connection with the current French society. And to demonstrate that between descriptive models, speculative crutches and narrative detours, Christianity, more than a mere referent among others, remains, in spite of society’s secularization, one of the privileged backgrounds of French fictional creation today.

the project was based on genetic modification of cell's chromosome using žef Stefan's Institute, Ljubljana,

DESERT PALMS is a contemporary women’s novel set in an Arizona RV park. When Miamians Margie Campos and her husband, Carlos, unexpectantly inherit Desert Palms, a rundown retirement community, Margie reluctantly agrees to stay in Arizona to overhaul the park. With the discovery of a secret letter that threatens to unravel the family, an unscrupulous broker determined to buy the park on the cheap, and a husband bent on hitting it big, Margie digs in and starts to find purpose amidst a desert microcosm. Told from Margie’s perspective in a closely attached third person, DESERT PALMS is a realistic and humorous narrative that falls somewhere between the style of Liane Moriarty in, “The Husband’s Secret” and Anne Tyler in her novel, “Back When We Were Grownups.” DESERT PALMS offers an offbeat cast of central characters who help Margie gain a deeper understanding of herself and what makes life worth living.

A BODY OUTSIDE THE KREMLIN is a historical mystery novel set in the Northern Camps of Special Significance, a Soviet Russian penal institution based in the Solovetsky Archipelago during the 1920s. The protagonist, working first with the camp authorities, then in spite of their disapproval, solves the murder of a fellow prisoner. In the process he improves his position within the camp, while also becoming hardened to the brutal necessities of camp life. Prior to the establishment of the penal camp, the Solovetsky Archipelago was the site of an important Russian Orthodox monastery, and the mystery proves to involve valuables, particularly icons, seized from the monks by the Soviet secret police. Thus the novel treats themes not only of statist repression, but also religious epiphany and the problems of true perception in a world of symbols.