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The Queen Charlotte Fault system is a segment of the North America - Pacific plate boundary. From 45 Ma - 5 Ma, plate motion has been primarily translational. Since 5 Ma, transpression has been the dominant mode of interaction. The plate boundary west of the Queen Charlotte Islands is characterized by an approximately 30- km wide terrace, flanked to the west by a topographic trough and to the east by the seismically active Queen Charlotte Fault. At 53.4°N the fault bends eastward and the terrace becomes wider and discontinuous, forming triangular shaped highs and intervening lows. Approximately 300 km of multichannel seismic reflection and gravity data along and across the Queen Charlotte Fault off Dixon Entrance were collected as part of the ACCRETE experiment in 1994. Structural interpretation of the five new profiles reveals the presence of faults and folds within the terrace, which form an angle of 20° to the strike of the Queen Charlotte Fault. The direction of these structures corresponds to the trend of the plate boundary south of the bend and west of the Queen Charlotte Islands, implying that through complex compression and shear, material must have been carried from south to north along the margin during oblique plate motion. Based on this observation and on forward gravity modeling, which places limits on the possible plate configuration at depth, a four-dimensional model has been developed to explain the temporal and spatial evolution of structural styles in this region. Considering the amount of shortening that must be accommodated within the past 5 Ma (a maximum of 100 km), a model of an underthrusting Pacific plate is preferred over one of pure upthrusting. About 5-6 Ma ago, when transpression began, oceanic crust was flexed and thrust upward at the plate boundary to eventually reach a steady-state configuration of a subducting slab. Fractured basement rock and consolidated, deformed sediments underlie the terrace and form its foundation. As a result of strain partitioning, the terrace is now decoupled and moves both parallel to the continent and perpendicular to the underthrusting Pacific plate. North of the bend in the Queen Charlotte Fault, underthrusting north of it occurs obliquely along preexisting fractures at the base of the terrace. The repetitive pattern of triangular terrace slivers is the result of continuing uplift and shear along these trends. Active tectonism influences sediment dispersal and creates traps. A N-S trending fault was also identified in the trough segment and possibly involves oceanic basement. Its origin is thought to be due to distributed shear that was transmitted across the plate boundary. Sea-floor spreading magnetic anomalies trend north-south as well. Along these zones of weakness, synthetic strike-slip faults of a transpressional strain ellipse could has been initiated during early stages of subduction. Reactivation of such faults may occur when oceanic crust approaches the outer terrace boundary, as is the case in the study region. Gravity modeling confirmed the existence of thin (24 km) continental crust and an increase in oceanic Moho dip beneath the terrace, which is topped by unconsolidated sediments and underlain by material of near-basement densities. It could not be determined using gravity modeling whether oceanic crust exists beneath the continent, but if it does, it must be welded to the North American plate in shallow subduction. / Graduation date: 1998

This dissertation investigates the ways visitors to Haida Gwaii (sometimes called the Queen Charlotte Islands) have written about the islands. I argue that accounts by visitors to Haida Gwaii fashion the object that they seek to represent. In short, visitors' stories do not unproblematically reflect the islands but determine how Haida Gwaii is perceived. These perceptions in turn affect the actions of visitors, residents and governments. I contribute to that representational process, striving to show the material consequences of language and the ways discourses shape Haida Gwaii. The dissertation consists of three sections. "Early visitors" focuses on the last quarter of the eighteenth century, studying the earliest documented visits by Euro-American mariners and fur traders. "Modern visitors" concentrates on the last quarter of the nineteenth century and the beginning of the twentieth century, when some visitors were busy imposing colonial forms of government and social organization, while others were resisting these projects. "Recent visitors" concentrates on the final quarter of the twentieth century, examining the campaign to save a portion of the archipelago from clearcutting and efforts to develop alternatives to resource-extractive economic practices. By examining three case studies for each period, I argue that the ways visitors imagine the islands have been transformed in each of these periods.

The aim of the present dissertation is to investigate and discuss the political debate on female monarchs during the early modern era (principally circa 1600 to 1720), while specifically pro- blematizing the relationship between rhetoric and practice. The study consists of three sections. The first comprises a study of regulations concerning female succession in the era, highlighting the relationship between the principles of gender and consanguinuity. The second section studies the debate both for and against female monarchs in general, analyzing the arguments presented by Swedish and English debatteurs and European legislators. The third section discusses the perception of female monarchs in practice. Here the focus is on Queens Christina (1632-54) and Ulrika Eleonora (1719-1720), who are both compa­red with each another and other reigning monarchs, primarily the English Queens Elizabeth I (1558-1603), Mary II (1689-94) and Anna Stuart (1702-14). This section is divided into four the­matic subsections: female monarchs in relation to ascension to the throne; education; war; and marriage. Furthermore, the opinions of Christina and Ulrika Eleonora themselves on female monarchs and female succession are discussed. This study has attempted to show that the question of the gender of the monarch has had significance for both the rhetoric and practice of female monarchy. It has been shown that the arguments used against female rulers have mainly concentrated on the principle of gender by labelling "female/feminine" as the negative polar opposite of "male/masculine". In contrast, the arguments used in favour of female monarchs have attempted to tone down the signficance of the fact that the monarch was a woman. Instead, the matter of the monarch's gender was discu­ssed in relation to other, more overriding principles for the monarchy as an institution, inclu­ding birth, dynastic continuity, royal distinctiveness, education, the preservation of order and legitimate succession to the throne. At the same time, this study has shown that traditionally female characteristics could also have a positive effect. One particular problem, both in rhetoric and practice, seems however to have been how and indeed if a female monarch could coordinate her role as sovreign with that of traditionally subordinate wife. / digitalisering@umu

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho tem por objetivo traçar breves notas sobre algumas movimentações de drag queens e outras artistas da travestilidade que tiveram lugar na cidade do Rio de Janeiro, nos anos de 2009 e 2010. Através de um trabalho de observação participante, foram selecionados alguns locais e espetáculos que poderiam ser representativos desta categoria artística, não se pretendendo um levantamento extenso sobre quem são e onde estão tais artistas. Nomeio como artistas da travestilidade aqueles corpos que têm o ato de travestir-se como central em sua construção artístico-cultural, principalmente construindo corporalidades baseadas em um gênero diferente daquele identificado socialmente no nascimento, como drag queens, atores transformistas, travestis e transexuais artistas. Apoiando-me em pressupostos dos métodos cartográfico e etnográfico assumi, nesta dissertação, o posicionamento de um pesquisador-espectador, objetivando o contato com aquilo que drag queens e outras artistas da travestilidade desejam tornar público, ou seja, seus shows e espetáculos. Acompanhei diversas apresentações deste tipo em teatros, boates, bares e clubes de bairro, bem como em outros locais nos quais se fizeram presentes, como na Parada do Orgulho LGBT do Rio de Janeiro e em alguns blocos do carnaval carioca. Tendo ainda como campo de diálogo alguns postulados da Esquizoanálise vertente teórica fundamentada principalmente nas contribuições de Gilles Deleuze e Félix Guattari , pretendi situar e afirmar as drag queens e a arte da travestilidade dentro dos estudos de gênero e sexualidade, principalmente aqueles mais diretamente relacionados às manifestações de uma subcultura camp e cultura gay e/ou homossexual. / This paper aims to draw some brief notes on the contemporary drag queens' and other female impersonators artists movements, following what took place in the city of Rio de Janeiro during the years 2009 and 2010. Through a study of participant observation, I selected some sites and shows that could be representative of this art category, not intending to make an extensive survey of where they are or who these artists are. I name female impersonators artists those bodies which have the act of transvestiting themselves as central to their artistic and cultural construction/constitution, particularly building up corporalities based on a gender which is distinct from the birth-socially-identified one, e.g. drag queens, crossdresser actors, transvestites and transgender artists. Based on cartographic and ethnographic methods, I took the position of a spectator, that is, of a researcher-spectator, aiming at a connection with what drag queens and impersonators artists wish to make public, i.e., their concerts and shows. I followed various performances of this kind in theaters, nightclubs, bars and neighborhood clubs, as well as in other places in which they were present, as in Rio de Janeiro's LGBT Pride Parade and in some groups of Rio's carnival. Having also as a field of dialogue some postulates of Schizoanalysis - the theoretical model based mainly on contributions from Gilles Deleuze and Felix Guattari -, I meant to situate and affirm the drag queens and the female impersonation art within the studies of gender and sexuality, especially within those more closely related to manifestations of a camp subculture and gay or homosexual culture.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho tem por objetivo traçar breves notas sobre algumas movimentações de drag queens e outras artistas da travestilidade que tiveram lugar na cidade do Rio de Janeiro, nos anos de 2009 e 2010. Através de um trabalho de observação participante, foram selecionados alguns locais e espetáculos que poderiam ser representativos desta categoria artística, não se pretendendo um levantamento extenso sobre quem são e onde estão tais artistas. Nomeio como artistas da travestilidade aqueles corpos que têm o ato de travestir-se como central em sua construção artístico-cultural, principalmente construindo corporalidades baseadas em um gênero diferente daquele identificado socialmente no nascimento, como drag queens, atores transformistas, travestis e transexuais artistas. Apoiando-me em pressupostos dos métodos cartográfico e etnográfico assumi, nesta dissertação, o posicionamento de um pesquisador-espectador, objetivando o contato com aquilo que drag queens e outras artistas da travestilidade desejam tornar público, ou seja, seus shows e espetáculos. Acompanhei diversas apresentações deste tipo em teatros, boates, bares e clubes de bairro, bem como em outros locais nos quais se fizeram presentes, como na Parada do Orgulho LGBT do Rio de Janeiro e em alguns blocos do carnaval carioca. Tendo ainda como campo de diálogo alguns postulados da Esquizoanálise vertente teórica fundamentada principalmente nas contribuições de Gilles Deleuze e Félix Guattari , pretendi situar e afirmar as drag queens e a arte da travestilidade dentro dos estudos de gênero e sexualidade, principalmente aqueles mais diretamente relacionados às manifestações de uma subcultura camp e cultura gay e/ou homossexual. / This paper aims to draw some brief notes on the contemporary drag queens' and other female impersonators artists movements, following what took place in the city of Rio de Janeiro during the years 2009 and 2010. Through a study of participant observation, I selected some sites and shows that could be representative of this art category, not intending to make an extensive survey of where they are or who these artists are. I name female impersonators artists those bodies which have the act of transvestiting themselves as central to their artistic and cultural construction/constitution, particularly building up corporalities based on a gender which is distinct from the birth-socially-identified one, e.g. drag queens, crossdresser actors, transvestites and transgender artists. Based on cartographic and ethnographic methods, I took the position of a spectator, that is, of a researcher-spectator, aiming at a connection with what drag queens and impersonators artists wish to make public, i.e., their concerts and shows. I followed various performances of this kind in theaters, nightclubs, bars and neighborhood clubs, as well as in other places in which they were present, as in Rio de Janeiro's LGBT Pride Parade and in some groups of Rio's carnival. Having also as a field of dialogue some postulates of Schizoanalysis - the theoretical model based mainly on contributions from Gilles Deleuze and Felix Guattari -, I meant to situate and affirm the drag queens and the female impersonation art within the studies of gender and sexuality, especially within those more closely related to manifestations of a camp subculture and gay or homosexual culture.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This dissertation investigates the ways visitors to Haida Gwaii (sometimes called the Queen Charlotte Islands) have written about the islands. I argue that accounts by visitors to Haida Gwaii fashion the object that they seek to represent. In short, visitors' stories do not unproblematically reflect the islands but determine how Haida Gwaii is perceived. These perceptions in turn affect the actions of visitors, residents and governments. I contribute to that representational process, striving to show the material consequences of language and the ways discourses shape Haida Gwaii. The dissertation consists of three sections. "Early visitors" focuses on the last quarter of the eighteenth century, studying the earliest documented visits by Euro-American mariners and fur traders. "Modern visitors" concentrates on the last quarter of the nineteenth century and the beginning of the twentieth century, when some visitors were busy imposing colonial forms of government and social organization, while others were resisting these projects. "Recent visitors" concentrates on the final quarter of the twentieth century, examining the campaign to save a portion of the archipelago from clearcutting and efforts to develop alternatives to resource-extractive economic practices. By examining three case studies for each period, I argue that the ways visitors imagine the islands have been transformed in each of these periods. / Arts, Faculty of / English, Department of / Graduate

by Amber L. Garr. / Thesis (Ph.D.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web. / The presence of heavy metals and other pollutants is detrimental to marine ecosystems. The queen conch, once an important fisheries species in the Florida Keys, has not sufficiently recovered after a 25-year fishery closure. Research has shown high levels of copper and zinc in the gonads and digestive glands of adult conch found in the nearshore waters. Four sites relevant to queen conch larval recruitment were tested in 2010 for the presence of copper and zinc in the water, phytoplankton, sediment, and seagrass epiphytes over seven months. Both metals were detected in all sample types and no seasonal or geographical differences were detected. Surface water concentrations from the field were used to conduct acute and chronic toxicity tests on various ages of queen conch larvae and their phytoplankton food source. When zinc concentrations (0-40 (So(Bg/L) similar to those measured in situ were used, there was no significant impact on conch larval survival although some velar lobe de velopment was impaired. However, field concentrations of copper (0-15 (So(Bg/L), which often surpassed water quality standards, negatively impacted growth, survival, and development of the larvae. Chronic exposure to copper, through the water and food, disrupted the metamorphic success of competent larvae and decreased post-metamorphosis survival. Exposure to copper at later life stages increased mortality, suggesting that heavy metals have a negative effect on larval recruitment in localized areas of the Florida Keys. Structural equation modeling revealed that copper and zinc are moving through the systems differently and are best represented by two different models.