In the past two decades or so, feminist historians have sifted through the copious illustrations of the turbulent, emotion-ridden years of early nineteenth-century American revivalism to devote considerable attention to the rise of female evangelism. Despite the notable upsurge, scholars generally remain untutored about the plethora of powerful female preachers who devoted their lives to advancing the kingdom of God. This dissertation seeks to resurrect the voice of one such woman: Dorothy Ripley (1767- 1831), an evangelist from Whitby, England, whose personal and evangelical awakening rivaled the revolutionary power of the revivalism sweeping the new Republic. Citing her direct mandate from God to preach, Dorothy grasped religion and reshaped it into a spiritually, culturally, and politically altering device. She became the first woman to preach before the U.S. Congress, composed five literary volumes (most of which she published herself and in multiple editions), crossed the Atlantic as many as nineteen times, and traveled up and down the Eastern Seaboard to preach among the different levels of society in a variety of settings. As an unlicensed, unsanctioned preacher, Dorothy defied powerful social and religious conventions by her solitary travel, scriptural exegesis, public performances, and presumption of the patriarchally assigned and protected role of preacher. She strove to proclaim the gospel even at the expense of reputation, family ties, home and hearth, marriage and motherhood, and personal security. Her rebelliousness allowed her to rise above the backstage role commonly assigned to, and accepted by, women of the early Republic. Her works serve as cultural artifacts by providing eyewitness accounts spotlighting the problems inherent in the formative years of a Republic reeling with the headiness of self-rule: the tension between Protestantism and American capitalism, the conflict between an emerging elite and the increasingly dissatisfied lower class, the misogyny of the cult of domesticity and separate spheres, the embryonic stages of widespread social reform, and the virulent ethnocentrism of the rhetoric of Manifest Destiny. Through an examination of her spiritual autobiographies, this dissertation seeks to enrich scholarly understanding of women’s influence in the evolution of evangelization, abolitionism, women’s rights, and social service.

The wind waves have significant effects on small craft and fisheries. Therefore, wind wave climate has an important role in the design and operation of fishing harbors and harbors for small craft. The purpose of this study is to identify the wind wave climate along the eastern part of the Mediterranean Sea coastline of T&uuml / rkiye. For this purpose, wind wave data for a certain period is obtained from ECMWF for the analysis. Moreover, the data will be analyzed for locations selected along the Turkish coast using a special software developed for this thesis study. For every location, the wind wave roses, significant wind wave height versus mean period of primary wind relations, extreme probability distribution, and log-linear cumulative probability distributions will be presented. By the help of software developed, it will be possible to analyse any coordinate using ECMWF data.

Domestic animals have rich phenotypic diversity that can be explored to advance our understanding of the relationship between molecular genetics and phenotypic variation. Since the advent of second generation sequencing, it has become easier to identify structural variants and associate them with phenotypic outcomes. This thesis details studies on three such variants associated with monogenic traits. The first studies on Rose-comb in the chicken were published over a century ago, seminally describing Mendelian inheritance and epistatic interaction in animals. Homozygosity for the otherwise dominant Rose-comb allele was later associated with reduced rooster fertility. We show that a 7.38 Mb inversion is causal for Rose-comb, and that two alleles exist for Rose-comb, R1 and R2. A novel genomic context for the gene MNR2 is causative for the comb phenotype, and the bisection of the gene CCDC108 is associated with fertility issues. The recombined R2 allele has intact CCDC108, and normal fertility. The dominant phenotype Greying with Age in horses was previously associated with an intronic duplication in STX17. By utilising second generation sequencing we have examined the genomic region surrounding the duplication in detail, and excluded all other discovered variants as causative for Grey. Dun is the ancestral coat colour of equids, where the individual is mostly pale in colour, but carries intensely pigmented primitive markings, most notably a dorsal stripe. Dun is a dominant trait, and yet most domestic horses are non-dun in colour and intensely pigmented. We show that Dun colour is established by radially asymmetric expression of the transcription factor TBX3 in hair follicles. This results in a microscopic spotting phenotype on the level of the individual hair, giving the impression of pigment dilution. Non-dun colour is caused by two different alleles, non-dun1 and non-dun2, both of which disrupt the TBX3-mediated regulation of pigmentation. Non-dun1 is associated with a SNP variant 5 kb downstream of TBX3, and non-dun2 with a 1.6 kb deletion that overlaps the non-dun1 SNP. Homozygotes for non-dun2 show a more intensely pigmented appearance than horses with one or two non-dun1 alleles. We have also shown by genotyping of ancient DNA that non-dun1 predates domestication.

The Mural Limestone, located in the Mule Mountains to the northeast and southeast of Bisbee, Arizona provides an exceptional outcrop analog for time-equivalent productive reservoirs in the Albian Glen Rose patch-reef play of the Maverick Basin. The Mural Limestone is exposed in a number of folds and east-dipping fault blocks in the Grassy Hill and Paul Spur localities in the Mule Mountains and represents a remnant of a south-facing distally-steepened carbonate ramp that prograded into the Chihuahua Trough in Albian time. This study documents the detailed facies architecture and sequence stratigraphic setting of a multicyclic patch-reef and its associated ramp interior facies at the Paul Spur and Grassy Hill localities, respectively. Small mud-dominated coral-algal buildups (~5 m thick) and tabular biostromes (up to 1.5 m thick) consisting of rudist floatstones are common in the bedded ramp interior carbonates at the Grassy Hill locality in the Mule Mountains 10 km landward of the Paul Spur reef. Buildups in this area are flanked by weakly-cyclic and well-bedded skeletal mud- and grain-dominated packstones. At the Paul Spur locality, Mural facies consist of a 10-35 m thick patch-reef with four distinct reef communities: microbial-Microsolena framestone, algal-Actinastrea boundstone, branching coral-skeletal framestone and caprinid-requienid floatstone. Measured reef dimensions show a distinct windward-leeward margin with reef frame facies extending ~70 m from the margin and extensive leeward rudstone debris and grainstone shoal facies extending a distance of 870 m. Reef and backreef shoal facies exhibit low preserved porosity but petrographic analysis of backreef grainstones shows that primary porosity and permeability was present. These extensive reservoir-prone shoals may be a suitable reservoir target similar to flank rudstones and grainstones of the Maverick Basin reefs. Three aggradational to retrogradational cycles of reef growth are evident at the Paul Spur locality. Retrogradational stacking is consistent with that of time-equivalent Lower Glen Rose patch-reefs in the Maverick Basin of Texas, which suggests a eustatic driver for stratigraphic architecture along the Bisbee/Comanche shelf. Backstepping of reef frame facies in Cycle 3 is interpreted to be time-equivalent to patch-reef development at the Grassy Hill locality. / text

The present dissertation deals with the artistic collaboration of a married couple, Charles Rennie Mackintosh and Margaret Macdonald. Living in Glasgow at the turn of the century, theeå, Swedeny concentrated their work on interior design. However, artistic collaboration has been neglected by traditional art history, with its concentration on individual creativity. For the couple in question, this has meant that the work they created together has been mainly attributed to Mackintosh, thereby relegating Mac­donald to the role of spouse and assistant, rather than co-creator. The present disser­tation presents a different picture of the couple's collaboration, challenging and revi­sing our cultural perceptions about the creative abilities of the respective sexes. A selection of interiors created by the Mackintoshes is studied in order to shed light on their collaborative efforts. The analyses embark from the perspectives of «masculine» and «feminine» in order to show how the Mackintoshes created artistic wholeness in their interiors, while at the same time opening up the spaces for a mixture of actors, i.e. making the rooms accessible to men and women alike through their designs. During this epoch, the concepts of «masculine» and «feminine» were employed as natural points of reference in an attempt to explain social and cultural phenomena scientifically. The Mackintoshes made use of the era's conventions when creating interiors in the accepted division of masculine (hallways, dining rooms, libraries) and feminine (bedrooms, salons) spaces. However, with time they began to combine these accepted gender forms in order to create something new and modern. Just as the Mackintoshes could create more powerful works of art by combining their respective artistic talents, their spaces could accrue greater significance through the combination of masculine and feminine principles. / digitalisering@umu

It is all too easy to dismiss myth as belonging to the realm of the abstract and theoretical, too removed from reality to constitute anything pragmatic. And yet myth makes up the very fabric of society, informing the way history is understood and the way people and things are remembered. William Faulkner’s works approach myth with a healthy skepticism, only gradually coming to find value in a process that is often destructive; his works demand of their readers the same perceptive criticism. This thesis approaches myth through the lens of Faulkner's "A Rose for Emily," Absalom, Absalom!, and "The Bear." Faulkner's texts ultimately ask readers to bear witness by thinking critically about the process of myth-making, not only in the realm of literature but in the world as a whole.

The wide variety of magazines in the South African market and the economic relapse that has been experienc,e d worldwide has given rise to the increasing competition for higher circulation figures and advertising income. This phenomenon especially occurs between publications competing for the same target audience, such as the women's magazines SARIE and rooi rose, competitors over many years in the Afrikaans magazine market. Magazine covers play a critical role in this rivalry due to the direct connection between the popularity of the cover and circulation figures. The more popular the cover of a publication, the higher the sales, circulation and potential profitability will be. Thus it is of the utmost importance for any publication to make the suitable cover selections, considering that the wrong choices can contribute towards a decrease in circulation and eventually fatal consequences for the publication. This study endeavours to determine which requirements magazine covers should meet to be successful and also which tendencies can be identified in the cover choices of SARIE and rooi rose and how these tendencies can be explained. In literature it was found that there are several requirements and directions to which magazine covers should account to be able to be achieving success. It was also found that magazine covers consist of several elements, such as the logo (master-head), cover-girl/-photo, background colours, text and also competitions (announced on the cover). SARIE and rooi rose's covers were analysed in accordance with the requirements for magazine covers. It was found that these magazine covers complied with the formal requirements formulated in the literature consulted. It also appeared that the success of every cover and edition is determined by the cover elements as a whole and not only the popularity of the "cover-girl" only. Several aspects should thus be taken into account when planning the magazine cover. It also appeared that although the cover choice sets an agenda for readers concerning the topics they will eventually be thinking about and discussing, another dimension of agenda-setting rather is to the point, namely the role readers' preferences play (through their personal feedback and buying of magazines) regarding editors' decision in respect of covers. / Thesis (M.A. (Communication Studies))--North-West University, Potchefstroom Campus, 2010

The wide variety of magazines in the South African market and the economic relapse that has been experienc,e d worldwide has given rise to the increasing competition for higher circulation figures and advertising income. This phenomenon especially occurs between publications competing for the same target audience, such as the women's magazines SARIE and rooi rose, competitors over many years in the Afrikaans magazine market. Magazine covers play a critical role in this rivalry due to the direct connection between the popularity of the cover and circulation figures. The more popular the cover of a publication, the higher the sales, circulation and potential profitability will be. Thus it is of the utmost importance for any publication to make the suitable cover selections, considering that the wrong choices can contribute towards a decrease in circulation and eventually fatal consequences for the publication. This study endeavours to determine which requirements magazine covers should meet to be successful and also which tendencies can be identified in the cover choices of SARIE and rooi rose and how these tendencies can be explained. In literature it was found that there are several requirements and directions to which magazine covers should account to be able to be achieving success. It was also found that magazine covers consist of several elements, such as the logo (master-head), cover-girl/-photo, background colours, text and also competitions (announced on the cover). SARIE and rooi rose's covers were analysed in accordance with the requirements for magazine covers. It was found that these magazine covers complied with the formal requirements formulated in the literature consulted. It also appeared that the success of every cover and edition is determined by the cover elements as a whole and not only the popularity of the "cover-girl" only. Several aspects should thus be taken into account when planning the magazine cover. It also appeared that although the cover choice sets an agenda for readers concerning the topics they will eventually be thinking about and discussing, another dimension of agenda-setting rather is to the point, namely the role readers' preferences play (through their personal feedback and buying of magazines) regarding editors' decision in respect of covers. / Thesis (M.A. (Communication Studies))--North-West University, Potchefstroom Campus, 2010

Peu d'enzymes de synthèse de composés odorants sont connues chez le genre Rosa. Ce travail de thèse a permis l'identification de quelques-unes de ces protéines grâce à la technologie des puces à ADN, à l'analyse de l'expression des gènes par RT-PCR quantitative en temps réel (qPCR) et à l'analyse des parfums par chromatographie en phase gazeuse (CPG). Une puce confrontant les ADNc d'une rose parfumée à ceux d'une rose non parfumée a permis de corréler l'expression d'un gène, codant pour une Nudix hydrolase, très fortement exprimé dans la rose parfumée, avec la présence des monoterpènes dans le parfum de nombreux cultivars de rosiers. La caractérisation d'un rosier dont l'expression de ce gène est fortement réduite par ARN interférants, a permis de confirmer le rôle de celui-ci dans la synthèse des monoterpènes. La phénylacétaldéhyde synthase (PAAS) est une autre enzyme participant à la synthèse du parfum. Trois allèles de cette protéine ont précédemment été mis en évidence. Les résultats de qPCR et de CPG dans une population hybride ont permis de montrer que l'allèle a1 est le seul à pouvoir induire la synthèse et l'émission de 2-phényléthanol. Les activités respectives des différentes isoformes ont été testées in vitro chez la levure et in planta dans des feuilles de tabac et des cals de rosier : ces expériences montrent que les trois isoformes ont des activités comparables. L'absence de synthèse de 2-phényméthanol chez les plantes présentant les isoformes a2 et a3 réside donc dans la très faible expression de leurs allèles, induisant probablement une faible concentration de l'isoforme dans les cellules

This thesis examines the novels of Christine Brooke-Rose and A. S. Byatt in order to question the extent to which contemporary British novelists are free to innovate with the forms of literary realism, forms that have a long and valued tradition in British literary production. Both authors, I argue, have reassessed the limits of the realist novel over the course of their careers, and the specific ways in which they engage with, or depart from, their literary inheritance are discussed. The introduction contextualises the literary climate out of which the two writers emerge. In the 1960s and 1970s, it was a commonplace of literary criticism to declare the “death of the English novel.” In the years following modernist experimentation, British novelists made a conscious return to the mimetic realism of the nineteenth century. Rather than the intellectual sterility that is often assumed to have dominated this period, I observe that there were in fact many writers who were continuing the innovations of the preceding generations, Christine Brooke-Rose and A. S. Byatt amongst them. To view realism to be in need of renewal is first of all to view literary production in terms of an ontological-historical distinction of texts as types of objects. It may be also to neglect the ways in which literary history is always already in dialogue with the present. Both authors have made concerted efforts to refresh literary realism; however, they have proceeded in very different ways. Brooke-Rose has experimented with the content and the form of the novel in order to renew conventions she insists are fatigued or overworked. The novels she has published since 1964 depart radically from what would ordinarily be recognised as realist fictions as they make no attempt to disguise their own textuality. Byatt, on the other hand, has reassessed realism through the forms of realism itself. Through an engagement with literary history, she revisits realism to pursue what has always been of value within it. In so doing, she creates a developmental model of literary production in which literary debts are made visible in the work of the contemporary writer. Chapter One examines Thru, the literary experiment for which Brooke-Rose is most celebrated. My starting point is her claim, following Roland Barthes’s S/Z, that she is the author of writerly as opposed to readerly texts. I argue that to establish any such easy opposition is to neglect Barthes’s departure from the polemicism that had marked his earlier work. Rather than interrogating how well her texts are supported by her claim to be writerly, I turn the opposition around in order to examine precisely how Barthes’s readerly operates within Thru. Through a close reading both of the novel and of Barthes, I illustrate that many characteristics of literary realism that Brooke-Rose argues are exhausted, in particular characterisation and narration, are still operating in Thru. Chapter Two develops Brooke-Rose’s opposition of readerly and writerly in order to examine its consequence for her own experimental writing. Here I return to Thru to demonstrate the ways in which Barthes’s readerly and writerly operate as interdependent processes rather than as opposing terms. I then reconsider her earliest work, a period she has since disavowed. I argue that rather than a separation, there is a continuum between her earliest works and her later, more experimental, writing that has not been recognised by the author or her critics. In Chapter Three I turn my attention to Byatt’s insistence on a developmental model of literary production. Here I identify the role that evolutionary narratives play in her texts. Two of her works, Possession and “Morpho Eugenia” are set largely in 1859, a year in which a specific epistemological emergence was to reconsider genealogical relations. In this chapter I examine the writings she invents for her characters and argue that she takes metaphors from natural history in order, not only to show the close relationship between literature and natural history, but to provide her reader with a framework of literary-generational descent. Chapter Four examines more closely the ways in which Byatt converses with her literary predecessors. She offers a version of realism that has always been concerned with perception, and with the impossibility of translating that perception into verisimilar fiction. In this chapter I identify the role that art works play within two of Byatt’s earlier novels, The Virgin in the Garden and Still Life, as she finds in them the same metaphorical ambiguities that bind the language of the novelist to imprecision. I then examine the ways in which metaphor works in these novels to elude precise signification of meaning. Chapter Five returns to Byatt’s neo-Victorian texts, Possession and Angels and Insects, and examines the author’s ventriloquism of her Victorian characters, which includes Alfred, Lord Tennyson and Arthur Hallam. Ventriloquism, I argue, is concerned with a remembrance of the literary dead within the present work and is thus an expression of mourning. However, to avoid melancholia the new text must also emphasise its difference from that which is being ventriloquised. I then discuss Byatt’s focus on nineteenth-century spiritualism, as it is through the trope of the séance that she reconsiders the afterlife of literary history itself. The final chapter examines the role of the critic. The mourning of Byatt’s fictionalised Tennyson is singular and overpowering. Chapter Six begins with a consideration of two of Possession’s critics, Mortimer Cropper and Leonora Stern, whose readings, I argue, are similar to Tennyson’s mourning in their inhospitality to other readings, other mournings of the literary text. I compare Cropper and Stern to Possession’s other critics, Roland Michell and Maud Bailey, whom Byatt places in the role of literary heir. Not only do Roland and Maud display an essential respect for the texts that they study, but also their reading is open to revision. The literary text, as Barthes argues, must always keep in reserve some essential meaning. Only through interpretive revision, Byatt implies, is the promise of this hopeful-yet-impossible revelation made to the reader.