Thesis (M.A.)--Georgia State University, 2006. / Title from title screen. Audrey Goodman, committee chair; Thomas McHaney, Chris Kocela, committee members. Electronic text (84 p.) : digital, PDF file. Description based on contents viewed June 19, 2007. Includes bibliographical references (p. 82-84).

A common practice amongst street drug manufacturers and dealers is to combine the illicit drug of abuse they intend to distribute with additional substances. Substances added in an attempt to mimic or enhance the desired effect of the drug of abuse are known as adulterants as opposed to diluents, which are added simply to increase the weight of the product. By definition, an adulterant has a physiological effect on the body and as physiologically active compounds these adulterants may have side effects apart from the drug it is added to. They can be minimal, treatable, or otherwise manageable while others can be worse than those incurred from the drug of abuse itself. Due to varying trends in street drug purity, an effort must be made to understand the effects adulterants and diluents, as well as mixtures thereof, may have on forensic drug analysis. Colorimetric spot test analysis is typically performed using a representative sample of the raw, suspected drug material. These tests are often employed in the lab prior to any attempt to isolate a specific compound or at the scene before an arrest is made. This being the case, the reagents will be exposed to and have the potential to react with anything present in the sample with the drug of abuse. While much work has been done regarding the specificity and cross reactivity of colorimetric spot tests, limited information is available about how mixtures of adulterants may affect the results. This research consists of two parts which approach the common theme of adulterants differently. The first part is a literature based investigation into the pathological side effects of several common drug adulterants. The specific compounds discussed are: levamisole, phenacetin, atropine, and several topical anesthetics (benzocaine, lidocaine, prilocaine, and procaine). A review of articles from the scientific literature was conducted in order to convey what is known in the medical field regarding the effects these compounds can have on the body. The second part of this research was a laboratory based investigation which analyzed the effects of twenty-three common adulterants on two colorimetric spot tests: the Marquis reagent for the presumptive identification of heroin, morphine, amphetamine, methamphetamine, and 3,4-methylenedioxy-N-methamphetamine (MDMA) and the modified Scott test for the presumptive identification of cocaine. This was performed in order to observe the reactivity of these compounds so that a better understanding of the effect their presence can have on the analysis of seized drug samples using these tests could be obtained. The literature review portion of this research revealed that the adulterants levamisole, atropine, phenacetin, and the topical anesthetic adulterants lidocaine, prilocaine, benzocaine, and procaine, can be toxic and have severe, deleterious effects on the body in both chronic and acute exposures. Levamisole stimulates the immune system resulting in the production of self-reactive antibodies that attack neutrophils. This causes an autoimmune disorder that weakens the immune system and causes leukocyte agglutination leading to necrotizing vasculitis. Atropine functions to decrease the parasympathetic tone and increase the sympathetic tone in the body. An overdose can cause anticholinergic toxicity, a syndrome very similar to sympathomimetic toxidrome caused by cocaine overdose. Both are characterized by hypertension, hyperthermia, tachycardia, ataxia, disorientation, and mydriasis. However, they can be distinguished as anticholinergic toxicity causes dry and flush skin and mydriasis which is unreactive to light while sympathomimetic toxidrome causes profuse sweating and mydriasis which is reactive to light. Phenacetin is metabolized to O-ethyl-N-acetyl-p-benzoquinone imine (O-Et-NAPQI), a highly reactive and unstable electrophile. It is capable of covalently binding with proteins and other cellular components, including deoxyribonucleic acid (DNA). This leads to mutagenesis and subsequent tumor generation as well as apoptosis and necrosis of various tissues in the bladder and kidneys. The topical anesthetics have each been associated with the development of methemoglobinemia. This is a condition caused by an increase in the concentration of methemoglobin in the blood. Methemoglobin binds more strongly to oxygen so that it cannot be released to the tissues resulting in oxygen starvation. This was found to be caused by the metabolism of prilocaine and lidocaine to the oxidative compounds O-toluidine and 2,6-xylidine respectively. The cause has not been previously reported for benzocaine or procaine. The laboratory portion of this research revealed the impact several adulterants and their mixtures can have on colorimetric spot tests. Testing with approximately 1 mg of sample material revealed that eight out of the twenty-three adulterants reacted with the Marquis reagent to cause a color change within 15 minutes. Of the ten 3-component mixtures tested, eight resulted in a color change. Of the six five-component mixtures, four resulted in a color change; of the six eight-component mixtures, three resulted in a color change; and of the six ten-component mixtures, five resulted in a color change. Of the color changes observed, none were consistent with the "expected" color change for a presumptively positive result of the Marquis test. Testing with the adulterant diphenhydramine revealed that this compound had a unique and intense reaction with the Marquis reagent. This compound initially reacted by turning the liquid a vibrant yellow-green upon contact with the sample. Prior to 2 minutes, solid red-brown aggregates formed in the liquid and proceeded to increase in size while the reagent solution darkened to a red-black color over the 15 minutes of observation. Mixtures containing diphenhydramine each reacted differently. Solid material did not form in the mixture tests and the color changes observed ranged from light orange to a dark red-orange. In addition, one 3-component mixture containing adulterants which did not cause a color change when tested individually (diltiazem, acetaminophen, and quinine) was observed to cause a light brown color to develop, which darkened over the 15 minutes of observation. The results for the modified Scott test showed that the complexity of this test has made it highly specific for cocaine. None of the individual components or mixtures tested reacted in a manner consistent with a presumptively positive identification for cocaine hydrochloride (HCl) or cocaine base for all three steps. Of the twenty-three adulterants tested, eight of the twenty-three gave a similar result to cocaine base in step 1, however, of these eight, only one (quinine) gave a similar result to cocaine base in step 2, and this adulterant did not react consistently to cocaine base in step 3. The research using the adulterant mixtures revealed that the compounds present in these samples tended to react individually with the modified Scott test reagents. In other words, the results for each mixture appeared as a combination of the individual results for each component. While the results observed for the adulterants and mixtures tested were not consistent with the expected presumptively positive results for the drugs these tests are used to detect, it was concluded that the presence of adulterants in a sample has the potential to affect the results of a colorimetric spot test in a variety of ways. Given that these tests are typically employed on samples of raw suspected drug material, it is important that analysts understand the impact adulterants can have on the interpretation of presumptive drug tests.

The aim of this diploma thesis is to analyse the world of F. Scott Fitzgerald's novels This Side of Paradise, Tender is the Night and his unfinished novel The Last Tycoon as the world built on the system of significant contradictions and binary oppositions. This fact causes remarkable tensions in the texts. On the other hand, it proves their complexity. The matter of interpretation is the working of the society as the whole, but also the analysis of characters and their mutual relationships, as well as the concrete features of single characters, which are often built on the oppositions.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Exatas, Departamento de Matemática, 2013. / Submitted by Luiza Silva Almeida (luizaalmeida@bce.unb.br) on 2013-07-16T16:36:56Z No. of bitstreams: 1 2013_OttoAugustodeMoraisCosta.pdf: 643449 bytes, checksum: 5c1dc30e495fb393e98796175549d80d (MD5) / Approved for entry into archive by Leandro Silva Borges(leandroborges@bce.unb.br) on 2013-07-16T20:28:44Z (GMT) No. of bitstreams: 1 2013_OttoAugustodeMoraisCosta.pdf: 643449 bytes, checksum: 5c1dc30e495fb393e98796175549d80d (MD5) / Made available in DSpace on 2013-07-16T20:28:44Z (GMT). No. of bitstreams: 1 2013_OttoAugustodeMoraisCosta.pdf: 643449 bytes, checksum: 5c1dc30e495fb393e98796175549d80d (MD5) / Neste trabalho, fazemos um breve estudo a respeito dos grupos de reflexões finitos, para os quais associamos sistemas de raízes, matrizes de Cartan e grafos, a fim de classificarmos todos os tais grupos. Em seguida, estudamos uma generalização desses grupos para os denominados grupos de Coxeter. Utilizando a função comprimento como ferramenta fundamental, mencionamos diversos resultados acerca dos subgrupos parabólicos. No último capítulo, determinamos a estrutura dos centralizadores dos elementos de um grupo de Coxeter finito, seguindo o artigo: M. Konvalinka, G. Pfeiffer, C.E. Röver, ‘A note on element centralizers in finite Coxeter groups', J. Group Theory, 14 (2011) 727-745. Como aplicação final, apresentamos uma demonstração alternativa de um importante teorema de Solomon, conhecido como a fórmula de Solomon. _______________________________________________________________________________________ ABSTRACT / This work is a brief study about the finite reflections groups, to which we associate root systems, Cartan matrices and Coxeter graphs, in order to classicate such groups. After that, we study a generalisation of these groups to Coxeter groups. By using the lenght function as fundamental tool, we mention various results about the parabolic subgroups. In the last chapter we determinate the structure of the element centralisers of a finite Coxeter group, following the paper: M. Konvalinka, G. Pfeiffer, C.E. Röver, ‘A note on element centralizers in finite Coxeter groups', J. Group Theory, 14 (2011) 727-745. As final application we present an alternative proof of an important theorem of Solomon, known as the Solomon formula.

Drömmars likhet med film har fascinerat människor sedan mediets uppkomst. Med ljus som avgörande princip för bildens innehåll, i kombination med något så subjektivt som hur drömmar ser ut, är det av intresse att se hur ljuset gestaltas när filmkaraktärers egna drömmar blir ett inslag i filmen. Uppsatsens syfte är att analysera huruvida ljus har betydelse för att generera en filmisk uppfattning av att det är en dröm. Ljuset undersöks i fyra filmer med utpräglade drömscener genom en kvalitativ jämförelsestudie. En semiotisk bildanalys har utförts av exempel från vaket tillstånd gentemot drömtillstånd i Spellbound (1945), Smultronstället (1957), Stalker (1979) och Scott Pilgrim vs The World (2010). Att utläsa av analysen uppvisas återkommande mönster i samtliga exempel av gestaltningen att förstärka intrycket av att det är en dröm. I jämförelse tenderar vaken verklighet att gestaltas med andra ljusestetiska principer.

Orientador: Lucia Nagib / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-03T16:07:41Z (GMT). No. of bitstreams: 1 Suppia_AlfredoLuizPaesdeOliveira_M.pdf: 18942766 bytes, checksum: c92d1afa9ab76849dc6c60985e771c9b (MD5) Previous issue date: 2002 / Resumo: Metropolís, dirigido por Fritz Lang em 1926, é um filme fundador que criou uma estética própria e influenciou inúmeras realizações posteriores. Blade Runner, dirigido por Ridley Scott em 1982, cita e reelabora diversos elementos de Metropolís, ao mesmo tempo em que se apresenta como um dos filmes mais representativos da década de 80. Esta dissertação de mestrado realiza uma minuciosa análise dos dois filmes e suas inter-relações, partindo do princípio de que Blade Runner apresenta características estéticas, narrativas e ideológicas já tratadas no Metropolis de Lang, em 1926, mas com "fôlego" redimensionado aos anos 80. A dissertação se organiza em torno de três eixos principais: a cidade, a metalinguagem e as alegorias. No 1° capítulo da dissertação são analisadas as fontes estéticas que deram origem às metrópoles futuristas de Fritz Lang e RidIey Scott. O foco se dirige para a arquitetura, elemento relevante em ambos os filmes, a ponto de a cidade ganhar status de protagonista. A reflexão sobre a articulação entre tempo e espaço na metrópole dá ensejo a meditações sobre elementos como o gótico, o kitsch, o expressionismo,o futurismo, o film noir, etc. No 2º capítulo, "Os Olhos da Metrópole ou As Mídias dentro da Mídia", emerge o tema da metalinguagem, ou como são tratadas as questões da mídia e das tecnologias de comunicação (fotografia, cinema e vídeo), tanto por Lang quanto por Scott. Neste capítulo ganha destaque a discussão acerca dos simulacros, tema presente em ambos os filmes estudados. No 3º e último capítulo, o foco incide sobre como se constroem as lendas de Metropolis e Blade Runner, com o propósito de identificar o discurso ideológico ou a crítica social contidos nos personagens e na ação desses dois fIlmes, dos quais, sobressaem aspectos como a religião, o tema do duplo e discursos político raciais. Na conclusão são amarradas as proposições levantadas nos capítulos anteriores, com vistas a associar Metropolis e Blade Runner a projetos respectivamente moderno e pós-moderno de sociedades do futuro / Abstract: Metropolís, directed by Fritz Lang in 1925-6, is a foundational film which launched a new aesthtetics and became extremely influencial. Blade Runner, directed by Ridley Scott in 1982, quotes and re-elaborates several elements of Metropolis, becoming one of the most representative movies of the 80's. This Master's dissertation cames on a detailed analysis of both films and their inter-relations, departing from the idea that Blade Runner presents aesthetic, narrative and ideological issues already approached by Lang in 1926, but under a perspective of the 80's. This dissertation is structured around three axes: the city, the metalanguage and the allegories. Thus, in the 1st chapter of the thesis, "The Architecture of the Metropolis: Metropolis, 2026; Los Angeles, 2019", the aesthetic sources of Lang's and Scott's futuristic metropolis are analysed. In focus is the architecture, an element so relevant in both films that the city acquires the status of protagonist. The reflection on the articulation between time and space in the metropolis is followed by meditations on elements such as the gothic, the kitsch, the expressionism, the futurism, the film noir, etc. The 2nd chapter, "The Eyes of the Metropolis or The Media inside the Mediun", deals with the issue of the metalanguage, lookíng at how the media and communication technologies (photography, cinema and video) are approached by Lang and Scott. Special attention is given to the discussion on simulacra, present in both the films. The 3rd chapter, "Constructing the Legend", explains how the legends of Metropolis and Blade Runner are constructed. The aim is to identify the ideological discourse and the social critique suggested by the characters and the action of both fIlms, taking into consideration aspects such as religion, the double and racial and political speeches. The conclusion ties up the arguments raised in the previous chapters, finally associating Metropolis and Blade Runner respectively to modem and postmodern projects of future societies / Mestrado / Multimeios

Waverley; or ’Tis Sixty Years Since is an historical novel written by the Scottish author Sir Walter Scott which follows the adventures of Edward Waverley through the Scottish Highlands during the 1745–1746 Jacobite rebellion. It is, as has been suggested by previous research, a novel with a clear imperialistic bias and this essay adds to that discourse by applying the modern concept of the white savior complex. The white savior complex argues that white characters, in certain works, act as and are described as intelligent and moral saviors of non-white characters, who in turn are portrayed as unintelligent and immoral. Only by the actions of the white savior can they be saved. The complex is present mainly in the novel’s protagonist who drags the seemingly backwards society of the Scottish Highlands into a modern future as part of Great Brittan. This essay argues that the move from a backwards and archaic society to a modern and prosperous one would have been possible even without using the framework the white savior.

While authors have appropriated literary works for centuries, they have also appropriated historical settings and places well outside their own realities, creating new works in historical settings that reflect a new cultural purpose. The Restoration and eighteenth century are frequent subjects of popular formula-fiction romances due to the distinctive, easily replicated atmospheres; but the period has also inspired serious, traditional historical fiction and fictionalized biography as well as productions of novels from the period. This panel focuses on the long eighteenth century and the period’s intrigue for filmmakers, TV producers and audiences in a modern-day culture

Jon Christopher Nelson’s Fantasies and Flourishes: An Interactive Concerto for Disklavier and Orchestra (1995) is the first interactive work to present the Disklavier as the solo instrument in a concerto with orchestra. The purpose of this study is to provide an analysis of Fantasies and Flourishes and advice on how to successfully present it in performance. Fantasies and Flourishes reveals the composer’s interest in the music of Elliot Carter, in particular his A Symphony of Three Orchestras. The entire work is based on the two all-interval tetrachords also used by Carter; in Fantasies and Flourishes, these tetrachords are combined to form seven octachords that are used in various manipulations. The Disklavier is an acoustic piano that can be played by a performer, can play by itself, or can be controlled by a computer program. In interactive works for Disklavier, a pianist plays on the Disklavier while the Disklavier plays by itself, much like if a pianist were to play on a player piano while the piano was also playing by itself. However, in interactive Disklavier music the pianist’s performance affects what the Disklavier plays; particular notes in the piano part trigger the Disklavier’s music. Chapter I provides an introduction to the dissertation and background on the composition. Chapter II gives a formal analysis of the work, with focus on the composer’s use of musical constraints to delineate form. Chapter III supplies information that will help a pianist to prepare for a performance of the concerto and includes discussion of extended techniques used in performance. Chapter IV gives a detailed discussion of Max, the computer program used to control the Disklavier. Analysis and description of the computer program give the performer insight into how the Disklavier’s music works, especially for algorithmically-composed sections that vary between performances. A chart is provided that details information regarding each trigger that the performer must play in order for the Disklavier to function properly.

The objective of the dissertation is to examine Cyril Scott's musical language as exhibited in his Piano Sonata, Op. 66. Subjects of discussion include Scott's use of form, rhythm, melody, tonality, and harmony. Also included are a biographical sketch of the composer and his philosophical view of modernism. A comparison of the original version and the revised edition of this sonata, as well as references to Cyril Scott's two other piano sonatas are also included during the examination of his harmonic and rhythmic style.