Thesis (Ph. D.)--University of Pennsylvania, 1931. / Bibliography: p. 96-99.

Thèse.

Thesis (M.F.A.)--Washington State University, May 2010. / Title from PDF title page (viewed on July 13, 2010). "Department of Fine Arts."

Thesis (M.A.)--University of Wyoming, 2009. / Title from PDF title page (viewed on May 21, 2010). Includes bibliographical references (p. 96-97).

Inaug.-diss.--Kiel. / Lebenslauf. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 403-416).

Globally we are experiencing a biodiversity crisis and potentially a sixth mass extinction event. Plant specimens are one of the best, most concrete records of biodiversity that we can create. Despite this, the rate of plant collecting has declined steeply since World War II. Now more than ever, plant collections are vital, both for the purpose of quantifying the plant biodiversity in an area and for discovering previously unrecognized diversity. In Chapter 1, we conducted a floristic survey of the Cal Poly Swanton Pacific Ranch. The Swanton Pacific Ranch (SPR) is located north of the small town of Davenport California, in Santa Cruz county. SPR is 3,200 acres and contains areas of salt marsh, coastal bluff, coastal prairie, riparian forest, redwood forest, mixed conifer forest and chaparral in approximate ascending order of elevation. The property extends over an elevational gradient from 0 m to 420 m (1400 ft). We documented 634 taxa at SPR. In total, 974 specimens were collected during this project, 405 specimens in 2017 and 569 in 2019. We reviewed 211 historic specimens. We vouchered 546 taxa between 2017 and 2019 and observed but did not collect 6 taxa. 53 taxa are represented from historic collections and were not relocated. There are 30 taxa listed as historically present from personal observations of the authors but without vouchers. Though these do not have the same value as a physical specimen, we believe that all information is valuable and have included them with a clear indication of the source of the record. There were 465 native and 169 non-native taxa documented in the study area. There were 93 families represented, with Asteraceae, Poaceae and Fabaceae be ing the top three most speciose respectively. There were 83 taxa noted as locally rare following Neubauer, of these 16 taxa have a California Native Plant Society (CNPS) rare plant rank. We vouchered one new taxon for Santa Cruz County, Senecio aphanactis, which has a CNPS rare plant rank of 2B.2 In Chapter 2, we describe a new combination in the Sanicula crassicaulis species complex. During the project detailed in Chapter 1, we observed and collected several specimens that keyed to Sanicula crassicaulis Poepp. ex. D.C. but were notably distinct from other S. crassicaulis that we collected in the area. On further investigation, we found that these plants match the type specimen of S. nudicaulis Hook & Arn., described in 1839 and later synonymized with S. crassicaulis. This taxon is distinguished primarily by its long, sinuate marginal leaf trichomes, in contrast to the short, straight marginal trichomes of S. crassicaulis. Additionally, the length of the most proximal prickles on the schizocarps is about the same as the length of the most distal rather than the distal prickles being much longer as in S. crassicaulis and the angle of attachment of the prickles is more or less perpendicular as opposed to acute in S. crassicaulis. The known range of this taxon is between the San Francisco Bay Area and Santa Barbara County, generally near the coast. Here we recognize this taxon as a variety in S. crassicaulis, Sanicula crassicaulis var. nudicaulis. We provide a diagnosis, a map of the known range of the taxon and a key to the varieties of S. crassicaulis. Overall this project has significantly increased or knowledge and documentation of the flora of both SPR and Santa Cruz county. In addition to the immediate benefits of this study (a complete species list for SPR, the discovery of a new taxon, and the mapping of all rare species at SPR) we have also contributed almost 1,000 physical specimens to the Cal Poly Hoover herbarium which may be used in future taxonomic and ecological studies.

No description available.

L'œuvre de Walter Scott (1771–1832), James Hogg (1770–1835) et Robert Louis Stevenson (1850–1894) est traversée par une tension qui dénaturalise l'Écosse historique et politique pour la recréer en fiction, posant la scotticité comme une construction problématique qui appelle sans cesse de nouvelles définitions, afin d'en retrouver le sens ou d'en faire son domaine à soi. La figuration des enjeux nationaux se fait à travers le thème des diverses rébellions jacobites au cours du XVIIIème siècle, mais l'Histoire est subordonnée aux enjeux littéraires et politiques du présent des auteurs. Walter Scott pose en littérature les bases d'une conciliation viable de "l'être" écossais avec la domination du pouvoir britannique, là où Hogg réagit en cherchant dans un passé plus lointain la source inépuisable (et au premier chef, fictionnelle) d'une Écosse mythique insaisissable. Stevenson, quant à lui, hérite de ce dilemme et choisit, en fiction comme dans la réalité, la fuite et l'exil pour pouvoir exister librement dans un monde dégagé du poids d'un passé par trop lourd à porter. / A tension runs through the Scottish-themed novels of Walter Scott (1771–1832), James Hogg (1770–1835) and Robert Louis Stevenson (1850–1894), denaturalizing historical and political Scotland to recreate it fictionally, as a problematic construct constantly calling for new definitions, so as to find new meaning for it, or to reappropriate it as one's own. The representation of national interests is effected through the running theme of the various Jacobite rebellions during the eighteenth century and their not-so-immediate consequences, but history is subordinated to the literary and political stakes of the authors' present. W. Scott literarily posits the basis for a viable conciliation of the "Scottish self" with the rule of the British state. Hogg responds to this by looking for the source of an inexhaustible, evanescent and, primarily, fictional Scotland in a more distant past. Stevenson, as for him, inherits this quandary and ultimately chooses, in fiction as in real life, to escape and exile himself so as to live freely in a world detached of an all-too-heavy past.

The architect Giles Gilbert Scott (1880 – 1960) designed the red telephone kiosk, Liverpool Anglican Cathedral, Battersea Power Station, and the House of Commons Chamber amongst other major projects. Yet this thesis is the first scholarly study of his work as a theorist and practitioner. Scott’s ideas provide a window into how architects, critics, and clients of his generation thought about architecture, helping us to understand the design of the interwar period in a way that the backward projection of our own intellectual frameworks cannot do. Often relegated to a minor place in architectural histories, in his time Scott was one of the best known architects in the world, author of numerous iconic structures and widely influential. By returning him to a prominent place in the narrative, the thesis reveals a world in which so-called traditionalists and modernists were concerned with the exploration of common themes – the social role of the architect, the psychological effect of buildings, the nature of construction and tradition. The first two chapters explore Scott’s ideas about history and architectural context by investigating his work at Oxford and Cambridge. The third chapter focuses on his church work as a way of understanding his ideas about tradition and the role of psychology in architecture. The fourth chapter explores the ways that he gave meaning to his designs using rhetoric and planning. Set against the backdrop of the postwar decline of his reputation, the final chapter examines the legacy of his architectural theories. By returning Scott to the historical narrative, our understanding of interwar architecture is greatly broadened. And by expanding our knowledge of the least understood era of twentieth century architecture, we come to better understand how modern architecture as we know it was forged.