3 resultados para Color in textile crafts.

em DRUM (Digital Repository at the University of Maryland)


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This study examined the perspectives and “shared knowledge” of parents and teachers of boys of color. The following overarching research question guided this study: “What do parents and teachers want each other to know about their middle school son or student of color regarding academics, engagement, and behavior?” Additionally, it explored the challenges and opportunities for shared knowledge and understanding of their (respective) son’s’ or students’ academics and engagement. The methodology was qualitative in nature and the intent in conducting this case study was to describe, interpret, and explain the “shared knowledge” between these stakeholders at a predominantly minority middle school. A sample of seven parents and seven teachers from one school in a mid-Atlantic state participated in interviews and focus groups. Results indicated that parents and teachers of boys of color viewed each other as “intentional allies.” Results further showed that parents and teachers were aware of the challenges faced by boys of color in and out of school. That awareness was reflected in strategies that both groups employed to support, prepare, and protect their son/students. Lastly, the study found that teachers received no formal training in building parent-teacher partnerships, but gathered experimental knowledge on how to build those relationships. These findings have implications for teacher education programs, schools, parents, and teachers.

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This piece explores the changing nature of emotion focusing especially on the feeling of sorrow. The opening and ending parts of the first movement represent the overall motive of sorrow. The first movement opens with an augmented chord G-C#-F-B and from this chord the first violin expands upwards while the cello moves downwards towards the C chord (p.2). As the melody alternates between each part, there is a subtle change in harmony which creates tension and release and changes the sound color. In addition, ornamentation in each part reinforces the movement towards the C chord. This progression represents the inner emotion of lament. Sostenuto e largamente section (p.2) uses heterophony in order to express a feeling of chaos. Section Scherzando (p.4) uses the interval relationship M7 and m2, and is a respite from the overwhelming feeling of sorrow. The ending of the first movement (p.12) returns to create a second tension by every instrument ascending slowly, and the viola produces a distinctive melody derived from the previous chaotic section that ends on an Ab. The second movement contrasts with the first movement in order to express a concealed, not explicit, sorrow, and differs in both tempo and texture. The tempo is a waltz that is faster than the first movement. This produces a light, playful figure and a simple melody without much ornamentation. Imitation and canonic structure emphasize the individuality of the strings. The third movement merges material from the first movement rhythmic figure and the second movement pizzicato (p.17). It shows timbral change through con sordino, pizzicato arpeggio, and sul ponticello to display string techniques. An Allegro section (p.19) especially contrasts with Misterioso in rhythm and dynamics. In the Grazioso (p.22), random beats are accentuated by pizzicato arpeggio to de-emphasize the meter. Finally, there is a return to the ending figure of the first movement with con sordino (p.23) and sul ponticello in viola that articulates the internal tension and the timbral change to return to a voice of sorrow.

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The fruit is one of the most complex and important structures produced by flowering plants, and understanding the development and maturation process of fruits in different angiosperm species with diverse fruit structures is of immense interest. In the work presented here, molecular genetics and genomic analysis are used to explore the processes that form the fruit in two species: The model organism Arabidopsis and the diploid strawberry Fragaria vesca. One important basic question concerns the molecular genetic basis of fruit patterning. A long-standing model of Arabidopsis fruit (the gynoecium) patterning holds that auxin produced at the apex diffuses downward, forming a gradient that provides apical-basal positional information to specify different tissue types along the gynoecium’s length. The proposed gradient, however, has never been observed and the model appears inconsistent with a number of observations. I present a new, alternative model, wherein auxin acts to establish the adaxial-abaxial domains of the carpel primordia, which then ensures proper development of the final gynoecium. A second project utilizes genomics to identify genes that regulate fruit color by analyzing the genome sequences of Fragaria vesca, a species of wild strawberry. Shared and distinct SNPs among three F. vesca accessions were identified, providing a foundation for locating candidate mutations underlying phenotypic variations among different F. vesca accessions. Through systematic analysis of relevant SNP variants, a candidate SNP in FveMYB10 was identified that may underlie the fruit color in the yellow-fruited accessions, which was subsequently confirmed by functional assays. Our lab has previously generated extensive RNA-sequencing data that depict genome-scale gene expression profiles in F. vesca fruit and flower tissues at different developmental stages. To enhance the accessibility of this dataset, the web-based eFP software was adapted for this dataset, allowing visualization of gene expression in any tissues by user-initiated queries. Together, this thesis work proposes a well-supported new model of fruit patterning in Arabidopsis and provides further resources for F. vesca, including genome-wide variant lists and the ability to visualize gene expression. This work will facilitate future work linking traits of economic importance to specific genes and gaining novel insights into fruit patterning and development.