Dental microwear in live, wild-trapped Alouatta palliata from Costa Rica.

One problem with dental microwear analyses of museum material is that investigators can never be sure of the diets of the animals in question. An obvious solution to this problem is to work with live animals. Recent work with laboratory primates has shown that high resolution dental impressions can be obtained from live animals. The purpose of this study was to use similar methods to begin to document rates and patterns of dental microwear for primates in the wild. Thirty-three Alouatta palliata were captured during the wet season at Hacienda La Pacifica near Canas, Costa Rica. Dental impressions were taken and epoxy casts of the teeth were prepared using the methods of Teaford and Oyen (1989a). Scanning electron micrographs were taken of the left mandibular second molars at magnifications of 200x and 500x. Lower magnification images were used to calculate rates of wear, and higher magnification images were used to measure the size and shape of microwear features. Results indicate that, while basic patterns of dental microwear are similar in museum samples and samples of live, wild-trapped animals of the same species, ecological differences between collection locales may lead to significant intraspecific differences in dental microwear. More importantly, rates of microwear provide the first direct evidence of differences in molar use between monkeys and humans.

Ritualizing Barong and Rangda: Repercussions of a Collaborative Field Experience in Kerambitan, Bali.

The dance-drama called Barong and Rangda a ritual, is one of the vital events that breathes life in the small village, Banjar Tista, and extends beyond the boundaries of its "performance" area. In this thesis, I depend on Ronald Grimes' concept of "ritualizing" as a continuum in the context of my fieldwork in Bali, Indonesia. The ritual cycle and the collaborative fieldwork process are analyzed through the impressions of each fieldworker. Barong and Rangda is a well-documented dance-drama and part of the longer Calonarang story. This dance-drama is a mythological battle between the lion, Barong, and the witch, Rangda, and is performed authentically to create spiritual balance and cleanse its community members of evil. This ritual performance reaches beyond the time and place in which the performance originates and creates a ripple affect on the village members, those in trance, musicians and cultural outsiders alike.

Splintered memories or vivid landmarks? Qualities and organization of traumatic memories with and without PTSD

One hundred and eighty-one students answered a standardized questionnaire on Post-Traumatic Stress Disorder (PTSD): 25 reported trauma(s) and indicated a pattern of after-effects that matched a PTSD symptom profile, whereas 88 indicated trauma(s) but no PTSD symptom profile. Both groups answered a questionnaire addressing the recollective quality, integration and coherence of the traumatic memory that currently affected them most. Participants with a PTSD symptom profile reported more vivid recollection of emotion and sensory impressions. They reported more observer perspective in the memory (seeing themselves 'from the outside'), but no more fragmentation. They also agreed more with the statement that the trauma had become part of their identity, and perceived more thematic connections between the trauma and current events in their lives. The two groups showed different patterns of correlations which indicated different coping styles. Overall, the findings suggest that traumas form dysfunctional reference points for the organization of other personal memories in people with PTSD symptoms, leading to fluctuations between vivid intrusions and avoidance. Copyright © 2003 John Wiley & Sons, Ltd.

SELECTED ACCOMPANIED AND UNACCOMPANIED FLUTE WORKS OF RIVIER, BOZZA, AND FRANCAIX

A great deal of flute music written during the twentieth century was the product of French composers for French flutists. Through the course of the century some composers and compositions made it into the standard repertory while the flute works of Rivier, Bozza, and Francaix remained on the periphery. (The composers are listed and discussed chronologically based on date of birth rather than alphabetically.) This dissertation focuses on the accompanied and unaccompanied flute works of these men. It seeks to bring to light works that are almost totally unknown, and places them in relation to the works that have made it into the secondary repertory. The pieces chosen for this project represent each period of the composers' output in relation to the flute works. This dissertation follows the stylistic and technical traits found in the flute works of each composer and, when appropriate, compares the traits among the composers. The following is a list of the works performed: Rivier's Oiseaux tendres, Sonatine, Concerto, Ballade, Virevoltes, Trois Silhouettes, Comme une tendre berceuse . ..; Bozza's Image, Aria, Divertissement op. 39, Soir dans les montagnes, Trois Impressions, Concertina da camera, Cinq Chansons sur des themes Japonais, Phorbeia; Francaix's Divertimento, Concerto, Suite, and Sonate. The written part of this performance dissertation includes biographical information on each composer, program notes for each piece performed, a discography, and a selected bibliography.

THE GREAT RUSSIAN PIANO TRADITION: SELECTED REPERTOIRE BY TCHAIKOVSKY, RACHMANINOFF AND PROKOFIEV

This dissertation explores representative piano music by three great Russian composers: Tchaikovsky, Rachmaninoff and Prokofiev. The areas of research include: 1) the short character piece; 2) the Russian piano transcription tradition; 3) the concerto and sonata cycle; 4) extra-musical imagery; 5) the influence of popular and dance music of the period. Perhaps the most important result of this research is learning how the art of incorporating a singing quality at the piano stands at the center of Russian pianistic heritage. The first recital features compositions by Sergei Prokofiev. The Seventh Sonata exhibits rebellious, uncompromisingly dissonant treatment of its musical content. Ten Pieces from “Cinderella” shows an ascetic approach to piano texture - a common characteristic in Prokofiev’s late works. The Third Concerto is Prokofiev’s masterpiece in the genre. One of the 20th century’s most performed concerti, it overflows with pianistic challenges. For my second dissertation recital, I have chosen Peter Ilich Tchaikovsky’s The Seasons. These short character pieces were inspired by literary sources. The text portrays Russian rural life, nature, moments of intimate reflection, and imaginary experiences and impressions. Tchaikovsky’s gift as a melodist and remarkable musical individualist is represented in his two Nocturnes as well as in the Nutcracker Suite, masterfully transcribed by Mikhail Pletnev. The final program features Sergei Rachmaninoff’s Ten Preludes, Op. 23, regarded as a culmination of the turn-of-the-century grand Russian pianistic style. The Fantasy Pieces helped establish Rachmaninoff’s reputation as a pianist-composer, a profoundly lyrical poet of the piano. The three Rachmaninoff transcriptions, the Minuet, the Hopak and the Polka de W.R. preserve the spirit of the Golden Era’s musical salon. These pieces were written to delight and dazzle audiences with their bold character, musical taste, virtuosic tricks and technical finesse. The three recitals comprising this dissertation were presented in Gildenhorn Recital at the University of Maryland School of Music on November 13, 2010, April 11, 2011 and February 27, 2012. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

THE GREAT RUSSIAN PIANO TRADITION: SELECTED REPERTOIRE BY TCHAIKOVSKY, RACHMANINOFF AND PROKOFIEV

This dissertation explores representative piano music by three great Russian composers: Tchaikovsky, Rachmaninoff and Prokofiev. The areas of research include: 1) the short character piece; 2) the Russian piano transcription tradition; 3) the concerto and sonata cycle; 4) extra-musical imagery; 5) the influence of popular and dance music of the period. Perhaps the most important result of this research is learning how the art of incorporating a singing quality at the piano stands at the center of Russian pianistic heritage. The first recital features compositions by Sergei Prokofiev. The Seventh Sonata exhibits rebellious, uncompromisingly dissonant treatment of its musical content. Ten Pieces from "Cinderella" shows an ascetic approach to piano texture - a common characteristic in Prokofiev's late works. The Third Concerto is Prokofiev's masterpiece in the genre. One of the 20th century's most performed concerti, it overflows with pianistic challenges. For my second dissertation recital, I have chosen Peter Ilich Tchaikovsky's The Seasons. These short character pieces were inspired by literary sources. The text portrays Russian rural life, nature, moments of intimate reflection, and imaginary experiences and impressions. Tchaikovsky's gift as a melodist and remarkable musical individualist is represented in his two Nocturnes as well as in the Nutcracker Suite, masterfully transcribed by Mikhail Pletnev. The final program features Sergei Rachmaninoff's Ten Preludes, Op. 23, regarded as a culmination of the turn-of-the-century grand Russian pianistic style. The Fantasy Pieces helped establish Rachmaninoff's reputation as a pianist-composer, a profoundly lyrical poet of the piano. The three Rachmaninoff transcriptions, the Minuet, the Hopak and the Polka de W.R. preserve the spirit of the Golden Era's musical salon. These pieces were written to delight and dazzle audiences with their bold character, musical taste, virtuosic tricks and technical finesse. The three recitals comprising this dissertation were presented in Gildenhorn Recital at the University of Maryland School of Music on November 13, 2010, April 11, 2011 and February 27, 2012. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

Training teachers for further and technical education 1950-1982: staff perceptions of changing demands and policies

This paper aims to create a picture of aspects of the working lives of some trainers of technical and further education teachers in a specialist teacher training college in Bolton, Lancashire, from the 1950s to the 1980's. There is little reference to technical teacher training in the literature on teacher training in the second half of the twentieth century. With this gap in mind, this paper sets out to record some memories and impressions of staff involved during these years. Using data from a series of semi-structured interviews, the discussion centres upon their perceptions of their work: of their students, the working environment, the curriculum and their relationships with the technical colleges for whom they were training teachers. The paper has three sections. It begins with a brief discussion of the issues arising from the choice of research methods. The second section contextualises the study and traces the history of Bolton Technical Teachers' Training College from its establishment through to its merger with the Institute of Technology in 1982. This is followed by the presentation and discussion of the interview data.

Using WebCT to Support a Community of Practice

Reflecting a view of “teaching as both an intellectual and practical activity” the Queen’s University Bachelor of Education program has multi-week in-school practicum sessions separated by periods of on-campus course work. The expectation is that teacher candidates will bring together theory and practice as they reflect upon their daily classroom experiences. The reality often is that, while isolated from the university environment and caught up in the pressures of teaching, little deep reflection takes place. For reflection and critical examination of experience to occur, teacher candidates need to share and discuss on a daily basis their practice teaching experience. For the past few years, students in my secondary school mathematics curriculum course, through a WebCT based conference, have been provided, while away from campus, with a place for on-going sharing of teaching stories and dilemmas. In the Fall of 2004 eight-five percent of the class took part in the discussions, posting a total of 667 messages over a 9 week period. In an effort to increase the value of this practicum conference we have analysed the topic threads arising in the conversation, surveyed the participants concerning their impressions of the sharing experience, and conducted in-depth interviews with a sampling of the class. This session will present the results of this study and provide an opportunity to discuss ways in which an online discussion can support the building of community and the exchange of experience while students in professional programs are disbursed in practice/clinical settings.

Degradation of poly-L-lactide. Part 1: in vitro and in vivo physiological temperature degradation

Poly-L-Lactide is a bioresorbable polymer which degrades through hydrolysis of its ester linkage influenced by initial molecular weight and degree of crystallinity. Polymers belonging to the aliphatic polyester family currently represent the most attractive group of polymers that meet the medical and physical demands for safe clinical applications. Compression moulded PLLA pellets were produced as rods, sterilized and degraded both in vitro and in vivo (sub-dermal implantation model). The material molecular weight, crystallinity, mechanical strength and thermal properties were evaluated. In both in vitro and in vivo environments, degradation proceeded at the same rate and followed the general sequence of aliphatic polyester degradation, ruling out enzymes accelerating the degradation rate in vivo. By 44 weeks duration of implantation the PLLA rods were still biocompatible, before any mass loss was observed.

Degradation of poly-L-lactide. Part2 : increased temperature accelerated degradation

Poly-L-lactide (PLLA) is one of the most significant members of a group of polymers regarded as bioresorbable. The degradation of PLLA proceeds through hydrolysis of the ester linkages in the polymer's backbone; however, the time for the complete resorption of orthopaedic devices manufactured from PLLA is known to be in excess of five years in a normal physiological environment. To evaluate the degradation of PLLA in an accelerated time period, PLLA pellets were processed by compression moulding into tensile test specimens, prior to being sterilized by ethylene oxide gas (EtO) and degraded in a phosphate-buffered solution (PBS) at both 50°C and 70°C. On retrieval, at predetermined time intervals, procedures were used to evaluate the material's molecular weight, crystallinity, mechanical strength, and thermal properties. The results from this study suggest that at both 50°C and 70°C, degradation proceeds by a very similar mechanism to that observed at 37°C in vitro and in vivo. The degradation models developed also confirmed the dependence of mass loss, melting temperature, and glass transition temperature (Tg) on the polymer's molecular weight throughout degradation. Although increased temperature appears to be a suitable method for accelerating the degradation of PLLA, relative to its physiological degradation rate, concerns still remain over the validity of testing above the polymer's Tg and the significance of autocatalysis at increased temperatures.

“The new Cagliostro”: Onofroff, Rubén Darío and his story "La esfinge"

The article retraces the career of the famous hypnotist Onofroff and particularly his visit to Buenos Aires, where his activity, in 1895, provoked many discussions and some public embarrassment. In this context Darío, using a pseudonym, published his crónica “La esfinge”. We reproduce “La esfinge”, transcribing the original text of La Nación, with annotations identifying the literary and theosophical sources Darío used when he wrote it.

Del Fichero supremo a la Biblioteca de Babel: Salaverría, precursor de Borges

A juzgar por alguna declaración más bien negativa de Borges sobre la literatura española, se podría creer que esta no influyó demasiado en él. Sin embargo, existen indicios de que pudo haberse inspirado también en determinados escritores españoles coetáneos hoy casi olvidados. Uno de ellos pudo ser José María Salaverría, entre cuyos relatos destaca “El fichero supremo” (1926), del que se ha dicho que “anticipa algunas de las preocupaciones características de un tipo de relato que Jorge Luis Borges elevará años después a la máxima categoría estética”. De hecho, recuerda a “La biblioteca de Babel” (1941) borgiana por su planteamiento hasta el punto de que podría pensarse que el maestro argentino pudo tener presente, a la hora de escribir esa obra maestra, ese cuento de Salaverría, el cual se publicó por primera vez en Caras y Caretas, una revista porteña que Borges reconoció “devorar” en su juventud. Sin embargo, el interés mayor de la comparación entre “El fichero supremo” y “La biblioteca de Babel” no radica tanto en el carácter de posible fuente del primero como en el contraste entre sus formas de presentación narrativa: desde fuera y en tercera persona en Salaverría, en un marco realista; y desde dentro y en primera persona, prácticamente sin marco, en Borges. Este parece desarrollar, en el registro propio de la “imaginación razonada” descrito por él mismo, una virtualidad presente en el relato de Salaverría, cuya comparación con “La biblioteca de Babel” puede suscitar también alguna reflexión sobre el enigma de la identidad y el carácter de la voz enunciadora de la biblioteca universal de Babel. Al menos, esta parece haber hecho realidad en cierto modo, de forma sublime, el patético sueño divino del archivero imaginado por Salaverría.

Los nuevos territorios de la gráfica: imagen, proceso y distribución

La gráfica se encuentra en un proceso de simbiosis con la cultura visual en el que la tecnología de la imagen, la descentralización de la matriz y la adaptación del formato expositivo se funden con el resto de las actividades artísticas. El análisis de las comunidades formadas alrededor de esta práctica configura un puzzle, aparentemente bien encajado, que se divide entre el formalismo y el conceptualismo y entre la idea y el proceso. Las bienales y trienales, a la vanguardia del discurso, cuestionan cualquier concepto que se haya podido asentar con solidez: ante la decadencia del proceso artesanal el mensaje se profundiza nutriéndose de la invectiva provocada por las contradicciones sociales, territoriales y medioambientales para convertirse en un reflejo de la sociedad contemporánea. Comprender la gráfica actual pasa por un ejercicio de aperturismo y un proceso de adaptación al cambio técnico e iconográfico de los sectores implicados. El grabado es ahora un territorio en el que la integración de todas las artes permite cruzar sus fronteras con fluidez.

A case study in group learning and supervision

Student units or the group-based field education and supervision of social work students offer many advantages as an efficient field placement model as well as opportunities for students to learn from each other through sharing knowledge, working collaboratively, hearing different perspectives and discussing issues. Despite the enormous potential of student units, they are a largely uncharted territory. There is a scarcity of literature on the topic and very few guidelines as to the provision of student units. The term student unit covers a broad range of student group learning opportunities and activities. This study explores this model of social work field education and its implications for student field work learning in a group context. The discussion is based on a review of the experiences, opinions and impressions of participants of an actual university based social work student unit.