Exploratory surgery of the female psyche

The thesis explores the visual narrative concerning a journey of empowerment for women. To enable the journey to advance the inquiry is directed into two areas. The first area is female gender, which is argued to be socially constructed and implicit in the marginalisation of women in western society. The second area is ‘feminine authority’, which is gained by developing an understanding and acceptance of the characteristics which have historically been considered as belonging to the feminine. Granting these characteristics agency would recognise their authority and assist in the elevation of the female to a position of equality in western society. Beginning from a feminist position, the research supported the belief that the female is marginalised in western society. It also confirmed the notion that empowerment and authority can be attained by women if they actively pursue the following; • Explore their own psychology beyond the existing socially constructed gender roles. • Develop an understanding of their feminine self by applying Jung's theories on individuation and archetypes. • Expose the underlying patriarchal influence in western epistemology and science by challenging existing deeply held cultural and scientific beliefs and by actively contributing as feminists to the areas of epistemology and science. Archetypal myths of the ‘feminine’ have developed from an androcentric position. They enforce and perpetuate gender imbalance which contributes to the disenfranchisement of women in western society, ‘Individuation’ is a process in which a person explores aspects of themselves to bring forth parts of their unconscious into their conscious mind in an attempt to gain a deeper understanding of themselves. As a consequence the consciousness develops closer links with archetypal memories which assists the exploration. The ‘true feminine’ is the feminine not restricted or defined by the dominant androcentric view. Knowledge of the feminine empowers women to address the marginalisation of the female in western society and assists in the process of gaining female authority. This enquiry also investigated the four stages of female psychological development with regard to patriarchal influences. Of particular importance is the second stage of psychological development where the female identifies with historically perceived inferior characteristics of the female. This is when she rejects her connections with the primacy of female power and her deep connections with nature which were inherited from archaic times. It is at this stage that she absorbs the myths associated with western patriarchal society which effectively disempower her. Western epistemology, with its emphasis on ‘objective’ investigation and empiricism contributes to the support for and promotion of ‘inferior’ female gender. This type of investigation is brought into question when areas of research into primates and human evolutionary theory is shown to develop from an androcentric view. Western knowledge has associations with power and justice and power is commonly associated with dominance. Regard for ‘truth’ and ‘absolute’ can be viewed as key elements in the support for knowledge and its associations with power. Knowledge has historically maintained suppression of individual experience which promotes a universalised account. This suppression of beliefs other than the dominant authority maintains the existing dominant social structure. Foucault's view of the genderised or inscribed body alerts us to areas where dominance, resistance and power play a part in maximising masculine power and control. Gender becomes an instrument of power within the existing patriarchal structure. Gender, knowledge and power are identified as areas obstructing female empowerment. Part 3 of this exegesis examines the imagery which embodies the visual narrative. Particularly, the harlequin image, its historical background and connections with ancient mythology including reference to Jungian psychology. The harlequin image is developed sequentially in the earlier black and white drawings on paper. These drawings contained a female figure which was often placed in juxtaposition with a Venus or goddess image, reference was also made to ‘eve’ and the ‘siren’. These elements provided the framework which enabled the harlequin image to emerge and evolve. The narrative developed with an understanding of the ‘feminine’ aspects of the psyche which resulted in the harlequin acquiring the elevated authority of a goddess. The Harlequin evolved from my need for symbolic representation of the female psyche. It represents contradiction and dualism. It is a composition of opposites, reflects masculine and feminine traits, the dark and light of the conscious and unconscious mind, it houses both comic and sinister elements, is a trickster and menace. The costume, colours and patterns are expressive elements conducive to fragmentation and layering within the composition of the paintings. Jung examined the harlequin in Picasso's paintings. He concluded that as Picasso drew on his inner experiences the harlequin became important as a symbol; it was a pictorial representation from the unconscious psyche. It travelled freely from the conscious to the unconscious and represented the masculine and feminine, chthonian and apollonian. The final painting in the series, a triptych, completes the narrative and stands alone as a salutatory work. It unites the series by combining existing compositional devices and technique while making reference to imagery from previous works, ‘The Three Graces Victorious’, expresses the authority of the feminine. It completes a victorious stage of a journey where the harlequin is empowered by archaic memories and knowledge of the psyche. The feminine is hailed, elevated and venerated. Other elements which assist in expressing the visual narrative are; colour, technique and influence. Colour is explored and its use as an emotive devise in expressionism. Paul Klee's writing on the use of colour and it's symbolic meaning and Julia Kristeva's investigation on colour from a psychoanalytic and semiotic view are also discussed. To indicate influences and connections within my oeuvre, reference is also made to the following: Jasper Johns' for his use of imagery in his ‘Four Seasons’ series with it's reference to a journey of maturation and Louise Bourgeois' work which deals with issues of gender, memories and past journeys. Although ‘The Three Graces Victorious’; the concluding painting for the investigation is celebratory and represents a finality to the thesis, it points to further areas that impede feminine development and need future examination. Reference is made to a continuation of the exploratory journey by plotting the Harlequin/Goddesses future directions. Although the Harlequin/Goddess is empowered with newly acquired authority, her future journey does not need to be bound by mathematics or limited by rationality. She does not require power to dominate or gender structures to subjugate, but requires limitless boundaries and contexts. The Harlequin/Goddess's future journey is not fixed.

Uneasily along the sand

Uneasily Along the Sand evokes the state of mind of the great Mallee poet John Shaw Neilson during a period of hospitalization for nervous exhaustion around 1900. To his bed come the voices and apparitions of all those people whom he might have met but who in life eluded him. It is a ghost community of jesters, singers and seers, who parade in harlequin costumes and recall the poet to the vanishing spirit of the Mallee forest. In particular, a Wotjobaluk man by the name of ‘Jowley’ haunts him, a man found by white people as a child abandoned in a hollow log - abandoned, lost, stolen? The sound installation ‘Mac’ (that forms part of Uneasily and which will receive its first national broadcast to coincide with Mildura Palimpsest #8) evokes their strange meeting and a kind of reconciliation of peoples and cultures with environments that remains elusive. The hospital, where Neilson heard strange voices and saw strange visions, is evoked in a video work based on a set of ‘actions’ performed in Mildura’s Old Base Hospital, and sound recordings made in Pyrenees House, Ararat (a replica of the Swan Hill Hospital where Neilson was confined). The hospital solarium is transformed into a strangely distorted Mallee paddock, of sand, barbed wire and mattresses that leak like hour glasses. Caught in the fence lines of this dream world are scraps of a woman’s dress, bed sheets inscribed with charcoaled graffiti and footprints alluding to the ‘unevennesses’ of a life. Uneasily Along the sand is inspired by Paul Carter’s recent book, ‘Ground Truthing: explorations in a creative region’. The installation of Uneasily in Mildura coincides with Opening, another work inspired by ‘Ground Truthing’ that Carter and Dirk de Bruyn have created for the big screen at Federation Square, Melbourne.

A study of meiosis and spermiogenesis in the testicular lobes of Antiteuchus tripterus (Heteroptera : Pentatomidae)

An analysis of testicular morphology and spermatogenesis in the Heteroptera species Antileuchus tripterus (Pentatomidae) revealed that these traits differ from that recorded for other species of the same family. The testes of A. tripterus have only six lobes, while other species of the same family typically have seven lobes, including a compound lobe, i.e., a lobe containing another in its lumen. A study of meiosis and sperm structure in the different lobes of A. tripterus revealed a conventional meiosis in the lobes numbered one to three. In lobe four, however, prophase I spermatocytes exhibit the morphological characteristics of the so called diffuse stage and are larger than those in lobes 1-3 in this and the remaining phases of meiosis. Thus, the resulting spermatids are not only larger but also their head is morphologically different. Lobe 5 exhibits characteristies known from other Pentatomidae species such as an uneven distribution of chromatin to the daughter cells, which give rise to cells of different sizes. This lobe forms spermatozoa of different sizes. Lobe 6, contained within lobe 5, differs from it by having larger cells at a stage similar to the so called diffuse and spermatid tails with cross divisions, which are not found in other lobes and unreported in the literature.

Comparative analysis of heteropyknotic chromatin and silver-stained material in Platycarenus umbractulatus (Pentatomidae: Discocephalinae)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Comparative analysis of the testes and spermatogenesis in species of the family Pentatomidae (Heteroptera)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Study of acrosome formation, interspecific and intraspecific, in the testicular lobes of some pentatomid species

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Morphological patterns of the heteropycnotic chromatin and nucleolar material in meiosis and spermiogenesis of some Pentatomidae (Heteroptera)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Espermatogênese e comportamento nucleolar em espécies da família pentatomidae (Heteroptera) de importância econômica

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Um palimpsesto em andamento: formas e reformas de uma personagem azevediana

Pós-graduação em Estudos Literários - FCLAR

Deslizar nas ruas, entre Mário de Andrade e Max Jacob

This essay intends to point to a possible dialogue between Mário de Andrade and Max Jacob, starting from the books of poems Paulicéia desvairada (1922) and O losango cáqui (1926), Le cornet à dés (1916) and Le laboratoire central (1921). Divided into three parts, it investigates the figuration in the two poets of the harlequin’s image, through which both would operate several displacements. One of them, the resumption of a romantic mythology of the artist, as in Baudelaire, and the conscience of his staging character. Other, through the opposition between reason and madness, legitimating a lyrical state as a way to a different perception of the reality. Lastly, through the proposition of an artistic sincerity, moral of work with deep impact over the literary language.

12-Oxophytodienoate-10,11-Reductase: Occurrence of Two Isoenzymes of Different Specificity against Stereoisomers of 12-Oxophytodienoic Acid1

The reduction of 12-oxophytodienoic acid (OPDA) to 3-oxo-2(2′[Z]-pentenyl)-cyclopentane-1-octanoic acid is catalyzed by 12-oxophytodienoate-10,11-reductase (OPR). Analysis of the isomer preference of OPR has indicated that the activity is composed of two isoenzymes exhibiting different stereoselectivities. The two isoforms of OPR have been separated, using protein extracts of Rock Harlequin (Corydalis sempervirens) as the starting material. OPRI, the enzyme reported earlier from the same species and corresponding to the cloned OPR from Arabidopsis, utilized 9R,13R-OPDA >> 9S,13R-OPDA but not the 13S-configured isomers, whereas the new activity, OPRII, effectively reduced all four OPDA isomers, including the natural 9S,13S-OPDA (cis-[+]-OPDA). OPRII activity is characterized in detail. The enzyme's enzymatic, biochemical, and immunological properties prove that it is a close relative of OPRI. The roles of OPRI and OPRII in octadecanoid biology are discussed.

Segregation of DNA polynucleotide strands into sister chromatids and the use of endoreduplicated cells to track sister chromatid exchanges induced by crosslinks, alkylations, or x-ray damage.

The method of Matsumoto and Ohta [Matsumoto, K. & Ohta, T. (1992) Chromosoma 102, 60-65; Matsumoto, K. & Ohta, T. (1995) Mutat. Res. 326, 93-98] to induce large numbers of endoreduplicated Chinese hamster ovary cells has now been coupled with the fluorescence-plus-Giemsa method of Perry and Wolff [Perry, P. & Wolff, S. (1974) Nature (London) 251, 156-158] to produce harlequin endoreduplicated chromosomes that after the third round of DNA replication are composed of a chromosome with a light chromatid and a dark chromatid in close apposition to its sister chromosome containing two light chromatids. Unless the pattern is disrupted by sister chromatid exchange (SCE), the dark chromatid is always in the center, so that the order of the chromatids is light-dark light-light. The advent of this method, which permits the observation of SCEs in endoreduplicated cells, makes it possible to determine with great ease in which cell cycle an SCE occurred. This now allows us to approach several vexing questions about the induction of SCEs (genetic damage and its repair) after exposure to various types of mutagenic carcinogens. The present experiments have allowed us to observe how many cell cycles various types of lesions that are induced in DNA by a crosslinking agent, an alkylating agent, or ionizing radiation, and that are responsible for the induction of SCEs, persist before being repaired and thus lose their ability to inflict genetic damage. Other experiments with various types of mutagenic carcinogens and various types of cell lines that have defects in different DNA repair processes, such as mismatch repair, excision repair, crosslink repair, and DNA-strand-break repair, can now be carried out to determine the role of these types of repair in removing specific types of lesions.

The birds, and other poems /

A collection of all poems written between Apr. 1918 and Apr. 1919, continuing his Poems, first series.

The extravaganzas of J. R. Planché, esq., (Somerset herald) 1825-1871.

Imperfect: List of subscribers wanting.

Estudio molecular en dos hermanas afectadas por ictiosis congénita autosómica recesiva : descripción de una nueva mutación causal en TGM1

Se describe la variante homocigota c.320-2A>G de TGM1 en dos hermanas con ictiosis congénita autosómica recesiva. El clonaje de los transcritos generados por esta variante permitió identificar tres mecanismos moleculares de splicing alternativos.