Rosemary : a raw material for a new genre of bio-based antioxidants for sustainable applications

The potential replacement, partially or fully, of synthetic additives by bio-based alternatives derived from indigenous renewable non-food crop resources offers a market opportunity for a green supply of raw materials for different industrial and health products, with greater involvement of the farming community in crop production while addressing the ever more stringent environmental and pollution laws that now require the use of less potentially toxic/harmful ingredients, even if they are present in relatively small quantities. The work presented here relates to developing a new genre of environmentally-sustainable bio-based antioxidants (AO) for industrial uses that are obtained from extracts of UK-grown rosemary (Rosmarinus officinalis) plant. The performance of these AOs was tested, and their efficacy compared with some common and benchmark synthetic AOs from the same chemical class, in different products including polymers especially for packaging, as well as lubricants, cosmetics and health products. One of the main active ingredients in rosemary is Rosmarinic acid which is a water-soluble compound. This was chemically transformed into a number of ester derivatives, Rosmarinates, targeted for different applications. The parent and the modified antioxidants (the rosmarinates) were characterised and their antioxidancy were examined and tested in linear low-density polyethylene (LLDPE) and in polypropylene (PP) and compared with compounds of similar structure and with other well known synthetic antioxidants used commercially in polyolefins. The results show that antioxidants sourced from rosemary have the added benefit of being highly efficient and intrinsically more active than many synthetic and bio-based alternatives.

Fibrés Vectoriels Semi-Stables sur une Courbe de Genre Deux et Association des Points dans L’espace Projectif

2000 Mathematics Subject Classification: 14D20, 14J60.

FREADMAN, AnneThe Livres-Souvenirs of Colette Genre and the Telling of Time Oxford: Legenda, August 2012200 pp., £40.00, ISBN: 978-1-906540-93-7

Full text: The title of the book gives us a major clue on the innovative approach developed by Anne Freadman in her analysis of a particular Colette corpus, the one devoted to auto-biographical writing: Les Vrilles de la vigne, Mes apprentissages, La Maison de Claudine, Sido ,L’E ́toile Vesper and Le Fanal bleu. Freadman follows the powerful lure of Rimbaldianvieilles vieilleries and its echoes with Colette’s fondness for collecting objects, people and memories. To this must be added a technical aspect, that of the study of the genre of Colette’s writing. Freadman argues that, by largely avoiding the autobiographical form, the writer achieves a new way of ‘telling time’, collecting anecdotes and detail taken from the quotidian and setting them within an all-encompassing preoccupation with time. This provides the second part of the title.The sonata form directs the sequence of the book, orchestrated into five parts,from ‘exposition’ to ‘first subject’ to‘bridge’ to ‘second subject’ to ‘recapitulation’. This has the advantage of enabling Freadman to move and progress between distinct themes—autobiography first,then alternative forms—with grace,whilst preserving within her own writing what she sees as the essence of Colette’s relationship to time in her ‘Livres-Souvenirs’, the telling of time. This‘telling of time’ is itself therefore cleverly subjected to the time constraints and freedoms of musical composition. Freadman’s ‘Exposition’ takes us through a discussion of the autobiographical genre, analysing the texts against anumber of theorists, from Lejeune to Benjamin and Ricoeur, before launching into ‘Colette and Autobiography’. It argues pertinently that Colette did not write a ‘sustained’ autobiography, even inthe most autobiographical of her writings, Mes apprentissages. Measured against Goodwin’s three sources for autobiography, confession, apologia and memoirs, Colette’s autobiographical writings appear to be at odds with all of them. Freadman then goes on in Part II of her argument, to persuasively uncover a project that rejects self-scrutiny and with no autobiographical strategy. In ‘Collecting Time’, despite claims of continuity, narrative logic and causality areabandoned in favour of a collection offragments, family stories that are built up generation after generation into familylegends. A close and fruitful analysis of Sidoleads us to a study of ‘The Art of Ending’, concentrating on L’E ́toile Vesperandle Fanal Bleu. The closing chapter gives a fascinating reading of La Naissance du jouras an exemplar of the way in which the two subjects developed in Freadman’s volume are cast together:Colette’s own working through the autobiographical genre, and her refusal to write memoirs, in favour of collecting memories, and the strategies she uses for her purpose. In ‘Recapitulation’, her concluding chapter, Freadman adroitlyen capsulates her analysis in a fetching title: ‘Fables of Time’. Indeed, the wholepremise of her book is to move away from autobiographical genre, having acknowledged the links and debt the corpus owes to it, and into a study of the multiple and fruitful ways in which Colette tells time.The rich and varied readings of thematerial, competently informed by theoretical input, together with acute sensitivity to the corpus, mark out this study as incontournable for Colette scholars.

New genre of antioxidants from renewable natural resources:synthesis and characterisation of rosemary plant-derived antioxidants and their performance in polyolefins

Several ester derivatives of rosmarinic acid (rosmarinates) were synthesised, characterised (1D and 2D NMR, UV and FTIR spectroscopy) and tested for their potential use as antioxidants derived from a renewable natural resource. The intrinsic free radical scavenging activity of the rosmarinates was assessed, initially using a modified DPPH (2, 2-diphenyl-1-picrylhydrazyl radical) method, and found to be higher than that of commercial synthetic hindered phenol antioxidants Irganox 1076 and Irganox 1010. The thermal stabilising performance of the rosmarinates in polyethylene (PE) and polypropylene (PP) was subsequently examined and compared to that of samples prepared similarly but in the presence of Irganox 1076 (in PE) and Irganox 1010 (in PP) which are typically used for polyolefin stabilisation in industrial practice. The melt stability and the long-term thermo-oxidative stability (LTTS) of processed polymers containing the antioxidants were assessed by measuring the melt flow index (MFI), melt viscosity, oxidation induction time (OIT) and long-term (accelerated) thermal ageing performance. The results show that both the melt and the thermo-oxidative stabilisation afforded by the rosmarinates, and in particular the stearyl derivative, in both PE and PP, are superior to those of Irganox 1076 and Irganox 1010, hence their potential as effective sustainable bio-based antioxidants for polymers. The rosmarinic acid used for the synthesis of the rosmarinates esters in this study was obtained from commercial rosemary extracts (AquaROX80). Furthermore, a large number of different strains of UK-grown rosemary plants (Rosmarinum officinalis) were also extracted and analysed in order to examine their antioxidant content. It was found that the carnosic and the rosmarinic acids, and to a much lesser extent the carnosol, constituted the main antioxidant components of the UK-plants, with the two acids being present at a ratio of 3:1, respectively.

The University as a Genre and Activity System

The author explores the challenges graduate students face preparing for a dissertation through university events. Autoethnography using notes, observation, and journal writing and framed by genre and activity system theory highlight university system conflicts with the culture of the student.

This was uncalled for : Dave Eggers' A heartbreaking work of staggering genius subverts the genre of traditional autobiography as an attempt at rendering his life

The purpose of this thesis was to explore why and how the author Dave Eggers subverts the genre of traditional autobiography in his memoir A Heartbreaking Work of Staggering Genius. I compared Eggers' work to Gertrude Stein's The Autobiography of Alice B. Toklas and William S. Burroughs' Junky. I found that like Stein and Burroughs, Eggers utilized various rhetorical devices outside of traditional autobiography because he could not find the means to express himself within the genre. Eggers employed various rhetorical methods reserved for fictional texts, such as stream of consciousness, characterization, and irony, in order to reconcile his feelings towards his parents' deaths and render those feelings in his memoir. I established that Eggers concluded his memoir with impossibility of arriving at one Meaning that could summate his tragic experience. Thus, I proved that Eggers gave the reader the only authentic interpretation he could: the memoir as a small, incomplete glimpse into his life.

L'influence des rapports de genre sur la prise de décision concernant la pratique contraceptive dans le couple marié au Sénégal

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Coévolution des populations québécoises de cutérèbres (Cuterebra grisea et Cuterebra fontinella) et de souris du genre Peromyscus : la souris sylvestre (P. maniculatus) et la souris à pattes blanches (P. leucopus)

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

L'influence du genre sur la prise en charge de l'insuffisance cardiaque chronique : le cas des cliniques multidisciplinaires spécialisées en insuffisance cardiaque

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Du western au crépusculaire : textualités et narrativités du genre pour une approche de l'image-fin

Notre étude porte le western crépusculaire et cherche plus précisément à extraire le « crépusculaire » du genre. L'épithète « crépusculaire », héritée du vocabulaire critique des années 1960 et 1970, définit généralement un nombre relativement restreint d'œuvres dont le récit met en scène des cowboys vieillissants dans un style qui privilégie un réalisme esthétique et psychologique, fréquemment associé à un révisionnisme historique, voire au « western pro-indien », mais qui se démarque par sa propension à filmer des protagonistes fatigués et dépassés par la marche de l'Histoire. Par un détour sur les formes littéraires ayant comme contexte diégétique l’Ouest américain (dime-novel et romans de la frontière), nous effectuons des allers et retours entre les formes épique et romanesque, entre l’Histoire et son mythe, entre le littéraire et le filmique pour mieux saisir la relation dyadique qu’entretient le western avec l’écriture, d’une part monumentale et d’autre part critique, de l’Histoire. Moins intéressée à l’esthétique des images qu’aux aspects narratologiques du film pris comme texte, notre approche tire profit des analyses littéraires pour remettre en cause les classifications étanches qui ont marqué l’évolution du western cinématographique. Nous étudions, à partir des intuitions d’André Bazin au sujet du sur-western, les modulations narratives du western ainsi que l’émergence d’une conscience critique à partir de ses héros mythologiques (notamment le cow-boy). Notre approche est à la fois épistémologique et transhistorique en ce qu’elle cherche à dégager du western crépusculaire un genre au-delà des genres, fondé sur une incitation à la narrativisation crépusculaire de la part du spectateur. Cette dernière, concentrée par une approche deleuzienne de l’image-cristal, renvoie non plus seulement à une conception existentialiste du personnage dans l’Histoire, mais aussi à une mise en relief pointue du hors-cadre du cinéma, moment de clairvoyance à la fois pragmatique et historicisant que nous définissons comme une image-fin, une image chronogénétique relevant de la contemporanéité de ses figures et de leurs auteurs.