Clathrin isoform CHC22, a component of neuromuscular and myotendinous junctions, binds sorting nexin 5 and has increased expression during myogenesis and muscle regeneration

The muscle isoform. of clathrin heavy chain, CHC22, has 85% sequence identity to the ubiquitously expressed CHC17, yet its expression pattern and function appear to be distinct from those of well-characterized clathrin-coated vesicles. In mature muscle CHC22 is preferentially concentrated at neuromuscular and myotendinous junctions, suggesting a role at sarcolemmal contacts with extracellular matrix. During myoblast differentiation, CHC22 expression is increased, initially localized with desmin and nestin and then preferentially segregated to the poles of fused myoblasts. CHC22 expression is also increased in regenerating muscle fibers with the same time course as embryonic myosin, indicating a role in muscle repair. CHC22 binds to sorting nexin 5 through a coiled-coil domain present in both partners, which is absent in CHC17 and coincides with the region on CHC17 that binds the regulatory light-chain subunit. These differential binding data suggest a mechanism for the distinct functions of CHC22 relative to CHC17 in membrane traffic during muscle development, repair, and at neuromuscular and myotendinous junctions.

Differential effects on the hepatitis C virus (HCV) internal ribosome entry site by vitamin B-12 and the HCV core protein

To investigate the role of the hepatitis C virus internal ribosome entry site (HCV IRES) domain IV in translation initiation and regulation, two chimeric IRES elements were constructed to contain the reciprocal domain IV in the otherwise HCV and classical swine fever virus IRES elements. This permitted an examination of the role of domain IV in the control of HCV translation. A specific inhibitor of the HCV IRES, vitamin B-12 was shown to inhibit translation directed by all IRES elements which contained domain IV from the HCV and the GB virus B IRES elements, whereas the HCV core protein could only suppress translation from the wild-type HCV IRES. Thus, the mechanisms of translation inhibition by vitamin B-12 and the core protein differ, and they target different regions of the IRES.

Synthesis and characterization of nano-hetero-structured dy doped CeO2 solid electrolytes using a combination of spark plasma sintering and conventional sintering

Doped ceria (CeO2) compounds are fluorite-type oxides that show oxide ionic conductivity higher than yttria-stabilized zirconia in oxidizing atmosphere. As a consequence of this, considerable interest has been shown in application of these materials for low (500 degrees-650 degrees C) temperature operation of solid oxide fuel cells (SOFCs). To improve the conductivity in dysprosium (Dy) doped CeO2, nano-size round shape particles were prepared using a coprecipitation method. The dense sintered bodies with small grain sizes (< 300 nm) were fabricated using a combined process of spark plasma sintering (SPS) and conventional sintering (CS). Dy-doped CeO2 sintered body with large grains (1.1 mu m) had large micro-domains. The conductivity in the sintered body was low (-3.2 S/cm at 500 degrees C). On the other hand, the conductivity in the specimens obtained by the combined process was considerably improved. The micro-domain size in the grain was minimized using the present process. It is concluded that the enhancement of conductivity in dense specimens produced by the combined process (SPS+CS) is attributable to the microstructural changes within the grains.

Comparative analysis of prothrombin activators from the venom of Australian elapids

A key component of the venom of many Australian snakes belonging to the elapid family is a toxin that is structurally and functionally similar to that of the mammalian prothrombinase complex. In mammals, this complex is responsible for the cleavage of prothrombin to thrombin and is composed of factor Xa in association with its cofactors calcium, phospholipids, and factor Va. The snake prothrombin activators have been classified on the basis of their requirement for cofactors for activity. The two major subgroups described in Australian elapid snakes, groups C and D, are differentiated by their requirement for mammalian coagulation factor Va. In this study, we describe the cloning, characterization, and comparative analysis of the factor X- and factor V-like components of the prothrombin activators from the venom glands of snakes possessing either group C or D prothrombin activators. The overall domain arrangement in these proteins was highly conserved between all elapids and with the corresponding mammalian clotting factors. The deduced protein sequence for the factor X-like protease precursor, identified in elapids containing either group C or D prothrombin activators, demonstrated a remarkable degree of relatedness to each other (80%-97%). The factor V-like component of the prothrombin activator, present only in snakes containing group C complexes, also showed a very high degree of homology (96%-98%). Expression of both the factor X- and factor V-like proteins determined by immunoblotting provided an additional means of separating these two groups at the molecular level. The molecular phylogenetic analysis described here represents a new approach for distinguishing group C and D snake prothrombin activators and correlates well with previous classifications.

Design of high quality doped CeO2 solid electrolytes with nanohetero structure

Doped ceria (CeO2) compounds are fluorite related oxides which show oxide ionic conductivity higher than yttria-stabilized zirconia in oxidizing atmosphere. As a consequence of this, a considerable interest has been shown in application of these materials for low (400-650 degrees C) temperature operation of solid oxide fuel cells (SOFCs). In this paper, our experimental data about the influence of microstructure at the atomic level on electrochemical properties were reviewed in order to develop high quality doped CeO2 electrolytes in fuel cell applications. Using this data in the present paper, our original idea for a design of nanodomain structure in doped CeO2 electrolytes was suggested. The nanosized powders and dense sintered bodies of M doped CeO2 (M:Sm,Gd,La,Y,Yb, and Dy) compounds were fabricated. Also nanostiructural features in these specimens were introduced for conclusion of relationship between electrolytic properties and domain structure in doped CeO2. It is essential that the electrolytic properties in doped CeO2 solid electrolytes reflect in changes of microstructure even down to the atomic scale. Accordingly, a combined approach of nanostructure fabrication, electrical measurement and structure characterization was required to develop superior quality doped CeO2 electrolytes in the fuel cells.

APLICAÇÃO DA TEORIA DOS JOGOS NA GESTÃO DE PESSOAS: UMA ANÁLISE DA VARIÁVEL SALÁRIO

Esta dissertação apresenta os principais aspectos da Teoria dos Jogos, mostrando sua aplicação como instrumento analítico na Gestão de Pessoas no que diz respeito à variável salário. Considera a organização e o trabalhador como conceitos gerais, sem identificar o setor de atuação, ramo de atividade, classificação jurídica em função do seu faturamento, total de empregados ou participação de mercado dessa organização. Da mesma forma o conceito trabalhador não recebe qualquer identificação em relação ao setor de atividade onde trabalha, função, salário ou formação profissional. A organização é toda estrutura que gera bens e serviços para a sociedade e o trabalhador é todo elemento que emprega sua força de trabalho na produção de bens e serviços. Os objetivos estabelecidos para este estudo são: identificar as possibilidades de aplicação da Teoria dos Jogos na Gestão de Pessoas considerando a variável salário como elemento de conflito entre a organização e o trabalhador; mostrar se a forma de representação extensiva é mais apropriada ou não para analisar o cenário de embate na decisão de contratar ou não o trabalhador ou pagar mais ou menos salário e a existência do Equilíbrio de Nash. A metodologia qualitativa com apoio bibliográfico e documental caracteriza esta pesquisa qualitativa quanto a metodologia de pesquisa. Os métodos qualitativos contribuem para interpretar fenômenos do cotidiano, podendo ser composto por dados simbólicos situados em determinado contexto. A pesquisa documental é uma contribuição importante ao estudo do tema proposto, já que a pesquisa qualitativa não é uma proposta rigidamente estruturada e isto permite que o pesquisador use a imaginação e criatividade para atingir o objetivo. Os resultados obtidos pela pesquisa dão conta de que é possível a aplicação da Teoria dos Jogos na Gestão de Pessoas considerando o embate entre os jogadores (o trabalhador e a organização) em torno do salário, discutido no capítulo 4 nas representações da matriz de payoff de um jogo estratégico e nas figuras 9,10,11,e 16. A representação na forma extensiva, outro objetivo, indicando os payoffs entre duas decisões centrais representadas por X = flexibilização com renúncia dos direitos pelos trabalhadores e Y = flexibilização/adaptação/negociação, conforme figura 16. O gestor de pessoas percebe as estratégias existentes para a organização e trabalhador para a tomada de decisão, ao mesmo tempo em que pode avaliar a situação que esteja vivendo e fazer simulações em busca de novas propostas. Por fim, o Equilíbrio de Nash para a aplicação na Gestão de Pessoas é discutido no item 4.1.3, sendo possível verificar que tanto o trabalhador como a organização podem chegar a uma decisão favorável para ambos e manter seus objetivos pretendidos inicialmente. Na figura 17, esse equilíbrio é apresentado depois da tomada de decisão do trabalhador pela proposta feita pela organização na sequência O2 e o trabalhador ficou com o ramo de sequência T2 com o valor de 20 moedas. A potencialidade da Teoria dos Jogos na Gestão de Pessoas está no fato de que quem atua em uma organização compartilha resultados bons ou ruins obtidos pelas escolhas alheias, individuais e construídas coletivamente.

APLICAÇÃO DA TEORIA DOS JOGOS NA GESTÃO DE PESSOAS: UMA ANÁLISE DA VARIÁVEL SALÁRIO

Esta dissertação apresenta os principais aspectos da Teoria dos Jogos, mostrando sua aplicação como instrumento analítico na Gestão de Pessoas no que diz respeito à variável salário. Considera a organização e o trabalhador como conceitos gerais, sem identificar o setor de atuação, ramo de atividade, classificação jurídica em função do seu faturamento, total de empregados ou participação de mercado dessa organização. Da mesma forma o conceito trabalhador não recebe qualquer identificação em relação ao setor de atividade onde trabalha, função, salário ou formação profissional. A organização é toda estrutura que gera bens e serviços para a sociedade e o trabalhador é todo elemento que emprega sua força de trabalho na produção de bens e serviços. Os objetivos estabelecidos para este estudo são: identificar as possibilidades de aplicação da Teoria dos Jogos na Gestão de Pessoas considerando a variável salário como elemento de conflito entre a organização e o trabalhador; mostrar se a forma de representação extensiva é mais apropriada ou não para analisar o cenário de embate na decisão de contratar ou não o trabalhador ou pagar mais ou menos salário e a existência do Equilíbrio de Nash. A metodologia qualitativa com apoio bibliográfico e documental caracteriza esta pesquisa qualitativa quanto a metodologia de pesquisa. Os métodos qualitativos contribuem para interpretar fenômenos do cotidiano, podendo ser composto por dados simbólicos situados em determinado contexto. A pesquisa documental é uma contribuição importante ao estudo do tema proposto, já que a pesquisa qualitativa não é uma proposta rigidamente estruturada e isto permite que o pesquisador use a imaginação e criatividade para atingir o objetivo. Os resultados obtidos pela pesquisa dão conta de que é possível a aplicação da Teoria dos Jogos na Gestão de Pessoas considerando o embate entre os jogadores (o trabalhador e a organização) em torno do salário, conforme pode ser visto no capítulo 4 nas representações da matriz de payoff de um jogo estratégico e nas figuras 9,10,11,e 16. A representação na forma extensiva, constitui outro objetivo, indicando os payoffs entre duas decisões centrais representadas por X = flexibilização com renúncia dos direitos pelos trabalhadores e Y = flexibilização/adaptação/negociação, conforme figura 16. Ao analisar a figura, o gestor de pessoas percebe as estratégias existentes para a organização e trabalhador para a tomada de decisão, ao mesmo tempo em que pode avaliar a situação que esteja vivendo e fazer simulações em busca de novas propostas. Por fim, o Equilíbrio de Nash para a aplicação na Gestão de Pessoas é discutido no item 4.1.3, sendo possível verificar que tanto o trabalhador como a organização podem chegar a uma decisão favorável para ambos e manter seus objetivos pretendidos inicialmente. Na figura 17, esse equilíbrio é apresentado depois da tomada de decisão do trabalhador pela proposta feita pela organização na sequência O2 e o trabalhador ficou com o ramo de sequência T2 com o valor de 20 moedas. A potencialidade da Teoria dos Jogos na Gestão de Pessoas surge do fato de que quem atua em uma organização compartilha resultados bons ou ruins obtidos pelas escolhas alheias, escolhas individuais e pelas escolhas construídas coletivamente. Quando o trabalhador resolve produzir menos, a empresa sofre com a perda do lucro gerado pelo ritmo mais lento de trabalho. Para mudar esse quadro, a empresa toma a decisão de aumentar o salário e o trabalhador por sua vez desenvolve a tarefa com maior velocidade e em maior quantidade e ela pode retomar o seu lucro. Nesses jogos há cobranças de desempenho, exigência para atingir metas, pressões, conflitos com clientes e lideranças. Logo, a Teoria dos Jogos pode ser aplicada como instrumento para o gestor de Pessoas avaliar a situação vivida para a tomada de decisão que resolva a situação de embate.

O PERFIL PROFISSIONAL DO SUPERVISOR DE ENSINO

Numa perspectiva sociológica, este trabalho tem o objetivo de identificar o perfil profissional do supervisor de ensino que atua na Secretaria de Estado da Educação de São Paulo, verificando se sua atuação está voltada ao pedagógico ou ao administrativo e qual o compromisso político e as concepções educacionais destes profissionais. Apoiando-se em Tragtenberg, Silva Jr e Huert, entre outros autores que abordam, especificamente, a supervisão de ensino, procurou-se fazer uma analise histórica da legislação, de planilhas e dos dados que foram colhidos através de depoimentos e entrevistas com supervisores de ensino efetivos de três Diretorias de Ensino da Grande São Paulo. O resultado da pesquisa aponta para a predominância de um perfil burocrático e de fiscalização na ação do supervisor de ensino, bem como de executor das políticas públicas e não partícipe da sua elaboração. O supervisor de ensino é um representante de um poder político que favorece uma determinada ordem, mesmo que exista uma tentativa de superação de uma representatividade unilateral dentro da supervisão de ensino.(AU)

Women, power and politics

This is major new introduction to women's political involvement and role in the liberal democratic world drawing examples from a wide range of countries to illustrate key common features and divergences. Stevens assesses women's participation and representation in government, parliaments and at the grassroots. Does gender make a difference?

Functional localisation of human sensory-motor cortex using magnetoencephalography

The 19 channel Neuromagnetometer system in the Clinical Neurophysiology Unit at Aston University is a multi-channel system, unique in the United Kingdom. A bite bar head localisation and MRI co-registration strategy which enabled accurate and reproducible localisation of MEG data into cortical space was developed. This afforded the opportunity to study magnetic fields of the human cortex generated by stimulation of peripheral nerve, by stimulation of visceral sensory receptors and by those evoked through voluntary finger movement. Initially, a study of sensory-motor evoked data was performed in a healthy control population. The techniques developed were then applied to patients who were to undergo neurosurgical intervention for the treatment of epilepsy and I or space occupying lesions. This enabled both validation of the effective accuracy of source localisation using MEG as well as to determine the clinical value of MEG in presurgical assessment of functional localisation in human cortex. The studies in this thesis have demonstrated that MEG can repeatedly and reliably locate sources contained within a single gyrus and thus potentially differentiate between disparate gyral activation. This ability is critical in the clinical application of any functional imaging technique; which is yet to be fully validated by any other 'non-invasive' functional imaging methodology. The technique was also applied to the study of visceral sensory representation in the cortex which yielded important data about the multiple cortical representation of visceral sensory function.

Ecological studies on river pollution control

This collection of papers records a series of studies, carried out over a period of some 50 years, on two aspects of river pollution control - the prevention of pollution by sewage biological filtration and the monitoring of river pollution by biological surveillance. The earlier studies were carried out to develop methods of controlling flies which bred in the filters and caused serious nuisance and possible public health hazard, when they dispersed to surrounding villages. Although the application of insecticides proved effective as an alleviate measure, because it resulted in only a temporary disturbance of the ecological balance, it was considered ecologically unsound as a long-term solution. Subsequent investigations showed that the fly populations in filters were largely determined by the amount of food available to the grazing larval stage in the form of filter film. It was also established that the winter deterioration in filter performance was due to the excessive accumulation of film. Subsequent investigations were therefore carried out to determine the factors responsible for the accumulation of film in different types of filter. Methods of filtration which were considered to control film accumulation by increasing the flushing action of the sewage, were found to control fungal film by creating nutrient limiting conditions. In some filters increasing the hydraulic flushing reduced the grazing fauna population in the surface layers and resulted in an increase in film. The results of these investigations were successfully applied in modifying filters and in the design of a Double Filtration process. These studies on biological filters lead to the conclusion that they should be designed and operated as ecological systems and not merely as hydraulic ones. Studies on the effects of sewage effluents on Birmingham streams confirmed the findings of earlier workers justifying their claim for using biological methods for detecting and assessing river pollution. Further ecological studies showed the sensitivity of benthic riffle communities to organic pollution. Using experimental channels and laboratory studies the different environmental conditions associated with organic pollution were investigated. The degree and duration of the oxygen depletion during the dark hours were found to be a critical factor. The relative tolerance of different taxa to other pollutants, such as ammonia, differed. Although colonisation samplers proved of value in sampling difficult sites, the invertebrate data generated were not suitable for processing as any of the commonly used biotic indexes. Several of the papers, which were written by request for presentation at conferences etc., presented the biological viewpoint on river pollution and water quality issues at the time and advocated the use of biological methods. The information and experiences gained in these investigations was used as the "domain expert" in the development of artificial intelligence systems for use in the biological surveillance of river water quality.

Increased diversity of libraries from libraries: chemoinformatic analysis of bis-diazacyclic libraries

Combinatorial libraries continue to play a key role in drug discovery. To increase structural diversity, several experimental methods have been developed. However, limited efforts have been performed so far to quantify the diversity of the broadly used diversity-oriented synthetic (DOS) libraries. Herein we report a comprehensive characterization of 15 bis-diazacyclic combinatorial libraries obtained through libraries from libraries, which is a DOS approach. Using MACCS keys, radial and different pharmacophoric fingerprints as well as six molecular properties, it was demonstrated the increased structural and property diversity of the libraries from libraries over the individual libraries. Comparison of the libraries to existing drugs, NCI Diversity and the Molecular Libraries Small Molecule Repository revealed the structural uniqueness of the combinatorial libraries (mean similarity < 0.5 for any fingerprint representation). In particular, bis-cyclic thiourea libraries were the most structurally dissimilar to drugs retaining drug-like character in property space. This study represents the first comprehensive quantification of the diversity of libraries from libraries providing a solid quantitative approach to compare and contrast the diversity of DOS libraries with existing drugs or any other compound collection.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Goal detection from natural language queries

This paper aims to identify the communication goal(s) of a user's information-seeking query out of a finite set of within-domain goals in natural language queries. It proposes using Tree-Augmented Naive Bayes networks (TANs) for goal detection. The problem is formulated as N binary decisions, and each is performed by a TAN. Comparative study has been carried out to compare the performance with Naive Bayes, fully-connected TANs, and multi-layer neural networks. Experimental results show that TANs consistently give better results when tested on the ATIS and DARPA Communicator corpora.

The effect of barium substitution on the ferroelectric properties of Sr2 Nb2 O7 Ceramics

This work revealed that the solid solution compounds of Sr 2-xBaxNb2O7 are promising lead-free materials for high-temperature piezoelectric sensor application. These compounds were confirmed as ferroelectric materials with high Curie points (> 900°C) by their piezoelectric activity after poling, ferroelectric domain switching in their P-E hysteresis loops and thermal depoling behavior. The effect of Ba substitution on the structure and properties of Sr 2-xBaxNb2O7 (x < 1.0) was investigated. The solid solution limit of Sr2-xBaxNb 2O7 was determined by XRD as x < 0.6. The a-, b-, c- axes, and cell volume increase with Ba addition. The textured ceramics of Sr2-xBaxNb2O7 were prepared for the first time. The highest d33 was measured as 3.6 ± 0.1 pC/N for Sr1.8Ba0.2Nb2O7. © 2012 The American Ceramic Society.