DEVELOPMENT AND APPLICATIONS OF GENOMIC RESOURCES FOR TWO NORTH AMERICAN HARDWOOD TAXA

Hardwoods comprise about half of the biomass of forestlands in North America and present many uses including economic, ecological and aesthetic functions. Forest trees rely on the genetic variation within tree populations to overcome the many biotic, abiotic, anthropogenic factors which are further worsened by climate change, that threaten their continued survival and functionality. To harness these inherent genetic variations of tree populations, informed knowledge of the genomic resources and techniques, which are currently lacking or very limited, are imperative for forest managers. The current study therefore aimed to develop genomic microsatellite markers for the leguminous tree species, honey locust, Gleditsia triacanthos L. and test their applicability in assessing genetic variation, estimation of gene flow patterns and identification of a full-sib mapping population. We also aimed to test the usefulness of already developed nuclear and gene-based microsatellite markers in delineation of species and taxonomic relationships between four of the taxonomically difficult Section Lobatae species (Quercus coccinea, Q. ellipsoidalis, Q. rubra and Q. velutina. We recorded 100% amplification of G. triacanthos genomic microsatellites developed using Illumina sequencing techniques in a panel of seven unrelated individuals with 14 of these showing high polymorphism and reproducibility. When characterized in 36 natural population samples, we recorded 20 alleles per locus with no indication for null alleles at 13 of the 14 microsatellites. This is the first report of genomic microsatellites for this species. Honey locust trees occur in fragmented populations of abandoned farmlands and pastures and is described as essentially dioecious. Pollen dispersal if the main source of gene flow within and between populations with the ability to offset the effects of random genetic drift. Factors known to influence gene include fragmentation and degree of isolation, which make the patterns gene flow in fragmented populations of honey locust a necessity for their sustainable management. In this follow-up study, we used a subset of nine of the 14 developed gSSRs to estimate gene flow and identify a full-sib mapping population in two isolated fragments of honey locust. Our analyses indicated that the majority of the seedlings (65-100% - at both strict and relaxed assignment thresholds) were sired by pollen from outside the two fragment populations. Only one selfing event was recorded confirming the functional dioeciousness of honey locust and that the seed parents are almost completely outcrossed. From the Butternut Valley, TN population, pollen donor genotypes were reconstructed and used in paternity assignment analyses to identify a relatively large full-sib family comprised of 149 individuals, proving the usefulness of isolated forest fragments in identification of full-sib families. In the Ames Plantation stand, contemporary pollen dispersal followed a fat-tailed exponential-power distribution, an indication of effective gene flow. Our estimate of δ was 4,282.28 m, suggesting that insect pollinators of honey locust disperse pollen over very long distances. The high proportion of pollen influx into our sampled population implies that our fragment population forms part of a large effectively reproducing population. The high tendency of oak species to hybridize while still maintaining their species identity make it difficult to resolve their taxonomic relationships. Oaks of the section Lobatae are famous in this regard and remain unresolved at both morphological and genetic markers. We applied 28 microsatellite markers including outlier loci with potential roles in reproductive isolation and adaptive divergence between species to natural populations of four known interfertile red oaks, Q. coccinea, Q. ellpsoidalis, Q. rubra and Q. velutina. To better resolve the taxonomic relationships in this difficult clade, we assigned individual samples to species, identified hybrids and introgressive forms and reconstructed phylogenetic relationships among the four species after exclusion of genetically intermediate individuals. Genetic assignment analyses identified four distinct species clusters, with Q. rubra most differentiated from the three other species, but also with a comparatively large number of misclassified individuals (7.14%), hybrids (7.14%) and introgressive forms (18.83%) between Q. ellipsoidalis and Q. velutina. After the exclusion of genetically intermediate individuals, Q. ellipsoidalis grouped as sister species to the largely parapatric Q. coccinea with high bootstrap support (91 %). Genetically intermediate forms in a mixed species stand were located proximate to both potential parental species, which supports recent hybridization of Q. velutina with both Q. ellipsoidalis and Q. rubra. Analyses of genome-wide patterns of interspecific differentiation can provide a better understanding of speciation processes and taxonomic relationships in this taxonomically difficult group of red oak species.

An Undisclosed Story of Roses: Church, State and Nation in Contemporary Georgia

I will attempt to problematize the typologies of nationalism when applied to the Georgian context, particularly in relationship to nationalism of President Mikheil Saakashvili. I will argue that the state-driven nationalism of post-Rose Revolution government was a hybrid form of ethno-cultural and civic which had elements of ethnic particularism towards the Orthodox Church. By reflecting on the growing assistance of Western institutions to Georgia, I will problematize the extent to which the rise of American and European involvement in the region reinforced the perceptions of the “self” and the “other” among the religious elites since the Rose Revolution. By presenting field research data (interviews) gathered in 23 eparchies and perishes with religious clerics in 7 regions of Georgia, I will argue that religious nationalism in Georgia strengthened not in response to but as an outcome of President Saakashvili’s policies towards the church, and partially as a reaction to the growing dissatisfaction with Western institutions working in Georgia and Western governments’ response to the Russo-Georgian War of 2008. By reflecting on empirical material, the paper attempts to problematize an understanding of religious nationalism as a social movement, an instance of cultural autonomy and a source of identity (Friedland 2001). In response, I suggest viewing religious nationalism in post-communist Georgia as medium of material and political interests

Body height estimation from post-mortem CT femoral F1 measurements in a contemporary Swiss population.

PURPOSE The present study aimed at the comparison of body height estimations from cadaver length with body height estimations according to Trotter and Gleser (1952) and Penning and Riepert (2003) on the basis of femoral F1 section measurements in post-mortem computed tomography (PMCT) images. METHODS In a post-mortem study in a contemporary Swiss population (226 corpses: 143 males (mean age: 53±17years) and 83 females (mean age: 61±20years)) femoral F1 measurements (403 femora: 199 right and 204 left; 177 pairs) were conducted in PMCT images and F1 was used for body height estimation using the equations after Trotter and Gleser (1952, "American Whites"), and Penning and Riepert (2003). RESULTS The mean observed cadaver length was 176.6cm in males and 163.6cm in females. Mean measured femoral length F1 was 47.5cm (males) and 44.1cm (females) respectively. Comparison of body height estimated from PMCT F1 measurements with body height calculated from cadaver length showed a close congruence (mean difference less than 0.95cm in males and less than 1.99cm in females) for equations both applied after Penning and Riepert and Trotter and Gleser. CONCLUSIONS Femoral F1 measurements in PMCT images are very accurate, reproducible and feasible for body height estimation of a contemporary Swiss population when using the equations after Penning and Riepert (2003) or Trotter and Gleser (1952).

Las casualidades controladas : la primera visibilidad del cambio del paradigma moderno

Como no pocos proyectos, el origen de esta tesis es fruto de una casualidad. Hace unos años me topé en Londres, en la librería Walden Books del 38 de Harmood St., con una primera edición de la conocida monografía de Mies a cargo de Philip Johnson. El librito, en realidad catálogo de la exposición que en 1947 el MoMA de Nueva York dedicara a la obra de Mies Van der Rohe a los diez años del desembarco del arquitecto en Estados Unidos, tiene un tamaño de 10 x 7,5 pulgadas, es decir, la mitad del formato americano Crown (20x15 pulgadas), equivalente a 508 x 381 mm. Se imprimieron, en su primera tirada, editada por The Plantin Press, 12.000 ejemplares. Ese mismo año, con edición al cuidado de Reynal y Hitchcock, se publicaría la primera traducción al inglés de Cuando las catedrales eran blancas de Le Corbusier y una selección de poemas de Lorca, siete años después de su Poeta en Nueva York. En la monografía, en la página 109, aparece el conocido croquis de Mies Sketch for a glass house on a hillside. c. 1934, escasamente unas líneas, aunque precisas y llenas de matices, de la casa en una ladera que rápidamente nos remite a aquella primera propuesta de Saarinen para una casa en el aire, primero en 1941 en Pensilvania y después, en 1945, con Charles Eames, en Los Angeles, que nunca llegarían a construirse, sino en su aliteraciones posteriores realizadas por Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, Nueva York, 1956) o Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank & Polly Pierson House, Malibú, 1962; Chamorro House, Hollywood Hills, 1963, o la serie Weekend House, con Gerald Horn, entre 1964 y 1970, hasta el magnífico Art Center College of Design de Pasadera, su puente habitado de 1977). El relato que da origen al texto discurre en un estricto período de tiempo, desde los primeros dibujos de la Case Study House nº8, dentro del programa promovido por John Entenza y su revista Arts & Architecture en California, realizados en el estudio de Saarinen en Bloomfield Hills, Michigan, hasta que el proyecto de la casa Eames finaliza cinco años después de acabar la obra en 1955, en la versión conocida, radicalmente distinta al proyecto original, cuando la pareja Charles y Ray Eames edita el corto House After Five Years of Living. La discusión original en torno a esta casita, o mejor, a las circunstancias, casualidades controladas, que rodean su construcción, se produce estrictamente cuando rastreamos aquellos invariantes que se mantienen en las dos versiones y las reconcilian. En este corto período de tiempo se producen en el proyecto una serie de decisiones que permiten descubrir, tanto en la forma como en el mismo proceso transformador del proyecto, en su obsesivo registro, en los nuevos referentes asumidos y propuestos, la primera visibilidad del cambio del paradigma moderno. Pero este momento germinal que cristaliza el paso a la postmodernidad no es inédito en la historia de la arquitectura americana. Así, el relato abre su ámbito temporal hasta un nuevo período de cincuenta años que arranca en 1893, año de la celebración en Chicago de la Exposición Internacional Colombina. En la White City de Hunt & McKim y del traidor Burham, Louis Sullivan construye su Golden Doorway en el pabellón de los Transportes. Aquella que visitará Adolf Loos antes de volver, renovado, a Viena; la misma que admirará André Bouillet, representante de la Union Centrale des Arts Decoratifs de Paris, y que deslumbrará en los museos de toda Europa, de París a Moscú en grandes fotografías y maquetas. Hasta que en Finlandia alguien muestra una de esas fotografías a un joven estudiante de diecinueve años en el Instituto Politécnico. Eliel Saarinen queda fascinado por la poderosa novedad de la imagen. Cuelga la fotografía frente a su tablero de dibujo, consciente de que la Golden Doorway, esa puerta de la aventura y la catarsis que Sullivan acuñaría como distintivo y que resolvería como único elemento complejo sus proyectos más maduros, desprovistos de todo ornamento; la misma que repetirían más tarde, con profundo reconocimiento, Ladovsky, Wright, Scarpa o Moneo, puerta dentro de puerta, fuelle y umbral, contenía, en sus propias palabras emocionadas, todo el futuro de la arquitectura. Desde ahí, pasando por el año 1910, momento de la huida de Wright a La Toscana y el descubrimiento de su arquitectura en Europa, entre otros por un joven Mies van der Rohe, meritorio en el estudio de Peter Behrens, a través del Wasmuth Portfolio; y así como algo después, en 1914, Schindler y en 1923 Neutra, harán el camino inverso, hasta que Mies les siga en 1937, animado por un Philip Johnson que había viajado a Europa en 1930, volviendo a 1945 y el inicio del programa Case Study House en California, hasta 1949, momento de la construcción de la CSH#8, y, por fin, al año 1955, after 5 years of living, en el que Julius Shulman fotografía la casa de Ray y Charles Eames en el prado de Chautauqua sobre las Pacific Palisades de Los Angeles, lanzando sus finas líneas amarillas hasta Alison y Peter Smithson y su tardomoderno heroico, hasta el primer Foster y su poético hightech y hasta el O-riginal Ghery, deconstruyendo el espacio esencial de su casa desde el espacio mismo, abiertas ya las puertas al nuevo siglo. Y en estos cambios de paradigma, desde el rígido eclecticismo de los estilos al lirismo moderno en el gozne secular y de ahí a la frivolidad, ligereza, exhibicionismo y oportunismo cultos del hecho postmoderno, hay algo que se mantiene invariante en los bandazos de la relación del hombre contemporáneo con su entorno. Como la escultura, que según Barnett Newman no es sino aquello contra lo que uno choca cuando retrocede para mirar un cuadro, en estos prístinos lugares, comunes y corrientes, recorrido, puerta, umbral, recinto y vacío, te topas con la arquitectura antes de darte cuenta de que es arquitectura. ABSTRACT As with many other projects, the origin of this doctoral thesis is the result of a chance. A few years ago I found in a bookstore in London, 38 Harmood st., Walden Books, a first edition of the well-known monograph about Mies by Philip Johnson. The tiny book, in fact a catalog of the exhibition that the MoMA of New York devoted to the work of Mies van der Rohe in 1947, ten years after his landing in the United States, has a size of 10 x 7.5 inches, that is, half of Crown American format (20 x 15 inches), equivalent to 508 x 381 mm. In the first printing, published by The Plantin Press, 12,000 copies were released. That same year, produced by Reynal and Hitchcock, both the first English translation of When the cathedrals were white by Le Corbusier and a selection of poems by Lorca were published, seven years after his Poet in New York. Inside the book, the famous drawing from Mies Sketch for a glass house on a hillside c. 1934 appears on page 109, barely a few lines, precise and nuanced though, the house on a hillside that quickly reminds us of the proposals of Eero Saarinen for a house in the air, first in 1941, in Pennsylvania, and later, in 1945, with Charles Eames, in Los Angeles, that would never be built, but in their later alliterations made by Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, New York, 1956) or Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank Pierson & Polly House, Malibu, 1962, Chamorro House, Hollywood Hills, 1963, or the Weekend House series, with Gerald Horn, between 1964 and 1970, to the magnificent Art Center College of Design Pasadena, the inhabited bridge, in 1977). The story that gives rise to the text flows in a short amount of time, from the first drawings of the Case Study House No. 8, within the program promoted by John Entenza and his magazine Arts & Architecture in California, made in the study of Saarinen in Bloomfield Hills, Michigan, until the project of the Eames house is completed five years after finishing the construction in 1955, in the final version we know, radically different from the initial state, when the couple, Charles and Ray, published the film House after Five Years of Living. The original discussion around this house, or better, about the circumstances, controlled coincidences, regarding its construction, appears when one takes account of those that remain, the invariants, in the two versions, drawn and built, which precisely allow the reconciliation between both projects. In this short period of time a series of decisions made in the transformation process of the project reveal, in the obsessive record made by Charles Eames and in the new proposed references, the first visibility of the changing of the modern paradigm. But this germinal moment that crystallizes the transition to postmodernism is not unprecedented in the history of American architecture. So, the story opens its temporal scope to a fifty-year period that started in 1893, date of the celebration of the Chicago World´s Columbian Exposition. In the White City by Hunt & McKim and Burnham, the traitor, Louis Sullivan builds his Golden Doorway in the Transportation Building. That visited by a renovated Adolf Loos before his coming back to Vienna; the same that André Bouillet, Head of the Union Centrale des Arts Decoratifs in Paris, admired and dazzled in museums all over Europe, from Paris to Moscow, in large photographs and models. Until someone in Finland showed one of those photos to a young nineteen-years-old student at the Polytechnic Institute. Eliel Saarinen became fascinated by the powerful new image: he hanged the picture in front of his drawing board, aware that the Golden Doorway, that door of adventure and catharsis Sullivan coined as distinctive and as a single complex element which would solve their most mature projects, devoid of all ornament; the same that would repeat later, with deep appreciation, Ladovsky, Wright, Scarpa, or Moneo, a door inside a door, a threshold, a gap that contained, in its own moving words, the whole future of architecture. From there, through 1910, when Wright's flight to Tuscany allows Europe to discover his architecture, including a young Mies van der Rohe, meritorious in the studio of Peter Behrens, via the Wasmuth Portfolio; and as a little bit later, in 1914, Schindler and Neutra in 1923, made the travel in opposite direction, until Mies follows them in 1937, led by a Philip Johnson who had traveled to Europe in 1930, we return to 1945 and the beginning of the program Case Study House in California, and from 1949, when construction of the CSH # 8 begins, and finally, to 1955, after five years of living, when Julius Shulman photographs the inside of the house with Ray and Charles Eames, and all their belongins, at the Chautauqua meadows on Pacific Palisades in Los Angeles, launching its fine yellow lines to Alison and Peter Smithson and his heroic late modern, up to the first Foster and his poetic hightech and even the O-riginal Gehry, deconstructing the essential space of his home from the space itself, opening the doors to the new century. And these paradigm shifts, from the hard eclectic styles to modern secular lyricism in the hinge and then overcoming the cultured frivolity, lightness, exhibitionism, and opportunism of the postmodern skeptical focus, something remains intense, invariant in the lurching relationship of contemporary man and his environment. As the sculpture, which according to Barnett Newman is what you bump into when you back up to see a painting, in these pristine, ordinary places, promenade, door, threshold, enclosure and emptiness, you stumble upon the architecture even before realizing that it is architecture.