Biogeografia Histórica de Mawsoniidae (Sarcopterygii: Actinistia)

Mawsoniidae é uma família de actinístios fósseis, conhecidos popularmente como celacanto, sendo encontrados em paleoambientes continental e marinho. O táxon foi proposto na década de 1990, apresentando, a partir de então, alguns estudos abordando sua filogenia num contexto cladístico. Trata-se de um grupo monofilético, sendo representado por cinco gêneros inquestionáveis (i. e., Axelrodichthys, Chinlea, Diplurus, Mawsonia e Parnaibaia), além de outros dez que possuem alguma discordância na sistemática (i. e., Alcoveria, Garnbergia, Heptanema, Indocoelacanthus, Libys, Lualabaea, Megalocoelacanthus, Moenkopia, Rhipis e Trachymetopon). Cabe ressaltar que nem todos estes gêneros foram contemplados nas análises cladísticas de Mawsoniidae. Mawsoniidae possui considerável interesse biogeográfico, considerando sua extensa amplitude temporal (Triássico Médio ao Cretáceo Superior) e ampla distribuição geográfica (Américas do Sul e do Norte, África e Europa). Os gêneros restritos à América do Norte (Diplurus e Chinlea) e Europa (Alcoveria) possuem os registros mais antigos (Triássico Médio-Jurássico Inferior). Já os gêneros restritos ao Hemisfério Sul (Mawsonia, Axelrodichthys e Parnaibaia) distribuem-se do Jurássico Superior ao Cretáceo Superior, no Brasil e na África. A presente dissertação propôs analisar a Biogeografia Histórica de todos os gêneros (os válidos e os de posicionamento taxonômico controverso) de Mawsoniidae, aplicando o método panbiogeográfico de análise de traços. A partir desta análise, foram obtidos 11 traços individuais das espécies e três traços generalizados (TGs). O TG1, que foi denominado Newark Nordeste, ocorre nos estratos do Grupo Newark (Triássico Superior); o TG2, que foi denominado Centro-oeste gondwânico, ocorre na Formação Lualaba (Jurássico Superior); e o TG3, que foi denominado Itapecuru-Alcântara-Santana, ocorre nas formações Itapecuru-Alcântara-Santana (Cretáceo Inferior). Com base no padrão de distribuição encontrado, sugere-se que a origem do grupo ocorreu a partir do Triássico Médio/Superior na Pangeia Oriental, com subsequente expansão no Jurássico Inferior, corroborada por registros de Indocoelacanthus e Trachymetopon. A expansão do grupo em direção à Gondwana Ocidental ocorreu a partir do Cretáceo Inferior, com registros dos gêneros Mawsonia e Axelrodichthys. A análise panbiogeográfica também foi aplicada para produzir traços individuais para os gêneros em determinados períodos geológicos, os quais mostraram congruência com os traços individuais das espécies. Os resultados aqui obtidos reforçaram o potential do método panbiogeográfico na obtenção dos padrões de distribuição e, consequentemente, nas áreas de endemismo de Mawsoniidae, ao longo de todo o Mesozoico.

Revisão do Ramo Gondwânico da família Mawsoniidae (Sarcopterygii: Actinistia: Coelacanthiformes)

Representados aualmente por apenas duas espécies: Latimeria chalumnae e L. menadoensis, os celacantos (Infraordem Actinistia) já foi muito mais numeroso, prolífico desde os tempos de seu surgimento no Devoniano Inferior. Dentro de Actinistia a família Mawsoniidae se destaca por abranger as maiores espécies do grupo, algumas atingindo até três metros de comprimento. A entrada de Mawsoniidae no continente Gondwana se deu durante o Jurássico superior, período o qual é atribuído a espécie Parnaibaia maranhoensis da bacia do Parnaíba (Maranhão). No cretáceo a família se ramificou em dois outros gêneros Mawsonia (com conhecidas ocorrências brasileiras e africanas) e Axelrodichthys (gênero brasileiro com alguns indícios de presença na África). Este trabalho teve por objetivo realizar uma redescrição e comparação de seis espécies do ramo gondwânico da família Mawsoniidae: Parnaibaia maranhoensis, Axelrodichthys araripensis, Mawsonia gigas, M. minor, M. lavocati e M. brasiliensis. Os espécimes estão depositados em oito instituições: três nacionais e cinco internacionais. Após uma criteriosa descrição anatômica dos exemplares caracteres foram selecionados para a realização de uma análise filogenética restrita ao grupo. Os resultados das observações anatômicas revelaram diversas estruturas ainda não descritas na literatura, incluindo o primeiro elemento medial do esqueleto apendicular de Mawsoniidae a ser observado, além de diversas diferenças e afinidades entre as seis espécies. P. maranhoensis apresentou um conjunto de caracteres plesiomórfico que foram interpretados como sendo o resultado de um evento de neotenia, algo inédito na literatura de celacantos. Todas as espécies do gênero Mawsonia apresentaram características diagnósticas que validam sua separação em espécies distintas. A análise filogenética resultou em duas árvores igualmente parcimoniosas. Ambas concordam com a posição de Parnaibaia na base do grupo. Mas diferem com relação à posição de A. araripensis e as espécies do gênero Mawsonia. Conclui-se que Parnaibaia é o gênero mais plesiomórfico do grupo, estando na base do ramo gondwânico da família. Axelrodichthys representa a ligação deste com as demais espécies do gênero.

Choreographing research : supervising the dancing thesis

The dancing doctorate is an interrogative endeavour which can but nurture the art form and forge a beneficial dynamism between those who seek and those who assess the emerging knowledges of dance’. (Vincs, 2009) From 2006-2008 three dance academics from Perth, Brisbane and Melbourne undertook a research project entitled Dancing between Diversity and Consistency: Refining Assessment in Postgraduate Degrees in Dance, funded by the ALTC Priority Projects Program. Although assessment rather than supervision was the primary focus of this research, interviews with 40 examiner/supervisors, 7 research deans and 32 candidates across Australia and across the creative arts, primarily in dance, provide an insight into what might be considered best practice in preparing students for higher research degrees, and the challenges that embodied and experiential knowledges present for supervision. The study also gained the industry perspectives of dance professionals in a series of national forums in 5 cities, based around the value of higher degrees in dance. The qualitative data gathered from these two primary sources was coded and analysed using the NVivo system. Further perspectives were drawn from international consultant and dance researcher Susan Melrose, as well as recent publications in the field. Dance is a young addition to academia and consequently there tends to be a close liaison between the academy and the industry, with a relational fluidity that is both beneficial and problematic. This partially explains why dance research higher degrees are predominantly practice-led (or multi-modal, referring to those theses where practice comprises the substantial examinable component). As a physical, embodied art form, dance engages with the contested territory of legitimising alternative forms of knowledge that do not sit comfortably with accepted norms of research. In supporting research students engaged with dance practice, supervisors traverse the tricky terrain of balancing university academic requirements with studies that are emergent, not only in the practice and attendant theory but in their methodologies and open-ended outcomes; and in an art form in which originality and new knowledge also arises from collaborative creative processes. Formal supervisor accreditation through training is now mandatory in most Australian universities, but it tends to be generic and not address supervisory specificity. This paper offers the kind of alternative proposed by Edwards (2002) that improving postgraduate supervision will be effective if supervisors are empowered to generate their own standards and share best practice; in this case, in ways appropriate to the needs of their discipline and alternative modes of thesis presentation. In order to frame the qualities and processes conducive to this goal, this paper will draw on both the experiences of interviewees and on philosophical premises which underpin the research findings of our study. These include the ongoing challenge of dissolving the binary oppositions of theory and practice, especially in creative arts practice where theory resides in and emerges from the doing as much as in articulating reflection about the doing through what Melrose (2003) terms ‘mixed mode disciplinary practices’. In guiding practitioners through research higher degrees, how do supervisors deal with not only different forms of knowledge but indeed differing modes of knowledge? How can they navigate tensions that occur between the ‘incompatible competencies’ (Candlin, 2000) of the ‘spectating’ academic experts with their ‘irrepressible drive ... to inscribe, interpret, and hence to practise temporal closure’, and practitioner experts who create emergent works of ‘residual unfinishedness’ (Melrose 2006) which are not only embodied but ephemeral, as in the case of live performance?

Dancing doctorates down-under? Defining and assessing ‘doctorateness’ when embodiment enters the thesis

Assessment frames the focus of this paper, which emerges from our collaborative research, Dancing Between Diversity and Consistency: Refining Assessment in Postgraduate Degrees in Dance, funded by the Australian Learning and Teaching Council (ALTC). We examine the attributes of danced ‘doctorateness’, giving special attention to those factors in the Australian environment, which may endow resilience to concepts of excellence, independent thinking and originality when kinaesthetic knowledge becomes pivotal to research. Have the small pool of examiners and relationships between academia and the professional artistic environment shaped these doctorates in a particular way? Can these perspectives illuminate and forge parameters by which to legitimate danced insight? These and related issues are interrogated giving voice to supervisors, research deans, candidates and industry professionals across Australia who participated in this research project.

A news story as big as a doctoral thesis? : deploying journalistic methodology in academic research

The purpose of this paper is to identify and recommend the emergence of an academic research methodology for Journalism the academic discipline, through reviewing various journalistic methods of research – those making up a key element in such methodology. Its focus is on journalistic styles of work employed in academic contexts especially research on mass media issues. It proposes that channelling such activity into disciplined academic forms will enhance both: allowing the former to provide more durable and deeper outcomes, injecting additional energy and intensity of purpose into the latter. It will briefly consider characteristics of research methodologies and methods, generally; characteristics of the Journalism discipline, and its relationship with mass media industries and professions. The model of journalism used here is the Western liberal stream. A proposition is made, that teaching and research in universities focused on professional preparation of journalists, has developed so that it is a mature academic discipline. Its adherents are for the most part academics with background in journalistic practice, and so able to deploy intellectual skills of journalists, while also accredited with Higher Degrees principally in humanities. Research produced in this discipline area stands to show two characteristics: (a) it employs practices used generally in academic research, e.g. qualitative research methods such as ethnographic studies or participant observation, or review of documents including archived media products, and (b) within such contexts it may use more specifically journalistic techniques, e.g. interviewing styles, reflection on practice of journalism, and in creative practice research, journalistic forms of writing – highlighting journalistic / practitioner capabilities of the author. So the Journalism discipline, as a discipline closely allied to a working profession, is described as one where individual professional skills and background preparation for media work will be applicable to academic research. In this connection the core modus operandi will be the directly research-related practices of: insistent establishment of facts, adept crafting of reportage, and economising well with time. Prospective fields for continuing research are described:- work in new media; closer investigation of relations among media producers and audiences; journalism as creative practice, and general publishing by journalists, e.g. writing histories.

Dancing the Thesis : Potentials and Pitfalls in Practice-led Research

Practice-led or multi modal theses (describing examinable outcomes of postgraduate study which comprise the practice of dancing/choreography with an accompanying exegesis) are an emerging strength of dance scholarship; a form of enquiry that has been gaining momentum for over a decade, particularly in Australia and the United Kingdom. It has been strongly argued that, in this form of research, legitimate claims to new knowledge are embodied predominantly within the practice itself (Pakes, 2003) and that these findings are emergent, contingent and often interstitial, contained within both the material form of the practice and in the symbolic languages surrounding the form. In a recent study on ‘dancing’ theses Phillips, Stock, Vincs (2009) found that there was general agreement from academics and artists that ‘there could be more flexibility in matching written language with conceptual thought expressed in practice’. The authors discuss how the seemingly intangible nature of danced / embodied research, reliant on what Melrose (2003) terms ‘performance mastery’ by the ‘expert practitioner’ (2006, Point 4) involving ‘expert’ intuition (2006, Point 5), might be accessed, articulated and validated in terms of alternative ways of knowing through exploring an ongoing dialogue in which the danced practice develops emergent theory. They also propose ways in which the danced thesis can be ‘converted’ into the required ‘durable’ artefact which the ephemerality of live performance denies, drawing on the work of Rye’s ‘multi-view’ digital record (2003) and Stapleton’s ‘multi-voiced audio visual document’(2006, 82). Building on a two-year research project (2007-2008) Dancing Between Diversity and Consistency: Refining Assessment in Postgraduate Degrees in Dance, which examined such issues in relation to assessment in an Australian context, the three researchers have further explored issues around interdisciplinarity, cultural differences and documentation through engaging with the following questions:  How do we represent research in which understandings, meanings and findings are situated within the body of the dancer/choreographer?  Do these need a form of ‘translating’ into textual form in order to be accessed as research?  What kind of language structures can be developed to effect this translation: metaphor, allusion, symbol?  How important is contextualising the creative practice?  How do we incorporate differing cultural inflections and practices into our reading and evaluation?  What kind of layered documentation can assist in producing a ‘durable’ research artefact from a non-reproduce-able live event?

Do research thesis examiners need training? : practitioner stories

We are thesis examiners within the Australian academic system who formed a “community of practice” to try to resolve some of the issues we were facing. Stories of examiners reflecting on and examining their own practice are a notable silence in the higher degree research literature. In this study we have adopted a storytelling inquiry method that involved telling our practitioner stories, firstly to each other and then to a wider audience through this paper. We then identified issues that we believe are relevant to other thesis examiners. We have also found that engaging in a “community of practice” is itself a valuable form of examiner professional development. Key Words: Thesis Examiner Training, Storytelling, and Practitioner Research