Heat transfer by fluids in granulite metamorphism

The thermal role of fluids in granulite metamorphism was presented. It was shown that for granulites to be formed in the middle crust, heat must be advected by either magma or by volatile fluids, such as water or CO2. Models of channelized fluid flow indicate that there is little thermal difference between channelized and pervasive fluid flow, for the same total fluid flux, unless the channel spacing is of the same order or greater than the thickness of the layer through which the fluids flow. The volumes of volatile fluids required are very large and are only likely to be found associated with dehydration of a subducting slab, if volatile fluids are the sole heat source for granulite metamorphism

The economic value of an undergraduate economics degree

One of science fiction's defining elements is its ability to use fantastic scenarios to highlight certain ideas or truths about the human condition. I used my Honors Thesis to accomplish such a feat in the form of a graphic novel called 21st Century Love Song. My subject was the pursuit of equality (in terms of gender, race, and economic class) and the malignant use of identity politics to seize power. I argued that identity itself can be used as a means of dominating a person or group through ideological means. My comic argues that the goal of statist identity politics is a utilitarian assimilation of the individual, allowing the layperson and elite alike to become one with the state, feeding its hunger for power at the expense of their time, talent, and resources.Thesis (B.?)Honors Colleg

Inverting the Haiku Moment: Alienation, Objectification, and Mobility in Richard Wright’s ‘Haiku: This Other World’

Richard Wright’s haiku — both the 4,000 he wrote at the end of his life and the 817 he selected for inclusion in Haiku: This Other World (1998) — remain something of an enigma in his larger oeuvre; critics variously position them as a continuation of his earlier thematic concerns in a different literary form, an aesthetic departure from the racialized limitations imposed upon his earlier work, or one of several positions in between. Such arguments debate the formal construction as well as the strategic reinvention of Wright’s haiku. The present essay engages both sides of this conversation, arguing that Wright’s inversion of the logic of the “haiku moment” offers him a new generic form with which to explore the themes of alienation, dehumanization, and inequality appearing in his earlier works. Wright’s reformulation of the haiku moment allows him to reengage the same cultural and social mores seen in his earlier works in a different generic context, one stripped of the pre-inscribed notions of identity that influence the critical reception of his prior works. Mapping out the revisions Wright strategically employs to manipulate the formal construction of his haiku reveals the way those manipulations allowed Wright to refine and extend his artistic vision. In the afterword to Richard Wright’s Haiku: This Other World, Yoshinobu Hakutani and Robert L. Tener discuss the “haiku moment”: Quoting Joan Giroux’s definition, they observe that “the haiku moment ‘may be defined as an instant in which man becomes united to an object, virtually becomes that object and realizes the eternal, universal truth contained in being.” This moment of unification between nature and humanity, where the two become inseparable, is mediated by the author’s evacuation of subjectivity in the act of representation, and “[a]ll nature is unified with human beings through the poet’s perception and expression,” making the author’s perspective “almost imperceptible.” As such, the haiku moment is created by the writer’s contemplation of a natural object that, when presented as a visual image in the haiku, allows the writer to merge with nature via that contemplation. In this definition, the relationship between nature and humanity is located as an essential requirement to create the seamless fusion of form and content found in haiku

Hypoxic-Sensitive Nano-Carriers for Anti-Neoplastic Drug Delivery: New Perspectives

Since the inception of Anti-neoplastic drug delivery in the 1950s oncologists and researchers have revolutionized the field of diagnostics and treatment with novel therapeutic modalities. Tumor hypoxia remains the first and foremost factor contributing to a resistance in anti-neoplastic drugs, ionized radiation and chemotherapy by solid tumors. The laps in vasculature in solid tumors promulgates tumor resistance by inhibiting the hypoxia inducible factor (HIF) within the tumor. It is on this basis that the selectivity of hypoxic cells are datelined. Based on clinical studies it was revealed that hypoxia does not occur in healthy human tissue; thus, paving the way for the exploitation of hypoxia as an advantage in creating novel therapeutic methods of detection and treatment for solid tumors with an added advantage of nano-science. The biological application of nano-carriers is a fast developing area of nano-science that is expected to realize new and innovative possibilities in the diagnosis and treatment of human cancers. Cancer diagnostics using nano-carriers entails the use of fluorescent nanoparticles for a multiplex of simultaneous profiling of tumor bio-markers. These fluorescent probes are also used for detection of multiple RNA matrices and genes within in-situ hybridization. It is expected that in the very near future, the application of conjugated nanoparticles in anti-neoplastic tumor detection and drug delivery will enable oncologists and scientists to pinpoint and identify cancer-related proteins on tumor surfaces, providing a new method of analysis; thus, creating personalized treatment methods for individual tumors. Nano-carriers possess an extraordinary possibility as contrast agents for cancer cell detection in vivo, and for monitoring the response to treatment of select cancers. Keywords: Nano-Medicine, Hypoxia, Solid Tumors, HIF factor. DOI: 10.7176/JHMN/102-04 Publication date:October 31st 2022

The City as Refuge: Constructing Urban Blackness in Paul Laurence Dunbar’s \u27The Sport of the Gods\u27 and James Weldon Johnson’s \u27Autobiography of an Ex-Colored Man.\u27

This essay analyzes the narrative strategies that Paul Laurence Dunbar and James Weldon Johnson used to represent black characters in The Sport of the Gods and The Autobiography of an Ex-Colored Man as a means of examining the authors\u27 construction of the city as an alternative space for depicting African Americans. In late nineteenth- and early twentieth-century fiction, the majority of African American images in popular fiction were confined to Southern-based pastoral depictions that restricted black identity to stereotypically limited and historically regressive ideas, exemplified in such characters as Zip Coon, Sambo, Uncle Tom, Jim Crow, and Mammy Jane. The plantation tradition inherently connected blacks to the country by marking them as rustic, and blacks were seen as simple, primitive people who needed the protection of the benevolent whites they served. Positive depictions of African Americans in urban settings were neither prevalent nor acceptable to the literary establishment; as Dickson Bruce, Jr., states, African American writers “could talk about themselves, their hopes, their aspirations, only in the language of mainstream America.” With exceedingly few exceptions, African American characters who were placed in urban spaces were portrayed using the pastoral identities that had been defined by Southern, post-Reconstruction authors

Rhizophoraceae alkaloids : an approach to the synthesis of cassipourine

The chemistry and structure of cassipourine are outlined, and a number of various possible synthetic approaches are discussed in the light of the chemistry of 1,2-dithiols and of the pyrrolizidine ring system. A route commencing with L-proline having been chosen, this was converted into l-(p-toluenesulphonyl)-pyrrolizidine-2-aldehyde by protecting the amine with the p-toluenesulphonyl group, esterifying, reducing to the alcohol and then oxidising to the aldehyde. The reduction of the corresponding acid chloride direcl1y to the aldehyde proved less successful. The next step envisaged being the preparation of cis-l-[l'-(p-toluenesulphonyl)-pyrrolidin-2'-yl]-1,2-epoxy-3-benzyloxypropane, a number of routes leading to this compound were attempted. The yield of l-[l'-(p-toluenesulphonyl)-pyrrolidin- 2'-yl]-3-benzyloxy-prop-l-ene, prepared by a Wittig reaction was too low for practical purposes. A novel reaction, the fissioning of the sulphonamide bond by the ylid to give 2- benzyloxyethyl-p-tolylsulphone was noted in this preparation. Attempts to prepare trans-l-[l'-(p-toluenesulphonyl)-pyrrolidin- 2'-yl]-3-benzyloxy-prop-l-ene by reduction of ethyl-3-[1'-(p-toluenesulphonyl)- pyrrolidin-2'-yl]-propenoate followed by benzylation were unsuccessful, as were attempts to prepare the same compound by the allylic rearrangement of l-[l'-(p-toluenesulphonyl)- pyrrolidin-2'-yl]-l-hydroxyprop-2-ene. The cis-epoxide was finally successfully prepared by converting the 1-(p-toluenesulphonyl)-pyrrolidine-2-aldehyde into 3-[l'-(p-toluenesulphonyl)-pyrrolidin-2'-yl]-propenoic acid by a Knoevenagel-Doebner reaction. Brominat1on of the double bond was followed by reduction of the acid to an alcohol, which on treatment with base gave a bromo-epoxide. This was treated with benzyl alcohol to form a benzyloxy-brom-hydrin which gave the required cis-l-[l'-(p-toluenesulphonyl)-pyrrolidin-2'-yl]-1,2-epoxy-3-benzyloxypropane. This sequence of reactions was studied first in a series of model compounds, as were the proposed later stages of the synthesis

Criticizing Local Color: Innovative Conformity in Kate Chopin’s Short Fiction

One of the difficulties in using regionalism as a descriptive category to discuss late nineteenth-century literature is the series of shifting relationships it has with other terms describing literary production. Not only is there regionalism’s implied connection to realism, there is naturalism, romance, and even local color to consider, if one desires to distinguish between types of regional literary production. Added to this initial framework are the unspoken assumptions concerning intersecting definitions of generic form: the novel is implicitly connected to realism (and later naturalism), while the short story is traditionally associated with regionalism. Further complicating both sets of terms is the implied hierarchical relationship between the realist novel and the publishing industry on the one hand, and the regionalist short story and periodical culture on the other. Collectively, these terms create a series of unequal and asymmetrical relationships that, while informing our current discussions of literature, also exert unseen influence on those debates, primarily because they are more often silently perpetuated than consciously recognized. This essay will not necessarily resolve these issues; I do not intend to do away with my critical predecessors, or offer a newer and, by proxy, better theoretical framework to explain the difficulty of negotiating literary form and history. Rather, my interest is in the ways the silent relationships informing discussions of late nineteenth-century literature— silent because those in the present are no longer directly privy to the debates of the past—continue to impact contemporary critical analysis of these literary categories