Gotowa bibliografia na temat „Flatås Lions”

Levallois knapping debris is present beneath the sides of a disused tramway cutting connected to Lion Pit, West Thurrock, Essex. This occurrence, first recorded during the early 20th century, is in the basal gravel of the Taplow/Mucking Formation, which dates from the end of Marine Oxygen Isotope Stage (MIS) 8. The relatively undisturbed nature of this knapping debris is confirmed by the incidence of refitting material, although finer debitage is absent, presumably winnowed out. The Levallois character of the assemblage is demonstrated by the occurrence of characteristic ‘tortoise’ cores and flakes with faceted striking platforms. The artefact-bearing gravel is overlain by >10 m of predominantly fine-grained sediments, including fossiliferous sands and massive clayey silt, as well as laminated silts, clays, and sands of possible estuarine origin. These are attributed to deposition under temperate conditions during MIS 7. To the south, a younger fluvial gravel, attributed to MIS 6, has been incised into the interglacial sequence. The top of the estuarine sequence has been affected by pedogenesis, both before and after its burial by an unbedded solifluction gravel.

Abstract The San Gorgonio Pass region of southern California is a locus of extensive Quaternary deformation within a multi-strand section of the San Andreas fault zone. The geomorphology of the San Gorgonio Pass region reflects the complicated history of geologic events in the formation of this structurally complex region. We define fault-bounded blocks in San Gorgonio Pass and focus on two that are characterized by extensive crystalline bedrock outcrops with similar bedrock lithologies. These two blocks are separated by the San Bernardino strand of the San Andreas fault. Morphometric variables, including local relief, slope, slope distribution, and surface roughness, consistently demonstrate distinctions between the bedrock upland regions of the two blocks. Geologic observations of the region highlight differences in Quaternary units within the two blocks, reflective of the differing surficial processes active in each block. Within the Kitching Peak block, the morphology highlights a lineament that we informally name the Lion Canyon lineament. This boundary more clearly differentiates the two regions, as compared to the mapped San Bernardino strand, and may represent the previously active strand or bounding structure in this section. The distinction in morphology and surficial processes leads to our interpretation that the Kitching Peak and Pisgah Peak blocks have experienced different uplift histories. This further leads to the conclusion that the San Bernardino strand, broadly defined, has been integrated, at some point in the past, with the Banning strand, allowing for through-going rupture along the fault system. This connectivity may have occurred along the Burro Flats section of the San Bernardino strand or the Lion Canyon lineament. The fault connection along the mapped trace of the San Bernardino strand is not currently evident at the surface, however, suggesting that the integration has been disrupted. We propose this is due to intervals of N-S compression in the region, manifest as slip along the San Gorgonio Pass fault zone and other regional faults. We present evidence for lateral displacement along the San Bernardino and Banning strands of the San Andreas fault, discuss the implications of these displacements, and propose a sequence of fault activity, including multiple phases of activity along the San Bernardino and Banning strand pathway to account for the structural complexity and lack of surficial fault continuity.

Abstract In outer space, we find many types of radiations that are due to solar flares, radiation belt, cosmic rays, etc. We are fortunate enough to be protected from these radiations on the surface of the Earth, whereas in other celestial objects such as planets and satellites, without a protecting atmosphere, penetration of radiation that may be ionising or non-ionising is inevitable. Hence, studying radiation environment and its effect on such celestial objects is very important for establishing facilities such as satellites, payloads, vehicles and human exploration. For such cases, manufacturing the products with lightweight, thermally stable, flexible, mechanically durable materials is essential and needs to be studied for the radiation effect. Hence, in the present work, we have made an attempt to calculate the rate of absorbed dose in case of polymers such as Polyvinyl Chloride (PVC), polytetrafluoroethylene, Mylar, polystyrene and Zylon for the lunar radiation environment. From the literature, it is found that ions up to iron has a lion share in the ionic radiation in space. The simulations were carried out for ions from hydrogen to iron using the SRIM software with various energies. It is observed that the absorbed dose rate in the polymers increases with the increase in ion mass. Further, the study can be extended to get the information of various flexible materials for these ions from which a suitable material can be chosen for the different space applications.

Summary. Introduction. Cystadenoma of the pancreas is a benign tumor in the form of a cyst of epithelial origin, which in the absence of adequate treatment disrupts the function of the pancreas, due to compression on nearby tissues, and in 3 % of cases regenerates into cystadenocarcinoma. Aim. Present a clinical case of surgical treatment of cystadenoma of the body of the pancreas, while preserving the caudal part of the latter to prevent the possible development of diabetes. Material and methods. Patient M., 72 years old, who was hospitalized in the infectious department of the central district hospital, during ultrasound of the abdominal cavity and peritoneal space revealed a neoplasm of the retroperitoneal space in the body and tail of the pancreas, in connection with which she was transferred to the surgery department. After the appropriate examination, the patient underwent surgery — laparotomy. Removal of a neoplasm of the body of the pancreas. Distal pancreatojejunoanastomosis, entero-enteroanastomosis. Abdominal drainage. Results. The postoperative period was without complications, drainage was removed, sutures were removed for 9-10 days, the wound healed with primary tension. In the section of the drug, there is a capsule with a wall thickness of up to 2.0 mm, which contains mucopurulent masses in the form of flakes. The outer wall of the capsule is covered with joints and vessels, and the inner has a shiny matte surface. The histopathological examination indicates cystadenoma of the pancreas. The choice to form a distal pancreatojejunostomy in contrast to the distal resection of the pancreas was due to the patient’s age and high probability of developing diabetes because it is in the caudal part of the pancreas is the lion’s number of islets of Langerhans. Conclusion. When performing radical surgical interventions on the pancreas in elderly and senile patients, it is necessary to preserve the tissues of the latter, especially the tail, to prevent the development of diabetes.

Abstract. Numerous submarine canyons around the world are preferential conduits for episodic dense shelf water cascading (DSWC), which quickly modifies physical and chemical ambient conditions while transporting large amounts of material towards the base of slope and basin. Observations conducted during the last 20 yr in the Lacaze-Duthiers and Cap de Creus canyons (Gulf of Lion, NW Mediterranean Sea) report several intense DSWC events. The effects of DSWC on deep-sea ecosystems are almost unknown. To investigate the effects of these episodic events, we analysed changes in the meiofaunal biodiversity inside and outside the canyon. Sediment samples were collected at depths varying from ca. 1000 to > 2100 m in May 2004 (before a major event), April 2005 (during a major cascading event) and in October 2005, August 2006, April 2008 and April 2009 (after a major event). We report here that the late winter–early spring 2005 cascading led to a reduction of the organic matter contents in canyon floor sediments down to 1800 m depth, whereas surface sediments at about 2200 m depth showed an increase. Our findings suggest that the nutritional material removed from the shallower continental shelf, canyon floor and flanks, and also the adjacent open slope was rapidly transported to the deep margin. During the cascading event the meiofaunal abundance and biodiversity in the studied deep-sea sediments were significantly lower than after the event. Benthic assemblages during the cascading were significantly different from those in all other sampling periods in both the canyon and deep margin. After only six months from the cessation of the cascading, benthic assemblages in the impacted sediments were again similar to those observed in other sampling periods, thus illustrating a quick recovery. Since the present climate change is expected to increase the intensity and frequency of these episodic events, we anticipate that they will increasingly affect benthic bathyal ecosystems, which may eventually challenge their resilience.

Purpose. Complete review of current status of research in paleogeographic settings and evolution of the archaeological industries in the North-Eastern Caucasus during the Bakunian stage of the Caspian Sea Quaternary history.Results. The Bakunian stage is recognized to be a part of the Middle Pleistocene in the Quaternary chronostratigraphy of the Caspian Sea region and dated 0.8–0.4 Ma. In the early stages of the Bakunian major transformation in the composition of landscapes and animal communities occurred, being associated with general cooling resulting an increase in natural land zoning. Further progressive climate change towards cooling led to the disappearance of a large number of thermophilic species from the fauna and flora. This time in the North-Eastern Caucasus corresponds to the Tiraspol faunistic complex, and in the later stages a complex of cave predator fauna (cave lion, cave hyena, etc.) emerges in the region. Archaeological industries of that time (Darvagchay-1, Darvagchay-Zaliv-4, etc.) demonstrates the eradication of the small-tool tradition and the reorientation of stone tool processing towards systemic knapping. More diverse usage of raw materials is identified in the archaeological record. In primary technology, these assemblages are characterized by parallel unifacial knapping and the presence of the few radial/discoid cores. Tool kits include bifaces and choppers, with predominance of single-edged side-scrapers on flakes and pebbles, and denticulate, notched and spikelike tools. There are practically no pointes. Through time a significant percentage of the small-tool component remains, but its contribution gradually decreases. These industries should be considered as a local type in the stone tool production evolution, which is in the general Caucasian trend of the spread of Early Paleolithic industries with bifaces.Conclusion. The Early Paleolithic of Dagestan from the first half of the Middle Pleistocene is identified as a local variant of the final Early Paleolithic industries of the Caucasus, bringing together the Early Paleolithic small-tool industry with the Acheulian complexes of the western part of Eurasia and combining their individual elements.

Abstract Cape lions (Panthera leo melanochaitus) formerly ranged throughout the grassland plains of the “Cape Flats” in what is today known as the Western Cape Province, South Africa. Cape lions were likely eradicated because of overhunting and habitat loss after European colonization. European naturalists originally described Cape lions as “Black-maned lions” and claimed that they were phenotypically distinct. However, other depictions and historical descriptions of lions from the Cape report mixed or light coloration and without black or extensively developed manes. These findings suggest that, rather than forming a distinct population, Cape lions may have had phenotypic and genotypic variation similar to other African lions. Here we investigate Cape lion genome characteristics, population dynamics, and genetic distinctiveness prior to their extinction. We generated genomic data from two historic Cape lions to compare to 118 existing high-coverage mitogenomes, and low-coverage nuclear genomes of 53 lions from 13 African countries. We show that, before their eradication, lions from the Cape Flats had diverse mitogenomes and nuclear genomes that clustered with lions from both southern and eastern Africa. Cape lions had high genome-wide heterozygosity and low inbreeding coefficients, indicating that populations in the Cape Flats went extinct so rapidly that genomic effects associated with long-term small population size and isolation were not detectable. Our findings do not support the characterization of Cape lions as phylogeographically distinct, as originally put forth by some European naturalists, and illustrates how alternative knowledge-systems, e.g., Indigenous perspectives, could potentially further inform interpretations of species’ life histories.

Seven teeth extracted from two adult California sea lions (Zalophus californianus) due to pulp exposure and/or to gain access to the mandibular canine teeth were histologically evaluated, and the findings were compared with clinical and radiographic findings. Three teeth were diagnosed with pulp exposure, and two of these showed no radiographic signs of endodontic disease and were histologically vital with prominent coronal pulpitis and a pulp polyp. Another tooth with pulp exposure was showing clinical and radiographic signs of endodontic disease and was histologically confirmed with pulp necrosis. A discoloured incisor tooth was showing radiographic signs of endodontic disease and was also histologically non-vital. Two clinically and radiographically healthy mandibular first premolar teeth and one second incisor tooth had no evidence of pulpitis or pulp necrosis but had pulp canal obliteration. Regular clinical and radiographic follow-up for 5 months to 3 years after the procedures confirmed uneventful healing of the extraction sites, despite initial flap’s dehiscence. Although extractions of affected teeth in California sea lions are considered the most practical and beneficial therapy, these are associated with the risks of extensive trauma and anaesthesia and the need to perform these surgical procedures on-site under variable conditions. As California sea lions can be trained to allow conscious dental radiographic re-checks, monitoring teeth with clinical signs of pulp polyp formation and without radiographic signs of endodontic disease warrant further evaluation/reconsideration from previous recommendations. Endodontic treatment of abscessed teeth in California sea lions is reportedly unsuccessful and is discouraged. However, vital pulpectomy could be an alternative treatment to extraction in teeth with pulp polyps as it was found to be highly successful in humans, but the possibility of endodontic failure and need for further treatments should be weighted in the treatment choice.

Why did Hong Kong protestors choose a symbol of former oppression – the old colonial flag – as a banner for their fight for democracy, rights and autonomy in 2019? We propose to answer this puzzle by studying the colonial-era flag as a displacement device. The waving of the colonial-era flag is shown to induce non-linear temporal and extraterritorial displacements, as well as contradictory interpretations of Hong Kong’s core values, national sovereignty and cultural identity. The flag’s displacements are amplified against the contested colonial history of the former British enclave. Conceptually, this pragmatic definition of the flag moves beyond approaches that study flags as representations of a structure of symbolic meaning. The flag is neither an unimportant prop nor is it a free-floating signifier; its materiality elicits significant political effects. Methodologically, this translates into an exploration of the flag’s second-order agency. The old colonial-era Hong Kong flag, in combination with discourse and institutional arrangements, is shown to be integral to contentious politics. The flag and its displacements shed new light on a city uneasy with its past, dissatisfied with its present and uncertain about its future.

The use of the family home as a setting for television sitcoms (situation comedies) has long been recognised for its ability to provide audiences with an identifiable site of ontological security (much discussed by Giddens, Scannell, Saunders and others). From the beginnings of American sitcoms with such programs as Leave it to Beaver, and through the trail of The Brady Bunch, The Cosby Show, Roseanne, The Fresh Prince of Bel Air, and on to Home Improvement, That 70s Show and How I Met Your Mother, the US has led the way with screenwriters and producers capitalising on the value of using the suburban family dwelling as a fixed setting. The most obvious advantage is the use of an easily constructed and inexpensive set, most often on a TV studio soundstage requiring only a few rooms (living room, kitchen and bedroom are usually enough to set the scene), and a studio audience. In Singapore, sitcoms have had similar successes; portraying the lives of ‘ordinary people’ in their home settings. Some programs have achieved phenomenal success, including an unprecedented ten year run for Phua Chu Kang Pte Ltd from 1996-2007, closely followed by Under One Roof (1994-2000 and an encore season in 2002), and Living with Lydia (2001-2005). This article furthers Blunt and Dowling’s exploration of the “critical geography” of home, by providing a focused analysis of home-based sitcoms in the nation-state of Singapore. The use of the home tells us a lot. Roseanne’s cluttered family home represents a lived reality for working-class families throughout the Western world. In Friends, the seemingly wealthy ‘young’ people live in a fashionable apartment building, while Seinfeld’s apartment block is much less salubrious, indicating (in line with the character) the struggle of the humble comedian. Each of these examples tells us something about not just the characters, but quite often about class, race, and contemporary societies. In the Singaporean programs, the home in Under One Roof (hereafter UOR) represents the major form of housing in Singapore, and the program as a whole demonstrates the workability of Singaporean multiculturalism in a large apartment block. Phua Chu Kang Pte Ltd (PCK) demonstrates the entrepreneurial abilities of even under-educated Singaporeans, with its lead character, a building contractor, living in a large freestanding dwelling – generally reserved for the well-heeled of Singaporean society. And in Living with Lydia (LWL) (a program which demonstrates Singapore’s capacity for global integration), Hong Kong émigré Lydia is forced to share a house (less ostentatious than PCK’s) with the family of the hapless Billy B. Ong. There is perhaps no more telling cultural event than the sitcom. In the 1970s, The Brady Bunch told us more about American values and habits than any number of news reports or cop shows. A nation’s identity is uncovered; it bares its soul to us through the daily tribulations of its TV households. In Singapore, home-based sitcoms have been one of the major success stories in local television production with each of these three programs collecting multiple prizes at the region-wide Asian Television Awards. These sitcoms have been able to reflect the ideals and values of the Singaporean nation to audiences both at ‘home’ and abroad. This article explores the worlds of UOR, PCK, and LWL, and the ways in which each of the fictional homes represents key features of the multi-ethnic, multi-cultural Singapore. Through ownership and regulation, Singaporean TV programs operate as a firm link between the state and its citizens. These sitcoms follow regular patterns where the ‘man of the house’ is more buffoon than breadwinner – in a country defined by its neo-Confucian morality, sitcoms allow a temporary subversion of patriarchal structures. In this article I argue that the central theme in Singaporean sitcoms is that while home is a personal space, it is also a valuable site for national identities to be played out. These identities are visible in the physical indicators of the exterior and interior living spaces, and the social indicators representing a benign patriarchy and a dominant English language. Structure One of the key features of sitcoms is the structure: cold open – titles – establishing shot – opening scene. Generally the cold opening (aka “the teaser”) takes place inside the home to quickly (re)establish audience familiarity with the location and the characters. The title sequence then features, in the case of LWL and PCK, the characters outside the house (in LWL this is in cartoon format), and in UOR (see Figure 1) it is the communal space of the barbeque area fronting the multi-story HDB (Housing Development Board) apartment blocks. Figure 1: Under One Roof The establishing shot at the end of each title sequence, and when returning from ad breaks, is an external view of the characters’ respective dwellings. In Seinfeld this establishing shot is the New York apartment block, in Roseanne it is the suburban house, and the Singaporean sitcoms follow the same format (see Figure 2). Figure 2: Phua Chu Kang External Visions of the Home This emphasis on exterior buildings reminds the viewer that Singaporean housing is, in many ways, unique. As a city-state (and a young one at that) its spatial constraints are particularly limiting: there simply isn’t room for suburban housing on quarter acre blocks. It rapidly transformed from an “empty rock” to a scattered Malay settlement of bay and riverside kampongs (villages) recognisable by its stilt houses. Then in the shadow of colonialism and the rise of modernity, the kampongs were replaced in many cases by European-inspired terrace houses. Finally, in the post-colonial era high-rise housing began to swell through the territory, creating what came to be known as the “HDB new town”, with some 90% of the population now said to reside in HDB units, and many others living in private high-rises (Chang 102, 104). Exterior shots used in UOR (see Figure 3) consistently emphasise the distinctive HDB blocks. As with the kampong housing, high-rise apartments continue notions of communal living in that “Living below, above and side by side other people requires tolerance of neighbours and a respect towards the environment of the housing estate for the good of all” (104). The provision of readily accessible public housing was part of the “covenant between the newly enfranchised electorate and the elected government” (Chua 47). Figure 3: Establishing shot from UOR In UOR, we see the constant interruption of the lives of the Tan family by their multi-ethnic neighbours. This occurs to such an extent as to be a part of the normal daily flow of life in Singaporean society. Chang argues that despite the normally interventionist activities of the state, it is the “self-enforcing norms” of behaviour that have worked in maintaining a “peaceable society in high-rise housing” (104). This communitarian attitude even extends to the large gated residence of PCK, home to an almost endless stream of relatives and friends. The gate itself seems to perform no restrictive function. But such a “peaceable society” can also be said to be a result of state planning which extends to the “racial majoritarianism” imposed on HDB units in the form of quotas determining “the actual number of households of each of the three major races [Chinese, Malay and Indian] … to be accommodated in a block of flats” (Chua 55). Issues of race are important in Singapore where “the inscription of media imagery bears the cultural discourse and materiality of the social milieu” (Wong 120) perhaps nowhere more graphically illustrated than in the segregation of TV channels along linguistic / cultural lines. These 3 programs all featured on MediaCorp TV’s predominantly English-language Channel 5 and are, in the words of Roland Barthes, “anchored” by dint of their use of English. Home Will Eat Itself The consumption of home-based sitcoms by audiences in their own living-rooms creates a somewhat self-parodying environment. As John Ellis once noted, it is difficult to escape from the notion that “TV is a profoundly domestic phenomenon” (113) in that it constantly attempts to “include the audiences own conception of themselves into the texture of its programmes” (115). In each of the three Singaporean programs living-rooms are designed to seat characters in front of a centrally located TV set – at most all the audience sees is the back of the TV, and generally only when the TV is incorporated into a storyline, as in the case of PCK in Figure 4 (note the TV set in the foreground). Figure 4: PCK Even in this episode of PCK when the lead characters stumble across a pornographic video starring one of the other lead characters, the viewer only hears the program. Perhaps the most realistic (and acerbic) view of how TV reorganises our lives – both spatially in the physical layout of our homes, and temporally in the way we construct our viewing habits (eating dinner or doing the housework while watching the screen) – is the British “black comedy”, The Royle Family. David Morley (443) notes that “TV and other media have adapted themselves to the circumstances of domestic consumption while the domestic arena itself has been simultaneously redefined to accommodate their requirements”. Morley refers to The Royle Family’s narrative that rests on the idea that “for many people, family life and watching TV have become indistinguishable to the extent that, in this fictional household, it is almost entirely conducted from the sitting positions of the viewers clustered around the set” (436). While TV is a central fixture in most sitcoms, its use is mostly as a peripheral thematic device with characters having their viewing interrupted by the arrival of another character, or by a major (within the realms of the plot) event. There is little to suggest that “television schedules have instigated a significant restructuring of family routines” as shown in Livingstone’s audience-based study of UK viewers (104). In the world of the sitcom, the temporalities of characters’ lives do not need to accurately reflect that of “real life” – or if they do, things quickly descend to the bleakness exemplified by the sedentary Royles. As Scannell notes, “broadcast output, like daily life, is largely uneventful, and both are punctuated (predictably and unpredictably) by eventful occasions” (4). To show sitcom characters in this static, passive environment would be anathema to the “real” viewer, who would quickly lose interest. This is not to suggest that sitcoms are totally benign though as with all genres they are “the outcome of social practices, received procedures that become objectified in the narratives of television, then modified in the interpretive act of viewing” (Taylor 14). In other words, they feature a contextualisation that is readily identifiable to members of an established society. However, within episodes themselves, it as though time stands still – character development is almost non-existent, or extremely slow at best and we see each episode has “flattened past and future into an eternal present in which parents love and respect one another, and their children forever” (Taylor 16). It takes some six seasons before the character of PCK becomes a father, although in previous seasons he acts as a mentor to his nephew, Aloysius. Contained in each episode, in true sitcom style, are particular “narrative lines” in which “one-liners and little comic situations [are] strung on a minimal plot line” containing a minor problem “the solution to which will take 22 minutes and pull us gently through the sequence of events toward a conclusion” (Budd et al. 111). It is important to note that the sitcom genre does not work in every culture, as each locale renders the sitcom with “different cultural meanings” (Nielsen 95). Writing of the failure of the Danish series Three Whores and a Pickpocket (with a premise like that, how could it fail?), Nielsen (112) attributes its failure to the mixing of “kitchen sink realism” with “moments of absurdity” and “psychological drama with expressionistic camera work”, moving it well beyond the strict mode of address required by the genre. In Australia, soap operas Home and Away and Neighbours have been infinitely more popular than our attempts at sitcoms – which had a brief heyday in the 1980s with Hey Dad..!, Kingswood Country and Mother and Son – although Kath and Kim (not studio-based) could almost be counted. Lichter et al. (11) state that “television entertainment can be ‘political’ even when it does not deal with the stuff of daily headlines or partisan controversy. Its latent politics lie in the unavoidable portrayal of individuals, groups, and institutions as a backdrop to any story that occupies the foreground”. They state that US television of the 1960s was dominated by the “idiot sitcom” and that “To appreciate these comedies you had to believe that social conventions were so ironclad they could not tolerate variations. The scripts assumed that any minute violation of social conventions would lead to a crisis that could be played for comic results” (15). Series like Happy Days “harked back to earlier days when problems were trivial and personal, isolated from the concerns of a larger world” (17). By the late 1980s, Roseanne and Married…With Children had “spawned an antifamily-sitcom format that used sarcasm, cynicism, and real life problems to create a type of in-your-face comedy heretofore unseen on prime time” (20). This is markedly different from the type of values presented in Singaporean sitcoms – where filial piety and an unrelenting faith in the family unit is sacrosanct. In this way, Singaporean sitcoms mirror the ideals of earlier US sitcoms which idealise the “egalitarian family in which parental wisdom lies in appeals to reason and fairness rather than demands for obedience” (Lichter et al. 406). Dahlgren notes that we are the products of “an ongoing process of the shaping and reshaping of identity, in response to the pluralised sets of social forces, cultural currents and personal contexts encountered by individuals” where we end up with “composite identities” (318). Such composite identities make the presentation (or re-presentation) of race problematic for producers of mainstream television. Wong argues that “Within the context of PAP hegemony, media presentation of racial differences are manufactured by invoking and resorting to traditional values, customs and practices serving as symbols and content” (118). All of this is bound within a classificatory system in which each citizen’s identity card is inscribed as Chinese, Malay, Indian or Other (often referred to as CMIO), and a broader social discourse in which “the Chinese are linked to familial values of filial piety and the practice of extended family, the Malays to Islam and rural agricultural activities, and the Indians to the caste system” (Wong 118). However, these sitcoms avoid directly addressing the issue of race, preferring to accentuate cultural differences instead. In UOR the tables are turned when a none-too-subtle dig at the crude nature of mainland Chinese (with gags about the state of public toilets), is soon turned into a more reverential view of Chinese culture and business acumen. Internal Visions of the Home This reverence for Chinese culture is also enacted visually. The loungeroom settings of these three sitcoms all provide examples of the fashioning of the nation through a “ubiquitous semi-visibility” (Noble 59). Not only are the central characters in each of these sitcoms constructed as ethnically Chinese, but the furnishings provide a visible nod to Chinese design in the lacquered screens, chairs and settees of LWL (see Figure 5.1), in the highly visible pair of black inlaid mother-of-pearl wall hangings of UOR (see Figure 5.2) and in the Chinese statuettes and wall-hangings found in the PCK home. Each of these items appears in the central view of the shows most used setting, the lounge/family room. There is often symmetry involved as well; the balanced pearl hangings of UOR are mirrored in a set of silk prints in LWL and the pair of ceramic Chinese lions in PCK. Figure 5.1: LWL Figure 5.2: UOR Thus, all three sitcoms feature design elements that reflect visible links to Chinese culture and sentiments, firmly locating the sitcoms “in Asia”, and providing a sense of the nation. The sets form an important role in constructing a realist environment, one in which “identification with realist narration involves a temporary merger of at least some of the viewer’s identity with the position offered by the text” (Budd et al. 110). These constant silent reminders of the Chinese-based hegemon – the cultural “majoritarianism” – anchors the sitcoms to a determined concept of the nation-state, and reinforces the “imaginative geographies of home” (Blunt and Dowling 247). The Foolish “Father” Figure in a Patriarchal Society But notions of a dominant Chinese culture are dealt with in a variety of ways in these sitcoms – not the least in a playful attitude toward patriarchal figures. In UOR, the Tan family “patriarch” is played by Moses Lim, in PCK, Gurmit Singh plays Phua and in LWL Samuel Chong plays Billy B. Ong (or, as Lydia mistakenly refers to him Billy Bong). Erica Sharrer makes the claim that class is a factor in presenting the father figure as buffoon, and that US sitcoms feature working class families in which “the father is made to look inept, silly, or incompetent have become more frequent” partly in response to changing societal structures where “women are shouldering increasing amounts of financial responsibility in the home” (27). Certainly in the three series looked at here, PCK (the tradesman) is presented as the most derided character in his role as head of the household. Moses Lim’s avuncular Tan Ah Teck is presented mostly as lovably foolish, even when reciting his long-winded moral tales at the conclusion of each episode, and Billy B. Ong, as a middle-class businessman, is presented more as a victim of circumstance than as a fool. Sharrer ponders whether “sharing the burden of bread-winning may be associated with fathers perceiving they are losing advantages to which they were traditionally entitled” (35). But is this really a case of males losing the upper hand? Hanke argues that men are commonly portrayed as the target of humour in sitcoms, but only when they “are represented as absurdly incongruous” to the point that “this discursive strategy recuperates patriarchal notions” (90). The other side of the coin is that while the “dominant discursive code of patriarchy might be undone” (but isn’t), “the sitcom’s strategy for containing women as ‘wives’ and ‘mothers’ is always contradictory and open to alternative readings” (Hanke 77). In Singapore’s case though, we often return to images of the women in the kitchen, folding the washing or agonising over the work/family dilemma, part of what Blunt and Dowling refer to as the “reproduction of patriarchal and heterosexist relations” often found in representations of “the ideal’ suburban home” (29). Eradicating Singlish One final aspect of these sitcoms is the use of language. PM Lee Hsien Loong once said that he had no interest in “micromanaging” the lives of Singaporeans (2004). Yet his two predecessors (PM Goh and PM Lee Senior) both reflected desires to do so by openly criticising the influence of Phua Chu Kang’s liberal use of colloquial phrases and phrasing. While the use of Singlish (or Singapore Colloquial English / SCE) in these sitcoms is partly a reflection of everyday life in Singapore, by taking steps to eradicate it through the Speak Good English movement, the government offers an intrusion into the private home-space of Singaporeans (Ho 17). Authorities fear that increased use of Singlish will damage the nation’s ability to communicate on a global basis, withdrawing to a locally circumscribed “pidgin English” (Rubdy 345). Indeed, the use of Singlish in UOR is deliberately underplayed in order to capitalise on overseas sales of the show (which aired, for example, on Australia’s SBS television) (Srilal). While many others have debated the Singlish issue, my concern is with its use in the home environment as representative of Singaporean lifestyles. As novelist Hwee Hwee Tan (2000) notes: Singlish is crude precisely because it’s rooted in Singapore’s unglamorous past. This is a nation built from the sweat of uncultured immigrants who arrived 100 years ago to bust their asses in the boisterous port. Our language grew out of the hardships of these ancestors. Singlish thus offers users the opportunity to “show solidarity, comradeship and intimacy (despite differences in background)” and against the state’s determined efforts to adopt the language of its colonizer (Ho 19-20). For this reason, PCK’s use of Singlish iterates a “common man” theme in much the same way as Paul Hogan’s “Ocker” image of previous decades was seen as a unifying feature of mainstream Australian values. That the fictional PCK character was eventually “forced” to take “English” lessons (a storyline rapidly written into the program after the direct criticisms from the various Prime Ministers), is a sign that the state has other ideas about the development of Singaporean society, and what is broadcast en masse into Singaporean homes. Conclusion So what do these home-based sitcoms tell us about Singaporean nationalism? Firstly, within the realms of a multiethnic society, mainstream representations reflect the hegemony present in the social and economic structures of Singapore. Chinese culture is dominant (albeit in an English-speaking environment) and Indian, Malay and Other cultures are secondary. Secondly, the home is a place of ontological security, and partial adornment with cultural ornaments signifying Chinese culture are ever-present as a reminder of the Asianness of the sitcom home, ostensibly reflecting the everyday home of the audience. The concept of home extends beyond the plywood-prop walls of the soundstage though. As Noble points out, “homes articulate domestic spaces to national experience” (54) through the banal nationalism exhibited in “the furniture of everyday life” (55). In a Singaporean context, Velayutham (extending the work of Morley) explores the comforting notion of Singapore as “home” to its citizens and concludes that the “experience of home and belonging amongst Singaporeans is largely framed in the materiality and social modernity of everyday life” (4). Through the use of sitcoms, the state is complicit in creating and recreating the family home as a site for national identities, adhering to dominant modes of culture and language. References Blunt, Alison, and Robyn Dowling. Home. London: Routledge, 2006. Budd, Mike, Steve Craig, and Clay Steinman. Consuming Environments: Television and Commercial Culture. New Jersey: Rutgers UP, 1999. Chang, Sishir. “A High-Rise Vernacular in Singapore’s Housing Development Board Housing.” Berkeley Planning Journal 14 (2000): 97-116. Chua, Beng Huat. “Public Housing Residents as Clients of the State.” Housing Studies 15.1 (2000). Dahlgren, Peter. “Media, Citizenship and Civic Culture”. Mass Media and Society. 3rd ed. Eds. James Curran and Michael Gurevitch. London: Arnold, 2000. 310-328. Ellis, John. Visible Fictions: Cinema, Television, Video. London: Routledge & Kegan Paul, 1982. Hanke, Robert. “The ‘Mock-Macho’ Situation Comedy: Hegemonic Masculinity and its Reiteration.” Western Journal of Communication 62.1 (1998). Ho, Debbie G.E. “‘I’m Not West. I’m Not East. So How Leh?’” English Today 87 22.3 (2006). Lee, Hsien Loong. “Our Future of Opportunity and Promise.” National Day Rally 2004 Speech. 29 Apr. 2007 http://www.gov.sg/nd/ND04.htm>. Lichter, S. Robert, Linda S. Lichter, and Stanley Rothman. Prime Time: How TV Portrays American Culture. Washington D.C.: Regnery Publishing, 1994. Livingstone, Sonia. Young People and New Media: Childhood and the Changing Media Environment. London: Sage, 2002 Morley, David. “What’s ‘Home’ Got to Do with It? Contradictory Dynamics in the Domestication of Technology and the Dislocation of Domesticity.” European Journal of Cultural Studies 6 (2003). Noble, Greg. “Comfortable and Relaxed: Furnishing the Home and Nation.” Continuum: Journal of Media and Cultural Studies 16.1 (2002). Rubdy, Rani. “Creative Destruction: Singapore’s Speak Good English Movement.” World Englishes 20.3 (2001). Scannell, Paddy. “For a Phenomenology of Radio and Television.” Journal of Communication 45.3 (1995). Scharrer, Erica. “From Wise to Foolish: The Portrayal of the Sitcom Father, 1950s-1990s.” Journal of Broadcasting and Electronic Media 45.1 (2001). Srilal, Mohan. “Quick Quick: ‘Singlish’ Is Out in Re-education Campaign.” Asia Times Online (28 Aug. 1999). Tan, Hwee Hwee. “A War of Words over ‘Singlish’: Singapore’s Government Wants Its Citizens to Speak Good English, But They Would Rather Be ‘Talking Cock’.” Time International 160.3 (29 July 2002). Taylor, Ella. “From the Nelsons to the Huxtables: Genre and Family Imagery in American Network Television.” Qualitative Sociology 12.1 (1989). Velayutham, Selvaraj. “Affect, Materiality, and the Gift of Social Life in Singapore.” SOJOURN 19.1 (2004). Wong, Kokkeong. Media and Culture in Singapore: A Theory of Controlled Commodification. New Jersey: Hampton Press, 2001. Images Under One Roof: The Special Appearances. Singapore: Television Corporation of Singapore. VCD. 2000. Living with Lydia (Season 1, Volume 1). Singapore: MediaCorp Studios, Blue Max Enterprise. VCD. 2001. Phua Chu Kang Pte Ltd (Season 5, Episode 10). Kuala Lumpur: MediaCorp Studios, Speedy Video Distributors. VCD. 2003. Citation reference for this article MLA Style Pugsley, Peter. "At Home in Singaporean Sitcoms: Under One Roof, Living with Lydia and Phua Chu Kang." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/09-pugsley.php>. APA Style Pugsley, P. (Aug. 2007) "At Home in Singaporean Sitcoms: Under One Roof, Living with Lydia and Phua Chu Kang," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/09-pugsley.php>.

Dans cette thèse, nous étudions plusieurs problèmes géométriques concernant les liens-selles de surfaces plates définies par des formes différentielles méromorphes ayant des pôles de degré arbitrairement grand. Dans le cas des 1-formes holomorphes, les surfaces sont d'aire finie et ont une infinité de liens-selles. Au contraire, pour les 1-formes méromorphes ainsi que les différentielles d'ordre supérieur (quadratiques et au delà) ayant des pôles dont le degré est suffisamment grand, les surfaces sont d'aire infinie et il est courant que le nombre de liens-selles soit fini. Nous étudions trois problèmes au sujet de telles surfaces. Le premier problème est la caractérisation des strates de différentielles dont les surfaces plates correspondantes ont toujours un nombre fini de liens-selles. Nous sommes parvenus à réduire le problème à un simple critère combinatoire relatif au profil de singularités de la strate. Pour ce premier problème, nous nous plaçons dans le cadre le plus général possible : celui des k-différentielles (de la forme f(z)dz^{k}) ayant au moins un pôle d'ordre supérieur ou égal à k. Le deuxième problème est celui de la caractérisation des groupes de Veech des surfaces plates avec pôles. Dans le cas classique des surfaces de (demi)-translation, il s'agit d'un problème très difficile. Ici, au contraire, la rigidité induite par la présence de pôles permet de donner une réponse complète. Enfin, nous proposons une caractérisation complète des familles de nombres complexes pouvant apparaître comme résidus aux pôles d'une différentielle méromorphe appartenant à une strate donnée. Ainsi, la géométrie plate permet de donner une réciproque au théorème des résidus dans laquelle on contrôle la multiplicité des singularités. Ce dernier résultat est le fruit d'une collaboration avec Quentin Gendron
In this thesis, we consider several geometric problems about saddle connections of flat surfaces defined by meromorphic differentials with poles of arbitrarily large degree. In the case of holomorphic 1-forms, surfaces are of finite area an have infinitely many saddle connections. On the contrary, if we consider meromorphic 1-forms and differentials of higher orders (quadratic and beyond) with at least one pole whose degree is large enough, flat surface are of infinite area and their number of saddle connections may be finite. We study three problems about such surfaces. The first problem is the characterization of the strata of differentials such that the corresponding flat surfaces always have a finite number of saddle connections. We achieved to reduce the problem to a to single combinatorial criterium depending on the singularity pattern of the stratum. When we deal with this problem, we adopt the most general framework of k-differentials (of the form f(z)dz^{k}) with at least one pole of order at least k. The second problem is characterization of Veech groups of flat surfaces with poles. In the classical case of (half)-translation surfaces, it is a very difficult problem. Here, rigidity induced by the poles makes possible to provide a complete answer. Finally, we provide a complete characterization of the families of complex numbers that can appear as residues at the poles of a meromorphic differential belonging to a gien stratum. Thus, flat geometry provides a reciprocal to the residue theorem in which we control the multiplicities of the singularities. This last result is the product of a collaboration with Quentin Gendron

Abstract And now Hercules himself cut down the trees on high Oeta, and with their trunks made a great funeral pyre. He was aided by his friend Philoctetes, who lit the pyre and to whom, as a reward, Hercules gave the famous bow which later was to go to Troy. Now, at the point of death, with burnt and withered flesh, Hercules grew calm again. On top of the pyre he spread the skin of the Nemean lion. He rested his head on his club as on a pillow, and lay down among the flames with peaceful face, as if, after cups of fine wine and crowned with garlands, he were lying on a couch at a banquet.

Abstract Two important sanctuaries at Thermon and Calydon in Aetolia gave birth to a local school of architectural terracottas in north-western Greece during the second half of the seventh century BC, initially influencing also the island of Corfu (Map 3) before that island evolved its own style based on the Western Greek system (see Chapter 12).1The north-western Greek system combines elements which are traditionally separate and distinctive features of the Corinthian and Laconian systems: Corinthian-style flat pan tiles with upward-curving side borders, and pitched cover tiles; Laconian-style semicircular ridge tiles, geison tiles, antefix plaques which overhang below the bottom of the cover tile backer, and tiles which are often painted black or red. Some of these features could have evolved from Protocorinthian roofs (see Chapter 3; Fig. 1a-b). Unique to this system at this time, and possibly of local invention-unless the idea was brought from Sikyon-is the predilection for human heads decorating antefixes, often alternating with waterspouts in the form of lion heads, male heads, or Silen heads, creating the effect of an almost continuous lateral sima along the eaves, set above projecting geison tiles with a painted tongue pattern on the soffit.

Rocky Flats National Wildlife Refuge (“the Refuge”) in Colorado near Denver, Colorado, has a history (1952-1 989) of producing components for nuclear weapons. The current goal for the area is “to restore and preserve the native prairie ecosystems, provide habitat for migratory and resident wildlife, conserve and protect habitat for Preble’s meadow jumping mouse, and provide research and education opportunities”. The grasslands of the Refuge are surrounded by busy roads to the west (Hwy 93, 18,000 AADT), north (Hwy 128, 4,200 AADT) and east (Indiana St. 7,000 AADT), and there are houses and associated roads on its southern boundary. Other open space with non-motorized trails and protected areas with predominantly grassland are to the west, north and east. Large ungulates, including mule deer, elk, and moose cross the roads. This results in large ungulate -vehicle collisions and the roads also represent a barrier to the movements of animals. Creek crossings under the roads are a concern as they are likely a barrier for species dependent on riparian habitat, including the Preble’s meadow jumping mouse. The objectives of the current project were to 1. Formulate measures that reduce collisions with large wild mammals, and 2. Formulate measures that improve connectivity across roads for large wild mammal species and one small mammal species in specific, the Preble’s meadow jumping mouse. We suggest large open span bridges at creek crossings (for deer, moose, black bear, mountain lion, and Preble’s meadow jumping mouse) and designated wildlife overpasses for elk and also f or mule deer. The crossing structures may be combined with human co-use to connect the trails on the refuge with the trail system in the surrounding areas.