title: B cell receptor accessory molecule CD79α: Characterisation and expression analysis in a cartilaginous fish, the spiny dogfish (Squalus acanthias)

authors: Li, Ronggai

subjects: cartilaginous fish

abstract: CD79α (also known as Igα) is a component of the B cell antigen receptor complex and plays an important role in B cell signalling. The CD79α protein is present on the surface of B cells throughout their life cycle, and is absent on all other healthy cells, making it a highly reliable marker for B cells in mammals. In this study the spiny dogfish (Squalus acanthias) CD79α (SaCD79α) is described and its expression studied under constitutive and stimulated conditions. The spiny dogfish CD79α cDNA contains an open reading frame of 618 bp, encoding a protein of 205 amino acids. Comparison of the SaCD79α gene with that of other species shows that the gross structure (number of exons, exon/intron boundaries, etc.) is highly conserved across phylogeny. Additionally, analysis of the 5′ flanking region shows SaCD79α lacks a TATA box and possesses binding sites for multiple transcription factors implicated in its B cell-specific gene transcription in other species. Spiny dogfish CD79α is most highly expressed in immune tissues, such as spleen, epigonal and Leydig organ, and its transcript level significantly correlates with those of spiny dogfish immunoglobulin heavy chains. Additionally, CD79α transcription is up-regulated, to a small but significant degree, in peripheral blood cells following stimulation with pokeweed mitogen. These results strongly indicate that, as in mammals, spiny dogfish CD79α is expressed by shark B cells where it associates with surface-bound immunoglobulin to form a fully functional BCR, and thus may serve as a pan-B cell marker in future shark immunological studies.

text: B cell receptor accessory molecule CD79α: Characterisation and expression analysis in a cartilaginous fish, the spiny dogfish (Squalus acanthias) CD79α (also known as Igα) is a component of the B cell antigen receptor complex and plays an important role in B cell signalling. The CD79α protein is present on the surface of B cells throughout their life cycle, and is absent on all other healthy cells, making it a highly reliable marker for B cells in mammals. In this study the spiny dogfish (Squalus acanthias) CD79α (SaCD79α) is described and its expression studied under constitutive and stimulated conditions. The spiny dogfish CD79α cDNA contains an open reading frame of 618 bp, encoding a protein of 205 amino acids. Comparison of the SaCD79α gene with that of other species shows that the gross structure (number of exons, exon/intron boundaries, etc.) is highly conserved across phylogeny. Additionally, analysis of the 5′ flanking region shows SaCD79α lacks a TATA box and possesses binding sites for multiple transcription factors implicated in its B cell-specific gene transcription in other species. Spiny dogfish CD79α is most highly expressed in immune tissues, such as spleen, epigonal and Leydig organ, and its transcript level significantly correlates with those of spiny dogfish immunoglobulin heavy chains. Additionally, CD79α transcription is up-regulated, to a small but significant degree, in peripheral blood cells following stimulation with pokeweed mitogen. These results strongly indicate that, as in mammals, spiny dogfish CD79α is expressed by shark B cells where it associates with surface-bound immunoglobulin to form a fully functional BCR, and thus may serve as a pan-B cell marker in future shark immunological studies.

year: 2013

title: TOKU TIA: Tuvalu and the impacts of climate change

authors: Falefou, Tapugao

subjects: Tuvalu

abstract: Climate change is the greatest and most profound threat the world is facing today. Its impacts on the environment, species of all kinds, and humanity is intensifying at an unprecedented rate. Low-lying atoll states, such as Tuvalu, because of their geomorphologies, are exposed directly to climate change impacts. Scientific predictions of the rising sea levels and media representations of low-lying atolls becoming uninhabitable and sinking are increasingly causing grave concerns to people living in atoll states. 
This thesis endeavours to examine the perceptions of the people of Tuvalu about climate change and sea level rise. Situated within the human geography theoretical framework, this study specifically explores the cultural and emotional geographies of Tuvaluans in relation to these phenomena. Cultural and national identities are the two pillars that embrace the study. 
In examining Tuvaluans’ perceptions, the study noticed that most people display a profound uncertainty about the future of their cultural heritage and the country’s national sovereignty. The emotions and affects of the people about their future are overwhelmingly touching and heartbreaking. As people who highly value coconut in their traditional ways of life, Tuvaluans’ perceptions are analogous to what I metaphorically call “coconut roots and coconut fruits”. Tuvaluans’ conception of sense of place is one that has very strong connections and attachment to their fenua or island or land like the coconut roots to the soil. However, Tuvaluans, like other Pacific islanders, are also voyagers and great explorers who have traversed the Pacific oceans for centuries like the “coconut fruits” that can drift in the ocean for long periods and become established once washed ashore. Yet, the encroaching effect of climate change and sea level rise is greatly reshaping the rootedness and/or fluidity of Tuvaluans.
Tuvaluans’ perceptions are greatly influenced by their religious beliefs. As citizens of a Christian atoll state, the majority of Tuvaluans firmly believe that the rainbow in Noah’s narrative is unequivocal. However, there is a new interpretation growing within the Tuvalu Christian Church leadership that casts doubt on this view and finds the rainbow starting to fade in their perception of climate change and sea level rise. Tuvaluans understand that they need to construct an ark – solution – to save the islands. Unless the world renders genuine support to the implementation of Tuvalu’s Climate Change Policy known as Te Kaniva, Tuvaluans will not be able to construct the ark and may well be displaced causing their identities to vanish in the passage of time.

text: TOKU TIA: Tuvalu and the impacts of climate change Climate change is the greatest and most profound threat the world is facing today. Its impacts on the environment, species of all kinds, and humanity is intensifying at an unprecedented rate. Low-lying atoll states, such as Tuvalu, because of their geomorphologies, are exposed directly to climate change impacts. Scientific predictions of the rising sea levels and media representations of low-lying atolls becoming uninhabitable and sinking are increasingly causing grave concerns to people living in atoll states. 
This thesis endeavours to examine the perceptions of the people of Tuvalu about climate change and sea level rise. Situated within the human geography theoretical framework, this study specifically explores the cultural and emotional geographies of Tuvaluans in relation to these phenomena. Cultural and national identities are the two pillars that embrace the study. 
In examining Tuvaluans’ perceptions, the study noticed that most people display a profound uncertainty about the future of their cultural heritage and the country’s national sovereignty. The emotions and affects of the people about their future are overwhelmingly touching and heartbreaking. As people who highly value coconut in their traditional ways of life, Tuvaluans’ perceptions are analogous to what I metaphorically call “coconut roots and coconut fruits”. Tuvaluans’ conception of sense of place is one that has very strong connections and attachment to their fenua or island or land like the coconut roots to the soil. However, Tuvaluans, like other Pacific islanders, are also voyagers and great explorers who have traversed the Pacific oceans for centuries like the “coconut fruits” that can drift in the ocean for long periods and become established once washed ashore. Yet, the encroaching effect of climate change and sea level rise is greatly reshaping the rootedness and/or fluidity of Tuvaluans.
Tuvaluans’ perceptions are greatly influenced by their religious beliefs. As citizens of a Christian atoll state, the majority of Tuvaluans firmly believe that the rainbow in Noah’s narrative is unequivocal. However, there is a new interpretation growing within the Tuvalu Christian Church leadership that casts doubt on this view and finds the rainbow starting to fade in their perception of climate change and sea level rise. Tuvaluans understand that they need to construct an ark – solution – to save the islands. Unless the world renders genuine support to the implementation of Tuvalu’s Climate Change Policy known as Te Kaniva, Tuvaluans will not be able to construct the ark and may well be displaced causing their identities to vanish in the passage of time.

year: 2017

title: Exploring female art-making through reflective practice: A multi-dimensional cultural, spiritual and embodied experience

authors: Bright, Deborah Ann

subjects: female

abstract: This thesis explores some of the many elements and influences of lived experience that are present in acts of art-making. Reflective practice in art-making adds the intentional and purposive act of reflective learning to the experience of art-making. In an academic context the challenge arises for a researcher to adequately represent the breadth and richness of the lived experiences of reflective practice in artmaking. This breadth and richness may embrace elements of art production and influences including gender, culture, spirituality, creativity, creative processes, embodied knowing, the place of conversations and learning as a result of facilitated reflective practice. Adequate representation is particularly vital because art-makers may communicate best through non-verbal means, including embodied knowing and their artmaking, rather than through words. Flexibility of approach and representation is even more important when the art-maker participants engage in various art-making areas and identify themselves as part of indigenous, dominant and/or non-dominant cultures within Aotearoa New Zealand. In this thesis, by applying a feminist participatory approach, informed by kaupapa Maori, I affirmed that the lived experiences of reflective practice in art-making can be adequately represented in a thesis. By such means, I sought to empower the participants, including myself, by providing a process through which they might increase confidence in their own art-making practices and professional artistry. This approach was necessary because no single or even double blending of worldviews can embrace such a range of variables. However, an interweaving of feminist and participatory, informed by indigenous peoples’ worldviews, provides the scope for such a study in terms of fundamental beliefs, ways of knowing, values, issues of power, methodologies and methods. The ways of knowing include collaborative, constructed, cultural, embodied, experiential, indigenous, presentational, propositional, spiritual and subjective and writing as a way of knowing; such a range was vital to this thesis. As artmaker co-participant, I was able to engage in conversation with the other art-makers as facilitator of their reflective practice in art-making and to represent their lived experiences of reflective practice in art-making through verbal and non-verbal means and art-making, in ways that were comfortable culturally to all participants. ii I represent and discuss my findings through formal academic writing, personal narrative and a DVD. The DVD includes a video montage and an image narrative that contribute to the discussion on embodied knowing (Chapter 7), a video of my own dance work, which contributes to the discussion on creativity and visual images (Chapter 6), and a copy of a poster referred to at various times in the findings and discussion chapters. Finally, I conclude that a feminist participatory approach, informed by indigenous peoples’ worldviews and including facilitated reflective practice, may have application to other fields of research and practice including other areas of the arts, teaching, sport and leisure and in the wider field of social sciences.

text: Exploring female art-making through reflective practice: A multi-dimensional cultural, spiritual and embodied experience This thesis explores some of the many elements and influences of lived experience that are present in acts of art-making. Reflective practice in art-making adds the intentional and purposive act of reflective learning to the experience of art-making. In an academic context the challenge arises for a researcher to adequately represent the breadth and richness of the lived experiences of reflective practice in artmaking. This breadth and richness may embrace elements of art production and influences including gender, culture, spirituality, creativity, creative processes, embodied knowing, the place of conversations and learning as a result of facilitated reflective practice. Adequate representation is particularly vital because art-makers may communicate best through non-verbal means, including embodied knowing and their artmaking, rather than through words. Flexibility of approach and representation is even more important when the art-maker participants engage in various art-making areas and identify themselves as part of indigenous, dominant and/or non-dominant cultures within Aotearoa New Zealand. In this thesis, by applying a feminist participatory approach, informed by kaupapa Maori, I affirmed that the lived experiences of reflective practice in art-making can be adequately represented in a thesis. By such means, I sought to empower the participants, including myself, by providing a process through which they might increase confidence in their own art-making practices and professional artistry. This approach was necessary because no single or even double blending of worldviews can embrace such a range of variables. However, an interweaving of feminist and participatory, informed by indigenous peoples’ worldviews, provides the scope for such a study in terms of fundamental beliefs, ways of knowing, values, issues of power, methodologies and methods. The ways of knowing include collaborative, constructed, cultural, embodied, experiential, indigenous, presentational, propositional, spiritual and subjective and writing as a way of knowing; such a range was vital to this thesis. As artmaker co-participant, I was able to engage in conversation with the other art-makers as facilitator of their reflective practice in art-making and to represent their lived experiences of reflective practice in art-making through verbal and non-verbal means and art-making, in ways that were comfortable culturally to all participants. ii I represent and discuss my findings through formal academic writing, personal narrative and a DVD. The DVD includes a video montage and an image narrative that contribute to the discussion on embodied knowing (Chapter 7), a video of my own dance work, which contributes to the discussion on creativity and visual images (Chapter 6), and a copy of a poster referred to at various times in the findings and discussion chapters. Finally, I conclude that a feminist participatory approach, informed by indigenous peoples’ worldviews and including facilitated reflective practice, may have application to other fields of research and practice including other areas of the arts, teaching, sport and leisure and in the wider field of social sciences.

year: 2010