University of Victoria Journals
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Floral Longevity and Attraction of Arctic Lupine, Lupinus arcticus: Implications for Pollination Efficiency
No full textPollination by insects is a mutualistic relationship in which flowers receive pollen for reproduction while pollinators are rewarded with pollen or nectar. Floral longevity (the period an individual flower blooms) and floral attraction (the period during which pollinators are attracted to the flower, often indicated by petal colour) both play prominent roles in plant and pollinator success. This study investigated whether floral longevity and floral attraction were mediated by pollination type in arctic lupine (Lupinus arcticus S. Wats.), a common herbaceous perennial in northwestern North America. Flowers were either open to pollinators, cross-pollinated by hand, or bagged to prevent cross-pollination, and floral longevity, seed set, and flower colour were observed. Open and hand-pollinated flowers had significantly shorter floral longevities and higher percent fruit sets than bagged flowers. A colour change of the banner petal marking from white to pink occurred in some flowers and was a signal of floral attraction, as pollinators preferentially visited pre-change flowers. Pre-change flowers contained more pollen and were less likely to have been injured by herbivory than post-change flowers, yet the colour change was not related to pollination type or fruit set. Pollination-induced shortening of floral longevity is likely an adaptation to limited plant resources and pollinator visitation rates. For L. arcticus, this could be influenced by short growing seasons and low annual temperatures in the study area. In the face of climatic changes and shifting species phenologies, the mediation of floral longevity by pollinators could decrease temporal mismatch between plants and their pollinators, yet the many factors at play make this difficult to accurately predict.  
The Sweet Sounds of Syntax: Music, Language, and the Investigation of Hierarchical Processing
No full textLanguage and music are uniquely human faculties, defined by a level of sophistication found onlyin our species. The ability to productively combine contrastive units of sound, namely words inlanguage and notes in music, underlies much of the vast communicative and expressive capacities ofthese systems. Though the intrinsic rules of syntax in language and music differ in many regards,they both lead to the construction of complex hierarchies of interconnected, functional units. Muchresearch has examined the overlap, distinction, and general neuropsychological nature of syntaxin language and music but, in comparison to the psycholinguistic study of sentence processing,musical structure has been regarded at a coarse level of detail, especially in terms of hierarchicaldependencies. The current research synthesizes recent ideas from the fields of generative music theory,linguistic syntax, and neurolinguistics to outline a more detailed, hierarchy-based methodology forinvestigating the brain’s processing of structures in music
Big Daddy Lives or Don’t Say the F Word: Intersectional Feminist Directing in Theory and in Practice
No full textAs a theatre and gender studies double major at the University of Victoria, I have been ableto critically think about the ways each of my fields of study could benefit the other. In myexperience, many courses in the UVic Department of Theatre generally focus on dramatic texts andtheoretical literature written by white men. Consequently, contributions to the theatre by women,people of colour, and/or non-Western theatre practitioners are largely dismissed or ignored. Myfrustration with this pattern was what led me to create Big Daddy Lives or Don’t Say the F Word,a part scripted, part devised performance piece that staged scenes from classic and contemporaryplays using directing theory written by feminists, for feminists. I curated the excerpts, wrote thetransition-text, and directed the play using an intersectional feminist framework. The project wasan experiment in applying intersectional feminism to theatre directing in order to critique the waythe male-dominated canon of plays and theories shapes theatre education. Through this project, Ifound that intersectional feminist directing techniques foster collaboration; encourage discussionand mutual education about identity, oppression, and representation; and can be applied to theproduction of both classics and contemporary feminist plays and to the creation of new work by anensemble
Ronald Beiner, "Dangerous Minds: Nietzsche, Heidegger, and the Return of the Far Right."
No full textAdrian May, "From Bataille to Badiou: Lignes, the preservation of Radical French Thought, 1987-2017."
No full textDavid Landy, "Hume’s Science of Human Nature: Scientific Realism, Reason, and Substantial Explanation."
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Henry S. Richardson, "Articulating the Moral Community: Toward a Constructive Ethical Pragmatism."
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