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Ionic liquids-based aqueous two-phase extraction (ILs-ATPE) offers an alternative approach to the extraction of tetracycline (TC) through their partitioning between two phases. Single-stage and multi-stage strategies have been evaluated and compared for the purification of TC using ATPE composed of 1-butyl-3-methylimidazolium halide ([Bmim]X(X=Cl,Br)) and K2HPO4. The influence factors on single-stage extraction behavior of TC were optimized systematically, including the pH value, tie line length, and volume ratio. The optimal extraction efficiency of TC could reach above 95% when the volume ratio is higher than 1.5 and the tie line length is 30.52%. The multi-stage ATPE was also investigated by simulating a three-stage crosscurrent operation in test tubes. According to the TC isotherm curve and respective McCabe?Thiele diagrams, a predicted optimized scheme of the countercurrent multi-stage ATPE was determined. TC can be purified in the IL-rich top phase with a final extraction efficiency of 99% and a final TC concentration of 0.25 mg/mL, if a three- -stage [Bmim]Cl-K2HPO4 ATPE with volume ratio of 0.5 and tie line length of 30.52% was employed. Thus, the multi-stage extraction with small volume ratio is necessary to achieve a higher recovery yield, resulting in the reduction of the IL consumption.

This doctoral thesis presents a critical analysis of visual responses to gender-based violence in contemporary Mexican culture, with the aim of identifying how new forms of narrative can engender ‘ethical visibilización’ of gender-based violence, through instigating ‘otras miradas’, or other ways and modes of spectating and witnessing violence. Central to this investigation are three individual artworks by three Mexican artists, created at different intervals over a particularly violent ten year period (2001-2011). They are as follows: Maryse Sistach’s neorealist auteur film, Perfume de violetas: nadie te ve (2001); Rodrigo Cruz’s multimedia project, Violencia en contra de las mujeres (2006); and Yamina del Real’s tableau photography exhibition, “El cuerpo deshabitado... o En busca del cuerpo perdido” (2011). This thesis subsequently examines how the visual narratives created by these contemporary artists, counter dominant sensationalistic and hyper-violent representations of gender violence, which otherwise exploit victims and commodify violence. Drawing on Ann E Kaplan’s theory of trauma culture, as well as insights from across a broad range of disciplines, it will be argued how each visual artist independently fashions an active audience through their respective processes of ethical or anti-Othering and incitement of intellectual spectatorship. In so doing, they facilitate a re-imagining, and re-presentation of gender violence in Mexican visual culture, which ultimately forms a wider political narrative of ‘ethical visibilización’ of the processes and consequences of gender violence.