135 resultados para Romanes, George John, 1848-1894.


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The upper and lower bounds on the actual solution of any microwave structure is of general interest. The purpose of this letter is to compare some calculations using the mode-matching and finite-element methods, with some measurements on a 180 degrees ridge waveguide insert between standard WR62 rectangular waveguides. The work suggests that the MMM produces an upper bound, while the FEM places a lower bound on the measurement. (C) 2001 John Wiley & Sons, Inc.

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Feeding in Dikerogammarus villosus (Sowinsky, 1894) males was observed in the field and recorded on video in the laboratory. The following feeding modes were recognized: detritus feeding, grazing, particle feeding, coprophagy, predation on benthic and free swimming invertebrates, predation on fish eggs and larvae, as well as feeding on byssus threads of the zebra mussel, Dreissena polymorpha (Pallas, 1771). The feeding methods are described and illustrated with screenshots of video recordings. The very flexible feeding modes of D. villosus, which make diet switches possible, form a trait that must be an important factor in the invasion success of this Ponto-Caspian gammaridean species, and may thus explain for a great deal its high ecosystem impact.

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After the twelve-year rupture caused by the Nazis, in the Soviet zone after 1945 attempts were made to reconnect with the traditions of workers’ songs and critical folk songs that were viewed as the cultural heritage of the communist movement. One of these ‘repertoires’ of song was that of the 1848 Revolution. In the 1950s GDR researchers such as the Germanist Bruno Kaiser, the musicologist Inge Lammel and in particular the folklorist Wolfgang Steinitz made substantial contributions to the collecting and publication of the 1848 songs. Their work provided an important reference point for the singers of the German folk song revival in the GDR from the late 1970s onwards. As the cases of groups such as Folkländer and Wacholder showed, theirs was a particularly creative appropriation of the revolutionary Erbe that involved performing protest songs of the past as if they were criticising the present.

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