Optimization of the pyrolysis process for the production of a biomass derived reducing agent and hydrogen-rich gases

221 p.

Assessing the precision of frequency distributions estimated from trawl-survey samples

In trawl surveys a cluster of fish are caught at each station, and fish caught together tend to have more similar characteristics, such as length, age, stomach contents etc., than those in the entire population. When this is the case, the effective sample size for estimates of the frequency distribution of a population characteristic can, therefore, be much smaller than the number of fish sampled during a survey. As examples, it is shown that the effective sample size for estimates of length-frequency distributions generated by trawl surveys conducted in the Barents Sea, off Namibia, and off South Africa is on average approximately one fish per tow. Thus many more fish than necessary are measured at each station (location). One way to increase the effective sample size for these surveys and, hence, increase the precision of the length-frequency estimates, is to reduce tow duration and use the time saved to collect samples at more stations.

意大利威尼托（Veneto）的刺叶栎林-植物社会学生物多样性研究

刺叶栎( Quercus ilex L．)是地中海的常绿树种，属于古老的第三纪植物区系成份。本文根据苏黎世——蒙特利尔学派的植被学基本原理，全面地研究了分布在整个威尼托(Veneto)大区的剌叶栎林，详细研究刺叶栎林的群落组成、结构及类型划分。同时，对威尼托的刺叶栎林同北京山区的栎林进行了比较研究。最后，着重研究了威尼托刺叶栎林的生物多样性。 威尼托的刺叶栎林主要分布在亚得里亚海沿岸（包括Foci del Tagtiamento和Bosco Nordio e Rosolina Mare两地）、Lago di Garda和Colli Euganei。 在气候上，亚得里亚海沿岸属于半地中海气候。加尔达湖区域(Laqo di Garda)则是接近欧洲中部的大陆性气候，且维持半地中海的气候特点。Co t l i Euganei是这两地气候的过渡类型，且更接近亚得里亚海沿岸的类型。 在亚得里亚海沿岸的刺叶栎林可以分为三类，第一类(I)是一些矮树丛，这是Fraxinus ornus和Quercus ilex混交林的前身，较干旱。第二类群落(II)缺少乔木层，灌木层是由一些盖度不大的刺叶栎代替，更干旱。第三类群落(Ⅲ)是一群在外貌上相同的成熟群落．Fraxinus ornus和Quercus ilex得到充分发展，较中生。 在加尔达湖区的刺叶栎林可划分为三类。第一类群落(I)代表一组耐旱、开敞的矮树丛，含有Sesterio Variae-Ostryelum群丛的特征种，这一类可划分为SesLerio Variae-Ostryetum群 丛，土壤贫脊和干旱。第二类群落(Ⅱ)代表一类较郁闭的矮树丛，含有较多的Prunetalia群落目的成份，土壤较贫脊。第三类群(Ⅲ)代表一类郁闭的群落，乔木具有很大的密度因而林下灌木不能充分发展。SesLerio Variae-Ostryetum群丛和Prunetalia群落目的成份均不多。 在Colli Euganei的刺叶栎林可划分为二类。第一类群落(I)是一些不郁闲的矮树林组成。大体上分为地中海旱生栎林和地中海假灌丛。第二类群落(II)代表了较中生状态的植被，刺叶标种群绝对郁闭。 北京地处华北大平原的西北部。北京山地的气候为温带陆地性季风气候，其地带性的落叶阔叶林是以栎林为典型。虽然这些栎林同意大利威尼托刺叶栎林是两种不同的森林类型，但两者之间是存在着一定的联系。其共有的科有20个，共有属有11个。他们在植物组成中，以禾本科，蔷薇科和豆科的植物种类为最多。在乔木层中，他们都是以壳斗科的栎属(Quercus)为优势，其中木犀科的白蜡属(Fraxinus)和槭树属(Acer)较多。 本文对威尼托大区刺叶栎林的物种多度分布格局进行了全面探讨，计算出刺叶栎林的几何分布模型、Broken-stick分布模型、Log分布模型、Log-normat分布模型等四种物种多度分布的理论模型，并将这些理论分布模型用“序列／多度”图解和“多度／频度”图解表示出来。其中，几何分布模型．Broken-stick1分布模型用“序列／多度”图解表示。Broken-stick2分布模型、Log分布模型、Log-normal分布模型用“多度／频度”图解表示。 对上述四个物种多度的理论分布同实际现察的物种多度分布进行X2分析，在5％的显著性水平上，对整个威托大区的刺叶 栎林，几何分布模型最能代表其物种多度分布，显著性最大;Log-normal分布模型也可以用来代表威尼托刺叶标妹的物种多度分布，其显著性次于几何分布模型的显著性。这表明威尼托的刺叶栎林尚处于演替的早期阶段，这些刺叶栎林曾受到严重破坏，现正在恢复。 通过比较Foci del Tagtiamento和Bosco Nordio加尔达湖区、Colli Euganei四个地方刺叶栎林的物种多度的几何分布模型和Log-normal分布模型，显示出Lago di Garda（加尔达湖区）的刺叶栎林生物多样性最好、Foci del Tagtiamento刺叶栎林生物多样性较好．Bosco Nordio的剌叶栎林生物多样性较差．Colli Euganei的刺叶栎林生物多样性最差。 再利用多样性指数计算全部威尼托大区剌叶栎林的生物多样性。计算的多样性指数有丰富度指数（包括Margalef指数、Men-hinick指数、Monk指数）、多样性指数(Shannon信息指数、Bri llouin个息指数、Gini指数、PIE指数、Mcintosh指数)、优势度指数(Berger-Parker指数、Simpson指数)、均一度指数(Pielou均一度指数、Brillouin均一度指数，PIE的V’均一度指数．PIE的V均一度指数，N2的V’均一度指数，N2的V均一度指数，Mclntosh均一度指数，Hill的F10均一度指数，Hill的E21均一度指数，Hill的F21的一度指数）。通过比较丰富度指数，多样性指数、均一度指数与优势度之间的关系，结果，Simpson优势度指数同Men-hinick物种丰富度指数、Shannon信息指数、Bril-louin信息指数、Pielou均一度指数，Brillouin均一度指数，Mcintosh均一度指数、PIE的V’均一度指数呈负相关关系，因此，上述生物多样性指数可以较好地反映威尼托大区刺叶栎林的生物多样性。反映出的结果是：加尔达湖区刺叶栎林生物多样性最好，Foci del Tagtiamento刺叶栎林生物多样性较好，Bosco Nordio的剌叶栎林生物多样性较差．Colli Euganei的刺叶栎林生物多样性最差。 生物多样性的研究显示出生物多样性同生境状况的密切联系。往往受人为干扰严重的群落生物多样性低、如Coli Euganei和亚得里亚海岸刺叶栋林;而受人为破坏较轻的群落其生物多样性高，如加尔达湖区刺叶栎。 生物多样性的研究还显示出生物多样性同群落演替的发展阶段密切相关，在群落演替初期，由于缺乏优势种，而又有大量物种侵入，物多样性相对较高。在群落演替中期，由于形成了一个或几个优势种，优势度的增加导致了生物多样性相对减低。如Foci del Tagtiamento刺叶栎林生物多样性高于Bosco Nordio刺叶栎林的生物多样性。到演替后期，随着更多物种的侵入，群落结构的复杂化、生物多样性又将逐步提高。

Ovulation in the tree shrew (Tupaia belangeri) induced by gonadotrophins

The induction of ovulation by exogenous gonadotrophins is an important approach for recovering oocytes used for studies on the reproductive biology of some mammals. In the present study, pregnant mare serum gonadotrophin (PMSG) and human chorionic gonadot

The D-CIXS X-ray spectrometer on the SMART-1 mission to the Moon - First Results

Grande, Manuel; Kellett, B.; Howe, C.; Perry, C.H., 'The D-CIXS X-ray spectrometer on the SMART-1 mission to the Moon - First Results', Planetary And Space Science (2007) 55(4) pp.494-502 RAE2008

Nomenclature and syntaxonomic notes on some high-rank syntaxa of the European grassland vegetation

We present descriptions of a new order (Ranunculo cortusifolii-Geranietalia reuteri and of a new alliance (Stachyo lusitanicae-Cheirolophion sempervirentis) for the herbaceous fringe communities of Macaronesia and of the southwestern Iberian Peninsula, respectively. A new alliance, the Polygalo mediterraneae-Bromion erecti (mesophilous post-cultural grasslands), was introduced for the Peninsular Italy. We further validate and typify the Armerietalia rumelicae (perennial grasslands supported by nutrient-poor on siliceous bedrocks at altitudes characterized by the submediterranean climate of central-southern Balkan Peninsula), the Securigero-Dasypyrion villosae (lawn and fallow-land tall-grass annual vegetation of Italy), and the Cirsio vallis-demoni-Nardion (acidophilous grasslands on siliceous substrates of the Southern Italy). Nomenclatural issues (validity, legitimacy, synonymy, formal corrections) have been discussed and clarified for the following names: Brachypodio-Brometalia, Bromo pannonici-Festucion csikhegyensis, Corynephoro-Plantaginion radicatae, Heleochloion, Hieracio-Plantaginion radicatae, Nardetea strictae, Nardetalia strictae, Nardo-Callunetea, Nardo-Galion saxatilis, Oligo-Bromion, Paspalo-Heleochloetalia, Plantagini-Corynephorion and Scorzoneret alia villosae. 

Coelum non animum muto? Milton's Neo-Latin Poetry and Catholic Italy

Milton’s Elegiarum Liber, the first half of his Poemata published in Poems of Mr John Milton Both English and Latin (1645), concludes with a series of eight Latin epigrams: five bitterly anti-Catholic pieces on the failed Gunpowder Plot of 1605, followed by three encomiastic poems hymning the praises of an Italian soprano, Leonora Baroni, singing in Catholic Rome. The disparity in terms of subject matter and tone is self-evident yet surprising in an epigrammatic series that runs sequentially. Whereas the gunpowder epigrams denigrate Rome, the Leonora epigrams present the city as a cultured hub of inclusivity, the welcome host of a Neapolitan soprano. In providing the setting for a human song that both enthrals its audience and attests to the presence of a divine power, Rome now epitomizes something other than brute idolatry, clerical habit or doctrine. And for the poet this facilitates an interrogation of theological (especially Catholic) doctrines. Coelum non animum muto, dum trans mare curro wrote the homeward-bound Milton in the autograph book of Camillo Cardoini at Geneva on 10 June 1639. But that this was an animus that could indeed acclimatize to religious and cultural difference is suggested by the Latin poems which Milton “patch [ed] up” in the course of his Italian journey. Central to that acclimatisation, as this chapter argues, is Milton’s quasi-Catholic self-fashioning. Thus Mansus offers a poetic autobiography of sorts, a self-inscribed vita coloured by intertextually kaleidoscopic links with two Catholic poets of Renaissance Italy and their patron; Ad Leonoram 1 both invokes and interrogates Catholic doctrine before a Catholic audience only to view the whole through the lens of a neo-Platonic hermeticism that may refreshingly transcend religious difference. Finally, Epitaphium Damonis, composed upon Milton’s return home, seems to highlight the potential interconnectedness of Protestant England and Catholic Italy, through the Anglo-Italian identity of its deceased subject, and through a pseudo-monasticism suggested by the poem’s possible engagement with the hagiography of a Catholic Saint. Perhaps continental travel and the physical encounter with the symbols, personages and institutions of the other have engendered in the Milton of the Italian journey a tolerance or, more accurately, the manipulation of a seeming tolerance to serve poetic and cultural ends.


First reviewer:
Haan: a fine piece by the senior neo-Latinist in Milton studies.

Second reviewer:
Chapter 7 is ... a high-spot of the collection. Its argument that in his Latin poetry Milton’s is a ‘quasi-Catholic self-fashioning’ stressing ‘the potential interconnectedness of Protestant England and Catholic Italy’ is striking and is advanced with learning, clarity and insight. Its sensitive exploration of the paradox of Milton’s coupling of humanistically complimentary and tolerant address to Roman Catholic friends with fiercely Protestant partisanship demonstrates that there is much greater complexity to his poetic persona than the self-construction and self-presentation of the later works would suggest. The essay is always adroit and sure-footed, often critically acute and illuminating (as, for example, in its discussion of the adjective and adverb mollis and molliter in Mansus, or in the identification in n. 99 of hitherto unnoticed Virgilian echoes). It has the added merits of being very well written, precise and apt in its citation of evidence, and absolutely central to the concerns of the volume.

Participatory Sonic Arts: towards a socially engaged art of sound in the everyday (The Som da Maré Project)

Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in “Living Form: Socially Engaged Art from 1991-2011” surveys these
practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake.

“Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines.” (Helguera, 2011)

Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helguera’s “Aelia Media” enabling a nomadic radio station in Bologna or Maria Andueza “Immigrant Sounds – Res(on)Art (Stockholm)” exploring ways of sonically resonating a city, or Sue MacCauley’s “The Housing Project” addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context.
We address concepts and methodologies behind the project Som da Maré, a participatory sonic arts project in the favelas of Maré, Rio de Janeiro.

Som da Maré: Um Projeto Participativo de Arte Sonora

In May 2014, the participative Project Som da Maré brings together the creative energy of a group of inhabitants from a cluster of favelas in Maré (Rio de Janeiro)* through the sonic arts. The work recalls everyday experiences, memories, stories and places. These memories elicit narratives that leave traces in space while contributing to the workings of local cultural.

The result of four months of workshops and fieldwork forms the basis of two cultural interventions: an exhibition in Museu da Maré** and guided soundwalks in the city of Rio de Janeiro. These interventions present realities, histories and ambitions of everyday life in the Maré favelas through immersive sound installation, documentary photography, text and objects.

Som da Maré brings together various groups of participants who together have developed themes, materials and strategies for the articulation of elements of everyday life in Maré. Participants include secondary level students under the Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro (FAPERJ) “Young Talent” scholarships and their families, post-graduate students at the Universidade Federal do Rio de Janeiro (UFRJ), PhD students from the Sonic Arts Research Centre (Queen’s University Belfast) and members of the Cia Marginal, a theatre company based in Maré. The project also counts with the participation of academics from music, ethnomusicology, visual art and architecture at the UFRJ and a partnership with the Museu da Maré. Over thirty people have come together to make this project possible.

Experimental study of the macrobenthic colonisation and secondary production in the artificial reefs of Algarve coast

Tese de dout., Ciências do Mar, Faculdade de Ciências do Mar e do Ambiente, Universidade do Algarve, 2010

Potential of fisheries restocking off the Algarve coast using aquaculture produced marine fish

Tese de dout., Ciências do Mar, da Terra e do Ambiente (Ecologia Marinha), Faculdade de Ciências e Tecnologia, Univ. do Algarve, 2012