Behavioural reaction of root vole (Microtus oeconomus pallas) males of different social ranks to familiar and novel odour of conspecific males

In this experiment, we tested the hypothesis that males of root voles (Microtus oeconomus Pallas) of different social ranks display different behavioural strategies. To document behavioural differences between social ranks, we investigated patterns in the behavioural responses to urine cues from familiar and novel individu in a choice maze. Ten pairs of male voles were efectively used in this experiment. All behaviour was recorded with OBSERVER 5.0. When experiment was finished, video tapes were transformed into digital data. Then all data were analyzed by SPSS. The results showed that the approach latency of subordinates was shorter for familiar odours than novel ones, dominant individuals preferentially entered the strange odourant box, subordinates preferred familiar odours over novel ones, subordinates spent more time visiting familiar odours compared to the novel odours, dominants preferred novel odours to familiar ones, subordinates approached familiar odours more frequently than novel ones and self-groomed more often in the familiar odourant box than in the novel box, and dominant and subordinate individuals showed significantly different countermarking behaviours to familiar and novel odours. In conclusion, the dominants and subordinates displayed different behaviour patterns when faced to familiar and novel conspecific males' urine cues. The data support our hypothesis that differences in social rank induce differences in behavioural patterns.

中新世以来中国北方风尘堆积的粘土矿物组成及其古环境意义

In northern China, the loess-soil sequence of the last 2.6 Ma, the Hipparion Red-Earth of eolian origin and recently reported Pliocene-Miocene loess-soil sequence provide a near continuous continental eolian record of climatic history for the past 22.0 Ma. This work aims to investigate the composition and structure of clay minerals contained in deposits, and to explore their implications for environmental evolutions over the last 22.0 Ma. Clay minerals, which were extracted from eolian samples collected at Xifeng (0-6.2 MaBP) and Qinan (6.2-22.0 MaBP) sections, were analyzed qualitatively and semi-quantitatively by using X-ray diffraction (XRD), differential thermal analysis (DTA), thermogravimetric analysis (TG) and chemical analysis. The main conclusions are as follows: Over the last 22.0 Ma, the clay mineral assemblage among Quaternary loess-soils, Hipparion Red-Earth, and Miocene loess-soils shows similar components, mainly consisting of illite (55-80%), kaolinite (7-20%), chlorite (4-13%), smectite (2-23%) as results calculated by comparing major peak areas. There are no obvious differences in both types and amounts of clay minerals between loess and interbedded soils, suggesting that overwhelming part of the clay minerals is derived from the source. According to the components of clay minerals, the whole sequence of eolian deposits in the Loess Plateau can be divided into ten clay mineral assemblage zones over the last 22.0 Ma, whose corresponding ages are: 22.0-21.0 MaBP, 21.0-18.0 MaBP, 18-16.2 MaBP, 16.2-13.0 MaBP, 13.0-10.0 MaBP, 10.0-5.5 MaBP, 5.5-4.4 MaBP, 4.4-2.8 MaBP, 2.8-1.0 MaBP, 1.0-0 MaBP, respectively. This may imply that dust supply changed at least nine times over the past 22.0 Ma. The loess illite has a better crystaliinity, higher value of the FWHM and IC, than the interbedd soils. Previous studies indicated that irregular mixed layer minerals could form under relatively warm and humid conditions (Han, 1982). According to the general distribution of clay minerals of zonal soil (Chamley, 1989), the clay mineral assemblage of eolian deposits in Xifeng and Qinan sections is typical of temperature-humid and warm-subarid environment. Therefore, our results indicate climatic environment in Loess Plateau did not change remarkably since 22.0 Ma, and fluctuated between temperature-humid and warm-subarid climate. 4. The illite generally presents poorer crystaliinity during the period of 22.0 to 2.8 MaBP than in the last 2.8 Ma BP, especially at the intervals of 3.5-4.5 Ma BP, 14.0-17.0 MaBP and 20.0-22.0 Ma BP, which indicates that the weathering intensity was stronger in Neogene than in Quaternary. 5. The relatively low ice volume and high global temperature may be responsible for the strange weathering intensity during the interval of the 3.5-4.5 Ma BP, 14.0-17.0 Ma BP and 20.0-22.0 Ma BP.

William Hope Hodgson's borderlands: monstrosity, other worlds, and the future at the fin de siècle.

William Hope Hodgson has generally been understood as the author of several atmospheric sea-horror stories and two powerful but flawed horror science fiction novels. There has been no substantial study analysing the historical and cultural context of his fiction or its place in the Gothic, horror, and science fiction literary traditions. Through analysing the theme of borderlands, this thesis contextualises Hodgson’s novels and short stories within these traditions and within late Victorian cultural discourse. Liminal other world realms, boundaries of corporeal monstrosity, and the imagined future of the world form key elements of Hodgson’s fiction, reflecting the currents of anxiety and optimism characterising fin-de-siècle British society. Hodgson’s early career as a sailor and his interest in body-building and physical culture colour his fiction. Fin-de-siècle discourses of evolution, entropy, spiritualism, psychical research, and the occult also influence his ideas. In The House on the Borderland (1908) and The Night Land (1912), the known world brushes against other forms of reality, exposing humanity to incomprehensible horrors. In The Ghost Pirates (1909), the sea forms a liminal region on the borderland of materiality and immateriality in which other world encounters can take place. In The Night Land and The Boats of the ‘Glen Carrig’ (1907), evolution gives rise to strange monstrous forms existing on the borderlines of species and identity. In Hodgson’s science fiction—The House on the Borderland and The Night Land—the future of the earth forms a temporal borderland of human existence shaped by fin-de-siècle fears of entropy and the heat-death of the sun. Alongside the work of other writers such as H. G. Wells and Arthur Machen, Hodgson’s four novels respond to the borderland discourses of the fin de siècle, better enabling us to understand the Gothic literature of the period as well as Hodgson’s position as a writer who offers a unique imaginative perspective on his contemporary culture.

Cancer Risk Assessment Related to Anatomical Tissue Types

H. Strange, W. He, E. Denton and R. Zwiggelaar, 'Cancer Risk Assessment Related to Anatomical Tissue Types', Proceedings of the Twelfth Annual Conference on Medical Image Understanding and Analysis, 2008, p.138. Sponsorship: EPSRC

'Psyching-up' enhances force production during the bench press exercise

Tod, D., Iredale, F., McGuigan, M., Strange, D., Gill, N. (2005). 'Psyching-up' enhances force production during the bench press exercise. Tod, 19 (3), 599-603. RAE2008

Johnny's in the Basement: Keats, Bob Dylan and Influence

Marggraf Turley, Richard, 'Johnny's in the Basement: Keats, Bob Dylan and Influence', In: 'The Monstrous Debt: Modalities of Romantic Influence in Twentieth Century Literature', (Detroit, MI: Wayne State University Press), pp.181-204, 2006 RAE2008

Composition portfolio and commentaries

In an attempt to provide an analytical entry point into my compositional practice, I have identified eight themes which are significantly recurrent: reduction – the selection of a small number of elements; imperfection – a damaged or warped characteristic of sound; hierarchy – a concern with the roles of instruments with regard to their relative prominence; motion – apparently static sound masses consist of fine internal movement; listener perception – expectations for change influence the experience of affect; translation – the transitioning of electronic sounds to the acoustic realm, and vice versa; immersion – the creation of an accommodating soundscape; blurring – smearing and overlapping sounds or genres. Each of these eight factors is associated with relevant precedents in the history and theory of music that have been influential on my work. These include the minimalist compositions of Steve Reich and Arvo Pärt; the lo-fi aesthetic of Boards of Canada and My Bloody Valentine; concerns with political hierarchy in the work of Louis Andriessen; the variations of dynamics and microtonal shifts of Giacinto Scelsi; Leonard B. Meyer's account of expectation in music; cross-fertilisation of the acoustic and electronic in pieces by Gérard Grisey and Gyorgy Ligeti; the immersive technique of Brian Eno's ambient music; and the overlapping sounds of Aphex Twin. These eight factors are variously applicable to the eleven submitted pieces, which are individually analysed with reference to the most significant of the categories. Together they form a musical language that sustains the interaction of a variety of techniques, concepts and genres.

The s-process nucleosynthesis

Theoretical as well as observational aspects of the s-process nucleosynthesis are reviewed. The classical site-independent s-process model as well as the s-process in massive stars are shortly described. A special attention is paid to the nucleosynthesis taking place in AGB stars and the extra-mixing invoked to explain the production of neutrons in the C-rich layers during the interpulse. We also discuss the nucleosynthesis found in hot AGB stars for which the s-process during the interpulse phase is inhibited, but the one resulting from the large temperatures in the thermal pulse is boosted. We comment on the uncertainties affecting our understanding of the physical mechanisms responsible for a successful s-process. Finally, various types of spectroscopic observations of s-process elements are discussed. © 2005 International Astronomical Union.

CS 30322--023: An Ultra Metal-Poor TP-AGB Star?

info:eu-repo/semantics/published

A mathematical theory of stochastic microlensing. II. Random images, shear, and the Kac-Rice formula

Continuing our development of a mathematical theory of stochastic microlensing, we study the random shear and expected number of random lensed images of different types. In particular, we characterize the first three leading terms in the asymptotic expression of the joint probability density function (pdf) of the random shear tensor due to point masses in the limit of an infinite number of stars. Up to this order, the pdf depends on the magnitude of the shear tensor, the optical depth, and the mean number of stars through a combination of radial position and the star's mass. As a consequence, the pdf's of the shear components are seen to converge, in the limit of an infinite number of stars, to shifted Cauchy distributions, which shows that the shear components have heavy tails in that limit. The asymptotic pdf of the shear magnitude in the limit of an infinite number of stars is also presented. All the results on the random microlensing shear are given for a general point in the lens plane. Extending to the general random distributions (not necessarily uniform) of the lenses, we employ the Kac-Rice formula and Morse theory to deduce general formulas for the expected total number of images and the expected number of saddle images. We further generalize these results by considering random sources defined on a countable compact covering of the light source plane. This is done to introduce the notion of global expected number of positive parity images due to a general lensing map. Applying the result to microlensing, we calculate the asymptotic global expected number of minimum images in the limit of an infinite number of stars, where the stars are uniformly distributed. This global expectation is bounded, while the global expected number of images and the global expected number of saddle images diverge as the order of the number of stars. © 2009 American Institute of Physics.

Resonant and Secular Orbital Interations

In stable solar systems, planets remain in nearly elliptical orbits around their stars. Over longer timescales, however, their orbital shapes and sizes change due to mutual gravitational perturbations. Orbits of satellites around a planet vary for the same reason. Because of their interactions, the orbits of planets and satellites today are different from what they were earlier. In order to determine their original orbits, which are critical constraints on formation theories, it is crucial to understand how orbits evolve over the age of the Solar System. Depending on their timescale, we classify orbital interactions as either short-term (orbital resonances) or long-term (secular evolution). My work involves examples of both interaction types. Resonant history of the small Neptunian satellites In satellite systems, tidal migration brings satellite orbits in and out of resonances. During a resonance passage, satellite orbits change dramatically in a very short period of time. We investigate the resonant history of the six small Neptunian moons. In this unique system, the exotic orbit of the large captured Triton (with a circular, retrograde, and highly tilted orbit) influences the resonances among the small satellites very strongly. We derive an analytical framework which can be applied to Neptune's satellites and to similar systems. Our numerical simulations explain the current orbital tilts of the small satellites as well as constrain key physical parameters of both Neptune and its moons. Secular orbital interactions during eccentricity damping Long-term periodic changes of orbital shape and orientation occur when two or more planets orbit the same star. The variations of orbital elements are superpositions of the same number of fundamental modes as the number of planets in the system. We investigate how this effect interacts with other perturbations imposed by external disturbances, such as the tides and relativistic effects. Through analytical studies of a system consisting of two planets, we find that an external perturbation exerted on one planet affects the other indirectly. We formulate a general theory for how both orbits evolve in response to an arbitrary externally-imposed slow change in eccentricity.

Souvenirs of conquest: Israeli occupations as tourist events

It is perhaps self-evident to suggest that military conquest shares something with tourism because both involve encounters with "strange" landscapes and people. Thus it may not surprise that the former sometimes borrows rhetorical strategies from the latter - strategies for rendering the strange familiar or for translating threatening images into benign ones. There have been numerous studies of this history of borrowing. Scholars have considered how scenes of battle draw tourist crowds, how soldiers' ways of seeing can resemble those of leisure travelers, how televised wars have been visually structured as tourist events (e.g., the 2003 U.S. invasion of Iraq), and how the spoils of war can function as a body of souvenirs. These lines of inquiry expand our understanding of tourism as a field of cultural practices and help us to rethink the parameters of militarism and warfare by suggesting ways they are entangled with everyday leisure practices. © 2008 Cambridge University Press.

DISSIMILAR CONTEMPORARIES: SELECTED PIANO MUSIC OF SERGEI RACHMANINOFF AND SERGEI PROKOFIEV

Virtual contemporaries, Sergei Rachmaninoff and Sergei Prokofiev were pianists, steeped in the traditions of Russian pianism; recordings of both pianists-composers playing their own works are available. Although the composers can be perceived as having little in common, in fact both composed in classical forms, both had a strong lyrical sense and both had an unbreakable connection with their Russian heritage. Rachmaninoff was the last great representative of Russian late Romanticism as well as one of the finest pianists of his generation. He cultivated a sweepingly passionate and melodious idiom, with pronounced lyrical quality, expressive breath and structural ingenuity. Prokofiev, on the other hand, tried to push the Russian Romantic traditions to a point of exacerbation and caricature before experimenting with various kinds of modernism. Stressing simplicity, he helped invent Neo-Classicism. His melodies are essentially tonal with wide skips and sweeping long lines. Harmonically, he used triadic harmony full of dissonances, strange inversions, unusual spacings, and jarring juxtapositions. Writing in classical forms, he incorporated rhythmic vitality and lyrical elements into his music. I have chosen to perform five works by each composer, written in a variety of genres, including the sonata, the toccata, variations, the concerto. I also have divided the pieces into three recital programs to show the idiosyncratic characteristics of the composers. I have endeavored to select pieces based on the technical and artistic challenges that they offer, thereby allowing me to grow as a pianist and an artist. My goal is to gain a thorough understanding of not only the pieces but also the musical styles of both composers.

SELECTED REPERTOIRE OF THE GILLET COMPETITION FROM 1996 TO 2006

There are many bassoon competitions around the world- and one of the most famous is the Gillet competition, sponsored by the International Double Reed Society. In 1981, it was established as an annual event, the "Femand Gillet Bassoon Competition"- a title expanded in 2000 to the "Femand Gillet-Hugo Fox Bassoon Competition." My goal was to explore the history of the competition, the availability of the repertoire selected for each competition, and the difficulties performing each piece. Through this journey, I was able to discover the variety of material chosen and how it was used, the quality, value, and the importance of the repertoire in each competition. For example, Ferdinand David's Concertino op.12, the style of the piece provides romantic, operatic type lyricism, a flashy presto section and finale, makes it as a standard romantic piece in the bassoon repertoire; Otmar Nussio's Variations on an Air by Pergolesi, contains a slow theme and few diverse variations, which provides a contemporary style music with the traditional music form and descriptive quality. The result of learning this repertoire proves that different styles of music in the competition demonstrate the artistry of the bassoon repertoire and music history in relationship of the development of the instrument. My first dissertation recital featured: Concerto for Bassoon, K. 191 by Wolfgang Amadeus Mozart; Concertino by Marcel Bitsch; Metamorphoses by Leslie Bassett; and Sonatine by Alexandre Tansman. My second recital featured: Concerto in E minor, RV 484 by Antonio Vivaldi; On the Summer Map of Stars by Gordon Kerry; Concertino Opus12 by Ferdinand David; Elegie by Jacques Hetu; and Interferences by Roger Boutry. My third recital featured: Cello Suite No.2 in D minor, BWV1008 by Johann Sebastian Bach; Combinaciones: Sonatina para Fagot y Piano by Salvador Ranieri; Andante e Rondo Ungarese Opus 35 by Carl Maria von Weber; and Variations on an Air by Pergolesi for Bassoon and Piano by Otmar Nussio.

Bridging the Divide Between the Soloist and the Ensemble Player

In conservatories and music schools, the general practice for an aspiring pianist is to focus on solo performance learning mainly solo repertoire. With the advent of the advanced degree in collaborative piano, pianists could submerge themselves in the study of duo sonatas, larger chamber music ensembles, and art song. The appearance of this degree was an important step in the development of pianists, as this kind of work requires specific training and focus to master the vast repertoire involved. However it also more clearly brought out the invisible divide separating the solo pianist from the collaborative pianist, a.k.a. the accompanist. While geniuses such as Bach, Beethoven and Brahms were known to compose and perform all types of music, the appearance of super stars such as Liszt and Paganini helped bring into being the term accompanist and since then music world has tacitly embraced this divide. The goal of my dissertational study is to show that this divide need not exist. The three recitals which comprise this dissertational project were all performed at the University of Maryland, the first on 12 November 2010 at Gildenhom Recital Hall, the second at Ulrich Recital Hall on 10 September 2011, and the third at Gildenhorn Recital Hall on 11 November 2011. The repertoire included Rachmaninoff Prelude in g# minor op. 32 no. 12 and Etude-Tableaux in Eb minor op. 29 no. 5, Brahms Sonata for Piano and Violin in d minor op. 108, Mendelssohn Piano Trio in d minor op. 49, Chopin Sonata No.2 in Bb minor, Franck Sonata for Piano and Violin, Prokofiev Piano Concerto no. 2 in g minor op. 16 with pianist Elizabeth Brown as orchestra, Beethoven Sonata for Piano and Violin in A op 47 (Kreutzer), and Paul Schoenfield Cafe Music. All works with violin and cello were performed with violinist Rebecca Racusin, and cellist Devree Lewis. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland(DRUM).