沈阳城市森林生态系统健康与管理研究

本文系统研究了沈阳城市森林的布局与结构、城市森林功能、城市森林病虫害发生与树木健康状况和城市自然资源与社会经济状况等指标对沈阳城市森林生态系统健康与管理的影响。同时一，采用2种生态系统健康评价方法对沈阳城市森林生态系统健康状况进行了评价，并提出了沈阳城市森林生态系统健康管理的对策。研究结果如下：1、截至2004年末，沈阳城市森林植被覆盖率已经达到35％，城市森林林地分布基本合理，但需要进一步加强道路林地、居住区林地和城郊大面积生态林建设。2、沈阳城市森林以乔木为主，乔灌株数比为1.7：1，乔灌的覆盖度比约为7:1。3、沈阳城市森林不同类型林地中植物组成不同。公园林地中有74个属，137个种（变种）；庭院林地中有53个属，104个种（变种）；居住区林地中有45个属，81个种（变种）；道路林地中有43个属，94个种（变种）；运河风景林地中有75个属，142个种（变种）；棋盘山风景林地中有48个属，118个种（变种）。4、公园林地、庭院林地、居住区林地、道路林地和运河风景林地的Shannon一Wiener多样性指数分别为2.78、3.05、3.15、3.18和3.18，均匀度指数分别为0.56、0.66、0.72、0.70和0.64。除了棋盘山风景林地外，沈阳城市森林中栽植总量超过乔木总量5％的乔木树种有7个属，分别为李、柳树、杨树、桧柏、榆树、槐树和银杏，7种树木总量达到了全部乔木总量的82.09％；栽植总量超过灌木总量5％的灌木树种也有7个属，分别为水腊、丁香、李属，小聚、玫瑰、忍冬和连翘，7个属灌木总量达到了全部灌木总量的87.92％。5、公园林地、庭院林地、道路林地和防护林地中OBH＜20cm、20cm＜DBH＜60cm和DBH＞60cm树木的比例分别为：57.9％、40.0％、2.1％，49.2％、47.8％、3.0％，65.3％、33.1％、1.6％和64.6％、34.9％、0.5％，表明沈阳城市森林树木的规格总体上偏小。6、经样方调查和CITYgreen模型计算，沈阳城市森林的生态效益约2.0亿USD／yr.。公园林地、庭院林地和风景林地的景观指标相对较高；道路林地和居住区林地的景观效果一般；防护林地的景观效果较差。7、目前已经发现的沈阳城市森林病害约600余种，虫害约700余种，其中杨树主要病虫害39种，柳树的主要病虫害有33种，榆树和槐树的主要病虫害均为，1种。杨柳树腐烂病、光肩星天牛、天幕毛虫、桃红颈天牛和美国白蛾等是近10年来沈阳城市森林中普遍发生和造成严重危害的主要病虫害。沈阳城市森林主要树木的平均健康指数为2.68，处于一般健康状态。8、沈阳城市森林的土壤和水资源状况均不利于树木的健康生长，沈阳的社会经济发展也有待于进一步提高。9、经过生物指示物法（光肩星天牛为生物指示物）、专家权重法、公众问卷调查和对比研究，沈阳城市森林生态系统总体上处于亚健康状态。10、通过对沈阳城市森林资源、管理状况的调查研究和健康状况的评价，本文提出了沈阳城市森林生态系统健康管理的对策，包括合理规划沈阳城市森林林地布局，增加道路林地、居住区林地和城郊林地的面积和植被覆盖率；调整树木种类组成，避免单一或少数树种的大量栽植，提高生物多样性水平；保护大树和古树；增加城市森林管理资金的投入；应用先进技术，采取科学的病虫害防治和植物养护方法，促进树木的健康生长等。This project systematically studied the urban forest ecosystem health and management in Shenyang. The study explored factors, such as urban forest structure, distribution, pests, aesthetic value, ecological benefit, natural resources and socieo-economic status, that affecting the urban forest ecosystem health and management. Two methods were used to evaluate the ecosystem health. This project also proposed Shenyang's urban forest ecosystem health management strategies. The research results can be summarized as follows: 1. As of the end of 2004, urban forest coverage in Shenyang is about 35%, and is in relatively even patch distribution pattern. However, the street trees and roadside forest patches, residential block forest patches should be enhanced. 2. Trees are the major component of the Shenyang s urban forest, followed by shrubs. The quantity ratio of tree to shrub is about 1.7:1, and the coverage ratio of trees to shrub is about 7:1. 3. Species composition varies by location. There are 74 genera, 137 species (including varieties) in the public parks; 53 genera, 104 species (and var.) in the green spaces of the institution (including school), factory, and company; 45 genera, 81 species (var.) in residential blocks; 43 genera, 94 species (var.) in streets and roadside forest patches; 75 genera, 142 species (var.) in the Canal landscape forest patches; 48 genera, 118 species (var.) in the Qipan Mountain recreation forest. 4. The Shannon-Woener indices varies in parks, in institution, factory, and company yards, in streets and roadside forest patches, in residential blocks.there are 2.78, 3.05, 3.18, 3.15, 3.18, respectively; and the evenness indices are 0.56, 0.66, 0.70, 0.72, 0.64, respectively. Besides the Qipan Mountain forest patches, trees of 7 genera, Prunus spp., Salix spp., Populus spp., Sabina spp., Ulmus spp., Robinia spp. and Ginkgo biloba are of more than 5% the total urban trees, respectively. In fact, trees from these 7 genera are about 82% of all trees in Shenyang's urban forests. In terms of shrubs, species of 7 genera, Ligustrum spp., Syringa spp., Prunus spp., Berberis spp., Rosa spp., Lonicera spp., and Forsythia spp. are more than 5% the total urban shrubs, respectively. 88% of all the shrubs in Shenyang s urban forest are from these 7 genera. 5. The diameter class of DBH<20cm, 20cm60cm of trees in parks, in institution, factory, and company yards, in in streets and roadside forests, and in protective forests are 57.9%, 40.0%, 2.1%; 49.2%, 47.8%, 3.0%; 65.3%, 33.1%, 1.6%; and 64.6%, 34.9%, 0.5%, respectively. The result indicated that the DBH is relatively small in Shenyang s urban forests. 6. Using random plots sampling and CITYgreen model calculation, the ecological benefit of Shenyang's urban is about 0.2 billion US dollars per year. The aesthetic value of parks, institution and company yards, and scenary forest patches is relative high; however, the aesthetic value of protective forest patches is low. 7. There are more than 600 types of diseases and more than 700 kinds of insects in Shenyang's urban forest. Among them, Populus spp., Salix spp., Ulmus spp. and Robinia spp., are attached mainly by 39, 33, 11, and 11, difference types of pests respectively. The rot disease of the Populus spp. and Salix spp., and the insects such as, Anoplophora glabripennis, Malacosoma neustria, Aromia bungii, and Hyphantria cunea are major pests in Shenyang s urban forest for the past 10 years. The trees health condition is relatively poor by having the average health index of 2.68 for major species. 8. The urban soil and water resource are not favorable to tree's growth in Shenyang, and so is the socieo-economic status. 9. Through using bio-indicator, professional and public evaluation, and comparision with other urban forests, it can be concluded that the status of Shenyang s urban forest is not very healthy in general. 10. To improve the urban forest ecosystem health in Shenyang, a better urban forest design need to be implemented to enhance the area and vegetation coverage of the street and roadside forests, the residential block forests, and the surburb forest Species biodiversity need to be enhanced by adjust the species composition of urban forest trees to reduce the single or several tree species populations and to plant more varieties. A better fundings for urban forest health management need to be budgeted. Advanced technologies in tree care and scientific measures to control pests need to be adopted to prove better care for plants and to keep trees grow healthfully.

艺术学生的感觉寻求人格比较研究

High sensation seekers have unusual creativities. Recent years Furnham Adrian et al, found that the groups have different arts tendency have higher difference in Sensation seeking dimension than in Big 5. Some studies found arts students have higher level in many dimension. Sensation seeking has an important influence to peoples` aesthetic conception. This thesis measured art (including painting, music, dancing) students and non-art students` trait of sensation seeking Personality, and looked for the similarities and differences between art students and non-art students in development of sensation seeking personality. Try to find the influence of different procession of art study to sensation seeking level. The outcome of this study: 1. In non-art students, sensation seeking level has a decrease from Grade 1 to Grade 3 in college students, especially in males. Male has higher sensation seeking level than female, especially in TAS, DIS and GEN. 2. There are differences between art students and non-art students in sensation seeking. In ES and GEN Painting students have higher level than non-art students, but in TAS dancing students have lower level than non-art students, in BS students studied in music have lower level than non-art students. 3. Tendency of arts development in art students and non-art students has difference from grade 1 to grade 3. Tendency in non-art students has a decrease, but in art students is not so obviously. The developments in TAS、ES、GEN of painting students, in ES、BS、GEN of dancing students, in TAS、ES、GEN of music major students have differences towards to non-art students. Different art studies have possibility to improve opening of experiment and normal sensation seeking level. All the Different art kinds may affect the development of ES and GEN, and ES and GEN may become commonness gradually within all kind art groups. But this commonness is not so notable in Grade 1-3. 4. Between different art kinds have differences. TAS Scores of dancing group is notably lower than scores of music and painting groups, score of painting group in ES BS and GEN is remarkably higher than that of music and dancing groups, and painting group in DIS has a higher score than music group and dancing group. Painting group has highest sensation seeking in all art kinds students, and dancing group has lowest score in TAS. 5. For female, development tendency of all art kinds dimensions have no remarkable difference, except DIS. Interaction in female DIS dimension may be aroused by scores increase of painting group. In other scores development tendency of different kinds arts have no notable difference.

Anthropometry of the Breast Region: How to Measure?

Breast region measurements are important for research, but they may also become significant in the legal field as a quantitative tool for preoperative and postoperative evaluation. Direct anthropometric measurements can be taken in clinical practice. the aim of this study was to compare direct breast anthropometric measurements taken with a tape measure and a compass.Forty women, aged 18-60 years, were evaluated. They had 14 anatomical landmarks marked on the breast region and arms. the union of these points formed eight linear segments and one angle for each side of the body. the volunteers were evaluated by direct anthropometry in a standardized way, using a tape measure and a compass.Differences were found between the tape measure and the compass measurements for all segments analyzed (p > 0.05).Measurements obtained by tape measure and compass are not identical. Therefore, once the measurement tool is chosen, it should be used for the pre- and postoperative measurements in a standardized way.This journal requires that authors assign a level of evidence to each article. for a full description of these Evidence-Based Medicine ratings, please refer to the Table of Contents or the online Instructions to Authors www.springer.com/00266.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

Hamas in Politics: Democracy, Religion, Violence

Gunning, Jeroen, Hamas in Politics: Democracy, Religion, Violence (London: Hurst Publishers Ltd, 2007), pp.xiv+310 RAE2008

Approaching the Unapproached Light: Milton and the Romantic Visionary

Shears, J. (2006). Approaching the Unapproached Light: Milton and the Romantic Visionary. In G. Hopps and J. Stabler (Eds.), Romanticism and Religion from William Cowper to Wallace Stevens (pp.25-40). The Nineteenth Century Series. Aldershot: Ashgate. RAE2008

James Joyce and the Problem of Psychoanalysis

Thurston, L. (2004). James Joyce and the Problem of Psychoanalysis. Cambridge: Cambridge University Press. RAE2008

A Cult Film by Proxy: Space is the Place and the Sun Ra Mythos

Sexton, J. (2006). A Cult Film by Proxy: Space is the Place and the Sun Ra Mythos. New Review of Film and Television Studies. 4(3), pp.197-215. RAE2008

An impression of home: player nostalgia and the impulse to explore game worlds

This is the accepted version of the paper following peer review.

Holocaust w powieści Wasilija Grossmana "Życie i los"

Tematem artykułu jest książka bezpośrednio nie zaliczana do literatury Holocaustu, wybitna powieść Życie i los, rosyjskiego pisarza i dziennikarza Wasilija Grossmana, który dziś uznawany jest za jednego z najważniejszych twórców rosyjskich XX wieku. Życie i los okazuje się przykładem ujęcia dramatu Shoah na tle wojny jako części wielkiej Historii poddanej szaleństwom ideologii i polityki nazistów oraz terroru i rosnącego z drugiej strony antysemityzmu w państwie bolszewickim. Jednocześnie Zagłada pozostaje w tym utworze przede wszystkim tragedią konkretnych osób, widziana w porządku pojedynczej ludzkiej egzystencji, która nie daje się nigdy całkowicie sprowadzić do tego, co bezosobowe i masowe. Indywidualna perspektywa humanizuje obraz historii, ale też i go podważa w jego ogólnych strukturach i narracjach. Artykuł opisuje elementy, które składają się na żydowski wątek utworu. Dla jego odczytania ważny okazuje się szerszy kontekst biografii Grossmana i historia powstania oraz wydania powieści Życie i los. Jak widać – rosyjski pisarz dokonał dwóch znaczących gestów w odniesieniu do problemu reprezentacji Zagłady: z jednej strony zwrócił się ku konwencjom literackim, wykorzystał epicki rozmach, kompozycję wielowątkową i panoramiczne ujęcia wraz z ich koncepcją realizmu, wehikularności słowa, a jednocześnie wyszedł poza estetyczne ramy tekstu literackiego, wprowadził elementy lirycznych opisów i autobiograficzne akcenty oraz podkreślił etyczny wymiar całości – jako formy pamięci o tych niezliczonych ofiarach nie tylko Zagłady, ale i każdego XX wiecznego totalitaryzmu.

Irańska sztuka a perska archeologia starożytna w czasach Pahlawich (1925-1979)

Wydział Historyczny: Instytut Historii Sztuki

Między wykopaliskami rabunkowymi a archeologicznymi. Społeczno-kulturowa funkcja materialnych śladów przeszłości w Dolinie Nilu (na przykładzie plemienia Manasir z północnego Sudanu)

Wydział Historyczny: Etnologii i Antropologii Kulturowej UAM

Na krawędzi obrazu. O po-malarskich pracach w polskiej sztuce lat sześćdziesiątych

Wydział Historyczny: Instytut Historii Sztuki

Dziecko przedszkolne i wczesnoszkolne wobec literatury i sztuki. Programy, praktyki, propozycje

Wydział Filologii Polskiej i Klasycznej

Ewolucja zagrożenia dżihadystycznego w Europie

W niniejszej publikacji skupiono się na przedstawieniu źródeł i najważniejszych przejawów radykalizmu islamskiego w Europie. Zwrócono w szczególności uwagę na historyczne i ideologiczne determinanty rozwoju tego zjawiska. Wskazano najważniejsze etapy ewolucji zagrożenia dżihadystycznego oraz aktorów mających wpływ na jego ewolucję. Uwzględniając powyższe przesłanki w artykule zawarto ponadto najważniejsze wnioski dotyczące wzrastającego poziomu powyższego zagrożenia dla wybranych państw europejskich, w okresie ostatnich kilkunastu lat wraz ze wskazaniem zmiennych wpływających na ów poziom w postaci: procesu radykalizacji społeczności muzułmańskich w Europie, zmian w taktyce i organizacji grup dżihadystycznych, sukcesu akcji rekrutacyjnych i antyterrorystycznej aktywności państw Zachodu.