982 resultados para Judd, Neil Merton, 1887-1976


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为准确评价林火在大兴安岭樟子松林中的地位和作用,在大兴安岭呼伦贝尔盟莫尔道嘎林区樟子松林内,利用火疤木解析的方法,确定了3块火疤木集中的样地历史林火发生的年代及每次林火的火焰高度(h);林火强度(I)通过经验公式计算;结合样地每木调查,推算了林火发生后样地林木胸径。研究表明,3块样地自1887~1976年间共发生10次林火,h为0.46~3.32m,I为48~3690kW/m,平均林火间隔期(tMFI)约为19.8a。在樟子松林内高强度的火烧对林分生长造成破坏,迫使林分重新开始更新和演替,中度与低强度火作为一个自然选择力,排除抗火性较樟子松差的树种、灌木和杂草,加速养分循环,使存活下来的樟子松获得更大的存活与发展空间。tMFI与I成反比,因此过分干扰林火发生必将增加发生大火的可能性。

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Paper notebook containing a handwritten copy of an essay titled "An English Oration" composed by Harrison Gray Otis for the 1783 Harvard Commencement. The essay discusses the American Revolution and begins, “An Omission of the usual appeals..."

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Based on thesis (PH.D.)--Yale university.

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[Introdución]--El barro y el oro.--La inconsciencia moral del indigena.--La inmoralidad del criollo.--Bovarismo y crimen.--El concepto de la educación.--El valor de la paz.--La intervención y la guerra.

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Elaborar y probar experimentalmente un programa de inciación al Inglés en primero, segundo y tercero de EGB, que responda a las posibilidades, necesidades y niveles de comprensión y comunicación de los alumnos. Adecuar las orientaciones del MEC para la iniciación al segundo idioma en tercero, cuarto y quinto de EGB a la realidad de los alumnos y los medios disponibles. Determinar qué es lo que deben aprender los alumnos de cada nivel. 2230 alumnos de los colegios Caja de Ahorros, la Asunción, Ave María, San Isidro, Nacionales de prácticas de Purillana, Eugenia de Montijo e Inmaculada del Triunfo, Inmaculada Niña y Grupos Escolares Gómez Moreno y de Montefrío, de la ciudad y provincia de Granada. Colaboran de forma parcial o continuada. No representativas. Se tiene en cuenta la adecuación de las variables intervinientes centros de interés, contenidos (vocabulario, idiomas, pronunciación, civilización), metodología (globalización, texto, ilustraciones, actividades, juegos) y técnicas de evaluación, con las variables independientes de la edad, medio ambiente, capacidad, interés, necesidades y posibilidades del alumno, en función de los objetivos a iniciar. Posponer o alcanzar en cada curso (en el dominio cognoscitivo, capacidades oral, lectora y de escritura; en el afectivo, comprensión, concienciación, promoción y satisfacción). Con la experimentación, se determina su incidencia en la variable dependiente del rendimiento, evaluando la homogeneidad de las muestras en cuanto a resultados y el grado de dificultad, discriminación y adecuación de cada contenido. Los resultados respecto a puntuaciones, homogeneidad de los grupos, índices de dificultad y discriminación de los ítems, fiabilidad de la prueba y análisis de distractores, están expresados por evaluaciones (5 para cada curso), mediante gráficos e histogramas. Es posible comenzar el estudio del Inglés en primero y segundo de EGB. No se debe introducir al alumno en la lectura hasta los 9 años, iniciandose de forma progresiva y por etapas, la enseñanza debe ser predominantemente oral. No es objetivo de los primeros cursos la adquisición de un vocabulario extenso. Dar prioridad al vocabulario que se relacione con el medio ambiente del alumno e introducir cierto vocabulario pasivo. La motivación es importante para mantener el interés. El programa experimentado ha sido un programa racional, frente a los programas mínimos y máximos. Las sugerencias del MEC respecto al programa de iniciación de la segunda lengua en tercero de EGB son, cuando menos, irreales y exageradas. Un programa debe responder a los intereses de los alumnos, a su edad y al tiempo disponible en la escuela para su aprendizaje. El programa propone unos baremos, obtenidos experimentalmente, para cada nivel y edad. No aparecen las conclusiones sobre los objetivos que se pueden alcanzar en cada curso y la metodología a seguir para presentar y utilizar estos contenidos, ni sobre la conveniencia de iniciar el estudio del Inglés en la primera etapa de EGB.

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[16] p. of publisher's advertisements at end.

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Includes indexes.

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John Frazer's architectural work is inspired by living and generative processes. Both evolutionary and revolutionary, it explores informatin ecologies and the dynamics of the spaces between objects. Fuelled by an interest in the cybernetic work of Gordon Pask and Norbert Wiener, and the possibilities of the computer and the "new science" it has facilitated, Frazer and his team of collaborators have conducted a series of experiments that utilize genetic algorithms, cellular automata, emergent behaviour, complexity and feedback loops to create a truly dynamic architecture. Frazer studied at the Architectural Association (AA) in London from 1963 to 1969, and later became unit master of Diploma Unit 11 there. He was subsequently Director of Computer-Aided Design at the University of Ulter - a post he held while writing An Evolutionary Architecture in 1995 - and a lecturer at the University of Cambridge. In 1983 he co-founded Autographics Software Ltd, which pioneered microprocessor graphics. Frazer was awarded a person chair at the University of Ulster in 1984. In Frazer's hands, architecture becomes machine-readable, formally open-ended and responsive. His work as computer consultant to Cedric Price's Generator Project of 1976 (see P84)led to the development of a series of tools and processes; these have resulted in projects such as the Calbuild Kit (1985) and the Universal Constructor (1990). These subsequent computer-orientated architectural machines are makers of architectural form beyond the full control of the architect-programmer. Frazer makes much reference to the multi-celled relationships found in nature, and their ongoing morphosis in response to continually changing contextual criteria. He defines the elements that describe his evolutionary architectural model thus: "A genetic code script, rules for the development of the code, mapping of the code to a virtual model, the nature of the environment for the development of the model and, most importantly, the criteria for selection. In setting out these parameters for designing evolutionary architectures, Frazer goes beyond the usual notions of architectural beauty and aesthetics. Nevertheless his work is not without an aesthetic: some pieces are a frenzy of mad wire, while others have a modularity that is reminiscent of biological form. Algorithms form the basis of Frazer's designs. These algorithms determine a variety of formal results dependent on the nature of the information they are given. His work, therefore, is always dynamic, always evolving and always different. Designing with algorithms is also critical to other architects featured in this book, such as Marcos Novak (see p150). Frazer has made an unparalleled contribution to defining architectural possibilities for the twenty-first century, and remains an inspiration to architects seeking to create responsive environments. Architects were initially slow to pick up on the opportunities that the computer provides. These opportunities are both representational and spatial: computers can help architects draw buildings and, more importantly, they can help architects create varied spaces, both virtual and actual. Frazer's work was groundbreaking in this respect, and well before its time.

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AWARD-WINNING American play and screen writer Neil LaBute is known for producing character-driven dramas that concentrate on the darker side of human nature and desire. In Fat Pig, LaBute picks up on a familiar theme: the way a perverse social preference for physical perfection affects human relationships. It is a topic LaBute has tackled before in The Shape of Things, a compelling play in which a beautiful young woman's efforts to help her new boyfriend pursue a program of self-improvement are eventually revealed to be part of a bizarre human experiment for her master-of-fine-arts degree.

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Central to Coraline’s experiences in the fantasy world beyond the walls of her flat is the ‘other’ mother, who is initially constructed as an idealised image of maternal care whose only concern is for the welfare and comfort of her child. But as the story unfolds, this belle dame rapidly transforms into the ‘beldam sans merci’, an old crone, a she-devil whose real interest lies in the power she can draw from possessing the souls of children such as Coraline. This paper explores the Gaiman’s use of archetypes and cultural stereotypes of the mother figure that feminisms have been intent on expunging, interrogating, or appropriating in positive ways.