The problem of counting ramified covers of a Riemann surface up to homeomorphism was proposed by Hurwitz in the late 1800's. This problem translates combinatorially into factoring a permutation with a specified cycle type, with certain conditions on the cycle types of the factors, such as minimality and transitivity. Goulden and Jackson have given a proof for the number of minimal, transitive factorizations of a permutation into transpositions. This proof involves a partial differential equation for the generating series, called the Join-Cut equation. Furthermore, this argument is generalized to surfaces of higher genus. Recently, Bousquet-M&eacute;lou and Schaeffer have found the number of minimal, transitive factorizations of a permutation into arbitrary unspecified factors. This was proved by a purely combinatorial argument, based on a direct bijection between factorizations and certain objects called <em>m</em>-Eulerian trees. In this thesis, we will give a new proof of the result by Bousquet-M&eacute;lou and Schaeffer, introducing a simple partial differential equation. We apply algebraic methods based on Lagrange's theorem, and combinatorial methods based on a new use of Bousquet-M&eacute;lou and Schaeffer's <em>m</em>-Eulerian trees. Some partial results are also given for a refinement of this problem, in which the number of cycles in each factor is specified. This involves Lagrange's theorem in many variables.

The problem of counting ramified covers of a Riemann surface up to homeomorphism was proposed by Hurwitz in the late 1800's. This problem translates combinatorially into factoring a permutation with a specified cycle type, with certain conditions on the cycle types of the factors, such as minimality and transitivity. Goulden and Jackson have given a proof for the number of minimal, transitive factorizations of a permutation into transpositions. This proof involves a partial differential equation for the generating series, called the Join-Cut equation. Furthermore, this argument is generalized to surfaces of higher genus. Recently, Bousquet-M&eacute;lou and Schaeffer have found the number of minimal, transitive factorizations of a permutation into arbitrary unspecified factors. This was proved by a purely combinatorial argument, based on a direct bijection between factorizations and certain objects called <em>m</em>-Eulerian trees. In this thesis, we will give a new proof of the result by Bousquet-M&eacute;lou and Schaeffer, introducing a simple partial differential equation. We apply algebraic methods based on Lagrange's theorem, and combinatorial methods based on a new use of Bousquet-M&eacute;lou and Schaeffer's <em>m</em>-Eulerian trees. Some partial results are also given for a refinement of this problem, in which the number of cycles in each factor is specified. This involves Lagrange's theorem in many variables.

Soft trim absorbing parts (i.e., headliners, backwalls, side panels, etc.) are normally comprised of different layers including films, adhesives, foams and fibers. Several approaches to determine the complex wavenumber and characteristic impedance for porous sound absorbing materials are surveyed and the advantages and disadvantages of each approach are discussed. It is concluded that the recently documented three-point method produces the smoothest results. It is also shown that measurement of the flow resistance and the use of empirical equations is sufficient for many common materials. Following this, the transfer impedance of covers, adhesives, and densified layers are measured using an impedance difference approach. The transfer matrix method was then used to predict the sound absorption of a multi-layered materal which included a perforated cover, fiber layers, and an adhesive. The predicted results agree well with measurement.

The purpose of this study was to analyze the cover images of Vanity Fair magazine from the years 1983 to 2008. The study attempted to determine if Vanity Fair’s covers have become more focused on celebrities over time and also analyzed how Vanity Fair defines a celebrity. The study used grounded theory from a case study perspective. An additional research question was to determine the number of politically-based cover images versus the number of celebrity-based cover images. This research used content analysis methodology. Both open and axial coding were used. Results were entered into Microsoft Excel and analyzed for statistical significance. / Department of Journalism

We will discuss what is known about the construction of contact structures via branched covers, emphasizing the search for universal transverse knots. Recall that a topological knot is called universal if all 3-manifold can be obtained as a cover of the 3-sphere branched over that knot. Analogously one can ask if there is a transverse knot in the standard contact structure on S³ from which all contact 3-manifold can be obtained as a branched cover over this transverse knot. It is not known if such a transverse knot exists.

Darbo tikslas – nustatyti kiaulių ir galvijų mėšlui būdingas maksimalaus metano susidarymo (Bo), ir teorinio metano susidarymo (Bu) reikšmes, bei ištirti klimato kaitą skatinančių, ir aplinką teršiančių dujų emisijų mažinimo iš mėšlo priemonių taikymo efektyvumą. Darbo uždaviniai: 1) nustatyti maksimalų metano dujų kiekį galintį išsiskirti iš kiaulių ir galvijų mėšlo. 2) ištirti priedų įtaką NH3, CO2, CH4, H2S, NO ir CO dujų emisijoms iš skysto ir pusiau skysto galvijų ir kiaulių mėšlo. 3) nustatyti įvairių plaukiojančių dangų poveikį NH3, CO2, CH4, H2S, NO ir CO dujų emisijoms skysto ir pusiau skysto mėšlo laikymo metu. 4) ištirti priedų ir plaukiojančių dangų kompleksinio naudojimo įtaką NH3, CO2, CH4, H2S, NO ir CO dujų emisijoms iš skysto ir pusiau skysto galvijų ir kiaulių mėšlo. Tyrimai vykdyti dviejų kiaulių tvartų aplinkoje ir laboratorinėmis sąlygomis. Bandymams laboratorinėmis sąlygomis atlikti buvo panaudoti mėšlo mėginiai surinkti iš 28 gyvulininkystės ūkių. Tyrimų metu nustatytas maksimalus metano dujų kiekis galintis išsiskirti iš kiaulių ir galvijų mėšlo. Taip pat ištirtas mikrobiologinio preparato ir sieros rūgšties priedų, plaukiojančių dangų, t. y., keramzito, natūralių durpių, valgomojo saulėgrąžų aliejaus, medžio pjuvenų, šiaudų, polietileno plėvelės, bei priedų kompleksinio naudojimo su polietileno plėvele poveikis NH3, CO2, CH4, H2S, NO ir CO dujų emisijoms iš mėšlo. Atliki tyrimai, kuriuose įvertintas priedų bei įvairių plaukiojančių dangų poveikis... [toliau žr. visą tekstą] / The aim of the present study – to study the ultimate (Bo) and theoretical (Bu) methane yield from pig and cattle manure, and to investigate the effectiveness of implements on the emission reduction of polluting and greenhouse gases from manure. Tasks of the present study: 1. To measure the ultimate methane yield from pig and cattle manure. 2. To investigate the effect of the additives on the reduction of emission of the NH3, CO2, CH4, H2S, NO and CO gases from liquid and semi-liquid manure of cattle and pigs. 3. To determine the effect of different floating covers on the reduction of emission of the NH3, CO2, CH4, H2S, NO and CO gases from liquid and semi-liquid manure during the storage. 4. To investigate the effect of the complex of additives and floating covers on the reduction of emission of the NH3, CO2, CH4, H2S, NO and CO gases from liquid and semi-liquid manure of cattle and pigs. The investigations were performed in two piggeries and a laboratory. To carry out the experiments in the laboratory, the manure was collected from 28 farms. During the investigation period, the ultimate methane yield from pig and cattle manure was determined. Also, the effect of the microbial-based and sulphuric acid additives, floating covers, i. e., leca (light expanded clay aggregate), natural peat, sunflower oil, sawdust, straw and plastic film, and furthermore, the complex of additives and a plastic film cover on the emission of NH3, CO2, CH4, H2S, NO and CO gases from manure were... [to full text]

Thesis (MA(Visual Arts))-University of Pretoria, 2007. / Includes bibliographical references.

Οι δορυφορικές εικόνες ASTER αποτελουν το πιο πρόσφατο προϊόν της διαστημικής τεχνολογίας. Έχει πολύ μεγάλη φασματική διακριτική ικανότητα σε σημείο που να χαρακτηρίζεται από αρκετούς επιστήμονες σαν ένα υπερφασματικό καταγραφικό σύστημα στο υπέρυθρο. Έτσι δίνονται νέες δυνατότητες για την ερμηνεία είτε ποιοτικά είτε ποσοτικά καλύψεων γης και φυσικών καταστάσεων της γήινης επιφάνειας. Ο σκοπός είναι η περιβαλλοντική χαρτογράφηση του Νομού Μεσσηνίας από δορυφορικές εικόνες ASTER προκειμένου να χαρτογραφηθούν οι φυσικοί πόροι και οι καλύψεις γης. Έτσι θα μπορέσουμε να αξιολογήσουμε τις δυνατότητες και τις εφαρμογές που έχουν αυτά τα δεδομένα. Μετά τις διορθώσεις (αποζωνοποίηση, μετατροπή σε τιμές ενέργειας κ.ά) η ταξινόμηση της δορυφορικής εικόνας μας επέτρεψε να διακρίνουμε τις παρακάτω κατηγορίες: καλλιέργειες, ποώδη βλάστηση, δύο τύπους δάσους, αστική γη, υδάτινες επιφάνειες, σύννεφα και εντελώς γυμνό από βλάστηση έδαφος και να δημιουρφήσουμε ένα θεματικό χάρτη. Εάν χρησημοποιηθούν περισσότερα κανάλια και όχι μόνο 3, τότε θα γίνει δυνατή η χαρτογράφηση περισσότερων κατηγοριών μόνο που η ταυτοποίηση της κάθε κατηγορίας θα μπορεί να πραγματοποιηθεί μόνο με εργασίες πεδίου στο ύπαιθρο. / Satellite pictures ASTER constituting the most recent product of space technology. It has very big spectrum discreet faculty in point that would be characterized by enough scientists as a super-spectrum recorder system in infra red. Thus are given new possibilities for the interpretation of either qualitatively or quantitatively covers of ground and natural situations of earthy surface. The aim is the environmental mapping of Prefecture Messinia from satellite pictures ASTER so that be charted the natural resources and the covers of ground. Thus we might evaluate the possibilities and the applications that have these data. Afterwards the corrections (transformation in prices of energy etc) the classification of satellite picture allowed us to distinguish the following categories: cultivation, underbrush, two types of forest, urban ground, aquatic surfaces, clouds and completely naked from vegetation ground and create a thematic map. If more channels and not only 3 be used, then becomes possible the mapping of more categories only that the identification of each category might be realized only with work of field in the countryside.

Könsstereotyper är något som finns i alla kulturer och påverkar både män ochkvinnor redan från barnsben. Inte minst musikindustrin kantas avkönsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Menmycket lite tycks vara skrivet om hur artister framställs på sina skivomslag medkönsstereotyper som utgångspunkt.Syftet med föreliggande studie var därför att analysera och jämföra skivomslagför kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, medvikt på vilka könsstereotyper som förekommer. Syftet var även att se om någonförändring har skett med tiden vad gäller utformningen av skivomslag samtundersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer ochgenrer.En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varjeår var för kvinnliga respektive manliga artister.Resultatet visade att en del av de könsstereotyper som är vanliga vidfotograferandet av män och kvinnor även förekom på skivomslag. Men på endel punkter frångick omslagen traditionella könsstereotyper. Resultatet visadeäven att förekomsten av stereotyper har förändrats en del under tioårsperioden.En del skillnader kunde också identifieras vid en jämförelse av amerikanska ochsvenska artister, samt vid en jämförelse av olika genrer.Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnaderi hur manliga och kvinnliga artister porträtteras på sina skivomslag. Menskivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andrasammanhang när män och kvinnor fotograferas. / Gender stereotypes exists in all cultures and affects both men and women froman early age. The music industry is not an exception and stereotypes can be seenand heard in everything from lyrics to music videos. However, very little seemsto be written about gender stereotypes on album covers.Therefore, the purpose of this study was to analyze and compare how albumcovers for female and male artists differ, with focus on gender stereotypes. Thepurpose was also to examine whether a change over time have occurred when itcomes to gender stereotypes present on album covers. Additionally, this studyexamined how gender stereotypes takes form in different cultures and genres.A visual analyze were made on 100 album covers. Half of them were releasedin 2006/2007 and the other half was released in 2016/2017. The number of maleand female artist were equally divided across the different years.The result showed that some of the gender stereotypes that normally occurwhen males and females are photographed, also occurred on album covers.Other gender stereotypes were uncommon on album covers. Some changescould be seen over the ten-year period. Moreover, the result showed somedifferences when comparing Swedish and American artists’ album covers, andwhen comparing different genres.The conclusions that could be drawn from the result was that there aredifferences in how male and female artists are portrayed on their album covers.However, album cover pictures differ to a certain extent from how males andfemales are photographed in other situations.

Könsstereotyper är något som finns i alla kulturer och påverkar både män och kvinnor redan från barnsben. Inte minst musikindustrin kantas av könsstereotyper som gör sig synliga i allt från låttexter till musikvideor. Men mycket lite tycks vara skrivet om hur artister framställs på sina skivomslag med könsstereotyper som utgångspunkt. Syftet med föreliggande studie var därför att analysera och jämföra skivomslag för kvinnliga och manliga artister för att identifiera vad som skiljer dem åt, med vikt på vilka könsstereotyper som förekommer. Syftet var även att se om någon förändring har skett med tiden vad gäller utformningen av skivomslag samt undersöka hur eventuella könsstereotyper tar sig uttryck i olika kulturer och genrer. En visuell innehållsanalys gjordes på 100 skivomslag, hälften utgivna 2006/2007 och andra hälften utgivna 2016/2017. Hälften av omslagen från varje år var för kvinnliga respektive manliga artister. Resultatet visade att en del av de könsstereotyper som är vanliga vid fotograferandet av män och kvinnor även förekom på skivomslag. Men på en del punkter frångick omslagen traditionella könsstereotyper. Resultatet visade även att förekomsten av stereotyper har förändrats en del under tioårsperioden. En del skillnader kunde också identifieras vid en jämförelse av amerikanska och svenska artister, samt vid en jämförelse av olika genrer. Slutsatserna som kunde dras utifrån studiens resultat var att det finns skillnader i hur manliga och kvinnliga artister porträtteras på sina skivomslag. Men skivomslagsbilder avviker en del från de stereotyper som gör sig synliga i andra sammanhang när män och kvinnor fotograferas. / Gender stereotypes exists in all cultures and affects both men and women from an early age. The music industry is not an exception and stereotypes can be seen and heard in everything from lyrics to music videos. However, very little seems to be written about gender stereotypes on album covers. Therefore, the purpose of this study was to analyze and compare how album covers for female and male artists differ, with focus on gender stereotypes. The purpose was also to examine whether a change over time have occurred when it comes to gender stereotypes present on album covers. Additionally, this study examined how gender stereotypes takes form in different cultures and genres. A visual analyze were made on 100 album covers. Half of them were released in 2006/2007 and the other half was released in 2016/2017. The number of male and female artist were equally divided across the different years. The result showed that some of the gender stereotypes that normally occur when males and females are photographed, also occurred on album covers. Other gender stereotypes were uncommon on album covers. Some changes could be seen over the ten-year period. Moreover, the result showed some differences when comparing Swedish and American artists’ album covers, and when comparing different genres. The conclusions that could be drawn from the result was that there are differences in how male and female artists are portrayed on their album covers. However, album cover pictures differ to a certain extent from how males and females are photographed in other situations.