Thesis (Ph. D.)--University of Massachusetts Amherst, 2009. / Includes bibliographical references (p. 150-162). Print copy also available.

Ahuna Mons is a 4 km tall mountain on Ceres interpreted as a geologically young cryovolcanic dome. Other possible cryovolcanic features are more ambiguous, implying that cryovolcanism is only a recent phenomenon or that other cryovolcanic structures have been modified beyond easy identification. We test the hypothesis that Cerean cryovolcanic domes viscously relax, precluding ancient domes from recognition. We use numerical models to predict flow velocities of Ahuna Mons to be 10-500 m/Myr, depending upon assumptions about ice content, rheology, grain size, and thermal parameters. Slower flow rates in this range are sufficiently fast to induce extensive relaxation of cryovolcanic structures over 10(8)-10(9) years, but gradual enough for Ahuna Mons to remain identifiable today. Positive topographic features, including a tholus underlying Ahuna Mons, may represent relaxed cryovolcanic structures. A composition for Ahuna Mons of >40% ice explains the observed distribution of cryovolcanic structures because viscous relaxation renders old cryovolcanoes unrecognizable.

This doctoral dissertation examines the European Commission’s dawn raid practices in competition cases from a fundamental rights perspective. In recent years the Commission has adopted a new and more aggressive enforcement policy, which reflects the widespread understanding that cartels and abuse of market power are harmful to the economy and should be punished. Given both the considerable gains to be made through anti-competitive practices and the cartel’s nature of secrecy, effective application of the competition rules requires that competition authorities are vested with far-reaching investigatory powers. At the same time, EU fundamental rights protection has been strengthened through the Lisbon Treaty, and the Commission now has to ensure effective application of the EU competition rules while navigating through an array of fundamental rights, such as the right of the defence and the right to privacy. The doctoral dissertation explores whether it is possible to strike a balance between the interests of ensuring effective dawn raids and adequate fundamental rights protection, or whether the Commission has been handed an impossible task. As the EU Charter of Fundamental Rights requires EU fundamental rights protection to meet or exceed the standard set by the ECHR, the research is based on case-law from both the EU Courts and the European Court of Human Rights. The research demonstrates that the European Court of Human Rights has adopted a flexible approach towards inspections at business premises; it does not require an ex ante review of inspection decisions and accepts rather intrusive investigatory measures, provided that and as long as the procedural safeguards surrounding such measures are considered adequate. This way, the court manages to strike a balance between efficiency concerns and the rights of undertakings. As for the EU system, the EU Courts are not providing judicial review to the extent required by the ECHR. While inspection decisions may be challenged, the possibilities to challenge measures taken on their basis, or have those measures suspended, are limited. This discrepancy between EU and ECHR law – which is of seemingly limited nature – may affect the legitimacy of the entire dawn raid procedure as the granting of far-reaching investigatory powers must be counterbalanced by effective judicial control to ensure that measures adopted by the Commission are neither disproportionate nor arbitrary. Absent an effective judicial control of measures taken on the basis of inspection decisions, the procedural safeguards surrounding dawn raids cannot be considered adequate, and it is possible that the powers of the Commission may need to be restricted accordingly. The research also demonstrates that some of the limitations in the legal professional privilege – such as the exclusion of correspondence with non-EU lawyers or legal advice that lacks connection with the subject-matter of the investigation – do not serve the interests of a proper administration of justice and may therefore be questioned.

<p>Inledning</p><p>The horror of the zombie movie comes from recognizing the human in the monster; the terror of the zombie movie comes from knowing there is nothing to do about it but destroy what is left; the fun comes from watching the genre continue to develop. Although zombies are technically dead, their cinematic genre is a living, breathing entity that continues to grow and evolve.</p><p>Citatet taget ur Kyle Bishops artikel ”Raising the dead” öppnar upp för en intressant diskussion angående utvecklingen av zombiefilm. De flesta i en skräckfilmspublik kan på ett fåtal sekunder med säkerhet peka ut en zombie på vita duken. Även filmad i long shots och i extreme long shots kan till och med den åskådare som är relativt ny för genren känna igen zombien. De tydliga rörelsemönstren med långsamma släpande steg och ryckiga rörelser tillhör förväntningarna kring hur zombies ska bete sig, men ser zombien verkligen ut så idag? Om en publik förväntar sig se dessa stildrag när de bänkar sig för att titta på en zombiefilm gjord under 2000-talet är det vad de möter? Visst kan man ännu se grunden till dessa manér även i zombies av idag men dock med ett flertal modifieringar. Den klassiska bleka sminkningen tillsammans med ett lika klassiskt rörelsemönster som sedan Night of the Living Dead (George A. Romero, 1968) har definierat zombien inom filmens värld befinner sig i en ständig transformation. Denna uppsats kommer att granska film och litteratur i ett försök att bena ut de olika stilistiska och sociala förändringar som zombien genomgått från 1968 fram till idag.</p>

Inledning The horror of the zombie movie comes from recognizing the human in the monster; the terror of the zombie movie comes from knowing there is nothing to do about it but destroy what is left; the fun comes from watching the genre continue to develop. Although zombies are technically dead, their cinematic genre is a living, breathing entity that continues to grow and evolve. Citatet taget ur Kyle Bishops artikel ”Raising the dead” öppnar upp för en intressant diskussion angående utvecklingen av zombiefilm. De flesta i en skräckfilmspublik kan på ett fåtal sekunder med säkerhet peka ut en zombie på vita duken. Även filmad i long shots och i extreme long shots kan till och med den åskådare som är relativt ny för genren känna igen zombien. De tydliga rörelsemönstren med långsamma släpande steg och ryckiga rörelser tillhör förväntningarna kring hur zombies ska bete sig, men ser zombien verkligen ut så idag? Om en publik förväntar sig se dessa stildrag när de bänkar sig för att titta på en zombiefilm gjord under 2000-talet är det vad de möter? Visst kan man ännu se grunden till dessa manér även i zombies av idag men dock med ett flertal modifieringar. Den klassiska bleka sminkningen tillsammans med ett lika klassiskt rörelsemönster som sedan Night of the Living Dead (George A. Romero, 1968) har definierat zombien inom filmens värld befinner sig i en ständig transformation. Denna uppsats kommer att granska film och litteratur i ett försök att bena ut de olika stilistiska och sociala förändringar som zombien genomgått från 1968 fram till idag.

There has been a recent paradigm shift in the study of animal communication from examining interactions as dyads to considering interactions as occurring in a communication network. The dawn chorus of songbirds, a striking acoustic phenomenon, provides an ideal opportunity to study network communication because multiple singers are within range of each other, permitting eavesdropping by both males and females. I used a 16-microphone Acoustic Location System (ALS) to simultaneously record and analyse the dawn chorus in a population of black-capped chickadees (Poecile atricapillus) breeding in eastern Ontario. Males frequency-match neighbours 24% of the time at dawn, more often than expected by chance or during daytime singing interactions. The amount of matching between males from different over-wintering flocks is significantly greater than between flockmates. Males of the same winter dominance rank match significantly more than do males of disparate ranks. Male black-capped chickadees are interacting vocally with neighbours at dawn, using the dawn chorus to mediate social relationships in ways that suggest useful information is available to the network of male and female receivers. Matching levels are not related to distance between opponents. However, males with non-fertile mates move over larger areas while chorusing and are further from their nest than males with fertile mates, suggesting dawn mate guarding. Males with non-fertile mates spend more of their chorus near boundaries with fertile neighbours than non-fertile neighbours possibly positioning themselves to facilitate eavesdropping by fertile females. Male chickadees of high and low winter social rank do not differ in either the size of their communication network, or the way they use their songs when interacting with neighbours. Males match multiple neighbours both sequentially and simultaneously. Simultaneous matching is most often the result of a former flockmate joining an interaction between two males who had been in different winter flocks. High-ranked males join the interactions of their lower-ranked flockmates, preferentially when those males are matching other high-ranked males. The dawn chorus is an interactive communication network in which all males participate and is characterized by interactions between multiple senders and receivers with males eavesdropping on interactions in which they are not involved. / Thesis (Ph.D, Biology) -- Queen's University, 2008-09-17 15:07:56.276

Thesis (M.A.)--University of Montana, 2008. / Title from title screen. Description based on contents viewed Aug. 28, 2008. Includes bibliographical references (p. 40).

Thesis (M.A.)--Brigham Young University Dept. of Dramatic Arts.

Thesis (M.A.)--Brigham Young University Dept. of Dramatic Arts. / Electronic thesis. Also available in print ed.

This thesis discusses the effects, primarily on a person’s identity, caused by rural to urban migration during the 1920s and 1930s through investigating the migrations of four literary characters—Quentin Compson, George Webber, Jefferson Abbott, and Prudence Bly—developed by three American Modernist—William Faulkner, Thomas Wolfe, and Dawn Powell. I first explore the population trends and movements of Americans out of rural areas to urban ones. In doing so, various sociological theories and historical events are referenced in order to better provide evidence for the reasons for this type of migration, and more importantly, in concern with this study, to illustrate common effects due to rural to urban migration that are explored in depth in subsequent chapters through the examination of the aforementioned characters. Even though the migration of people out of rural areas for more urban centers has occurred ever since the division of those two communities, the interwar years in American society is a key period to consider because of the great social and economic changes that occurred during those two decades. Additionally, it is in this era that we first see clear signs that the United States was transitioning to an urban dominated society. Each of the four characters focused on in this work undergo a rural to urban migration during their young adult years. Because each character experiences this migration in a different way, the severity of the effects of his or her migration changes too. Three of the four characters—Quentin, George, and Prudence—must cope with an identity crisis that is brought to the forefront by their rural to urban migration. Quentin experiences feelings of guilt over his opportunities versus that of his brothers. More importantly, he is unable to rectify the conflict between his perceived identity and the identity placed upon him by the urban community to which he migrates, thus influencing his suicide. George is unable to see the extreme influence that the nostalgic view of his hometown has on the way he perceives the rest of the world. Therefore, he is also unable to recognize the power of time and the inevitability of change. Each time he is forced to see the falseness of his nostalgia, a crucial portion of his identity is dismantled, throwing him into a deep depression. Prudence—due to the arrival of Jefferson, a hometown sweetheart—is forced to reconcile the rural identity she has tried for a decade to forget and the urban one she spent a decade creating. Only at the end of the novel, does she realize that her identity is actually a compilation of both her rural and urban parts. The fourth character—Jefferson Abbott—is relatively unaffected by his migration, in large part due to the stability and confidence he has in his own identity.