Within population biology, models are often analyzed for the net reproduction number or other generalized target reproduction numbers, which describe the growth or decline of the population based on specific mechanisms. This is useful in determining the strength and efficiency of control measures for inhibiting or enhancing population growth. The literature contains many algebraic and combinatorial approaches for deriving the net reproduction number and generalized target reproduction numbers from digraphs and associated matrices. Finding, categorizing, and counting the permutations of disjoint cycles, or cycles unions is a requirement of the Cycle Union approach by Lewis et al. (2019). These cycles and subsequent cycle unions can be found via the digraphs and associated matrices. We developed cycle counting patterns for targeting fertilities within Leslie Matrices, Lefkovitch Matrices, Sub-Diagonal Lower Triangle Transition Matrices, and Lower Triangle Transition Matrices to serve as a foundation for future work. Presented are the counting patterns and closed-form summations of the cycle unions.

Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaves 33-40).

Made available in DSpace on 2017-07-24T19:45:51Z (GMT). No. of bitstreams: 1 Marilene Probst Novacoski.pdf: 10768451 bytes, checksum: 21533b701fe5ccaf511a5a3d82fe34eb (MD5) Previous issue date: 2017-08-22 / The main purpose of this work was to propose and implement experiments using the Arduino Integrated Plate. The plate was used in Thermodynamics experiments to room temperature measures, in discussions about thermal sensation and heat propagation processes. In the approach of Modern Physics topics, a metal cube was built, similar to the commercial Leslie Cube and other modified. The temperature measurements in real time on the faces of the cube were obtained using the Arduino Integrated plate, NTC temperature sensors and data acquisition system (DAQ PLX). As a result of this work we include: production of a Leslie Cube similar to the traditional, production of a modified cube, where the inner faces have different colors in relation to each other, producing an introductory guide to Arduino and a guide of experiences related to Thermodynamics and Modern Physics. We conclude that the Integrated Arduino board is an important and appropriate tool for the integration of different technologies in high school. / O objetivo principal desta dissertação foi propor e realizar experimentos utilizando a Placa Integrada Arduino. A placa foi utilizada em experimentos de Termodinâmica, para medidas de temperatura ambiente, nas discussões sobre sensação térmica e processos de propagação de calor. Na abordagem de temas de Física Moderna, foi construído um cubo metálico, similar ao Cubo de Leslie comercial e outro modificado. As medidas de temperatura em tempo real nas faces do Cubo, foram obtidas utilizando a Placa Integrada Arduino, sensores de temperatura NTC e o sistema de aquisição de dados (PLX DAQ). Como resultados das atividades desenvolvidas nesta dissertação, podemos citar: produção de um Cubo de Leslie similar ao tradicional, produção de um cubo modificado, onde, as faces internas apresentam cores diferentes uma em relação à outra, produção de um guia de introdução ao Arduino e um roteiro de experiências relacionadas à Termodinâmica e Física Moderna. Concluímos que a Placa Integrada Arduino é uma ferramenta importante e adequada para a inserção de diferentes tecnologias no ensino médio.

<p>What is the relation of image and word, of sentences and pictures? What kind of message does this combination produce when juxtaposed on a single material plane? And how do we read its “infinite” relation? These are the questions at the center of this inquiry. My main interest concerns the exact nature of the relation between photographic images and textual elements of poetic language when these are juxtaposed in what I call Phototext poetry.</p><p>The thesis calls into question the conventional reading habits of the conjunction of photographs and texts, and seeks to understand the more complex connections intrinsic to the relation image/word and its material and perceptual play in poetic works. Does a text always “anchor” the multiple meanings of an image, as Roland Barthes argues? What if the alterations of an image could “anchor” certain fractions of a poetic, polysemantic textual construct? Is a photograph indifferent to the visual, material permutations of texts that certain contemporary poetic practices produce?</p><p>I discuss phototextual works and collaborations of various kinds, from Molin fontän [“Molin’s fountain”] (1866) over classic surrealist poetry to language-oriented writing. This last interest also shows (with ambiguity) in the thesis’ two close readings: 23:23 (2006) by Swedish poet Marie Silkeberg and The Tango (2001) by American poet Leslie Scalapino. Throughout the study, I also put these in relation to other works of various, and related, kinds, such as artists’ books, concrete poetry, and phototexts in 20th century art.</p><p>My theoretization of phototext poetry focuses on questions of function. My perspective on the phototextual meeting in poetry is therefore concerned, not with taxonomy, but with local, contingent definitions. That is not to say, however, that certain things cannot be attributed to its particular, juxtaposed form. An “unthinkable space” (Michel Foucault), the relation between verbal and visual derives its dynamics from the different ways it actually makes itself “thinkable” and, furthermore, is materially represented. From Craig Dworkin’s conception of illegibility, Jacques Ranciere’s term phrase-image, and Roland Barthes’s obtuse meaning, I try to weave a network of connections concerning the reader’s relation to the photo/text conjunction. My argument that a certain phrase can cooperate with a certain part of an image, that a photo can “anchor” a specific meaning in a polysemantic text, and that the typographical appearance of a text may well have a plastic quality, also suggests a reading that focuses on systems of verbivisual parts and contingent intermedial meetings rather than the stable relation of a determining text and a determined image. In sum, I argue that the relation of photographs and texts must always be approached as a local problem.</p><p>My second argument is that the phototext is a self-reflexive form – it investigates itself, as it were. When a photograph and a (poetic) text are juxtaposed, they try to define their own media characteristics. In short, they often investigate the premises for phototextual documentation, communication, and aesthetics. The phototextual form therefore shares a photographic trait, as a “process of rendering observation self-conscious” (John Berger).</p><p>I also trace the supplementariness and discursiveness of the relation between image and word, and investigate how it affects our reading of this “disjunctive conjunction”. The text and the image run through each other, both inside and among us, as Rancière would have it. This, in turn, produces a contemporary approach to aesthetics (as a term and philosophical tradition) in this thesis, which involves the practice as much as the aesthetic perception of the phototextual combination. However, I also see as necessary to negotiate with the ways in which the image-word relation has been theorized since the early eighteenth century, as well as with earlier, even ancient, conceptions.</p><p>In short, the aim of this thesis is to conceptualize the relation of photographs and texts in phototext poetry, not by destroying the dualistic positions of the visual and the verbal, but rather by re-negotiating them: by approaching them as located inside as well as between these two media, image and text. The relation of photographs and poetic text, I therefore suggest, performs its work “inside” language, at the same time opening up towards the “infinity of language” (Barthes).</p>

What is the relation of image and word, of sentences and pictures? What kind of message does this combination produce when juxtaposed on a single material plane? And how do we read its “infinite” relation? These are the questions at the center of this inquiry. My main interest concerns the exact nature of the relation between photographic images and textual elements of poetic language when these are juxtaposed in what I call Phototext poetry. The thesis calls into question the conventional reading habits of the conjunction of photographs and texts, and seeks to understand the more complex connections intrinsic to the relation image/word and its material and perceptual play in poetic works. Does a text always “anchor” the multiple meanings of an image, as Roland Barthes argues? What if the alterations of an image could “anchor” certain fractions of a poetic, polysemantic textual construct? Is a photograph indifferent to the visual, material permutations of texts that certain contemporary poetic practices produce? I discuss phototextual works and collaborations of various kinds, from Molin fontän [“Molin’s fountain”] (1866) over classic surrealist poetry to language-oriented writing. This last interest also shows (with ambiguity) in the thesis’ two close readings: 23:23 (2006) by Swedish poet Marie Silkeberg and The Tango (2001) by American poet Leslie Scalapino. Throughout the study, I also put these in relation to other works of various, and related, kinds, such as artists’ books, concrete poetry, and phototexts in 20th century art. My theoretization of phototext poetry focuses on questions of function. My perspective on the phototextual meeting in poetry is therefore concerned, not with taxonomy, but with local, contingent definitions. That is not to say, however, that certain things cannot be attributed to its particular, juxtaposed form. An “unthinkable space” (Michel Foucault), the relation between verbal and visual derives its dynamics from the different ways it actually makes itself “thinkable” and, furthermore, is materially represented. From Craig Dworkin’s conception of illegibility, Jacques Ranciere’s term phrase-image, and Roland Barthes’s obtuse meaning, I try to weave a network of connections concerning the reader’s relation to the photo/text conjunction. My argument that a certain phrase can cooperate with a certain part of an image, that a photo can “anchor” a specific meaning in a polysemantic text, and that the typographical appearance of a text may well have a plastic quality, also suggests a reading that focuses on systems of verbivisual parts and contingent intermedial meetings rather than the stable relation of a determining text and a determined image. In sum, I argue that the relation of photographs and texts must always be approached as a local problem. My second argument is that the phototext is a self-reflexive form – it investigates itself, as it were. When a photograph and a (poetic) text are juxtaposed, they try to define their own media characteristics. In short, they often investigate the premises for phototextual documentation, communication, and aesthetics. The phototextual form therefore shares a photographic trait, as a “process of rendering observation self-conscious” (John Berger). I also trace the supplementariness and discursiveness of the relation between image and word, and investigate how it affects our reading of this “disjunctive conjunction”. The text and the image run through each other, both inside and among us, as Rancière would have it. This, in turn, produces a contemporary approach to aesthetics (as a term and philosophical tradition) in this thesis, which involves the practice as much as the aesthetic perception of the phototextual combination. However, I also see as necessary to negotiate with the ways in which the image-word relation has been theorized since the early eighteenth century, as well as with earlier, even ancient, conceptions. In short, the aim of this thesis is to conceptualize the relation of photographs and texts in phototext poetry, not by destroying the dualistic positions of the visual and the verbal, but rather by re-negotiating them: by approaching them as located inside as well as between these two media, image and text. The relation of photographs and poetic text, I therefore suggest, performs its work “inside” language, at the same time opening up towards the “infinity of language” (Barthes).

Zugl.: Tübingen, University, Diss., 2007.

Thesis (doctoral) - Universität, Greifswald, 2001. / Includes bibliographical references (p. 243-289).

Thesis (doctoral) - Universität, Greifswald, 2001. / Includes bibliographical references (p. 243-289).

Le fuligule milouin (Aythya ferina) est une espèce de canard plongeur répandue dans l’ensemble du Paléarctique. Montrant des signes de déclin de ses effectifs nicheurs en Europe depuis les années 2000, son statut de conservation IUCN a été réévalué de « Préoccupation Mineure » à « Vulnérable ». Etant une espèce chassée, la question du maintien de ces prélèvements cynégétiques est légitime. L’objectif de ce travail de thèse est donc de comprendre son fonctionnement démographique et les mécanismes sous-jacents à sa dynamique de population, pour proposer des mesures de gestion et de conservation. Pour cela, nous nous sommes attachés à estimer la tendance de ce déclin sur sa voie de migration nord-ouest européenne à partir des données de recensements de la mi-janvier. Puis, nous avons étudié la connectivité migratoire de cette voie de migration avec les autres voies préssuposées, afin de mieux comprendre l’origine de ce déclin. Enfin, nous avons estimé deux paramètres démographiques clés, la survie et le succès de nidification, pour les intégrer dans un cadre matriciel permettant d’estimer un taux de croissance asymptotique et comprendre quels sont les paramètres démographiques clés sur lesquels doivent reposer les actions de gestion. Il ressort de ce travail de thèse que le déclin du fuligule milouin est probalement dû surtout à une diminution de sa productivité en Europe de l’Est et en Russie. Le contrôle et la gestion de la productivité par l’Homme étant limités, uniquement des travaux de gestion autour des habitats liés à la nidification sont envisageables. Ces travaux pourraient être facilement menés en Europe mais beaucoup plus difficilement en Sibérie, principale aire de reproduction des milouins caractérisée par une vaste superficie et un fort isolement. Les taux de survie des oiseaux bagués en France sont plus faibles que pour les oiseaux bagués dans d’autres pays, potentiellement du fait d’une pression de chasse plus élevée. Amener le taux de survie en France au même niveau que dans les pays voisins (Suisse et Grande-Bretagne), par une modification de la réglementation sur la chasse, serait de nature à ramener le taux de croissance à l’équilibre. La mise en place de la gestion adaptative pourrait faciliter les objectifs de conservation fixés en adaptant annuellement ces prélèvements aux effectifs présents et aux connaissances dont on dispose. / The Common Pochard (Aythya ferina) is a regular diving duck species in the western Palearctic. However, a worrisome decline of its wintering population led to an up-listed IUCN status from “Least Concern” to “Vulnerable”. This species is still hunted in Europe despite this decline. Hence, one may wonder about the sustainability of its harvest. The aim of this work was to understand the population dynamics of this species, and the drivers of these mechanisms. For this purpose, we assessed the declining trend in northwestern Europe using the mid-january censuses. Then, we studied the migratory connectivity with the two others flyways, in order to better understand the origin of the decline. Finally, we assessed two main demographic parameters (survival rate and nesting success) and combined these into a matrix population model. This model allowed us to assess an asymptotic growth rate and to determine the key demographic parameters on which management actions should focus. The main results of this thesis indicate that the decrease in productivty in Europe and in Russia could have been the main reason of the decline. However, given the limited human action to improve Pochard productivity, only breeding habitat improvement could be considered. Such improvements could be easily considered in Europe, but not in Siberia, the main breeding region characterized by a large area and a strong geographic isolation. Survival rates were lower in France than in neighbouring countries, possibly owing to a greater hunting pressure. A more moderate hunting pressure could lead to higher survival rates, and a balanced growth rate. Setting up an adaptative harvest management scheme could help reaching defined management goals, by annually adapting hunting quotas to current knowledge and assessment of Pochard population size.

John Lesley saw himself as a humanist, devoted to the common weal and especially to his Queen; to others he was `a busie man', `seed-man of all treasons'. Educated in the Renaissance Scotland of James V and trained in France for a career in the law and the Church, he was `a great doer' with Queen Mary and, briefly, at the heart of government in Scotland, as Lord of Session, Bishop and trusted Counsellor. In 1568 his priorities were transformed. Charged with defending Mary's innocence at York and her interests at the court of Elizabeth, he failed to secure her rehabilitation in Scotland or her release from England. What he could not do in court by his pleading he attempted to do, covertly, by his pen, in an attempt to convince the English nobility and the Spanish King that Mary was Elizabeth's natural heir, in no way disqualified by her own character and conduct or her gender or by English laws of succession. These three topics and Lesley's handling of them are discussed in Chapters Two to Four. Chapter One uses his own, often mutually contradictory, accounts of these years to indicate the circumstances in which his polemic, and the Histories discussed in Chapter Six, were composed. Chapter Five argues that A Treatise of Treasons should not be ascribed to him. In the past century, Lesley has attracted little notice, usually overshadowed by stronger or more flamboyant characters; from his writings, Mary's `learned and most faithful servant' can appear to have the consistency of a chameleon. This study is concerned with his political works, in Latin, Scots and English; it tries to explain those discrepancies which it cannot reconcile, and to examine Lesley's ideas, and their influence, on political issues which included resistance, union with England and the rights of women.