Anti-predator behaviour, sexual selection and reproductive success in the House Sparrow Passer domesticus Alena Klvaňová Summary of the thesis Individual components of parental care are disproportionally distributed among the parents in the House Sparrow. While the female broods the nestlings more often and feeds them more frequently, the male defends the nest more intensely. In an experimental study the parents did not adjust their nest defence intensity to behaviour of their partners, nor to brood parameters. Only males tended to defend the sooner broods more intensely, which is in concordance with the "brood value hypothesis". Male contribution to nestling feeding affected their body mass. Male nest defence intensity increased with the size of their melanin ornament. Thus, we assume that the ornament could signal male investment in this component of parental care, while it does not correlate with feeding frequency and time spent by incubation. This output is probably caused by pleiotropic effect of genes regulating melanogenesis, affecting e. g. testosterone plasma level, which is associated with increased agression and lower intensity of other components of parental care as nestling provisioning or incubation. We have also aked the question whether the anti-predator strategy in House Sparrow is stable...

Cette recherche tente d’envisager l’art du cinéma comme un art cinégraphique, c’est-à-dire, selon la définition qu’on propose dans ce travail, comme un espace d’images en mouvement se déployant au regard à travers des influx énergétiques qui en animent les composants. Pour en dégager cette substance scripturale et en relever les implications sur le langage du cinéma, cette recherche entreprend un détour par deux pensées de l’image qui ont traditionnellement fait de l’art du tracé un art majeur, manifestant par-là des préoccupations esthétiques et des pensées du langage qui nous semblent en divergence avec celles qui ont conduit l’histoire culturelle occidentale à inventer le cinéma. Que devient alors le cinéma lorsqu’il est investi par ces pensées ? Réciproquement, que peut leur apporter le cinéma en tant que technique, dispositif et matière ? Le premier détour, en posant des questions de mouvement, de geste et de temps, passe par la calligraphie et l’art pictural chinois pour interroger le cinéma en tant que machine à enregistrer, liée à une pensée de la conservation, de la mémoire et de l’événement. Le second détour, en posant des questions de lumière, de regard et d’espace, passe par la calligraphie et l’art pictural musulman pour interroger le cinéma en tant que machine optique, liée à une pensée de la mimésis, de la profondeur et de la monstration. Ces détours servent enfin de base théorique pour penser notre rapport quotidien aux images (numériques principalement), rapport qui se transforme de manière exponentielle et qui reconfigure notre manière de voir, de lire et de toucher les images ; selon un mode précisément cinégraphique. / This research attempts to envisage the art of cinema as a cinegraphic art, that is to say, according to the definition herein, as a space of moving images unfolding themselves to the gaze through energetic impulses that animate its component parts. In order to draw forth this scriptural substance and to ascertain its implications for the language of cinema, this research detours into two realms of thought on the image, which have traditionally elevated the art of drawing into a prominent art form, thus manifesting aesthetic preoccupations and notions of language which we perceive as diverging from those that led Western cultural history to invent cinema. What then becomes of cinema when endowed by these thoughts? Conversely, what can cinema offer them as a technique, a device and a subject? The first detour, by posing questions of movement, gesture and time, journeys through Chinese calligraphy and pictorial art to question cinema as a recording machine, bound to a conception of conservation, memory and of the event. The second detour, by posing questions on light, gaze and space, journeys through Muslim calligraphy and pictorial art to question cinema as an optical machine, bound to a conception of mimesis, depth and of showing. These detours serve as a theoretical grounding for thinking about our everyday relationship to images (mainly digital), a relationship that changes exponentially and reconfigures our way of seeing, reading and touching images; according to a strictly cinegraphic mode.

The seaport of Bombay is often referred to as India's "Gothic City." Reminders of British colonial rule are seen throughout South Bombay in its Victorian architecture and sculpture. In the heart of Bombay lies the Victoria Terminus, a towering, hybrid railway station blending gothic and vernacular architectures. Built at the height of the British Empire, the terminus is evidence of the rapid modernization of Bombay through the philanthropy of the Parsis. This religious and ethnic minority became quick allies to the British Raj; their generous donations funded the construction of the "Gothic City." The British viewed the Parsis as their peers, not the colonized. However, Parsi-funded architectural ornament reveals that they saw themselves on equal footing with Bombay's indigenous populations. The Parsis sought to integrate Indian and British art, design, and culture. Through their arts patronage they created an artistic heritage unique to Bombay, as seen in the architectural crown of Bombay, the Victoria Terminus.The Parsi philanthropist, Sir Jamsetjee Jeejeebhoy was the most influential in Bombay's modern art world. He was chosen with other Indian elites to serve on the selection committee for the Great Exhibition of 1851 in London. He selected India's finest works to demonstrate India's rich tradition of the decorative arts. In turn, these works were viewed within the Indian Pavilion by the Victorian public and design reformer Owen Jones. Jones used many of the objects at the India Pavilion in his design book, The Grammar of Ornament. This book went on to inspire the eclectic architectural ornament of Victorian Britain and eventually Bombay. Jeejeebhoy sold the majority of the works from the exhibition to the Victorian and Albert Museum and the Department of Sciences and Art in South Kensington. The objects were studied by design students in South Kensington who were later hired by Jeejeebhoy to be instructors at the Bombay School of Art. This school taught academic European art alongside traditional Indian design forthe purpose of creating public art works. Thus, the Parsis were important cultural mediators who funded British and Indian craftsmen to create symbols of "progress," such as the Victoria Terminus, for a modern India.

<p>This thesis focuses on the evolutionary interactions between birds and a parasite, the mosquito-borne Sindbis virus (Togaviridae, <i>Alphavirus</i>). In conclusion, the results show that the Sindbis virus is widespread among birds, and that the fitness of infected hosts may be reduced by the virus. Furthermore, viruclearance ability was revealed by male plumage traits, and viraemia was related to hormonal- and social status.</p><p>The distribution of Sindbis virus infections among passerine birds was examined in five areas in Sweden. Almost all species tested were infected, and three species of thrushes weridentified as the main hosts. In a series of experimental infections, greenfinches (<i>Carduelis chloris</i>) kept in aviaries were used ahosts. First, the behavioural consequences of an infection were investigated. During the infection, birds tended to reduce thespontaneous locomotion activity, and when escaping from a simulated predator attack, infected birds had reduced take-off spee Furthermore, when comparing virus clearance rate between male greenfinches, I found that males with large yellow tail ornaments hafaster virus clearance rates as compared to those with smaller ornaments. Thus, male virus clearance ability was honestly revealed by the size of an ornament. Moreover, males with experimentally elevated testosterone levels experienced a delayed, but not increased viraemia as compared to controls. When the relationship between male social ranand viraemia was examined, I found no evidence that high-ranked males suffered reduced rank during the infection. Nevertheless, viraemipatterns of males were related to their social rank, so that low-ranked birds had a delayed viraemia as compared to high-ranked birds. </p>

<p>In the fifteen-spined stickleback, <i>Spinachia spinachia</i>, males provide females with direct benefits by fanning, cleaning and guarding the offspring. Males announce their parental skills through intense body shakes during courtship. Females preferred to mate with more intensely shaking males. As a result, females got better fathers for their offspring, as such males achieved a higher hatching success. Not only did male behavioural cues attract females, but males also used their nests as extrabodily ornaments. The nest is held together with shiny secretional threads consisting of a glycoprotein. Females chose to spawn in nests with more secretional threads. A likely reason for this is that the threads are metabolically costly for the male to produce and the amount of secretion indicates a male's nutritional status, which is of great importance as parental duties are energetically costly. Moreover, females preferred nests built high up in the vegetation, as such nests were safer from egg predators. Competition with other males for females favoured males building higher nests than did their neighbours, probably because females preferred high nests. Male-male interactions, such as sneaking and egg stealing, caused decreased paternity among males in nature as assessed by a microsatellite analysis. Males adjusted their paternal effort according to their previous investment in the brood, but not according to paternity. Thus, female choice is based on multiple cues and results in better paternal care. Males invest in courtship, male-male competition, nest construction and paternal care, the outcome determining their success in mate attraction.</p>

This thesis focuses on the evolutionary interactions between birds and a parasite, the mosquito-borne Sindbis virus (Togaviridae, Alphavirus). In conclusion, the results show that the Sindbis virus is widespread among birds, and that the fitness of infected hosts may be reduced by the virus. Furthermore, viruclearance ability was revealed by male plumage traits, and viraemia was related to hormonal- and social status. The distribution of Sindbis virus infections among passerine birds was examined in five areas in Sweden. Almost all species tested were infected, and three species of thrushes weridentified as the main hosts. In a series of experimental infections, greenfinches (Carduelis chloris) kept in aviaries were used ahosts. First, the behavioural consequences of an infection were investigated. During the infection, birds tended to reduce thespontaneous locomotion activity, and when escaping from a simulated predator attack, infected birds had reduced take-off spee Furthermore, when comparing virus clearance rate between male greenfinches, I found that males with large yellow tail ornaments hafaster virus clearance rates as compared to those with smaller ornaments. Thus, male virus clearance ability was honestly revealed by the size of an ornament. Moreover, males with experimentally elevated testosterone levels experienced a delayed, but not increased viraemia as compared to controls. When the relationship between male social ranand viraemia was examined, I found no evidence that high-ranked males suffered reduced rank during the infection. Nevertheless, viraemipatterns of males were related to their social rank, so that low-ranked birds had a delayed viraemia as compared to high-ranked birds.

In the fifteen-spined stickleback, Spinachia spinachia, males provide females with direct benefits by fanning, cleaning and guarding the offspring. Males announce their parental skills through intense body shakes during courtship. Females preferred to mate with more intensely shaking males. As a result, females got better fathers for their offspring, as such males achieved a higher hatching success. Not only did male behavioural cues attract females, but males also used their nests as extrabodily ornaments. The nest is held together with shiny secretional threads consisting of a glycoprotein. Females chose to spawn in nests with more secretional threads. A likely reason for this is that the threads are metabolically costly for the male to produce and the amount of secretion indicates a male's nutritional status, which is of great importance as parental duties are energetically costly. Moreover, females preferred nests built high up in the vegetation, as such nests were safer from egg predators. Competition with other males for females favoured males building higher nests than did their neighbours, probably because females preferred high nests. Male-male interactions, such as sneaking and egg stealing, caused decreased paternity among males in nature as assessed by a microsatellite analysis. Males adjusted their paternal effort according to their previous investment in the brood, but not according to paternity. Thus, female choice is based on multiple cues and results in better paternal care. Males invest in courtship, male-male competition, nest construction and paternal care, the outcome determining their success in mate attraction.

This study discusses product form perception within the context of communication. The emphasis is on meanings attributed to product visual form, and more specifically the correspondence between messages designers intend users to receive and the messages that users actually receive. Four groupings of appearance-based product attributes are identified / 1) social values and positions / 2) usability and interaction / 3) visual qualities / and 4) personality characteristics. The study was driven by the main research question / &lsquo / do users perceive the same meaning from product appearance as designers intended, or is there a level of mismatch?&rsquo / . An empirical study was conducted using newly-designed Turkish seating furniture to investigate the relationship between designers&rsquo / and users&rsquo / ascription of meanings to products based on appearance, as a means to validate or refute opposing answers to the main research question. The results of the study reveal that there exist some considerable differences between designers&rsquo / intended messages and users&rsquo / perceived messages decoded from product visual form. The study suggests that designers perform less well at communicating product meanings related to two of the four groupings: usability and interaction, and personality characteristics. Accordingly, these are identified as priority areas for improved message transmission.

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This study attempts to demonstrate symbolic whale bone patterning within 31 Thule winter houses along the southeast coast of Somerset Island, Northwest Territories, Canada. All visible architectural whale bone incorporated within the dwellings was mapped. Trends towards particular patterns of whale bone distribution were demonstrated using Spearman's Rank-order Correlation Coefficient. The potential symbolic nature of such patternings was determined within the context of north Alaskan ethnographic and oral historical sources. The extensive use of whale bone in some Thule entrances suggests that their builders sought to create a distinction between the entrance tunnel and main room, not unlike the Inupiat dwellings in 19th-century Tikigaq. The significance of this architectural phenomenon is rooted in the Inupiat, and to some extent Inuit, association between women, the house and the bowhead whale. It is also suggested that whaling status may be reflected in differential access to bowhead whale bone.