Esta pesquisa visa trazer à tona uma inusitada reflexão sobre espiritualidade. O pano de fundo para esta reflexão dá-se diante do contexto urbano de qualidade cosmopolita, principalmente. O desejo central desta pesquisa é o de proporcionar um diálogo entre uma representação da realidade, a partir do contexto urbano, através da análise de uma espiritualidade manifesta na sitcom Friends e diante da ótica de Leonardo Boff no tocante a espiritualidade. Assim, se fosse possível esboçar uma visão disto, se propõe alguém diante da TV, assistindo episódios do seriado Friends e com os indicados textos de Boff, nas mãos. Melhor, ainda, alguém sentado junto de Boff, ambos assistindo ao famoso seriado e lançado suas percepções em um amistoso diálogo, cheio de interesse para reconhecer pontos de correlação entre o que pensa, diz e escreve o teólogo e o que descreve a série em áudio, imagem e movimento. Pela abordagem específica da obra de Boff, em Virtudes para um outro mundo possível, se procurará fazer esta inusitada dinâmica. Existe interlocução, entretanto, com diversos autores de tradições distintas, além de pesquisas sobre cultura midiática/televisiva e espiritualidade. A pesquisa lança mão, portanto, de uma suposição de que seja possível encontrar na representação televisiva do cotidiano, possibilidades de compreendê-lo. Aborda-se, de igual forma, alusão de que o pensamento teológico contemporâneo busca respostas sobre uma espiritualidade vivenciada neste ambiente, dito urbano e cosmopolita. Para representar este espaço cosmopolita, elegeu-se a sitcom Friends como manifestação e representação oportuna desta realidade que invade o modo de viver. De outra ponta e na expectativa de um encontro, se elenca perspectivas da obra e do pensamento de Leonardo sobre espiritualidade. Para tanto, inicia-se com definições gerais de espiritualidade e, após, uma definição pertinente para esta pesquisa. Segue-se com uma definição do que seja uma sitcom, além de uma apresentação do seriado Friends. A partir deste ponto, propostas sobre espiritualidade são convencionadas, a saber, espiritualidade implícita (rastros/resquícios da fé sobreviventes não atrelados ou comprometidos a uma tradição), espiritualidade explícita (formalidades e legado religiosos atrelados a uma ou outra tradição de fé), e a espiritualidade manifesta (amizade/comunhão em que elementos como hospitalidade, convivência e comensalidade se apresentam para início e manutenção destas). Diante desta última caracterização de espiritualidade (manifesta), se busca perceber e analisar na sitcom Friends questões como a hospitalidade, a convivência e a comensalidade; e, na sequência, um destaque para quando isto leva a outro nível de comunhão: o casamento. Por fim, uma reflexão e proposta de (re)leitura da conduta, do posicionamento e do relacionamento das nossas comunidades de fé em contextos urbanos, cosmopolitas. / This research seeks to discuss an uncommon reflection about spirituality. The background for this reflection mostly takes place within the cosmopolitan urban context. The main goal of this research is to provide a dialogue between a representation of reality, from the urban context, through the analysis of a spirituality manifested in the sitcom Friends, and through the eyes of Leonardo Boff and his perspective on spirituality. Thus, if it is possible to sketch a vision of this, imagine someone in front of the TV, watching episodes of Friends with the indicated texts Boff in his hands. Better yet, imagine someone sitting next to Boff, both watching the hit series and sharing their perceptions in a friendly dialogue, both devoted to recognizing points of correlation between what the theologian thinks, says, and writes, and what composes the series in audio, image, and movement. This specific approach to Boffs work, Virtues: For Another Possible World, aims to create these unusual dynamics. There is dialogue, however, with several authors from different traditions, in addition to research on media/television culture and spirituality. This research sheds the assumption that you can find possibilities to understand television in its everyday representation. Similarly, it approaches the allusion that contemporary theological thinking seeks answers over a spirituality experienced in an urban and cosmopolitan environment. To represent this cosmopolitan environment, the research elects the sitcom Friends as a timely manifestation and representation of this reality that is ever so relevant to our way of life. At the other end, but with the expectation of a point of correlation, the research lists perspectives of the work and the thoughts of Leonardo in regards to spirituality. To do so, the research starts with general definitions of spirituality, and then a definition relevant for this research. It continues by providing a definition of what a sitcom is beyond the sitcom Friends. From this point on, proposals about spirituality are agreed on, namely implicit spirituality (traces/remnants of faith that survives not dependent on or committed to a tradition), explicit spirituality (religious formalities and legacies tied to ambiguous traditions of faith), and spirituality manifested (friendship/fellowship in elements such as hospitality, conviviality, and commensality present themselves to start and maintain themselves). In this last characterization of spirituality (manifested), the research seeks to understand and analyze, in the sitcom Friends, issues such as hospitality, conviviality, and commensality; and, following, a highlight of when these issues lead to another level of communion: marriage. Finally, a the research engages in a discussion and proposed (re)reading of the conduit, positioning and relationship of our faith communities in urban and cosmopolitan contexts.

Esta proposta procurou estabelecer o desenvolvimento e as obras do período pop, principalmente do artista Andy Warhol, como registros da história recente americana. Mostra também, uma correlação entre estas obras com a ideologia do consumo estabelecida nos anos seguintes a II Guerra Mundial, e que possibilitou a estabilização da hegemonia política, cultural e econômica dos Estados Unidos. Associou-se ainda a participação dos meios de comunicação de massa e da publicidade nesse processo, como divulgadores e propagadores da ideologia do consumo e, concomitantemente, fontes temáticas das obras de Warhol e outros artistas pop. Apresenta também a relação entre as mudanças geradas no pós II Guerra com elementos da atualidade, que sugerem um possível declínio desta hegemonia e, que se denominou contemporaneidade pop. Para isso realizou-se análises de algumas das obras mais características desse artista, associado a estudos bibliográficos específicos e gerais relacionados ao tema. / This essay proposes to demonstrate the development and the works of the pop art period, principally of Andy Warhol, as registered in recent American History. This essay also shows a correlation between those works and the ideology of consumerism established in the years following the Second World War, which made political, cultural and economical hegemony possible in the USA. Means of mass communication and publicity will be associated with this process as disseminators and propagators of consumerism and at the same time, thematic works of Warhol and other pop artists. The relationship between post war changes and present day elements will also be presented, which suggests a possible decline in this hegemony, which has been named contemporary pop.To this end, analyses of some of the most characteristic works of this artist will be realised, associated with specific and general bibliographic studies related to the subject.

Notre thèse analyse la production artistique de Michael Jackson, en termes commerciaux, stylistiques, visuels, en ciblant les dynamiques et tensions raciales qui innervent ses strates narratives. La première partie porte sur les classements coloristes et la posture ubiquitaire des opus jacksoniens, recontextualisés au sein de la société américaine et de l’industrie du disque racialisée. La deuxième partie analyse les composantes éclectiques et stylistiques de la pop jacksonienne et la manière dont les conventions employées se situent et opèrent face aux constructions catégoristes existantes. Enfin, la troisième partie traite des dynamiques et tensions raciales portées par les productions visuelles (vidéos, image artistique) et les textes, comme autant de fondements identitaires de son potentiel crossover et fédérateur auprès d’un public international et transracial. / Our thesis analyses Michael Jackson’s artistic production, through marketing, stylistic and visual aspects, targeting racial dynamics and tensions which invigorate its narrative layers. The first part is about the colorist charts and the ubiquitous posture of jacksonian opuses, recontextualized against american society and racialized record industry. The second part analyzes the stylistic eclectism of Jackson’s pop music and the way he uses the conventions from the musical and racial categorization. Finally, the third part is about racial dynamics and tensions carried by visual productions (video clip, artistic image) and lyrics, as elements of identity fundations of Jackson’s crossover and his federative appeal to an international and transracial audience.

Orientador: Milton Terumitsu Sogabe / Banca: Silvia Miranda Meira / Banca: Agnaldo Valente Germano da Silva / Resumo: A presente pesquisa tem por objetivo a análise da colagem como procedimento artístico. Para isto, foi traçado um histórico da colagem que englobou o Cubismo, o Dadaísmo, o Surrealismo e a Arte Pop. Em cada um destes momentos históricos, percebemos o significado do emprego da colagem como linguagem artística. Em um segundo momento, analisamos o processo da colagem nas imagens técnicas, sobretudo naquelas decorrentes da fotografia, como, por exemplo, nas fotomontagens, no cinema e na colagem digital. E, finalmente, realizamos entrevistas com artistas brasileiros e visitamos museus e galerias com o intuito de verificar como a colagem tem feito parte da arte contemporânea / Abstract: This study aims at analyzing the collage as artistic process. For this, we traced a history of collage that passed trough Cubism, Dadaism, Surrealism and Pop Art. In each of these historical moments we could perceive the meaning of the use of collage as an artistic language. After that, we analyzed the collage's process in imaging techniques, resulted from photography such as in the photomontages, movie and digital collage. And finally, we conducted interviews with Brazilian artists and visited to museums and galleries to see how the collage has been part of contemporary art / Mestre

Esta proposta procurou estabelecer o desenvolvimento e as obras do período pop, principalmente do artista Andy Warhol, como registros da história recente americana. Mostra também, uma correlação entre estas obras com a ideologia do consumo estabelecida nos anos seguintes a II Guerra Mundial, e que possibilitou a estabilização da hegemonia política, cultural e econômica dos Estados Unidos. Associou-se ainda a participação dos meios de comunicação de massa e da publicidade nesse processo, como divulgadores e propagadores da ideologia do consumo e, concomitantemente, fontes temáticas das obras de Warhol e outros artistas pop. Apresenta também a relação entre as mudanças geradas no pós II Guerra com elementos da atualidade, que sugerem um possível declínio desta hegemonia e, que se denominou contemporaneidade pop. Para isso realizou-se análises de algumas das obras mais características desse artista, associado a estudos bibliográficos específicos e gerais relacionados ao tema. / This essay proposes to demonstrate the development and the works of the pop art period, principally of Andy Warhol, as registered in recent American History. This essay also shows a correlation between those works and the ideology of consumerism established in the years following the Second World War, which made political, cultural and economical hegemony possible in the USA. Means of mass communication and publicity will be associated with this process as disseminators and propagators of consumerism and at the same time, thematic works of Warhol and other pop artists. The relationship between post war changes and present day elements will also be presented, which suggests a possible decline in this hegemony, which has been named contemporary pop.To this end, analyses of some of the most characteristic works of this artist will be realised, associated with specific and general bibliographic studies related to the subject.

Made available in DSpace on 2016-04-18T21:31:57Z (GMT). No. of bitstreams: 4 Lais Quintella Malta Lessa1.pdf: 2945936 bytes, checksum: d3e25073feff799a26416c65c5cabb2c (MD5) Lais Quintella Malta Lessa2.pdf: 2673951 bytes, checksum: 5e8127363a4427999714a6d6021cfb71 (MD5) Lais Quintella Malta Lessa3.pdf: 2562198 bytes, checksum: a033cb82025efa8a63f7c56b684b3543 (MD5) Lais Quintella Malta Lessa4.pdf: 2789595 bytes, checksum: 0ae4ab36c01f425d2f3567ae6677a6a3 (MD5) Previous issue date: 2009-02-03 / Fundo Mackenzie de Pesquisa / Through an interdisciplinary analysis between art and publicity, this study seeks to establish the relationship amid the propaganda spread in the post-war period in the United States and the Pop Art Movement. Focusing the changes that have occurred in the season with these two issues will prove that what happened with the Movement Pop and advertising, may be established as a homogenous relationship, in which symbols, icons and popular myths were portrayed in ways similar to works by artists and advertising of the period studied. This uniformity will be revealed through a semiotic analysis of advertisements and works of the movement, to develop critical values that might widen the scope of professional actuation of communication, and allow the knowledge and approach the subject, in reflection of their creations committed to the social and economic juncture of the season. / Por meio de uma análise interdisciplinar entre arte e publicidade, o presente estudo busca estabelecer a relação em meio à propaganda veiculada no período do pós-guerra nos Estados Unidos e o Movimento Pop Art. Evidenciar as transformações ocorridas na época com essas duas temáticas irá comprovar que o ocorrido com o Movimento Pop e a publicidade, pode ser estabelecido como uma relação homogênea, na qual símbolos, mitos e ícones populares eram retratados de maneiras similares em trabalhos de artistas e publicitários do período estudado. Esta homogeneidade será revelada por meio de uma análise semiótica entre anúncios publicitários e obras do movimento, no sentido de desenvolver criticamente valores que possam ampliar as possibilidades de atuação dos profissionais da comunicação, assim como permitir o conhecimento e a abordagem do tema, na reflexão de suas criações comprometidas com a conjuntura social e econômica da época.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-03-12T20:11:26Z No. of bitstreams: 1 nayseribeiroferreirasilva.pdf: 4483756 bytes, checksum: f89b1353003a6020c906acdd2c067cd4 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-09T19:14:44Z (GMT) No. of bitstreams: 1 nayseribeiroferreirasilva.pdf: 4483756 bytes, checksum: f89b1353003a6020c906acdd2c067cd4 (MD5) / Made available in DSpace on 2018-04-09T19:14:44Z (GMT). No. of bitstreams: 1 nayseribeiroferreirasilva.pdf: 4483756 bytes, checksum: f89b1353003a6020c906acdd2c067cd4 (MD5) Previous issue date: 2016-11-10 / Esta pesquisa busca apresentar um retrato de Andy Warhol não por uma luz decididamente informativa, linear, biográfica; mas por tessituras com traços biografemáticos, pelo compartilhamento de pequenos pontos luminosos que nos captam a atenção em seu cotidiano: seus gestos, seus pensamentos, a fabricação de sua (filosofia de) vida. A experiência artística espaço-temporal warholiana materializa-se por uma lógica de transfiguração do banal, que é aberta e encontra-se em constante progressão: desenvolve-se, transforma-se, adapta-se, renasce constantemente. Acreditamos que, em Warhol, sendo convidados à imersão em obras que nos convocam o corpo, e não apenas a mente, percebemos e inventamos formas outras para atravessarmos o tempo e para estabelecermos novas relações – linhas de fuga – com e em nossos entornos. / This research aims to present a picture of Andy Warhol not by a decidedly informative, linear, biographic path; but sewing a biographematic text by sharing small bright dots that capture our attention in his daily life: his gestures, his thoughts, the fabrication of his life (philosophy). The artistic experience of the warholian spacetime rises through a logic of the transfiguration of the commonplace, which is open and in constant progression: develops, transforms, adapts itself and constantly reborn. We believe that in Warhol, once we are invited to immerse in artworks that call up our bodies, not only our minds, we realize and create other ways to pass the time and to establish new relations - lines of flight, as in Deleuze's concept - with our environments.

La réflexion proposée par ce travail s’inscrit dans le contexte d’une ascension symbolique du rock au sein du paysage culturel français, qui peut être rapprochée de celle que connaît le jazz de plus longue date. Ainsi le public français de la pop dite « indépendante » (ou indie pop) a-t-il principalement été recruté au sein d’une population étudiante, ou de jeunes actifs, qui peut être qualifiée de cultivée, partageant une même aspiration à se distinguer du goût le plus commun. Le point de départ de notre questionnement est néanmoins celui d’un hiatus entre ce profil culturel et l’apparente trivialité du genre pop : l’attachement de ce public pour le genre a-t-il quelque rapport avec des dispositions légitimes (en dépit des apparences), ou traduit-il au contraire une franche distance vis-à-vis des traits historiques de la culture légitime ? C’est par le biais d’une étude de cas que cette thèse tente d’apporter des éléments de réponse ; celui d’un magazine, Les Inrockuptibles (l’une des principales instances de légitimation de la pop indépendante en France), et de l’un des groupes britanniques que ce dernier a le plus contribué à promouvoir durant les années quatre-vingt-dix, The Divine Comedy. Au terme de cette étude se dessine un ordre de légitimité hybride, qui tient à la fois de valeurs enracinées dans le monde de l’art légitime et de registres hétérodoxes portés par des instances de consécration concurrentes. Cette étude interroge également la relation entre les représentations ainsi associées à The Divine Comedy et les caractéristiques musicales des opus, esquissant une approche musicologique de l’œuvre à l’aune de sa médiation. / The subject of this work falls into the broader context of a symbolic rise of rock in the French cultural landscape, comparable to the similar longstanding evolution of jazz. The French audience of so-called "independent" pop (or indie pop) has been found mainly within a population of students or young workers one might refer to as "educated", and who have aspired to distinguish themselves from the most common musical tastes. Still, the starting point of our concern is that of a gap between this cultural profile and the apparent triviality of the pop genre: has this audience’s fondness anything to do with legitimate dispositions (despite appearances) or, on the contrary, does it step away from the historical features of "legitimate culture"? This thesis attempts to provide answers through a joint case study of the magazine Les Inrockuptibles (one of the main legitimizing institutions of indie pop in France) and one of the British bands it had most contributed to promoting during the 1990s, The Divine Comedy. What this study ultimately reveals is a hybrid type of legitimacy, which holds both the fundamental values of the art world and the heterodox registers of competing legitimizing institutions. This study also investigates the relation between the representations thus associated with The Divine Comedy and the musical features of the opus, sketching a musicological approach of the musical work through its mediation.

This master thesis deals with the phenomenon of Westernization of pop culture in mainland China on the example of the Chinese adapted version of the Talent Show China's Got Talent. (CHGT) In its theoretical part it outlines the overall globalizing and Westernizing tendencies and sets a theoretical framework of the main terminology of media studies. The research goal of the thesis was to analyze the audience reception of CHGT in China and their ideas and views on pop culture The research goal is included in the broader context of cultural imperialism theories and the specifics of talent and reality shows are elaborated. Furthermore a historical overview of the evolution of pop culture in mainland China is provided. In the practical part, the applied methodological approaches and their potential strengths and weaknesses are described. A basic thematic analysis of certain selected social media like Weibo, QQ and Baidu was conducted. The two versions of the adapted Got Talent format were compared as far as the formal features are concerned, the British version of Britain's Got Talent and the Chinese adaptation China's Got Talent. Moreover qualitative in-depth interviews with Chinese respondents in the PRC and the UK were performed. The group in the UK served as a control group for comparison and the...

Le déclin du thon rouge de l'Atlantique nord-est et de Méditerranée (ABFT, Thunnus thynnus) qui faisait suite à une forte surexploitation a été largement médiatisé au cours de la dernière décennie. Pour contrer cette tendance et reconstituer ce stock, d’importantes mesures de gestion ont été mises en place à partir de 2007. En dehors des difficultés liées à leur mise en œuvre et à leur contrôle, la gestion des pêcheries thonières est aussi limitée dans les capacités à suivre précisément les variations d’abondance de ces espèces dont les observations reposent principalement sur les données de pêche. Le manque d’indice d’abondance fiable fait que l’évaluation du thon rouge, comme celle des autres espèces de poissons grands pélagiques, est entachée d’importantes incertitudes. Cependant, les suivis aériens pourraient permettre de fournir un indice d’abondance du thon rouge. Ils sont en effet fréquemment utilisés pour l'évaluation de l'abondance des mammifères marins et aussi par les pêcheurs pour détecter les poissons épipélagiques, comme les thons. Dans ce contexte général, cette thèse a pour objectifs : (i) d'évaluer des facteurs qui affectent potentiellement la détectabilité des thons pendant les suivis aériens, (ii) d’analyser leur comportement horizontal et vertical et les facteurs environnementaux qui l’influencent, et (iii) d’intégrer les connaissances acquises pour développer un indice abondance robuste du thon rouge en Méditerranée Nord Occidentale. Les analyses reposent sur des suivis aériens conduits depuis 2000 dans le golfe du Lion, une zone de nourricerie importante pour le thon rouge. Une modélisation des données basée sur le « distance sampling » montre des effets significatifs des observateurs, de la taille des bancs de thons et de l'état de la mer sur l’estimation d’abondance. Cette étude confirme par ailleurs une augmentation importance des abondances entre 2003 et 2009, probablement en réponse aux mesures de gestion mises en œuvre depuis 2007 (notamment la taille minimale de débarquement de 30 kg). Pour évaluer les effets du comportement sur les estimations d'abondance, une étude a porté sur les trajectoires de thons issues du marquage électronique. Ces analyses montrent une disponibilité des thons rouge ainsi qu’une présence en surface dans la zone et la période (Août-Octobre) des suivis aériens ; résultat confortant la fiabilité de l’indice d’abondance. On note également des changements saisonniers du comportement, avec un approfondissement des thons à partir de mi-Novembre correspondant à la dé-stratification de la colonne d’eau. Le comportement de plongée profonde était particulièrement fréquent pendant les mois de forte productivité biologique (février-Mai), mais des plongées profondes ont également été observées à la fin de l'été en relation avec des fronts thermiques. La variabilité des schémas migratoires sur l’horizontale et du comportement sur la verticale indique une forte composante opportuniste, probablement liée à la disponibilité des ressources alimentaires. Les résultats obtenus durant cette thèse démontrent la faisabilité d’obtenir un indice d’abondance de thon rouge robuste à partir des suivis aériens (donc indépendants des données de pêche) et fournissent un cadre théorique et méthodologique pour une extension de ce type de suivi afin de diminuer les incertitudes autour de l’évaluation de ce stock. Outre le thon rouge, les suivis aériens ont également permis un suivi du rorqual commun (Balaenoptera physalus) et des dauphins rayés (Stenella coeruleoalba). La présence des mammifères marins semble également être liée à la productivité élevée et l'activité méso-échelle de la zone d'étude. Si les dauphins présentent une distribution spatiale en partie corrélée à celle du thon rouge, les rorquals ne présentent pas de forte co-occurrence avec le thon rouge, résultat qui confirmerait une certaine proximité des régimes alimentaires des thons et des dauphins. / Declines in Atlantic bluefin tuna stocks (ABFT, Thunnus thynnus), due to extensive over-fishing, have been widely publicized in recent decades. To counteract this trend, regulatory measures have been introduced by the fisheries managers, aiming at the rebuilding of ABFT stocks. However, apart from difficulties in controlling the implementation of these measures, fisheries management is limited in its capabilities to track their efficiency due to major uncertainties in the stock assessment. Indeed, there is a general need of reliable indicators of ABFT abundance. Aerial surveys may provide a helpful tool for the abundance monitoring of this highly exploited fish species. They are frequently used for the abundance assessment of marine mammals and also by fishermen to detect epipelagic fish, such as tunas. The aim of this thesis was to address these issues and to create a robust fishery-independent abundance index for ABFT through aerial surveys. To achieve this goal, the focus was set on (i) the assessment of factors that potentially affect the detectability of ABFT during the aerial surveys, (ii) the habitat use of ABFT, i.e. their horizontal and vertical behaviour as well as the factors driving it, and (iii) the integration of the knowledge gained through these analyses in the development of a robust index of ABFT abundance. Surveys were conducted from 2000 onwards in the Gulf of Lions, an important nursery ground for ABFT in the Northwestern Mediterranean Sea. Line transect modelling of the sighting data revealed significant effects of detectability changes on abundance estimates, related to the observer teams employed, the size of detected ABFT schools and the sea state during the aerial surveys. Derived estimates of ABFT abundance confirmed a significant increase from 2003 to 2009, likely reflecting the success of recently implemented management measures (e.g. minimum landing size of 30 kg since 2007). To assess behavioural effects on abundance estimates, auxiliary archival tagging experiments, conducted since 2007, focused on the presence and surface availability of ABFT during the aerial surveys, and aimed to identify factors influencing these variables. The data gained from these experiments demonstrated seasonal changes in the migratory behaviour of ABFT, but also a high area and surface presence of ABFT in the study zone during the survey period (August–October), supporting the reliability of the abundance index. Surface presence of ABFT decreased with the breakdown of the thermal stratification of the water column (mid-November), when the fish left the survey zone and moved South. By contrast, deep diving behaviour was particularly frequent during months of high biological productivity (February--May), although deep and unusual long spike dives were also observed during late summer in relation to thermal fronts. However, the variability in the migration patterns indicates a strong opportunistic component in both, the horizontal and vertical behaviour of ABFT, probably related to the availability of food resources. Apart from ABFT, the aerial surveys also allowed an abundance monitoring of fin whales (Balaenoptera physalus) and striped dolphins (Stenella coeruleoalba) as well as an analysis of their co-occurrence with ABFT. In fact, similar to ABFT, the presence of these species appeared to be related to the high productivity and mesoscale activity of the study zone, improving our understanding of their habitat use, essential for the conservation of these much less abundant and endangered species. Regarding the stock assessment of ABFT, the results gained through this thesis prove the feasibility to derive robust fishery independent abundance indicators for ABFT through aerial surveys, providing the theoretical and methodological background for an extension of these efforts for a more sustainable management of the stocks of this species.