The occurrence of ichthyofauna on the territory of the Jizera Mountains (Northern Bohemia, Czech Republic) is limited, besides other factors, by the water chemistry. pH value and pH-related concentration of inorganic monomeric aluminum (Ali) are crucial parameters of the water, determining the survival of fish in streams. Low pH and high concentrations of Ali cause severe damages to fish gills. The thesis deals with the influence of the water chemistry on distribution of ichthyofauna in the Jizera Mts and gill morphology in brook charr (Salvelinus fontinalis), a dominant fish species of the upper plateau of the mountains. The results show that the species diversity of fish in acidified streams is lower than that in streams without meaningful acidic episodes. Histopathological analyses of gills of brook charr individuals from an acidified stream confirm, that low pH values and high concentrations of Ali have a cummulative effect and lead to degenerative changes on gills. Key words: The Jizera Mountains, ichthyofauna, brook charr, gill morphology, water chemistry, toxic aluminium, acidification

This study sampled salmonid populations in two headwater streams in East Tennessee, Briar Creek and Left Prong Hampton Creek. Length and weight data were used to calculate the growth of these populations to determine if significant variation exists between isolated brook trout populations. Slope comparisons concluded that there was a difference in growth between brook trout populations of these streams (p

Une grande partie de cette thèse est dédiée à la chimie des isonitriles: ainsi plusieurs chapitres traitent des interactions entre isonitriles et dérivés d'acides, une part importante y a été consacrée à la valorisation des pyruvamides fluorés obtenus par addition d'isonitriles sur l'anhydride trifluoroacétique. Il nous a ainsi été possible de démontrer l'intérêt des hydrates de trifluoropyruvamides en tant qu'électrophiles vis à vis de cétones et de dérivés nitrés. Des tentatives de couplages pinacoliques de pyruvamides nous ont par la suite entraîné vers l'étude d'une réduction très originale d'aldéhydes aromatiques par le diméthylphosphite. Le mécanisme implique probablement un réarrangement de type Phospha-Brook avec formation directe de phosphates benzyliques. Quelques applications synthétiques de cette réaction ont été testées avant de revenir sur la chimie des isonitriles. Nous avons pu combiner une réaction de type Ugi avec une cyclisation de N-acyliminium dans une synthèse très courte de dicétopipérazines tricycliques.

This research supports development of aquatic resource management strategies to address acid deposition in the Great Smoky Mountain National Park (GRSM) by 1) developing relationships between baseflow and stormflow chemical constituents and examining effects of elevation, area, geology, soil, and vegetation on stream chemistry; 2) evaluating physiological condition in brook trout in relation to changes in stream chemistry during stream acidification episodes, and 3) evaluating brook trout metrics with respect to stream chemistry, basin characteristics, and ecologically relevant hydrologic parameters. (1) Stream chemistry was monitored in eight GRSM streams considering basin area, site elevation, Anakeesta geology, soil, and vegetation. Following precipitation events, pH was significantly reduced and aluminum concentrations increased, while the concentration response of ANC, nitrate, sulfate, and base cations varied. Higher pH and ANC concentrations were observed in large and low-elevation streams. (2) Caged brook trout were exposed to two acid episodes during in situ bioassays conducted in three GRSM streams. Stream pH decreased (>0.7 pH units) and total dissolved aluminum increased (>0.175 mg/L) at all three sites during acid episodes. Whole-body sodium concentrations were significantly reduced (10-20%) when preceding 24-h time weighted average pH values (4.88, 5.09, 4.87) and corresponding 24-h aluminum concentrations (210, 202, 202 µg/L). Lower whole-body sodium concentrations were correlated with elevated proton and aluminum concentrations indicating physiological distress. (3) Water chemistry, hydrology and physical basin factors influenced brook trout distributions and densities in 16 collocated fish and water quality sampling sites (1990-2009). Higher concentrations of ANC, pH, sodium, and soil cation exchange capacity, and higher fall flows were associated with the presence of brook trout. Trout densities were higher in streams with higher concentrations of sodium, suggesting that sodium may ameliorate the effects of acid toxicity. These relationships provide useful information where GRSM managers can prioritize conservation and restoration efforts.

Anthropogenic influences and climate change are warming rivers in New Brunswick and threatening the cold water habitats of native salmonids. When ambient river temperatures in summer exceed the tolerance level of Atlantic salmon and brook trout, individuals behaviourally thermoregulate by seeking out cold water refugia. These critical thermal habitats are often created by tributaries and concentrated groundwater discharge. Thermal infrared imagery was used to map cold water anomalies along a 53 km reach of the Cains River on 23 July 2008. Although efficient and useful for mapping surface temperature of a continuous stream reach, the fish did not use all identified thermal anomalies as refugia. Overall, 100 % of observed large brook trout >35 cm in length were found in 30 % of the TIR-mapped cold water anomalies. Ninety eight percent of observed small brook trout 8 – 30 cm in length were found in 80 % of the mapped cold water anomalies and their densities within anomalies were significantly higher than densities outside of anomalies. Fifty nine percent of observed salmon parr were found in 65 % of the mapped anomalies; however, they were dispersed within study sites and their densities were not significantly different within anomalies compared to outside of the anomalies. No brook trout were observed at the seven noncold water study sites that were investigated. Preference curves for various habitat variables including velocity, temperature, depth, substrate, and deep water availability near cold water anomalies were developed based on field investigations during high temperature events (ambient river temperature >21 oC). Combined with thermal imagery, managers can use the physical descriptions of thermal refugia developed here as a tool to help conserve and restore critical thermal refugia for Atlantic salmon and brook trout on the Cains River, and potentially similar river systems.

Throughout their lives, prey organisms must balance the tradeoff between fitness-related activities and the risk of predation. To successfully mediate such tradeoffs, prey must have an accurate method to gauge current predation risk. For many aquatic organisms, the use of chemosensory information has been shown to be a ubiquitous and useful tool in mediating predation risk. The chemical cues to which aquatic organisms respond include the odour of known predators and the odour of a damaged conspecific or known or closely related heterospecific. In fishes, the response to damage-released cues from conspecifics or closely related heterospecifics has been shown to be innate, while the response to distantly related unknown heterospecific cues are likely learned. In a series of laboratory and field studies I examined the role of learning in the ability of fathead minnows to respond to damage-released cues of brook stickleback as an indication of predation risk. My results indicate that minnows from a population without stickleback do not recognize stickleback cues as dangerous. However, following the introduction of stickleback, minnows learn to recognize stickleback cues as dangerous. Further study indicated a low ratio of stickleback to minnows in a given population will decrease the likelihood of learning when compared with a similar sized population containing a higher ratio of stickleback to minnows. I also demonstrated that an increase in habitat complexity decreases the ability of minnows to learn to recognize stickleback cues. Studies have further demonstrated that in the face of predation (as indicated by chemical cues from minnows and stickleback) minnows will decrease their antipredator response when in the presence of a fish shoal, especially a shoal of conspecifics. Finally, an examination of the effects of a minnows length, body condition and breeding status indicate that morphological parameters can play a significant role in the intensity of response to heterospecific and conspecific damage-released cues. Previous works have demonstrated that behavioural responses to heterospecific damage-released cues increase the probability of the receiver surviving a predation event. This has important implications for predator/prey interactions and consequently factors affecting the learning and use of such cues deserve increasing attention from ecologists.

Als anys seixanta sorgeix un teatre profundament transgressor, que abandona els edificis convencionals a la recerca de llocs buits, pobres, flexibles. Rere aquesta actitud hi ha una crítica a la societat del moment, considerada elitista, alienadora i passiva. Gran part dels arguments que caracteritzaven el teatre fins aleshores perden la seva validesa. El concepte d'espectacle és substituït pel de ritual; el d'espectador, pel de participant; el d'entreteniment, pel de compromís. El teatre s'immisceix en l'agitada vida política, social i espiritual d'una dècada revolucionària. Finalment, i amb mig segle de retard en relació amb les altres arts, el teatre agafa el relleu de les avantguardes teatrals i entra en la modernitat.L'estudi del recorregut artístic de Peter Brook, Jerzy Grotowski fundador del Teatre Laboratori i la parella Julian Beck i Judith Malina fundadors del Living Theatre ens permet analitzar l'intrincat context dels seixanta en països com França, Anglaterra, Itàlia o Polònia. Es tracta de directors revolucionaris i alhora interessats pel sagrat, creadors d'un teatre ritual que sacseja els espectadors i els demana una implicació autèntica.A la introducció de la tesi ens preguntem per la permanència del sagrat en el teatre dels seixanta. Resseguint la biografia dels nostres directors, hi descobrim un profund coneixement de les tradicions religioses i una voluntat d'adaptar els seus principis i les seves tècniques psicofísiques al teatre. El teatre es mostra així com un receptacle laic de rituals que pertanyien a les religions. En el desig de regenerar-lo, la gent del teatre reclama una litúrgia col·lectiva capaç d'apropar actors i espectadors en un acte total. Volent unir l'art i la vida, directors i actors s'aïllen en petites comunitats per experimentar unes relacions humanes vertaderes i inventar nous processos de creació.La primera part de la tesi, més panoràmica, situa el teatre dins els corrents de pensament i els moviments artístics de l'època. Mentre els antropòlegs i sociòlegs constaten un retorn de la festa i la ritualitat, els estudiants es revolten pels carrers de París. El Maig del 68 marca un abans i un després també en el teatre: abandonant les obres dramàtiques, el vestuari especial, les escenografies i fins i tot els edificis, el teatre surt al carrer, es desteatralitza i es revesteix de ritualitat. Aquest rebuig de les institucions i les convencions té paral·lelismes amb el land art, l'arte povera, els happenings o el body art, sintonitzant també amb els situacionistes, el guerrilla theatre o el street theatre.La segona part de la tesi incideix sobre la ritualitat del teatre dels seixanta i l'espai que se'n deriva. Analitzant el nou paper atorgat a l'actor, el director i el públic, hi descobrim un mateix procés de despullament, de renúncia a les tècniques apreses i eliminació dels obstacles personals. El teatre respon així a una via negativa que cerca la seva purificació i un retorn a l'essencialitat. Les mediacions escèniques, massa mundanes, esdevenen obstacles a la trobada viva entre actors i espectadors. Ara importa l'element humà, el sacrifici de l'actor que regenera tota la comunitat, el ritual que aplega i connecta amb un passat compartit. El teatre es converteix en una realitat molt més corporal, cinètica, dependent de l'actor.L'espai d'aquest teatre passa a definir-se a partir dels moviments, les dinàmiques i les relacions que s'estableixen en escena. No depèn ja exclusivament de l'arquitectura ni de l'escenografia, sinó fonamentalment d'un ordre humà on compten les distàncies, les orientacions, les fronteres, la configuració i disposició de tots els participants. En certa manera, es tracta d'un espai sagrat que cal descobrir i potenciar. Un espai ritual, consagrat en cada actuació. Un espai real, que no preten simular res. Un espai simbòlic, que recupera les formes geomètriques primordials. Un espai unitari, sense barreres de cap tipus. Un espai buit, expectant, disponible. / There emerged in the nineteen sixties a deeply defiant theatre that deserted conventional buildings in search of empty, poor but flexible places. Behind this attitude there was a critique of the society of the times, that was considered to be elitist, hostile and passive. The majority of the scripts that characterised theatre up to that moment became obsolete. The concept of performance was substituted by ritual, spectator by participant, entertainment by compromise. Theatre became mixed up in the restless political, social and spiritual life of a revolutionary decade. Finally, half a century later than other arts, theatre seized the prominence of the theatrical vanguards and entered modernity.The study of the artistic careers of Peter Brook, Jerzy Grotowski - founder of the Teatr Laboratorium - and the couple Julian Beck and Judith Malina - founders of the Living Theatre - provides an opportunity to analyse the intricate context of the sixties in France, England, Italy or Poland. It involved revolutionary directors who were simultaneously interested in the sacred, creators of a theatre ritual that perturbed spectators and required their authentic participation. In the introduction to the thesis, we question the permanence of the sacred in sixties theatre. Revisiting the biography of our directors, we discover their knowledge of religious traditions and their desire to adapt their psycho-physical techniques to theatre. Theatre thus presented itself as a lay performance of rituals that belonged to religions. In the desire to regenerate it, theatre people sought after a collective liturgy capable of bringing actors and spectators together. With a desire to unite art and life, directors and actors isolated themselves in small communities to test true human relations and invent new creative processes.The first part of the thesis is an overview, locating theatre in the artistic thought and movements of the time. While anthropologists and sociologists were proclaiming the return of feast and ritual, students were revolting on the streets of Paris. May 68 marked the before and after of theatre too, by forsaking dramatic composition, special costumes, stage backdrops and accessories and even the theatre buildings. Theatre took to the street, shed its conventional theatrical hallmarks and overlaid itself with rituality. This rejection of institutions and conventions has affinities to land art, arte povera, happenings or body art, and remains in tune also with the situationists, guerrilla theatre or street theatre.The second part of the thesis focuses on the rituality of the theatre of the sixties and its ensuing space. Analysing the new role given to the actor, the director and the public, we discover a same process of deprivation, of rejection of learned techniques and of elimination of personal obstacles. The theatre thus responded to a via negativa that sought its purification and a return to the essential. The scenic mediations, that were far too mundane, became converted into obstacles in the living encounter between actors and spectators. Now what mattered was the human element, the sacrifice of the actor that regenerated a whole community, the ritual that congregates and connects with a shared past. Theatre became a more corporal reality, kinetic, and dependent upon the actor.The space of this theatre came to be defined out of the movements, the dynamics and the relations that were established on stage. It no longer depended upon architecture or scenery except that of a human order where distances, orientations, borders, configurations and the dispositions of all the participants counted. To a certain extent, it was a sacred place that needed to be discovered and strengthened. A space of ritual, consecrated at each performance. A real space, that did not try to simulate anything. A symbolic space, that revived basic geometrical forms. A unitary space, without barriers of any type. An empty space, eager and available.

Throughout their lives, prey organisms must balance the tradeoff between fitness-related activities and the risk of predation. To successfully mediate such tradeoffs, prey must have an accurate method to gauge current predation risk. For many aquatic organisms, the use of chemosensory information has been shown to be a ubiquitous and useful tool in mediating predation risk. The chemical cues to which aquatic organisms respond include the odour of known predators and the odour of a damaged conspecific or known or closely related heterospecific. In fishes, the response to damage-released cues from conspecifics or closely related heterospecifics has been shown to be innate, while the response to distantly related unknown heterospecific cues are likely learned. In a series of laboratory and field studies I examined the role of learning in the ability of fathead minnows to respond to damage-released cues of brook stickleback as an indication of predation risk. My results indicate that minnows from a population without stickleback do not recognize stickleback cues as dangerous. However, following the introduction of stickleback, minnows learn to recognize stickleback cues as dangerous. Further study indicated a low ratio of stickleback to minnows in a given population will decrease the likelihood of learning when compared with a similar sized population containing a higher ratio of stickleback to minnows. I also demonstrated that an increase in habitat complexity decreases the ability of minnows to learn to recognize stickleback cues. Studies have further demonstrated that in the face of predation (as indicated by chemical cues from minnows and stickleback) minnows will decrease their antipredator response when in the presence of a fish shoal, especially a shoal of conspecifics. Finally, an examination of the effects of a minnows length, body condition and breeding status indicate that morphological parameters can play a significant role in the intensity of response to heterospecific and conspecific damage-released cues. Previous works have demonstrated that behavioural responses to heterospecific damage-released cues increase the probability of the receiver surviving a predation event. This has important implications for predator/prey interactions and consequently factors affecting the learning and use of such cues deserve increasing attention from ecologists.

Thesis (M.S.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains x, 85 p. : ill. (some col.), maps (some col.). Includes abstract. Includes bibliographical references (p. 62-69).

Thesis (D. Ed. Min.)--Southwestern Baptist Theological Seminary, 2002. / Includes bibliographical references (leaves 121-124).