Thesis (Ph. D., Forestry, Wildlife, and Range Sciences)--University of Idaho, May 8, 2008. / Major professor: Kirk Lohman. Includes bibliographical references (leaves ). Also available online (PDF file) by subscription or by purchasing the individual file.

The American Dipper (Cinclus mexicanus), an inhabitant of rapidly flowing mountain streams, is an aquatic passerine whose vocalizations have previously been undescribed. This study examines the spectrographic characteristics and contexts of calls and song in a color-banded population of Dippers. calls of adults are the Jih, Weep and Grawk calls; calls of nestlings and fledglings are the Chip and Beg calls. Adult Dippers have a limited number of call types which occupy a middle range of frequencies (3 to 6kHz) and have structural characteristics which enhance detection of vocal signals. Gradation is present between call types. Possible explanations for similarities in characteristics of the Weep call of the adult female and the begging vocalizations of nestlings are discussed. The song is variable and complex, characterized by repetition of notes, contrast between adjacent note types and a wide range of note types. Vocal and social adaptations to the stream environment are considered. Post-feeding singing (PFS) is song given by adult birds immediately following the feeding of fledglings. Females sang following 29. 6% of feedings whereas rrales sang following 14. 6%. Average duration of singing by males (15.4 sec) was almost twice that of females (8.4 sec). Feeding bouts and other contexts of adult singing are discussed. Evidence for the functional significance of PFS and speculations on selective forces shaping its evolution are presented.

In those work am intent on construction hydraulic grab, his two dipper, but largely supporting frame, that is of mostly effortful. Further am suggested and drew up hydraulic perimeter for operating dipper and rotation about perpendicular axes

北斗崇拜是一個悠遠的信仰母題，它作為文化基因被各個宗教傳統所分有。任何一個微小的儀式細節背後都有一個大的信仰傳統作為其理論支持，本文意在討論北斗崇拜作為一個龐大星辰信仰的分支如何在法教儀式中實踐。本文將北斗崇拜聚焦於星命與本命的議題，選取台灣北部獅場補運和台灣南部進錢補運兩則大型補運儀式作為田野研究對象；從魂魄觀、性命觀兩個角度討論北斗崇拜在補運儀式中所載負的療癒特質，進而檢視法教和道教在儀式傳統、療癒觀念上的區別。最後，從文化、社會兩方面重新審視漢人的「致—治」病的觀念，試圖說明一個完整的宗教療癒理論可以將疾病與治療平行放在社會文化脈絡中進行考察。本文試圖建立「北斗崇拜——補運儀式——宗教療癒」這一範式，將其視為日常生活中解決生命危機和災厄困境的一種宗教邏輯，而非一個儀式操作上的絕對標準，試圖說明北斗崇拜如何在時間、空間各個方面影響著台灣漢人的日常生活。 / The Great Dipper worship has a long history and tradition, it is assimilated into various religions as a Cultural Gene.Every ritual action is supported by a big theoretical system, this article is intended to explain how are the Great Dipper worship practicing in the Faism ritual as a branch of the huge stars belief.This article focuses on the subject of star mandate(星命)and destiny, chooses the Luck Replenishing Ritual by exorcising of Northern Taiwan and Luck Replenishing Ritual of Southern as the locations of field investigation, to analyze the healing practice of Great Dipper both in view of soul-body and nature-life, so that we can explain the difference between the Fa and Dao in ritual and healing concept .At last, re-examine the concepts of getting and healing disease through both cultural and social approaches. This article attempts to explain a complete religious healing theory can place disease and its treatment both in a social and cultural context. The article tries to establish a paradigm about the Great Dipper worship, Luck Replenishing and Religious Healing, by which to discuss how the Great Dipper worship affects the daily life in society of Han nationality in various dimensions to help them solve life crisis and disaster as a religious logic rather than an absolute standard of ritual.

La dispersion est définie comme le mouvement fait par un individu entre son lieu de naissance et le site de sa première reproduction (dispersion natale) ou entre deux sites de reproduction successifs (dispersion de reproduction). Il possède de nombreuses causes (proximales et ultimes) et conséquences (fitness, etc.), peu étudiées à des échelles spatiotemporelles larges. Cette thèse souligne le rôle de la densité, du climat, et des populations considérées, avec une approche dynamique des échanges et un rôle de la migration, sur la dispersion de la Cigogne blanche (Ciconia ciconia) en France. La dispersion influence la survie et la reproduction chez le Cincle plongeur (Cinclus cinclus) et est héritable, ce qui souligne le processus évolutif sous-jacent à l’apparition de ce comportement. Ces travaux recontextualisent le rôle de l’environnement sur la dispersion à une échelle inter-populationnelle, en soulignant les liens avec la migration, ainsi que le contexte évolutif de ce trait. / Dispersal is defined as the movement made by an individual between his birthplace and the site of his first breeding attempt (natal dispersal) or between successive breeding sites (breeding dispersal). It has many causes (proximate and ultimate) and consequences (fitness, etc.), rarely studied in large spatial and temporal scales. This thesis emphasizes the role of density, climate, and populations, with a dynamic approach and the role of migration, on the dispersal of the White Stork (Ciconia ciconia) in France. Dispersal influences survival and reproduction in the White-throated Dipper (Cinclus cinclus) and is heritable, highlighting the underlying evolutionary process of this behavior. This work recontextualized the role of the environment on the dispersal in an inter-population level, as long as the links with migration and the evolutionary context of this trait.

Beim Vergleich der handschriftlichen Musiknoten des Dipper Mouth Blues und der berühmten Aufnahme von King Oliver’s Creole Jazz Band wird offensichtlich, dass es sich bei den Noten nicht um ein Leadsheet im Sinne einer Spielpartitur handelt. Die Aufnahme des Stücks mit dem Bandleader und Kornettisten King Oliver, dem Kornettisten Louis Armstrong, dem Posaunisten Honoré Dutrey, dem Klarinettisten Johnny Dodds, Bill Johnson am Banjo, Lil Hardin am Klavier und Baby Dodds an den Perkussionsinstrumenten macht nur Andeutungen an die notierte Melodie. Durch den Vergleich der Transkription der Aufnahme mit der Handschrift kann die Verbindung zwischen den beiden analysiert werden. Dabei wird klar, dass die Musiker*innen die Technik des modularen Kontrapunktes angewendet haben. Mithilfe des Konzepts der Archetypen von C.G. Jung kann die Handschrift adäquat klassifiziert werden. Ungeachtet der substantiellen Unterschiede zwischen Manuskripts und der Aufnahme ist ein gemeinsamer Nenner zu finden, ein Archetyp, welcher die Grundlage für alle Erscheinungsformen des Dipper Mouth Blues ist. / Comparing the copyright deposit of the Dipper Mouth Blues and the famous recording of King Oliver’s Creole Jazz Band, it becomes apparent that the music score is not intended to be used as a lead sheet in the sense of a playing score. The performance with the bandleader and cornet player King Oliver, the cornet player Louis Armstrong, the trombone player Honoré Dutrey, the clarinet player Johnny Dodds, Bill Johnson on banjo, Lil Hardin on piano and Baby Dodds on percussion instruments seems to only contain hints of the same tune in written form. The connection can be analysed by comparing the transcription of the recording with the score. It is found that the musicians apply a technique of modular counterpoint. The concept of archetypes as described by C.G. Jung is used in order to describe and find an appropriate classification for the notation of the copyright deposit. Despite the substantial differences between the score and the recording there is a common denominator, an archetype, that is the source of all manifestations of Dipper Mouth Blues.

When soluting the contruction of a grab dredger we will deal with suitable solution with reference to its using and capacity, possibilites of its setting in low temperatures and incidental aplication of the exchangeable abrasion - resistant mouldings. There will be made a calculation of forces taking effect on a grab dredger and a check calculation of the chosen structural parts.

No description available.