Handling and Care of Dry Bird and Mammal Specimens
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The Phylogenetic Position of Ambiortus: Comparison with Other Mesozoic Birds from Asia1 J
ISSN 00310301, Paleontological Journal, 2013, Vol. 47, No. 11, pp. 1270–1281. © Pleiades Publishing, Ltd., 2013. The Phylogenetic Position of Ambiortus: Comparison with Other Mesozoic Birds from Asia1 J. K. O’Connora and N. V. Zelenkovb aKey Laboratory of Evolution and Systematics, Institute of Vertebrate Paleontology and Paleoanthropology, 142 Xizhimenwai Dajie, Beijing China 10044 bBorissiak Paleontological Institute, Russian Academy of Sciences, Profsoyuznaya ul. 123, Moscow, 117997 Russia email: [email protected], [email protected] Received August 6, 2012 Abstract—Since the last description of the ornithurine bird Ambiortus dementjevi from Mongolia, a wealth of Early Cretaceous birds have been discovered in China. Here we provide a detailed comparison of the anatomy of Ambiortus relative to other known Early Cretaceous ornithuromorphs from the Chinese Jehol Group and Xiagou Formation. We include new information on Ambiortus from a previously undescribed slab preserving part of the sternum. Ambiortus is superficially similar to Gansus yumenensis from the Aptian Xiagou Forma tion but shares more morphological features with Yixianornis grabaui (Ornithuromorpha: Songlingorni thidae) from the Jiufotang Formation of the Jehol Group. In general, the mosaic pattern of character distri bution among early ornithuromorph taxa does not reveal obvious relationships between taxa. Ambiortus was placed in a large phylogenetic analysis of Mesozoic birds, which confirms morphological observations and places Ambiortus in a polytomy with Yixianornis and Gansus. Keywords: Ornithuromorpha, Ambiortus, osteology, phylogeny, Early Cretaceous, Mongolia DOI: 10.1134/S0031030113110063 1 INTRODUCTION and articulated partial skeleton, preserving several cervi cal and thoracic vertebrae, and parts of the left thoracic Ambiortus dementjevi Kurochkin, 1982 was one of girdle and wing (specimen PIN, nos. -
Analysis of Service Delivery Systems to Farmers and Village Associations in the Zone of the Office De La Haute Vallee Du Niger
ANALYSIS OF SERVICE DELIVERY SYSTEMS TO FARMERS AND VILLAGE ASSOCIATIONS IN THE ZONE OF THE OFFICE DE LA HAUTE VALLEE DU NIGER Prepared by R. James Bingen Adama Berthe Brent Simpson Haute Valle Development Project USAID/Mai Project 688-0233 DAI Development Alternatives, Inc. TABLE OF CONTENTS Page EXECUTIVE SUMMARY ........................................ iii ACKNOWLEDGEMENTS ........................................ vii LIST OF ACRONYMS ........................................... viii I. INTRODUCTION ............................................. 1 Study O bjectives ......................................... 1 Study Approach ................................... ....... 2 Organization of the Report ................................. 2 I. TECHNOLOGY ASSESSMENT AND TECHNICAL SERVICES NEEDS ANALYSIS ................................ 3 Household Economic Portfolios ............................. 3 Issues ............................................ 8 Options ......................................... 10 III. ORGANIZATIONS AND THEIR CONTRIBUTIONS ................. 13 OH VN ............................................... 13 Extension .............................................. 13 Issues ........................................... 15 - Options ................................. ....... 20 Agricultural Equipment Supply and Credit ..................... 22 Issues ........................................... 23 Options ......................................... 24 Agricultural M arketing .................................... 24 Issues .......................................... -
Female Desire in the UK Teen Drama Skins
Female desire in the UK teen drama Skins An analysis of the mise-en-scene in ‘Sketch’ Marthe Kruijt S4231007 Bachelor thesis Dr. T.J.V. Vermeulen J.A. Naeff, MA 15-08-16 1 Table of contents Introduction………………………………..………………………………………………………...…...……….3 Chapter 1: Private space..............................................…….………………………………....….......…....7 1.1 Contextualisation of 'Sketch'...........................................................................................7 1.2 Gendered space.....................................................................................................................8 1.3 Voyeurism...............................................................................................................................9 1.4 Properties.............................................................................................................................11 1.5 Conclusions..........................................................................................................................12 Chapter 2: Public space....................……….…………………...……….….……………...…...…....……13 2.1 Desire......................................................................................................................................13 2.2 Confrontation and humiliation.....................................................................................14 2.3 Conclusions...........................................................................................................................16 Chapter 3: The in-between -
Bob's Wildlife Taxidermy Celebrating 30Th Anniversary Orefield Landmark Ready for Another Hunting Season
Bob's Wildlife Taxidermy Celebrating 30th Anniversary Orefield Landmark Ready for another Hunting Season Fall hunting seasons are just around the corner, and thousands of Lehigh Valley sportsmen will soon head afield in search of a trophy. For those hunters lucky enough to bag the buck, bear or bird of a lifetime, Orefield taxidermist Bob V. Danenhower Sr. is ready to preserve your memories. Danenhower said it's hard to believe it's been a quarter century since Bob's Wildlife Taxidermy opened its doors. His passion for wildlife dates to his childhood, and he began studying taxidermy at the age of 13, taking mail order courses from the Northwest School of Taxidermy. “I would have to work in my dad's business, Humphrey’s Hydraulics, to earn enough money to order my next lesson,” Danenhower recalled. “It seemed to take forever, because Dad didn’t pay so well.” In the 70s, Danenhower worked for Laros Taxidermy in Allentown, where he learned the finer points of wildlife art from veteran taxidermist Dick Laros. “I had to wait until I was 18 to take my taxidermy test,” he said. “Eighteen was state law at that time, and I was the first 18-year-old ever to be licensed in Pennsylvania.” Becoming a full-time taxidermist is no easy task, especially when you start with nothing but some cheap hand tools, knowledge and a strong work ethic. “There were several lean years when we really looked forward to the local game warden dropping off a fresh, road-killed deer so we could fill the freezer with venison,” Danenhower said. -
What You Should Know About a Federal Migratory Bird Taxidermy Permit
WHAT YOU SHOULD KNOW ABOUT A FEDERAL MIGRATORY BIRD TAXIDERMY PERMIT A Federal Migratory Bird Taxidermy Permit will authorize you to mount or otherwise perform taxidermy work on migratory birds, their parts, nests or eggs, belonging to someone else. The conditions of a Federal Taxidermy Permit are very specific. You should review Title 50 Parts 10, 13, 20 (subparts A-B, D-J) and 21.24 of the Code of Federal Regulations (CFR). You are responsible for reviewing and understanding these regulations before you request and accept a permit. These regulations can be found on our website at: https://www.fws.gov/birds/policies-and- regulations/permits/permit-policies-and-regulations.php. Refer to Taxidermists and Federal Law for more information. Below is a review of several sections pertinent to a Federal Migratory Bird Taxidermy Permit. 1. Can I mount migratory game birds with a Federal Taxidermy permit? Yes. You can receive and mount migratory game birds taken and possessed in accordance with applicable Federal and State hunting regulations. All such birds must be properly tagged as required by 50 CFR 20.36. The tag may be removed during taxidermy operations but must be retained and reattached after mounting, and must remain attached until the specimen is delivered to the owner. (See 50 CFR 21.24(d)(2)) 2. Can I mount and sell captive-reared migratory waterfowl? Yes. You can sell properly marked, captive-reared migratory waterfowl that you have acquired from a propagator who has a Federal Migratory Bird Waterfowl Sale and Disposal permit. The propagator must give you a completed Notice of Transfer or Sale of Migratory Waterfowl form (Form 3-186) at the time of the transfer and you must maintain this form in your files. -
ZOOLOGY Exploring the Biodiversity of Colorado and Theworld
CHAPTER 4 — ZOOLOGY Exploring the Biodiversity of Colorado and the World CHAPTER 4 ZOOLOGY Exploring the Biodiversity of Colorado and the World Jeffrey T. Stephenson, Before the Museum Paula E. Cushing, The first collections of specimens that make up what is now the Denver John R. Demboski, and Museum of Nature & Science were actually established well before the Frank-T. Krell founding of the institution in 1900, the selection of a board of trustees, or the construction of a building to house and exhibit the specimens. Edwin Carter (1830–1900) (Fig. 4.1) collected Colorado birds and mammals from the 1860s through the 1890s. Born in New York in 1830, Carter arrived in Colorado in 1859 hoping to make it rich in the goldfields, but he soon became interested in the region’s natural history. He learned hide tanning and, as his prospects for hitting the mother lode faded, he earned his living selling buckskin clothing that he handcrafted. Carter supplemented these earnings by mar- keting foodstuffs and other provisions to the growing population of successful and (mostly) unsuccessful prospectors flooding the region. His interest in nature turned to concern as he observed dwindling numbers of mammals and birds, owing largely to habitat destruction and overhunting. Period photographs of the area’s mining district show a landscape largely denuded of vegetation. By the 1870s, Carter noted that many animal species were becoming scarce. The state’s forests were being devastated, ranches and farms were replacing open prairie, and some species, including the last native bison in Colorado, were on the verge of extirpation or extinction. -
Early Birding Book
Early Birding in Dutchess County 1870 - 1950 Before Binoculars to Field Guides by Stan DeOrsey Published on behalf of The Ralph T. Waterman Bird Club, Inc. Poughkeepsie, New York 2016 Copyright © 2016 by Stan DeOrsey All rights reserved First printing July 2016 Digital version June 2018, with minor changes and new pages added at the end. Digital version July 2019, pages added at end. Cover images: Front: - Frank Chapman’s Birds of Eastern North America (1912 ed.) - LS Horton’s post card of his Long-eared Owl photograph (1906). - Rhinebeck Bird Club’s second Year Book with Crosby’s “Birds and Seasons” articles (1916). - Chester Reed’s Bird Guide, Land Birds East of the Rockies (1908 ed.) - 3x binoculars c.1910. Back: 1880 - first bird list for Dutchess County by Winfrid Stearns. 1891 - The Oölogist’s Journal published in Poughkeepsie by Fred Stack. 1900 - specimen tag for Canada Warbler from CC Young collection at Vassar College. 1915 - membership application for Rhinebeck Bird Club. 1921 - Maunsell Crosby’s county bird list from Rhinebeck Bird Club’s last Year Book. 1939 - specimen tag from Vassar Brothers Institute Museum. 1943 - May Census checklist, reading: Raymond Guernsey, Frank L. Gardner, Jr., Ruth Turner & AF [Allen Frost] (James Gardner); May 16, 1943, 3:30am - 9:30pm; Overcast & Cold all day; Thompson Pond, Cruger Island, Mt. Rutson, Vandenburg’s Cove, Poughkeepsie, Lake Walton, Noxon [in LaGrange], Sylvan Lake, Crouse’s Store [in Union Vale], Chestnut Ridge, Brickyard Swamp, Manchester, & Home via Red Oaks Mill. They counted 117 species, James Gardner, Frank’s brother, added 3 more. -
Why Look at Dead Animals? Taxidermy in Contemporary Art by Vanessa Mae Bateman Submitted to OCAD University in Partial Fulfillme
Why Look at Dead Animals? Taxidermy in Contemporary Art by Vanessa Mae Bateman Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design, and New Media Art Histories Vanessa Mae Bateman, May 2013 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. ! Copyright Notice This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. You are free to: Share – To copy, distribute and transmit the written work. You are not free to: Share any images used in this work under copyright unless noted as belonging to the public domain. Under the following conditions: Attribution – You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial – You may not use those work for commercial purposes. Non-Derivative Works – You may not alter, transform, or build upon this work. With the understanding that: Waiver — Any of the above conditions can be waived if you get permission from the copyright holder. Public Domain — Where the work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license. -
STANDARDS for MANAGEMENT of the RECENT MAMMAL and BIRD COLLECTIONS at TEXAS TECH UNIVERSITY by AMY S. HALTER, B.S. a THESIS in M
STANDARDS FOR MANAGEMENT OF THE RECENT MAMMAL AND BIRD COLLECTIONS AT TEXAS TECH UNIVERSITY by AMY S. HALTER, B.S. A THESIS IN MUSEUM SCIENCE Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved August, 2001 © 2001 Amy S. Halter ALL RIGHTS RESERVED ACKNOWLEDGMENTS I wish to express my sincere gratitude to the members of my graduate committee. Dr. Robert J. Baker, chair, Dr. R. Richard Monk, co-chair, and Dr. Clyde Jones, for their support and guidance throughout my graduate career. Without their encouragement and enthusiasm, I would never have been able to complete this master's thesis. I thank Dr. Baker for his ideas and review of this thesis and for funding trips to museums similar to the NSRL to survey their collection management practices in preparation for writing this thesis. I especially thank Dr. Richard Monk for sharing with me his knowledge of collection management and museums, for his constant encouragement, and for his reviews of various drafts of this thesis. I thank Dr. Clyde Jones for sharing with me his extensive knowledge of museums and the natural sciences. I also wish to acknowledge the Curators and Collection Managers at the collections I visited who took the time to meet with me, answer my questions, and allow me to tour their collections. They are: Steve Cardiff, Donna Cardiff, and Mark Hafner of Louisiana State University; Thorvald Holmes, Jr. of the University of Kansas; Bill Gannon and Terry Yates of the University of New Mexico; Janet Braun of the University of Oklahoma; Robert Dowler and Marcia Revelez of Angelo State University; Fred Stangl of Midwestem State University; and George Baumgardner of Texas A&M University. -
Maine Taxidermy Information Booklet
MAINE TAXIDERMY INFORMATION BOOKLET (This Booklet is only an information summary and is not law as printed) Maine Department of Inland Fisheries and Wildlife 284 State Street State House Station #41 Augusta, ME 04333 (207) 287-8000 mefishwildlife.com MAINE TAXIDERMY INFORMATION BOOKLET INDEX Classifications of Taxidermy ................................................................................................ 2 Change of Address ............................................................................................................... 6 Definition of Taxidermy ....................................................................................................... 1 Disciplinary Action ............................................................................................................... 5 Endangered and Threatened Species .................................................................................. 8 Fee ........................................................................................................................................ 4 Good Business Recommendations .................................................................................... 10 Hearings ............................................................................................................................... 6 Investigation – Grounds for Suspension .............................................................................. 5 License Period ..................................................................................................................... -
RELG 325-01 Religion in Contemporary American Film
RELG 325 Religion in Film COASTAL CAROLINA UNIVERSITY DEPARTMENT OF PHILOSOPHY AND RELIGIOUS STUDIES Spring 2022 MWF 11:00 - 11:50 - Prince 103 Final Examination: Friday, December 9, 11:00 in our regular classroom Professor: Dr. Ronald Green Office: AOC2 Phone: 349-2782 Office hours in AOC2: M-W-F 12:00-2:00 and Tuesday 9:20-10:20 Course Description: A critical study of religion through the medium of film. Students view films from around the world and analyze cinematic representations of religious narratives, beliefs, practices, communities, and institutions. Issues such as censorship, blasphemy, and political activism through film are also explored. S. Course Objectives: In the process of this study, students will come to 1. think critically about representations of religions in film; 2. broaden their understanding of the term “religious” and realize its significance in the plot, narrative, and imagery of films; 3. foster insights into the perspectives of various religious groups. Student Learning Outcomes: On completion of this course, students will have 1. demonstrated knowledge of the beliefs, practices, narratives and important persons associated with major religious traditions of the world. 2. expressed themselves on issues concerning representations of religions in film. 3. fostered appreciation of global diversity through understanding how religions contribute to and are affected by individual and collective behaviors. 4. gained knowledge of the cultures, languages and social structures of other countries of the world (Goal 5B of the CCU Core Curriculum). Required Texts: The reading materials for our course consists entirely of academic articles available at the following internet sites plus two handouts. -
Learn More About John James Audubon
“How could I make a little book, when I have seen enough to make a dozen large books?” Birds of America, the culmination of 15 years of passionate study, was a mammoth undertaking. It cost $115,640 (approximately $2,000,000 today) and included 435 life- size prints of 497 bird species, engraved on copper plates by Robert Havell, Jr. and colored by an assembly line of 50 colorists. Printed on “double elephant” sized paper, Audubon laid out the images with an artist’s eye rather than by biological classification, reaping the scorn of ornithological purists, but winning praise even from King George IV. Scottish artist, John Syme, painted his portrait in frontier regalia (which now hangs in the White House). London’s Royal Society elected him a fellow. English and French noblemen became subscribers. “To have been torn from the study would have been as death; my time was entirely occupied with art.” Life after Birds of America was a continuing roller coaster ride for Audubon. He reunited with his family in the United States only to return to England to find that many of his subscribers were in default and that he had lost others due to the poor quality of the coloring of the plates. Yet he continued to add to his collection of bird and wildlife drawings, exploring the west, the Florida coast, and Labrador, and publishing three more books, including an octavo edition of Birds of America that included 65 additional plates. “A true conservationist is a man who knows that the world is not given by his fathers, but borrowed from his children.” After his death, Lucy sold the New York Historical Society all of the 435 preparatory watercolors for Birds of America.