Journal articles on the topic 'Female muse'
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Reilly, Eileen. "Rebel, Muse, and Spouse: The Female in ’98 Fiction." Éire-Ireland 34, no. 2 (1999): 135–54. http://dx.doi.org/10.1353/eir.1999.0007.
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Jeom Suk Yeon. "Woman Poet and Female Muse in H.D.’s Trilogy." Feminist Studies in English Literature 16, no. 1 (June 2008): 49–70. http://dx.doi.org/10.15796/fsel.2008.16.1.003.
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Krysowski, Olaf. "Deotyma – Norwid’s “Tenth Muse”." Studia Norwidiana 38, English Version (2020): 5–20. http://dx.doi.org/10.18290/sn.2020.38-1en.
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This article attempts to recreate the image of Jadwiga Łuszczewska from the literary works and letters by Cyprian Norwid. The young improviser sparked controversy not only among the critics, but also among the Warsaw socialites in Romantic period. Norwid, however, considered her personality as original, modern and capable of refreshing Polish poetry. In his poems he describes her as “the tenth Muse” and compares her to Sappho, who was called exactly the same name by Plato in recognition of her poetic talent. Moreover, he depicts her in an idealized manner, like a contemporary sibyl who advises the nation on how to proceed in a tragic historical period. Norwid’s enthusiasm waned at the beginning of the 1860s when it became clear that the poetic works by Deotyma were becoming repetitive, constantly revisiting the same motives, ideas and aesthetic means, unable to go beyond the horizon defined at the onset of her career. He realized that behind the female figure he himself ennobled – as comforter, Samaritan, visionary, and statuesque Muse – there is a human being, imperfect and, in some aspects trivial, affected or even philistine.
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ." World Science 3, no. 8(48) (August 31, 2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.
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Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his interest in European civilization and artistic attainment. On the other hand, he tends to synthesize arts. As you know, the phenomenon of synthesis of the arts also comes from antiquity. According to the Greek mythology, Parnassus is the home of gods and also the residence of the nine muses – the patronesses of arts and sciences.The first piece «Clio» (the muse of history) is aimed at improvisation. At the same time the author accompanies every miniature with remarks concerning instrumentation, manner, tempo, rhythm, provides detailed notes as to the sound dynamics, etc.The second piece «Euterpe» (the muse of lyrical poetry and music) is marked by the lack of lilt organization. Music theme has abundant rhythmics, abrupt texture and dynamic changes.The third and the fourth pieces «Thalia» (the muse of comedy) and «Melpomene» (the muse of tragedy) expose quite the opposite images and emotions of the Greek theatre genres. However, the composer applies means of humorous and tragic music spheres of different epochs.The fifth piece «Polyhymnia» (the muse of sacred poetry and pantomime) is based on the intonations of antique chants. Melody develops gradually, has narrow range, but in the middle of the piece reaches significant dramatic effect. The sixth miniature «Urania» (the muse of astronomy) is the illustration of a starry night. Quiet and peaceful sounding dominates, short motives are directed upwards.In the seventh piece «Terpsichore» (the muse of dance and choral singing), with the help of antiphonous sounding of imaginary male and female groups of singers, the author reproduces the model of an ancient syncretic roundelay. The eighth miniature «Erato» (the muse of love lyrics) resembles the second piece (Euterpe) in images’ character and exposition.The last piece «Calliope» (the muse of epos) reflects V. Manyk’s aspiration to generalize the contents of the entire cycle. That’s why short reminiscences of all previous pieces are quite prominent here.The cycle of short miniatures is enriched with the wide range of historic, cultural and even philosophical connotations. Programme plot embodies by means of expression such as improvisation of musical texture, s broad range articulation, characteristic contrast melodies and motifs, the uniqueness semantic structure work.
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Manganelli, Kimberly Snyder. "THE TRAGIC MULATTA PLAYS THE TRAGIC MUSE." Victorian Literature and Culture 37, no. 2 (September 2009): 501–22. http://dx.doi.org/10.1017/s1060150309090317.
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Marie Lavington, the runaway octoroonslave in Charles Kingsley's little-read novelTwo Years Ago(1857), makes this declaration of independence in a letter to Tom Thurnall, the novel's hero. Though Tom helped her escape to a Canadian Quaker community, Marie has tired of the “staid and sober” (122; vol. 1, ch. 5) lifestyle of a Quakeress. She reenters the public marketplace by refashioning herself into the Italian diva, La Cordifiamma. Marie's ascent to the stage as La Cordifiamma marks the construction of a new female body in the mid-nineteenth century: the Tragic Mulatta who becomes a Tragic Muse.
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Faber, Sebastiaan. "Can the Female Muse Speak? Chacel and Poniatowska Read against the Grain." Rocky Mountain Review of Language and Literature 53, no. 1 (1999): 47. http://dx.doi.org/10.2307/1347958.
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Kerth, Thomas. "Sibylla Schwarz und die Petrarkisten." Daphnis 44, no. 1-02 (July 21, 2016): 139–54. http://dx.doi.org/10.1163/18796583-04401006.
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In her essays on the sonnets of Sibylla Schwarz, which celebrate a same-sex love relationship, Erika Greber asserts, that these represent a new subgenre: lesbian Petrarchism. This designation emphasizes the gender of the poet and her muse, but ignores Schwarz’s actual innovations in the Petrarchan system. Schwarz adopts and recombines conventions of the male and female variants of the heterosexual Petrarchan sonnet in order to create a new poetic voice that meets the requirements of a de-physicalized female-female configuration.
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고찬미. "The Male Muse and the Female Poetic Voice: Early Poems of Sylvia Plath." Women's Studies Review 26, no. 1 (June 2009): 207–37. http://dx.doi.org/10.18341/wsr.2009.26.1.207.
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Percec, Dana. "Sisters of Inspiration. From Shakespearean Heroine to Pre-Raphaelite Muse." Gender Studies 19, no. 1 (December 1, 2020): 1–15. http://dx.doi.org/10.2478/genst-2021-0001.
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Abstract The paper aims to make a connection between the female models of the Pre-Raphaelite Brotherhood and the portrayal of Shakespearean heroines, given that the 19th-century school of painting was using the Bard not only as a source of legitimation and authority, but also as a source of displacement, tackling apparently universal and literary subjects that were in fact disturbing for the Victorian sensibilities, such as love and eroticism, neurosis and madness, or suicide. As more recent scholarship has revealed, the women behind the Brotherhood, while posing as passive and contemplative, objects on display for the public gaze, had more agency and mobility than the average Victorian women.
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Kenneth J. Fleurant. "The Muse Strikes Back: Female Narratology in the Novels of Hédi Bouraoui (review)." ESC: English Studies in Canada 33, no. 1-2 (2008): 265–67. http://dx.doi.org/10.1353/esc.0.0029.
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Easterling, Stuart. "Gender and Poetry Writing in the Light of Mexico's Liberal Victory, 1867-ca. 1890." Mexican Studies/Estudios Mexicanos 27, no. 1 (2011): 97–142. http://dx.doi.org/10.1525/msem.2011.27.1.97.
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This article studies the relationship between gender and poetry writing as it was understood by Mexican poets and critics of the late nineteenth-century. From 1867 on they were witness to a renaissance in Mexican literary and intellectual life, which included a significant increase in writing and publishing by women. In this period, influential men of letters encouraged their peers to produce an explicitly masculine verse, one connected to formal politics and Mexican patriotism. However, both male and female poets also sought inspiration from a different Muse: that of female domesticity, and the seclusion, sentimentality and emotion they associated with it. This ideal of domesticity created constraints for Mexican women who wished to write, constraints which they both accepted and challenged in verse and in prose.
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Turner, Ralph Lamar. "“She’s Got Game”: The Role of the Female Protagonist as Mentor and Muse in the Sports Films of Ron Shelton." International Journal of Sport and Society 1, no. 3 (2010): 61–68. http://dx.doi.org/10.18848/2152-7857/cgp/v01i03/54033.
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Asiegbu, Perp’ st Remy. "Orara as a symbol of feminine beauty and meekness in select novels of Igbo female writers." AFRREV LALIGENS: An International Journal of Language, Literature and Gender Studies 9, no. 1 (April 28, 2020): 55–65. http://dx.doi.org/10.4314/laligens.v9i1.5.
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The similitude that exists in the depiction of the major characters of pioneer Nigerian female writers (who are, incidentally, Igbo) tasks the mind as it reflects on a possible cause of this semblance. This paper located a double pronged characteristic that is shared by all the major characters in the works under study – one of beauty and gentle spirit. These features have a symbolic significance (Ọrara) in an Igbo sub-culture (Mbaise). Ọrara, a snake, is one of the symbols in Mbari representing feminine beauty and meekness in repressed strength – traits that womanism upholds. Text analysis, oral tradition and interviews provide points that aid the study of the relationship between these concepts – female characters, Ọrara and womanism. It is deduced that the identical characterization in the works of Igbo female writers - Nwapa’s Efuru and Idu; Emecheta’s The Joys of Motherhood and The Bride Price; and Okoye’s Behind the Clouds and Chimere - has its root in the writers’ re-creation of the real experiences of the ordinary woman in the Igbo society whose natural reactions to her plight gravitates more to the womanist than the feminist angle, producing traits that are similar to those of Ọrara. And while womanism is not new in relation to the study of the works of Igbo female writers, it has not been studied against a significant symbol in the Igbo tradition. Ọrara is, thus, seen as the ideological locus for womanism and may be put under further scrutiny to establish it as the muse of Igbo female writers.
Key Words: Womanism, Characters, Beauty, Meekness, Symbol, Ọrara, Igbo.
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Fukuda, Momoko. "La représentation de l’artiste chez J.-K.Huysmans." Nordlit 15, no. 2 (March 26, 2012): 55. http://dx.doi.org/10.7557/13.2044.
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The object of this article is to situate J.-K. Huysmans' En ménage in his work as a whole and more generally in the tradition of the "roman d'art" in 19th Century French literature. "Roman d'art" works, such as the Goncourt brothers' Manette Salomon or Zola's OEuvre, often focus on the incompatibility of the artist's creative force and his love for a woman. Even if a woman appears as a muse at first, she often becomes an obstacle to the vocation of the artist.Even though the artist is very important in Huysmans' novels, he does not directly treat the opposition between love and creation. If a woman brings problems, it is not because of her influence on the creativity of the artist, but due to a particular theme developed by Huysmans: how to assure material comfort without being disturbed by 21 Ibid., p. 474. Fukuda, La représentation de l'artiste chez J.-K.Huysmans Nordlit 28, 2011 62 female presence? This problem is exaggerated by the artistic profession, which involves working at home.Not being capable of doing housework, Huysmans' hero cannot live totally alone. André, the hero of En ménage, leaves his wife who has been unfaithful to begin a single life with a housemaid. In his relationships with his wife, his housemaid and his lover, all he worries about is his work environment. Nevertheless, he ends up creating nothing, not because of a woman, but because of his own mediocrity and laziness. In this "roman d'art" without a muse, André's character is typical of Huysmans' comical but harsh realism, which subverts the myth of the artist torn between love and creation.
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Zenkin, Sergey N. "The Mask of the Muse. Visuality and Narrative in Richard Le Gallienne’s The Worshiper of the Image." Studia Litterarum 6, no. 3 (2021): 10–39. http://dx.doi.org/10.22455/2500-4247-2021-6-3-10-39.
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This article is a close reading of The Worshiper of the Image (1898), a tragic fairytale by Richard Le Gallienne — a symbolist allegory, whose female character is a coming-to-life visual image. This character is distinguished by polymorphism which manifests itself both in the story’s plot and in the character’s mythical autobiography, namely, in her reincarnations over centuries. The visual hypostasis of this character is L’Inconnue de la Seine — a popular and mysterious kitsch object, the mask of a girl who allegedly drowned in Seine in the second half of the 19th century. The interaction of the Image with other characters is determined by the concept of contagion, i.e., immediate power contact which alternates with abstract allegorical interpretations of the Image (considered, for example, as the embodiment of Art or Beauty); in the course of the narrative, the contagious image gradually displaces the story’s living characters, including the wife of the main character who uncannily resembles and doubles the image. These narrative and visual collisions reflect a precarious position of the visual image in the decadent culture — a conflict between the visual image and narration: the narration fails to provide an exhaustive ekphrastic description of the image and evasively multiplies contradictory impressions of other characters about it instead.
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Świętochowska, Grażyna. "Éminence Grise or a Mentor? More on Ester Krumbachová." Panoptikum, no. 23 (August 24, 2020): 98–116. http://dx.doi.org/10.26881/pan.2020.23.08.
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A graduate of painting and graphic arts at the Higher School of Arts and Crafts in Brno, Ester Krumbachová became known in her professional life as a costume designer, set designer, scriptwriter, author and finally a director. However, she was often pushed to the margins of authorship with the label of “inspiration and just a muse”. There are at least a few basic themes that organize the specificity of Ester’s artistic discourse. There are costumes, and props for which she was responsible: hats, shawls, black umbrellas, silk shirts, camp coats or overalls made out of newspaper and twine. But the whole galaxy of food, meal preparation, feeding and gluttony demands describing. The films Ester was involved in, as a writer or director, are woven from it. The specificity of the interior, often adjacent to the “metaphorical and mental” map of the artist’s apartment, becomes an important background for the platform of culinary images. The recorded registers seem to speak of food and clothes, typically female areas of interest and activity. The main aim of this article will be to treat them as semantically important mechanisms of communication, mostly visual and non-verbal.
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Nipe, Christine. "Mrs. Siddons' Currency." Theatre Survey 40, no. 2 (November 1999): 71–77. http://dx.doi.org/10.1017/s0040557400003562.
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“At last, Hollywood publicists and their high-profile clients have a chance to pay homage to their patron saint, Sarah Siddons,” claimed the August 17–23 issue of The Hollywood Reporter in its story on the concurrent exhibits of portraits of Sarah Siddons this summer at the J. Paul Getty Museum and he Huntington Art Collection (27 July-19 September). Also characterizing Siddons as calculating media mogul, the Los Angeles Times of July 25 compared the fame of the historical tragic actress (1755–1831) to that of current stars like Madonna, O.J., Diana, and even Monica. England's highly respectable muse of tragedy would likely reject these dubious associations, but the first actress of preeminent stature on the English stage was a symbol of female success, the subject of public scrutiny, and an emblem of ideal femininity. Siddons, who achieved celebrity status during an extraordinarily successful, forty-year career in England, Scotland, and Ireland, recently inspired a constellation of events which included not only these two art exhibitions, but a new play produced by Mark Taper Forum and an academic conference at the Huntington as well. In addition to detailing her sublime acting and renowned position in the Georgian theatre, these happenings emphasized Siddons' use of portraiture to cultivate and maintain her celebrity status.
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Vertinsky, Patricia. "“This Dancing Business is More Hazardous Than Any ‘He-Man’ Sport”: Ted Shawn and His Men Dancers." Sociology of Sport Journal 35, no. 2 (June 1, 2018): 168–77. http://dx.doi.org/10.1123/ssj.2017-0009.
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Selecting Springfield College, founding home of the International YMCA as a training ground for male dancers was an inspired choice by American modern dancer Ted Shawn given the founding credo of the College to ‘build builders of men.’ I would like to see men dancing in gymnasiums and stadiums, he claimed, so that the dance could reach again the position it held among the Greeks as the most perfect athletic accomplishment and the finest means of physical training and development. They were earnest and interesting efforts to foster an aura of ‘authentic rugged American masculinity’ for the era, given that Shawn himself was a closeted homosexual and the troupe’s lead dancer was his long term muse and lover Barton Mumaw. Scholars have shown how Shawn’s ideas about gender and sexuality became increasingly complex once he acknowledged his own homosexuality and engaged with ideas about sexual difference. His appropriation of various facets of the physical culture movement, however, and his reliance on the work and ideas of female modern dance pioneers and the physical education profession have been less noted. In this sense, Shawn was lucky, for he fell in love with dance when the art was mature enough to need a man.
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Kovtun, Natalia. "The Intertextual Game in Ulitskaya’s Novel Medea and Her Children." Respectus Philologicus 22, no. 27 (October 25, 2012): 70–86. http://dx.doi.org/10.15388/respectus.2012.27.15338.
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This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ideas of the Russian modernists, e.g., Soloviev and Block.The Greek story of Medea—the daughter of King Aeëtes of Colchis and wife of Jason, who headed the expedition of the Argonauts—provides the basic structure of the novel. This myth is one of the most popular in the world among artists. Its interpretive options (from Euripides and Ovid to Anouilh, Pasolini and Petrushevskaya) are evidence for the unity of the text of culture. The novel, then—the ironical statement of the author to enter into the circle of the elect, the family of Medea, whose image is highlighted by signs of Sofia—is the embodiment of style. Medea’s manor is “the navel of the earth” in which the outlines of the Masons are traced; here, time and space, living and dead, sinners and saints converge. The earth itself is read like a book.All the characters are divided into puppets—unable to understand the hidden meaning of the text—and directors/demiurges—artists, musicians, and doctors who write the history of dolls. The typology of female images is constructed on the gender stereotypes of the fin de siècle era: the woman as a sexual object (Gypsy, wanton); femme fatale/vamp (Amazonian, Salomé); and the romantic lover and muse (Madonna, the eternal feminine). The functions of the male characters are associated with Orpheus, Perseus, Pygmalion, and Ulysses, who perform their feats in the name of Beauty. The mission of the reader is to pass the initiation of the plot and guess all its variations with the power of letters resembling dragon’s teeth, to detect in these traces of meaning the “Golden Fleece,” much as Medea who led Jason to such a purpose.
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Asiegbu, Perp’ St Remy. "Forces and Flaws in Flora Nwapa’s Efuru and Idu." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 99–107. http://dx.doi.org/10.4314/ijah.v9i1.10.
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Considering her unique position as the premier African woman to publish a novel in English, given, also, her relatively artistic delineation of the African woman’s experience at a time when there is a dearth of female voice on that topic; when works of the male authors generally denigrate women, Flora Nwapa receives a commendable level of attention from critics all over the world. While most of the critics appreciate her for drawing attention to the strength and challenges of the African woman, others fault her for the absence of literary dexterity in her narrative. But for some critics’ romance with Uhamiri, not enough attention, relatively, has been given to the intrinsic and extrinsic forces surrounding Nwapa as a writer and how she manages these forces in plot development. Thus, this paper addresses this concern through the analysis of her foremost works, Efuru andIdu. Certain oversights are, also, noted some of which result from her deliberate or unconscious attempt to handle the forces that influence her. This is to draw attention to a writer’s conscious or unconscious struggle with forces, natural or supernatural, and, also, point to certain flaws, in Nwapa’s narrative, for the advancement of scholarship. The choice of Nwapa and her first two novels derives from the need to approach a relatively new topic from the beginning.
Key Words: Forces, flaws, tradition, love, muse, influence.
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Melançon, Johanne. "Transpoétique. Éloge du nomadisme, and: The Muse Strikes back. Female Narratology in the Novels of Hédi Bouraoui, and: Perspectives critiques. L'œuvre d'Hédi Bouraoui (review)." University of Toronto Quarterly 79, no. 1 (2010): 142–46. http://dx.doi.org/10.1353/utq.2010.0019.
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Wielgus, Robert B. "Resource competition and apparent competition in declining mule deer (Odocoileus hemionus)." Canadian Journal of Zoology 95, no. 7 (July 2017): 499–504. http://dx.doi.org/10.1139/cjz-2016-0109.
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Resource competition and apparent competition have both been suggested as the cause of mule deer (Odocoileus hemionus (Rafinesque, 1817)) decline concurrent with white-tailed deer (Odocoileus virginianus (Zimmerman, 1780)) increase. I tested for both hypotheses by conducting a “press” and “release” experiment in a mule deer, white-tailed deer, and cougar (Puma concolor (L., 1771)) community. If resource competition is causal, then predation should decrease, but other sources of mortality should increase following increased mortality of cougars and release of competing white-tailed deer. If apparent competition is causal, then predation should decrease and mule deer should increase following increased mortality of cougars and release of white-tailed deer. I accepted the apparent competition hypothesis because high mortality of female cougars and cougar population decline was associated with both white-tailed deer and mule deer population growth. Very high mortality of female cougars appeared to result in mule deer population recovery. However, high mortality of male cougars (with increased male immigration) preceding high female mortality appeared to result in sexually segregated prey-switching by females with cubs from abundant white-tailed deer to rare mule deer to avoid sexually selected infanticide. High mortality of resident male cougars may have precipitated the mule deer decline in the first place.
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Jones, William E., and David W. Johnsen. "A fertile female mule." Journal of Equine Veterinary Science 5, no. 2 (January 1985): 87–90. http://dx.doi.org/10.1016/s0737-0806(85)80054-x.
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Welch, D. A., W. M. Samuel, and C. J. Wilke. "Suitability of moose, elk, mule deer, and white-tailed deer as hosts for winter ticks (Dermacentor albipictus)." Canadian Journal of Zoology 69, no. 9 (September 1, 1991): 2300–2305. http://dx.doi.org/10.1139/z91-323.
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We evaluated the suitability of four species of North American Cervidae as hosts for the winter tick (Dermacentor albipictus) by comparing the numbers and weights of engorged female ticks recovered from experimentally infested moose (Alces alces), elk (Cervus elaphus), mule deer (Odocoileus hemionus), and white-tailed deer (Odocoileus virginianus). Each host was exposed to approximately equivalent infestations (~1 larva/cm2). A higher percentage of ticks were recovered as engorged females from moose (8.0%) than from elk (0.23%) or mule deer (0.60%). No engorged female ticks were recovered from white-tailed deer. Female ticks engorged on moose were larger (0.533 ± 0.169 (SD) g) than those engorged on elk (0.414 ± 0.136 g) or mule deer (0.418 ± 0.138 g). Alopecia occurred on all infested animals but was extensive only on moose. Our findings support field data suggesting that moose are the most important and the most severely affected hosts of winter ticks.
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Bender, Louis C., and Brock D. Hoenes. "Age-related fecundity of free-ranging mule deer Odocoileus hemionus Cervidae in south-central, New Mexico, USA." Mammalia 82, no. 2 (February 23, 2018): 124–32. http://dx.doi.org/10.1515/mammalia-2016-0166.
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AbstractMule deerOdocoileus hemionus(Rafinesque 1817) populations in southern New Mexico have declined significantly since the 1980s, similar to trends across the arid Southwestern USA. Because production of fawns is critical to population growth, we evaluated factors influencing fecundity in two mule deer populations in southern New Mexico. Conception, litter size and survival of ≥1fawn to weaning were all affected by maternal age, with older (age 8 and older) females exhibiting reproductive senescence as compared to prime-aged (age 2–7) females for the latter two traits despite achieving similar condition as did prime-aged females. Litter size and survival to weaning were also positively affected by increasing spring precipitation and survival to weaning was also positively affected by increased maternal condition, and size during late gestation. Unlike most previous work, reproductive senescence was evident in mule deer in our study populations, possibly because deer in both populations were in poor condition and older females produced on average 0.24 (95% CI=0.10–0.42) fawns through weaning compared to 0.76 (95% CI=0.60–0.94) for prime-aged females. The positive effect of precipitation during gestation on litter size and fawn survival also indicated that both income (i.e. nutritional intake) and capital (i.e. body reserves) were important determinants of fecundity in our arid Southwestern populations. The relatively early onset of senescence compared to the lifespan of female mule deer indicates that more intensive management of female age structure may be necessary to enhance population-level productivity.
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Airst, Jason I., and Susan Lingle. "Male size and alternative mating tactics in white-tailed deer and mule deer." Journal of Mammalogy 101, no. 5 (October 3, 2020): 1231–43. http://dx.doi.org/10.1093/jmammal/gyaa109.
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Abstract Within populations, individual males adopt different courtship tactics due to differences in their competitive ability, which may vary depending on the animal’s age and size. To test the hypothesis that mule deer (Odocoileus hemionus) and white-tailed deer (O. virginianus) males vary their courtship behavior based on their size, we conducted focal observations of 144 mule deer and 85 white-tailed males that varied in size, at a large grassland site in southern Alberta. The smallest mule deer males devoted more time to feeding, were less likely to engage in late-stage courtship than larger males and were less likely to move among female groups. Other males, including small white-tailed males, appeared to use a roving strategy to search for estrous females in different groups, which is consistent with recent research on male movements. Both medium and large males increased the time they spent in one-male groups, and specifically isolated pairs, as courtship advanced, presumably to reduce competition with other males. However, this trend was most pronounced for medium mule deer males, and for all size classes of white-tailed deer. In contrast, large mule deer males spent a similar proportion of time tending females in all group types. Our results identified potential size-dependent tactics for mule deer males. In contrast, white-tailed males of all sizes appeared to rely on a tactic of finding and tending estrous females in isolation from other males.
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Airst, Jason, and Susan Lingle. "Courtship strategies of white-tailed deer and mule deer males when living in sympatry." Behaviour 156, no. 3-4 (2019): 307–30. http://dx.doi.org/10.1163/1568539x-00003543.
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Abstract Courtship behaviour reflects characteristics of an animal’s general biology, while also reflecting selective pressures specific to reproduction. Mule deer (Odocoileus hemionus) and white-tailed deer (O. virginianus) are sister species that differ in antipredator behaviour and sociality. We observed sympatric mule deer and white-tailed males to document their grouping patterns, courtship tactics, and aggressive interactions during the breeding season. Consistent with the hypothesis that courtship strategies reflect species differences in antipredator tactics and sociality, mule deer males were more likely than white-tailed males to tend females in multi male–multi female groups. White-tailed males almost exclusively tended females in isolated pairs and prevented other males from joining their groups. However, both species spent more time in isolated pairs as courtship advanced, likely to reduce competition. Our results enabled us to distinguish courtship behaviours that reflect contrasting antipredator tactics and sociality from courtship behaviours that reflect reproductive selective pressures that the species share.
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Voronina, Olga A. "WOMEN AND FINE ARTS: A GENDER ANALYSIS." Yaroslavl Pedagogical Bulletin 116, no. 5 (2020): 217–24. http://dx.doi.org/10.20323/1813-145x-2020-5-116-217-224.
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The article disputes traditional views on the status of women in the visual arts. Methodologically, the text is based on the theories of social constructivism, social and symbolic capital, modern history of fine art and gender approach. The author considers art as a social institution, and an artistic work as something with aesthetic and economic value. This allows us to deconstruct the myth of women's lack of artistic abilities convincingly. Institutionally, this mythology was supported by the refusal of women to receive professional education in fine arts, and ideologically justified by the role of the Muse, allegedly inspiring men to true creativity. This subject-object dichotomy set the structure of power relations between the Artist and his repressed «object of veneration», while ignoring the various relationships of women with fine arts or evaluating their creativity as marginal. This concept was formed in the era of mass production of artistic works, when the cost of work was determined not so much by its aesthetic qualities, but by many other factors. And one of them is the traditional hierarchy of men and women in culture, which leads to underestimation of women's artistic creativity in economic terms and alienation of women from the active creative process. Attempts of women to present a different view of yourself and your place in the world (a woman is existentially different in western culture) come across symbolic designation of the feminine as secondary and marginal. Even today, when women рфму professional education and participate in exhibitions, their positions and status remains more vulnerable than that of male-artists. This is due to existing gender stereotypes and institutional barriers. Professional recognition of woman is often achieved at the cost of a symbolic rejection of self-representation as a female artist and identification with masculine models of creativity. Overcoming this situation is impossible without the artistic community's acceptance of the principles of freedom of expression and gender equality.
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Maslov, Viktor. "The Genius of the Artist through the Prism of His Models." Philosophical anthropology 7, no. 1 (2021): 80–115. http://dx.doi.org/10.21146/2414-3715-2021-7-1-80-115.
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The essay, which consists of two parts, analyzes the female images of two great artists Botticelli and Picasso. The essay has the character of an art history study with memoir interweaves. In the first part, the author makes an attempt to decipher the genius of Botticelli using the technique of analyzing the prototype of the artist's heroine and comparing it with the image of a real woman, similar to the Botticelli model. The artist's genius is revealed through the type created by him, in a sense — invariant, of a beautiful woman, the spiritual and material image of which is repeated in reality. The energy of Botticelli's paintings, which is their secret, allowed the author to see in life a real copy of the artist's heroine. Using the archive of preserved personal letters of a beautiful lady, as if she descended from Botticelli's paintings “Spring” and “The Birth of Venus”, the author draws an analogy the epistolary legacy with cinema, when events are described not in strict chronological order, but rather individual important moments and experiences are highlighted and are scaled. According to the letters, the author reconstructs the character of his heroine and hypothetically transfers these character traits to the Botticelli model, about whose character there is almost no evidence left. The second part of the essay is inspired by a photograph of Picasso's wife Olga Khokhlova, preserved in the personal archive of the author's friends. The author embeds his story about the muse and the great love of Picasso and about his other paradoxical models in the circumstances of his personal life, in the situation of his youth, comparing the revolutionary changes in art at the beginning of the XX century with the moods of the representatives of the artistic intelligentsia of the 70s of the past century. The heroines of Picasso and the strange interweaving of the fate of the participants in the author's narrative represent the content of this part of the essay.
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Shields, Andrew V., Randy T. Larsen, and Jericho C. Whiting. "Summer Watering Patterns of Mule Deer in the Great Basin Desert, USA: Implications of Differential Use by Individuals and the Sexes for Management of Water Resources." Scientific World Journal 2012 (2012): 1–9. http://dx.doi.org/10.1100/2012/846218.
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Changes in the abundance and distribution of free water can negatively influence wildlife in arid regions. Free water is considered a limiting factor for mule deer (Odocoileus hemionus) in the Great Basin Desert. Consequently, a better understanding of differential use of water by individuals and the sexes could influence the conservation and management of mule deer and water resources in their habitats. We deployed remote cameras at all known water sources (13 wildlife water developments and 4 springs) on one mountain range in western Utah, USA, during summer from 2007 to 2011 to document frequency and timing of water use, number of water sources used by males and females, and to estimate population size from individually identified mule deer. Male and female mule deer used different water sources but visited that resource at similar frequencies. Individual mule deer used few water sources and exhibited high fidelity to that resource. Wildlife water developments were frequently used by both sexes. Our results highlight the differing use of water sources by sexes and individual mule deer. This information will help guide managers when siting and reprovisioning wildlife water developments meant to benefit mule deer and will contribute to the conservation and management of this species.
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Lingle, Susan. "Group composition and cohesion in sympatric white-tailed deer and mule deer." Canadian Journal of Zoology 81, no. 7 (July 1, 2003): 1119–30. http://dx.doi.org/10.1139/z03-097.
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White-tailed deer (Odocoileus virginianus) have been reported to live in smaller groups than mule deer (Odocoileus hemionus). Group size, however, generally varies with habitat conditions, and no comparison has been made between the social structures of the two species living in the same ecological conditions. I compared the size, composition, and stability of groups formed by sympatric whitetails and mule deer living in a prairie habitat in southern Alberta. Seasonal trends were similar for the two species. Females and fawns usually formed small groups during summer. Larger mixed-sex groups became increasingly common during winter, well after the breeding season. Despite the similar seasonal trend, mule deer were significantly more likely than whitetails to occur in relatively large groups composed of both sexes during winter, and whitetails were more likely to occur in small female groups. Mule deer groups were more stable than whitetail groups, and marked mule deer fawns developed strong associations with other known fawns. Habitat variation was limited and was not related to group size. These results show that the composition and cohesion of whitetail and mule deer groups differ, even when the species live in similar circumstances. The differences in grouping behaviour, larger more cohesive groups formed by mule deer than by whitetails, are consistent with those expected to result from the selection pressure of predation.
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Cain III, James W., Jana B. Ashling, and Stewart G. Liley. "Survival and cause-specific mortality of translocated female mule deer in southern New Mexico, USA." Wildlife Research 45, no. 4 (2018): 325. http://dx.doi.org/10.1071/wr17173.
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Context Many mule deer (Odocoileus hemionus) populations in New Mexico have failed to recover from previous population declines, while some populations near urban areas have increased, resulting in more frequent human–wildlife conflicts. Translocations were used in an effort to simultaneously reduce an urban mule deer population and augment two low-density populations in south-western New Mexico, USA. Aims Because of insufficient monitoring, the efficacy of many ungulate translocations is unknown. Our goal was to monitor cause-specific mortality and 1 year post-release survival of mule deer translocated during 2013 and 2014. We compared survival rates of mule deer released with a hard- versus soft-release during the 2014 translocation. Methods . We translocated 218 mule deer in 2013 and 2014 into the Peloncillo Mountains (PM) and San Francisco River Valley (SFRV); 106 adult female mule deer were fitted with telemetry collars to determine cause-specific mortality and estimate survival 1 year post-release. All deer were hard-released in 2013. In 2014, translocated mule deer were either held in a soft-release pen (0.81 ha) for approximately 3 weeks or hard-released into their new environment. We used a Kaplan–Meier approach to estimate survival of translocated mule deer at each release area and to compare survival of mule deer translocated using each release method (i.e. hard- versus soft-release). Key results In 2013–14, survival of hard-released deer in the PM was 0.627 (s.e. = 0.09), compared with 0.327 (s.e. = 0.10) in the SFRV. In 2014–15, survival of hard–released deer in the PM was 0.727 (s.e. = 0.13) and survival of soft-released deer was 0.786 (s.e. = 0.11). In the SFRV, survival of hard- and soft-released deer was 0.656 (s.e. = 0.14) and 0.50 (s.e. = 0.16), respectively. Causes of mortality were predation (51%), potential disease (9%; blue tongue or epizootic haemorrhagic disease), accident (5%), poaching (5%) and unknown (20%). Conclusions Translocations can be an effective management tool to augment populations of mule deer while reducing overabundant urban populations. Soft-released mule deer did not have higher survival than hard-released mule deer, although the length and conditions of the acclimation period were limited in our study. Implications Overabundant mule deer populations in urban areas may serve as sources of animals to bolster declining populations. Soft-release pens of smaller size and short period of acclimation did not influence survival.
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Hayes, Charles L., and Paul R. Krausman. "Nocturnal Activity of Female Desert Mule Deer." Journal of Wildlife Management 57, no. 4 (October 1993): 897. http://dx.doi.org/10.2307/3809095.
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Priyambodo, Danang, Jakaria Jakaria, and Rukmiasih Rukmiasih. "Performa Pertumbuhan dan Produksi Karkas Mandalung Hasil Hibridisasi antara Entok Jantan (Cairina moschata) dengan Itik Betina (Anas plathyrynchos) (The Growth Performance and Production of Carcass Mandalung, Hybridized from Male Muscovy Ducks (Cairina moschata) and Female Ducks (Anas plathyrynchos))." Jurnal Sains Terapan 5, no. 1 (June 4, 2015): 8–16. http://dx.doi.org/10.29244/jstsv.5.1.8-16.
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Crossbreeding between species (hybridization) was conducted to obtain higher average value of offspring trait than the parent trait. The aim of this study was to determine the best type of mule duck and to evaluate the heterosis effect appearing on mule duck obtained. The experimental design used was a randomized block design with two levels of treatment and eight groups based on the hatching period. The treatments were the type of mule duck crossed between muscovy duck male with female cihateup duck (EC) and mule duck crossed between male muscovy duck with female alabio duck (EA). The results showed the growth performance and carcass production of EC and EA mule duck were not significantly different, but mule duck EC tended to show better results than mule duck EA. The percentage of heterosis effect produced by EC and EA mule duck in growth performance and carcass production showed advantages over the parent. EC mule duck had a higher level of heterosis than EA mule duck for some trait observed. EC mule duck can be kept as best crossbreed to produce mule duck with good performance and carcass production.Keywords: mule duck, performance, carcass production, heterosis
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Garrott, Robert A., Gary C. White, Richard M. Bartmann, Len H. Carpenter, and A. William Alldredge. "Movements of Female Mule Deer in Northwest Colorado." Journal of Wildlife Management 51, no. 3 (July 1987): 634. http://dx.doi.org/10.2307/3801282.
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Smisha, Komban Parameswaran, and Mamiyil Sabu. "Musa × parahaekkinenii (Musaceae): A new artificial interspecific hybrid from Kerala, India." Bangladesh Journal of Plant Taxonomy 25, no. 2 (December 29, 2018): 167–73. http://dx.doi.org/10.3329/bjpt.v25i2.39521.
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Musa × parahaekkinenii (Musaceae), a new manually crossed interspecific hybrid of two wild parent plants Musa coccinea Andrews (female) and Musa haekkinenii N.S. Lý & Haev. (male), is described and illustrated. A comparison of characters with its parents and a key to the new hybrid M. × parahaekkinenii are provided.
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Renecker, Lyle A., and W. M. Samuel. "Growth and seasonal weight changes as they relate to spring and autumn set points in mule deer." Canadian Journal of Zoology 69, no. 3 (March 1, 1991): 744–47. http://dx.doi.org/10.1139/z91-107.
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Growth rate and potential, 25 hand-reared mule deer (Odocoileus hemionus hemionus) were examined. When possible, body weights of all animals were recorded weekly. Female deer matured faster than males, but males attained a larger body size. Regressions of winter weight loss of both sexes on peak autumn weight were highly correlated. Similarly, spring and summer compensatory gain in females could be predicted from the minimum spring weight. Annual cycles of intake and weight gain may have adaptations that improve reproductive success and winter survival.
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Eckrich, Carolyn A., Priscilla K. Coe, Darren A. Clark, Ryan M. Nielson, John Lombardi, Sara C. Gregory, Mary JO Hedrick, Bruce K. Johnson, and DeWaine H. Jackson. "Summer Habitat Use of Female Mule Deer in Oregon." Journal of Wildlife Management 84, no. 3 (December 11, 2019): 576–87. http://dx.doi.org/10.1002/jwmg.21806.
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Kufeld, Roland C., David C. Bowden, and Donald L. Schrupp. "Influence of Hunting on Movements of Female Mule Deer." Journal of Range Management 41, no. 1 (January 1988): 70. http://dx.doi.org/10.2307/3898794.
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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballets, piano works, romances, film music. The broad famous are the French writers: S.-G. Colette (1873–1954), to which the films were devoted, the performances based on her novels are going all over the world, her lyrics are being studied in the literature departments. She was the President of the Goncourt Academy, Chevalier of the Legion of Honour, a square in the center of Paris is named after her. Also, creativity by her compatriot, L. de Vilmorin (1902–1969), on whose poems С. Arrieu, G. Auric, F. Poulenc wrote vocal miniatures, is beloved and recognized as in France as and widely abroad. The article denotes a circle of women who combined the position of a selfsufficient creator and a muse for their companion. M. Verevkina (1860–1938) – a Russian artist, a representative of expressionism in painting, not only helped shape the aesthetic views of her husband A. Yavlensky, contributing to his art education, but for a long time “left the stage” for to not compete with him and help him develop his talent fully. Furthermore, she managed to anticipate many of the discoveries as for the use of light that are associated with the names of H. Matisse, A. Derain and other French fauvist. F. Kahlo (1907–1954), a Mexican artist, was a strict critic and supporter for her husband D. Rivera, led his business, was frequently depicted in his frescoes. C. Schumann (1819–1896) was a committed promoter of R. Schumann’s creativity. She performed his music even when he was not yet recognized by public. She included his compositions in the repertoire of her students after the composer lost his ability to play due to the illness of the hands. She herself performed his works, making R. Schumann famous across Europe. In addition, Clara took care of the welfare of the family – the main source of finance was income from her concerts. The article indicates the growing interest of the twentieth century composers to the poems of female poets. Among them M. Debord-Valmore (1786–1859) – a French poetess, about whom S. Zweig, P. Verlaine and L. Aragon wrote their essays, and her poems were set to music by C. Franck, G. Bizet and R. Ahn; R. Auslender (1901–1988) is a German poetess, a native of Ukraine (Chernovtsy city), author of more than 20 collections, her lyrics were used by an American woman-composer E. Alexander to write “Three Songs” and by German composer G. Grosse-Schware who wrote four pieces for the choir; I. Bachmann (1926–1973) – the winner of three major Austrian awards, author of the libretto for the ballet “Idiot” and opera “The Prince of Hombur”. The composer H. W. Henze, in turn, created music for the play “Cicadas” by I. Bachmann. On this basis, we conclude that women not only successfully engaged in painting, wrote poems and novels, composed music, opened «locked doors», destroyed established stereotypes but were a powerful source of inspiration. Combining the roles of the creator and muse, they helped men reach the greatest heights. Toward the twentieth century, the role of the fair sex representatives in the world of art increased and strengthened significantly, which led Western European culture to a new round of its evolution.
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Noushini, Saeedeh, Jeanneth Perez, Soo Jean Park, Danielle Holgate, Ian Jamie, Joanne Jamie, and Phillip Taylor. "Rectal Gland Chemistry, Volatile Emissions, and Antennal Responses of Male and Female Banana Fruit Fly, Bactrocera musae." Insects 11, no. 1 (December 31, 2019): 32. http://dx.doi.org/10.3390/insects11010032.
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The banana fruit fly, Bactrocera musae (Tryon) (Diptera: Tephritidae), is an economically important pest endemic to Australia and mainland Papua New Guinea. The chemistry of its rectal glands, and the volatiles emitted during periods of sexual activity, has not been previously reported. Using gas chromatography–mass spectrometry (GC-MS), we find that male rectal glands contain ethyl butanoate, N-(3-methylbutyl) acetamide, ethyl laurate and ethyl myristate, with ethyl butanoate as the major compound in both rectal gland and headspace volatile emissions. Female rectal glands contain four major compounds, ethyl laurate, ethyl myristate, ethyl palmitate and (E,E)-2,8-dimethyl-1,7-dioxaspiro[5.5]undecane, as well as 11 minor compounds. For both male and female B. musae, all compounds found in the headspace were also present in the rectal gland extracts, suggesting that the rectal gland is the main source of the headspace volatiles. Gas chromatography–electroantennography (GC-EAD) of rectal gland extracts confirms that male antennae respond to male-produced ethyl laurate and female-produced (E,E)-2,8-dimethyl-1,7-dioxaspiro[5.5]undecane, while female antennae respond to male-produced ethyl butanoate but no female-produced compounds. This is an important step in understanding the volatiles involved in the chemical communication of B. musae, their functional significance, and potential application.
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Noble, Cortney W., Jeremy M. Bono, Helen K. Pigage, David W. Hale, and Jon C. Pigage. "Fine-Scale Genetic Structure in Female Mule Deer (Odocoileus hemionus)." Western North American Naturalist 76, no. 4 (December 2016): 417–26. http://dx.doi.org/10.3398/064.076.0404.
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Roerick, Tanya M., James W. Cain, and J. V. Gedir. "Forest restoration, wildfire, and habitat selection by female mule deer." Forest Ecology and Management 447 (September 2019): 169–79. http://dx.doi.org/10.1016/j.foreco.2019.05.067.
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Kuzyk, Gerald W., and Robert J. Hudson. "Rumen Papillae Morphology of Mule Deer, Odocoileus hemionus, and White-tailed Deer, Odocoileus virginianus, from East-central Alberta." Canadian Field-Naturalist 122, no. 2 (April 1, 2008): 179. http://dx.doi.org/10.22621/cfn.v122i2.582.
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Using hunter-harvested deer in the fall of 2003, we compared ruminal papillae density, length, width, surface enlargement factor (SEF) and reticular cell diameter between sympatric Mule Deer (Odocoileus hemionus) and White-tailed Deer (O. virginianus), and between age-gender classes within each species. There was no difference in papillae morphology or reticular cell diameter between Mule Deer and White-tailed does or bucks or between any age-gender comparisons within species. Female Mule Deer fawns had larger reticular cell diameters than White-tailed Deer fawns, and male Mule Deer fawns had higher papillae density and larger reticular cell diameters than male White-tailed Deer fawns. Papillae widths of male White-tailed Deer fawns were greater than those of male Mule Deer fawns. Comparisons of papillae morphology between Mule Deer and White-tailed Deer sampled during late fall suggests adults of these species may respond similarly to forage quality, but species differences may be evident in fawns.
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Anderson, Jennifer M. L., and G. M. Webster. "The effect of castration and ewe proximity on the behaviour, growth, carcass composition and meat quality of male lambs reared outdoors." Proceedings of the British Society of Animal Science 1996 (March 1996): 166. http://dx.doi.org/10.1017/s0308229600031329.
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This trial sought to increase the knowledge of the changes in the endocrine status of male sheep as they mature, and to link this with sexual and agonistic behaviour when they are reared in the presence or absence of females from weaning.80 twin-reared Suffolk x Mule lambs were selected at birth. 32 of the male lambs were castrated (C) and 32 were left entire (E); there were 16 female lambs (F). The ewes were stocked at a rate of 20 ewes per hectare. The lambs were weaned at 12 weeks of age in late June, when they were separated into two groups. The first group (+F) comprised 16 entire males, 16 castrated males and 16 females that were run together until the end of July. Thereafter, raddled vasectomized rams were run with the ewe lambs to show when the first oestrous cycles occurred.
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Villamizar Carvajal, Germán, and Luis Antonio González-Montana. "Morphological description of an alate female of Zorotypus hamiltoni New (Zoraptera: Zorotypidae) from Colombia." Caldasia 40, no. 2 (July 1, 2018): 255–61. http://dx.doi.org/10.15446/caldasia.v40n2.71887.
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An alate female of Zorotypus hamiltoni from Colombia is described and illustrated for the first time. The single specimen was collected in Santa María, Boyacá, Colombia and is currently deposited at the Museo Entomológico. Universidad Nacional, Agronomía, Bogotá, Colombia (UNAB).
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Ferraro, Daiana Paola, Laura Isabel De Cabo, Marcela Mónica Libertelli, María Liliana Quartino, Laura Chornogubsky Clérici, Soledad Tancoff, Yolanda Davies, and Laura Edith Cruz. "Female scientists from the Museo Argentino de Ciencias Naturales: “The four from Melchior”." Revista del Museo Argentino de Ciencias Naturales 22 (2020): 249–64. http://dx.doi.org/10.22179/revmacn.22.708.
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Robinson, Hugh S., Robert B. Wielgus, and John C. Gwilliam. "Cougar predation and population growth of sympatric mule deer and white-tailed deer." Canadian Journal of Zoology 80, no. 3 (March 1, 2002): 556–68. http://dx.doi.org/10.1139/z02-025.
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Mule deer (Odocoileus hemionus) populations throughout the west appear to be declining, whereas white-tailed deer (Odocoileus virginianus) populations are increasing. We compared abundance, number of fetuses per female (maternity rate), recruitment, and cause-specific adult ([Formula: see text]1 year old) mortality rate for sympatric mule deer and white-tailed deer in south-central British Columbia to assess population growth for each species. White-tailed deer were three times more abundant (908 ± 152) than mule deer (336 ± 122) (mean ± 1 SE). Fetal rates of white-tailed deer (1.83) were similar to those of mule deer (1.78). There was no statistically significant difference in recruitment of white-tailed deer (56 fawns : 100 does) and mule deer (38 fawns : 100 does). The annual survival rate for adult white-tailed deer (SWT = 0.81) was significantly higher than that for mule deer (SMD = 0.72). The main cause of mortality in both populations was cougar predation. The lower mule deer survival rate could be directly linked to a higher predation rate (0.17) than for white-tailed deer (0.09). The finite growth rate (λ) was 0.88 for mule deer and 1.02 for white-tailed deer. The disparate survival and predation rates are consistent with the apparent-competition hypothesis.
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Sotelo-Gallardo, Hugo, Juan Antonio García-Salas, and Armando Jesús Contreras-Balderas. "Depredación del borrego Ovis canadensis (Artiodactila: Bovidae) y el venado bura Odocoileus hemionus (Artiodactila: Cervidae) por Puma concolor (Carnivora: Felidae) en Coahuila, México." Revista de Biología Tropical 66, no. 4 (September 3, 2018): 1496. http://dx.doi.org/10.15517/rbt.v66i4.32247.
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Small and isolated populations of bighorn sheep (subject to special protection according to NOM-059-SEMARNAT-2010) are vulnerable to predation by mountain lion in habitat sympatric with mule deer. Understanding the specific causes of death and survival is important for the development of conservation strategies for bighorn sheep and other ungulates that share the same habitat, such as mule deer.We evaluated and compared the rate of predation by puma in 12 bighorn sheep (10 females, two males) and 10 adult females of mule deer with radio collars through measure risk program (micromorts). The impact of predation in both populations of herbivores is evaluated through the estimation of densities of sheep and mule deer. 88 % (8/9) deaths by puma in bighorn sheep with an average monthly survival rate of 0.79 and predation rates due to puma range from 0.17 to 0.30. In mule deer predation due to puma was 83 % (5/6) with an average monthly survival rate of 0.86 and predation rates due to puma range from 0.10 to 0.25, however when comparing the mountain lion depredation rate we found a significant difference between species (Z = 1.826, df = 6, P = 0.05). The density in mule deer was 9x more that bighorn. The bighorn sheep being the prey most selected and the one most affected as the population with the lowest density.
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Jaleel, Waqar, Xiaobing Tao, Desen Wang, Lihua Lu, and Yurong He. "Using Two-Sex Life Table Traits to Assess the Fruit Preference and Fitness of Bactrocera dorsalis (Diptera: Tephritidae)." Journal of Economic Entomology 111, no. 6 (August 20, 2018): 2936–45. http://dx.doi.org/10.1093/jee/toy243.
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Abstract Bactrocera flies are economic pests of agricultural crops all over the world. Among Bactrocera flies, oriental fruit fly is an economically important pest of fruit crops in the world. Basic studies of Bactrocera flies are very important and helpful to the development of integrated management strategies. However, basic studies regarding behavior and age-stage, two-sex life table traits for this pest, which are vital for designing effective control methods, are currently lacking. Considering the importance of B. dorsalis, this study aimed to evaluate the fruit preference and age-stage, two-sex life table traits of B. dorsalis on guava (Psidium guajava), papaya (Carica papaya), and banana (Musa acuminata) fruits in the laboratory. In choice and no-choice tests, the number of visits and oviposition punctures made by female B. dorsalis flies were significantly higher on guava than those on papaya and banana. The life cycle from eggs to male (146.95 ± 3.43 d) and female (164.94 ± 3.85 d) adults was significantly longer on papaya than those on banana and guava. Bactrocera dorsalis females produced significantly more eggs when fed on guava (623.30 eggs female−1) than on papaya (527.80 eggs female−1) or banana (399.60 eggs female−1). Guava was the more suitable fruit for B. dorsalis, and could be used as a bait fruit to manage the B. dorsalis during the fruiting season of papaya and banana.