scholarly journals Exotic Plantations Increase Risks of Flooding in Mountainous Landscapes

2020 ◽  
Author(s):  
Rajat Nayak ◽  
Jagdish Krishnaswamy ◽  
Srinivas Vaidyanathan ◽  
Nick Chappell ◽  
Kumaran Kesavan ◽  
...  
Keyword(s):  
Exotic Plantations ◽  
Mountainous Landscapes

scholarly journals Exotic Plantations Increase Risks of Flooding in Mountainous Landscapes

2020 ◽  
Author(s):  
Rajat Nayak ◽  
Jagdish Krishnaswamy ◽  
Srinivas Vaidyanathan ◽  
Nick Chappell ◽  
Kumaran Kesavan ◽  
...  
Keyword(s):  
Exotic Plantations ◽  
Mountainous Landscapes

Materials to the lichen flora of Samurskiy Ridge (high mountainous Dagestan)

2018 ◽  
Vol 52 (2) ◽  
pp. 397-406
Author(s):  
A. B. Ismailov ◽  
G. P. Urbanavichus
Keyword(s):  
North Caucasus ◽  
Lichenicolous Fungi ◽  
Greater Caucasus ◽  
Altitudinal Range ◽  
The North ◽  
New Findings ◽  
Mountainous Landscapes ◽  
First Time ◽  
Lichen Flora

The lichens and lichenicolous fungi of high mountainous landscapes of Samurskiy Ridge were studied in altitudinal range 2400–3770 m a. s. l. for the first time and 112 species are recorded. Among them 33 species, 10 genera (Arthrorhaphis, Baeomyces, Calvitimela, Epilichen, Lambiella, Psorinia, Rufoplaca, Sagedia, Sporastatia, Tremolecia) and 4 families (Anamylopsoraceae, Arthrorhaphidaceae, Baeomycetaceae, Hymeneliaceae) are new for Dagestan, six species (Buellia uberior, Carbonea atronivea, Lecanora atrosulphurea, Lecidea fuliginosa, L. swartzioidea, Rhizoplaca subdiscrepans) are reported for the first time for the Greater Caucasus and two species (Acarospora subpruinata and Rhizocarpon postumum) — for the North Caucasus. Most of the new findings were collected from 3500–3770 m a. s. l.

scholarly journals What you see is where you go? Modeling dispersal in mountainous landscapes

2007 ◽  
Vol 22 (6) ◽  
pp. 853-866 ◽  
Author(s):  
Roland F. Graf ◽  
Stephanie Kramer-Schadt ◽  
Néstor Fernández ◽  
Volker Grimm
Keyword(s):  
Mountainous Landscapes

scholarly journals Native forest replacement by exotic plantations in southern Chile (1985–2011) and partial compensation by natural regeneration

2015 ◽  
Vol 345 ◽  
pp. 10-20 ◽  
Author(s):  
Carlos Zamorano-Elgueta ◽  
José María Rey Benayas ◽  
Luis Cayuela ◽  
Stijn Hantson ◽  
Dolors Armenteras
Keyword(s):  
Natural Regeneration ◽  
Native Forest ◽  
Southern Chile ◽  
Exotic Plantations ◽  
Partial Compensation

Gaming and Grieving: Digital Games as Means of Confronting and Coping with Death

2020 ◽  
Vol 9 (3) ◽  
pp. 326-346
Author(s):  
Beverley Foulks McGuire
Keyword(s):  
Human Body ◽  
Digital Games ◽  
Digital Game ◽  
Air Bubble ◽  
Mountainous Landscapes ◽  
Game Environment ◽  
Death And Loss ◽  
And Coping ◽  
Coping With Death

Abstract This paper explores structural similarities between playing a digital game and experiencing grief. The digital game Mandagon evokes a sense of loss through its game environment of grey mountainous landscapes, broken wooden scaffolds, and Tibetan temples and prayer flags in states of disrepair. It elicits feelings of disorientation and dependency as players repeatedly fall from scaffolds but ascend by using lifts or finding air bubble streams underwater. It encompasses terrestrial, corporeal, and cosmic crossings as players move through air, land, and water, as they neither inhabit nor encounter a human body, and they cross various cosmic thresholds through the course of the game. For players struggling with grief, it validates and normalizes feelings of emptiness, loneliness, and vulnerability in the wake of death and loss.

The Origins of Chinese Mountain Painting: Evidence from Archaeology

2003 ◽  
Author(s):  
JESSICA RAWSON
Keyword(s):  
Third Century ◽  
The Third ◽  
Major Subject ◽  
Mountainous Landscapes ◽  
The Aesthetic ◽  
The Universe

Mountainous landscapes, with massive crags and narrow fissures between rocks, through which water spouts, are among the principal subjects of paintings in China. This chapter addresses the question, why, in the first place, were these subjects chosen? It focuses on developments made during the Qin (221–207 bc) and Han (206 bc–ad 220) dynasties, from the third century bc onwards. It explores the ways in which the conditions prevailing in the Qin and Han periods moulded some aspects of the later Chinese practice. It is argued that the ways in which the Chinese from the Han period onwards viewed the cosmos determined their choice of mountains as a major subject for painted images. The chapter discusses attitudes to the cosmos and the aesthetic consequences of these views. It considers the whole range of ideas about the universe and not simply with depictions or models of mountains as representing one part of the cosmos.

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