Exploring fall migratory patterns of American black ducks using eight decades of band-recovery data

2014 ◽  
Vol 78 (6) ◽  
pp. 997-1004 ◽  
Author(s):  
Philip Lavretsky ◽  
Joshua H. Miller ◽  
Volker Bahn ◽  
Jeffrey L. Peters

1987 ◽  
Vol 51 (4) ◽  
pp. 700 ◽  
Author(s):  
James D. Nichols ◽  
Holliday H. Obrecht ◽  
James E. Hines


2002 ◽  
Vol 66 (1) ◽  
pp. 153 ◽  
Author(s):  
Joseph R. Robb
Keyword(s):  


1988 ◽  
Vol 66 (7) ◽  
pp. 1506-1513 ◽  
Author(s):  
Duane R. Diefenbach ◽  
James D. Nichols ◽  
James E. Hines

The distribution patterns during winter of American black ducks (Anas rubripes) were compared among age – sex classes using band recovery data. In addition, fidelity to wintering areas was compared between sexes and between coastal and inland wintering sites. We did not find evidence of age- or sex-specific differences in distribution patterns (P > 0.10). Black ducks exhibited a stronger fidelity to coastal wintering areas (P < 0.01), but there were no sex-specific differences (P > 0.30). We believe that the early formation of breeding pairs and possibly predictable food resources may reduce age – sex segregation in distribution patterns during winter. The predictability of food resources in coastal, as opposed to inland, wintering areas is likely responsible for the greater fidelity of black ducks to coastal wintering sites.





2008 ◽  
Author(s):  
Nathan Oates
Keyword(s):  


2020 ◽  
Vol 2 ◽  
pp. 19-25
Author(s):  
Mark C Anderson

Horror films such as White Zombie (1932) reveal viewers to themselves by narrating in the currency of audience anxiety. Such movies evoke fright because they recapitulate fear and trauma that audiences have already internalized or continue to experience, even if they are not aware of it. White Zombie’s particular tack conjures up an updated captivity narrative wherein a virginal white damsel is abducted by a savage Other. The shell of the captivity story, of course, is as old as America. In its earliest incarnation it featured American Indians in the role as savage Other, fiendishly imagined as having been desperate to get their clutches on white females and all that hey symbolized. In this way, it generated much of the emotional heat stoking Manifest Destiny, that is, American imperial conquest both of the continent and then, later, as in the case of Haiti, of the Caribbean Basin. White Zombie must of course be understood in the context of the American invasion and occupation of Haiti (1915-1934). As it revisits the terrain inhabited by the American black Other, it also speaks to the history of American slavery. The Other here is African-American, not surprisingly given the date and nature of American society of the day, typically imagined in wildly pejorative fashion in early American arts and culture. This essay explores White Zombie as a modified captivity narrative, pace Last of the Mohicans through John Ford’s The Searchers (1956), the Rambo trilogy (1982, 1985, 1988), the Taken trilogy (2008, 1012, 2014), even Mario and Luigi’s efforts to rescue Princess Peach from Bowser.



2000 ◽  
Author(s):  
Jerry R. Longcore ◽  
Daniel G. McAuley ◽  
Gary R. Hepp ◽  
Judith M. Rhymer




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