Inheritance of different coat colours in Newfoundland dogs in Poland

2019 ◽  
Vol 15 (1) ◽  
pp. 17-28
Author(s):  
Maciej Ziółkowski ◽  
Agnieszka Redlarska ◽  
Katarzyna Adamus-Fiszer ◽  
Joanna Kania-Gierdziewicz
Keyword(s):  
Coat Colour ◽  
The Other ◽  
Black And White ◽  
Dog Breed ◽  
Dominant Black

The aim of the study was to present the manner in which coat colour genes are inherited in the Newfoundland dog breed and to estimate the number of dogs with various coat colours in the Polish Newfoundland dog population in 2017. This population numbered 656 dogs, including 248 males and 408 females. The estimated number of dogs of this breed also included all registered puppies, broken down by gender and coat colour. The genes determining coat colour are described, including more precisely the genes responsible for the coat colour of the Newfoundland breed. According to FCI regulations, the coat colours for Newfoundland dogs are black, brown and black-and-white. Other colours, such as brown-and-white or blue, are not recognized for breeding purposes in Europe. The study found that the dominant black coat was predominant in the Polish Newfoundland dog population in 2017. These dogs could be heterozygous at some other loci and have undesirable alleles. The second most common coat colour was chocolate, while the fewest dogs had spotted coats. The group with spotted coats contained more males than females, in contrast to the other two colour variants. There were also individuals with the blue coat colour, which is not accepted for breeding, as the result of mating of parents with proper coat colours. An understanding of how dog coat colours are inherited and the need for tests to determine coat colour genotypes would make it possible to foresee the occurrence of incorrect colours in subsequent generations, which is crucial for Newfoundland dog breeders, whose goal is to obtain dogs whose coat colour is in line with the FCI standard.

The Evolution of the Colour Sense

1901 ◽  
Vol 47 (199) ◽  
pp. 678-679
Author(s):  
F. W. Edridge-Green
Keyword(s):  
Nerve Impulse ◽  
The Other ◽  
Physiological Basis ◽  
Black And White ◽  
Normal Distance ◽  
Colour Sense ◽  
Two Factors ◽  
Colour Blindness ◽  
The Mind

All the facts which can be gathered from the study of museums or literature point to the conclusion that the sense of light was developed first, then the sense of colour. The tendency has been to regard colour-blindness as “chromic myopia;” but this is not correct unless there is a defective perception of light as well, as shown by the cases which I have recorded. A man may be able to see light of all colours at twice the normal distance, and yet be colour-blind. I specially wish to emphasise the fact that there is no definite relation between light and colour. When light falls upon the eye it sets up a nerve impulse, which is conveyed to the brain. In the impulse itself we have the physiological basis of light, and in the quality of the impulse the physiological basis of colour. My contention is that these two factors are perceived by two entirely different sets of cerebral cells, those devoted to the perception of colour being developed at a later period than those conveying to the mind the sensation of light. All the evidence which can be obtained shows that all objects were first seen as in a photograph, that is, in different degrees of black and white. In the evolution of the colour sense those waves which differ most physically, namely, red and violet, were first recognised as different, the remainder of the spectrum appearing grey. Homer's colour vision was of this class, which represents the degree just preceding total colour-blindness. I have recorded a case of this kind of a man who was colour-blind with one eye, and who was therefore able to tell me exactly how objects appeared with this eye. He said that the spectrum appeared nearly all grey, but with a tinge of red at one end and a tinge of violet at the other; he could see very much better with the colour-blind eye than with the other.

scholarly journals Inheritance Patterns of Coat Colouration and Horn Number in Jacob Sheep

2018 ◽  
Vol 3 (1) ◽  
pp. 363-367
Author(s):  
N.R. McEwan ◽  
O.A. Anjola
Keyword(s):  
Gene Locus ◽  
Single Gene ◽  
Coat Colour ◽  
The Body ◽  
The Other ◽  
Limiting Factors ◽  
Inheritance Patterns ◽  
Mode Of Inheritance

Abstract The allele for black coat colour is dominant relative to the allele for lilac in Jacob sheep and is affected by a single gene locus. The percentage of this colouration, as opposed to white fleece, across the body has a heritability value of 0.255. The mode of inheritance for horn number in these animals is less clear, with neither the trait for 2 horns, nor for 4 horns being totally dominant, based on crosses of 2 x 2-horned parents and 4 x 4-horned parents; although in these examples the majority of lambs had the same number of horns as their parents. However, when one parent had 2 horns and the other had 4 horns, the gender of the 4-horned parent appeared to influence the frequency of 4-horned offspring; 77% of lambs born to a 4-horned dam being 4-horned, but only 50% when the 4-horned parent was the sire. These data suggest evidence for sex-limiting factors being involved in determining the number of horns in this breed.

Individual Recognition, Intragroup Cohesion and Intergroup Spacing: Evidence From Sound Playback To Forest Monkeys

Behaviour ◽  
1977 ◽  
Vol 60 (1-2) ◽  
pp. 28-74 ◽  
Author(s):  
Peter M. Waser
Keyword(s):  
Individual Recognition ◽  
The Other ◽  
Primate Species ◽  
Home Ranges ◽  
Loud Calls ◽  
Black And White ◽  
Other Hand ◽  
Individual Distinctiveness ◽  
Black And White Colobus ◽  
Intergroup Spacing

AbstractThe contexts and functions of several loud mangabey vocalizations, particularly the "whoopgobble", were investigated observationally and experimentally. Whoopgobbles are notable for their audibility and distinctiveness over long distances, their temporal pattern of delivery, and particularly their stereotypy and individual distinctiveness. On the other hand, contexts of and responses to these vocalizations are variable and sometimes nonobvious. In order to control context and more systematically investigate response, an experimental method involving playback of recorded vocalizations was developed. Although precautions against habituation were necessary, mangabey responses to playbacks were clearcut and repeatable. Answering vocalizations, changes in group movement, and changes in the dispersion of individuals within a group occurred only in response to mangabey vocalizations. Whoopgobble playbacks provoked a pattern of response, including most notably the rapid approach of one adult male (the "RA" male) from each group, which was specific to this call. Playback of whoopgobbles between 100 and 600m from mangabey groups indicated that this call does transmit information regarding the identity of the vocalizing individual and group over these distances. Test groups moved away from neighboring- and unknown-group calls, but towards those of their own males - particularly those of RA males. RA males, on the other hand, do not approach calls of other males from their own groups. Within a group, whoopgobbles may thus increase cohesion and influence the direction of movements. Characteristics of whoopgobble form and context are discussed with regard to hypothesized functions of these and other forest monkey loud calls. Responses by free-ranging mangabeys to playback of the whoopgobble confirm its role in maintaining distance between groups. Response was found to be independent of group size, despite the fact that whoopgobble rate is closely related to this variable and thus could transmit such information. Since responses were also found to be independent of location within the home range, intergroup spacing among mangabeys appears not be be "territorial", site defense does not occur. Nevertheless, the central areas in at least some mangabey groups' home ranges were never penetrated by neighbors. Playback tests with black-and-white colobus and blue monkeys, among which territorial spacing has been reported, indicate that responses to loud calls have some degree of site-specificity among these species. But the mangabey pattern of intergroup spacing appears to result from a combination of low group density, site attachment within groups, and site-independent avoidance between groups. These results emphasize that spacing "system" and "pattern" are not necessarily equivalent; a given set of spacing behaviors can result in different spacing patterns under different ecological conditions, while a given pattern may be obtained by any of several behavioral means. Evidence for site-independent spacing in other primate species is discussed.

scholarly journals The Functionality of Color Terms in Antarah IBN SHADAD's Poetry

2018 ◽  
Vol 214 (1) ◽  
pp. 47-74
Author(s):  
M . Raad Abdul Jabbar Jawad
Keyword(s):  
Personal Experience ◽  
Arabic Language ◽  
The Other ◽  
Color Terms ◽  
Black And White ◽  
Poetic Image ◽  
Explicit Reference ◽  
Poetic Diction ◽  
Definition Of ◽  
Poetry Collection

     To start with, a definition of the term 'color' in Arabic language is presented.  Then, a study of colors implications in Al-Jahili poetry is proceeded; the poet's creativity in using color terms and incorporating these terms in Jahili poems explicitly or implicitly in forming up the topics of their poetry, then outlined. Color figures and images are dominant in Al-Jahili poetry to its extreme so as to propagate an oasis of environmental emulations, on one hand, and an outlet for personal experience on the other. In his poetry, Antara followed his ancestors' poetic traditions and closely textualized their inspirations and fantasies in his versification.  Partly, his poetic diction was personalized; whereas, the semantic contents tackled by ancestors were mediated and de toured astray in some instanses.  Reviewing his poetry collection one can infer his typical attitudes of using colors: the black, the white, the red, the green, the blue, and the yellow. Excessive use of these colors can be cited along with multiplicity of presentation in creating a quantum of color implications especially those of the white and the black, he used a decorated mosaic of colors in forming his poetic image; whereas he incorporated a corona of colors in restoring his poeticity.  Color contrasts are foregrounded in building up perceptible imagesof his poems. Colorful images, he used, asa loverand as a knight are merged with his passion and bravery; though gloomy in his macabre. The paper concludes that Antara used an excessive influx of colors terminology and semantic sheds in entailing his topics, focusing on the red, black and white.  The black was his favorite; whereas the red and the black are used excessively in his expressions.  Explicit reference to the red and black was the highest in number in the selected poems.  Essentially, some node that the notability of the black was a symptom of suffering and degrading he suffered as a black.

A novel mutation in the TYRP1 gene associated with brown coat colour in the Australian Shepherd Dog Breed

2017 ◽  
Vol 48 (5) ◽  
pp. 626-626 ◽  
Author(s):  
Evelina Hrckova Turnova ◽  
Zuzana Majchrakova ◽  
Marcela Bielikova ◽  
Katarina Soltys ◽  
Jan Turna ◽  
...  
Keyword(s):  
Novel Mutation ◽  
Coat Colour ◽  
Dog Breed

And Then They Drown?: Faulkner’s Quentin Compson Lost in the Borderlands

2018 ◽  
pp. 156-173
Author(s):  
Mary Weaks-Baxter
Keyword(s):  
The Other ◽  
Lost Cause ◽  
The South ◽  
Black And White ◽  
Divided Self ◽  
Narrative Patterns ◽  
Border Narratives ◽  
Building Walls ◽  
North And South

This chapter looks at the consequences of the inability to negotiate borders because of deeply entrenched narrative patterns that circle back upon themselves, perpetuating communal values that stoke division. The chapter examines the quintessential victim of the Southern Lost Cause—Faulkner’s Quentin Compson—who is a divided self because he left the South. He is even before he leaves Mississippi for Boston, “two separate Quentins,” one “preparing for Harvard in the South” and the other “still too young to deserve yet to be a ghost.” Through Quentin, Faulkner makes clear the dangers of divisions between black and white, between North and South, and the inability of Southerners to successfully navigate the psychological borderlands and leave behind the crushing past of the South. Faulkner’s Quentin is the most indelibly inked reminder of the consequences of border narratives gone awry and a warning of the harm of building walls and not bridges.

Shadows of Black and White

2021 ◽  
pp. 178-206
Author(s):  
Leslie C. Gay Jr
Keyword(s):  
First Century ◽  
The Other ◽  
Black And White ◽  
Material Resources ◽  
Digital Era ◽  
Recorded Sound ◽  
Musical Object ◽  
Social Meanings ◽  
The One

This chapter considers the role of seen and unseen infrastructures in the material transmission and circulation of May Irwin’s (1862–1938) famous “Frog Song.” Just as ontologies of music shift in our digital era, the chapter peels back the hazy ontological histories of this song—as material commodity, technology, and memory—to consider its ramifications as a musical object replete with racial and social meanings. The argument developed here brings together aspects of the “hard” infrastructures of song sheet publishing, paper, and lithography, on the one hand, and the “soft” infrastructures of race, body, and memory, on the other. More specifically, the material resources of the song’s production—in printed page, body, and recorded sound—illuminate the shadowy histories of this song and emphasize how these materials reconfigure shifting notions of gender and race across cultural and historical boundaries into the twenty-first century.

A Study of the Effect of Standard Laboratory Processing on Speed and Resolution of Three Black and White Aerial Films

1983 ◽  
Vol 37 (1) ◽  
pp. 3-10
Author(s):  
E. A. Fleming ◽  
M. Landreville ◽  
E. Nagy
Keyword(s):  
Type A ◽  
The Other ◽  
Small Scale ◽  
High Contrast ◽  
Aerial Photo ◽  
Standard Laboratory ◽  
Average Gradient ◽  
Black And White ◽  
Contrast Range ◽  
Film Speed

Three aerial films were tested using standard aerial photo laboratory processing procedures for three different chemistries. Relationships were established with respect to average gradient, speed, base plus fog, graininess and resolution for low, medium and high contrast targets. The films compared were Kodak Double-X type 2405, Kodak Plus-X type 2402 and Kodak Panatomic-X 2412. The processing was done in a Kodak Versamat processor using Type A, 885 and Versaflo chemistry. The results indicated that processing in 885 chemistry enhanced film speed. The versatility of Double-X in terms of speed and contrast range was demonstrated, however the resolution of Panatomic-X greatly exceeded that of either of the other two films and shows promise for small scale mapping photography.

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