Prey – predator model on the interaction between the drawdown level of an aquifer and maize yield

Groundwater is a major source of water for irrigation purposes and for sustainable growth of Agricultural development. In this paper we formulated a mathematical model to analyse the interaction between the Draw-down levels in an unconfined aquifer with maize yield, using the parameters; aquifer recharged rate α, rate of interaction between the draw down level of the aquifer and the maize yield β, draw down level of the aquifer h, and the maize yield y. The aim of this paper is to analyse the interaction between crop yield and water table and to determine the effect of draw down level on maize yield. It was observed that the maize yield depends on the recharge rate of the aquifer α and the water table level h and also as the drawdown level increases, the maize yield increases. Agriculture is of paramount importance to the development of any country, it was established in this paper that a relatively small increase of water table depth beyond the optimum increase the surface irrigation requirement for maximum crop production, water table depth shallower than optimum decreases yield.Key words: Drawdown, recharged rate, maize yield, interactio

The relationship between level of activation and reaction time

This is a pilot study, the purpose of which is to test the hypothesis that there is a curvilinear relationship between the level of activation and reaction time. Before getting into the more technical aspects of the problem, definition of the basic concepts involved is a necessity

Noise and vibration from building-mounted micro wind turbines Part 2: Results of measurements and analysis

Description To research the quantification of vibration from a micro turbine, and to develop a method of prediction of vibration and structure borne noise in a wide variety of installations in the UK. Objective The objectives of the study are as follows: 1) Develop a methodology to quantify the amount of source vibration from a building mounted micro wind turbine installation, and to predict the level of vibration and structure-borne noise impact within such buildings in the UK. 2) Test and validate the hypothesis on a statically robust sample size 3) Report the developed methodology in a form suitable for widespread adoption by industry and regulators, and report back on the suitability of the method on which to base policy decisions for a future inclusion for building mounted turbines in the GPDO

Human response to vibration in residential environments (NANR209), Technical report 6 : determination of exposure-response relationships

This technical report presents the development of exposure-response relationships for the human response to vibration in residential environments. The data used to formulate the relationships presented in this report are those which were collected for the Defra funded project “NANR209: Human response to vibration in residential environments”, the main aim of which was the development of exposure-response relationships. Vibration caused by railway traffic, construction work, and internal sources outside of the residents’ control were considered. Response data was collected via face to face interviews with residents in their own homes. The questionnaire was presented as a neighbourhood satisfaction survey and gathered information on, among other things, annoyance caused by vibration and noise exposure. Development and implementation of the questionnaire used for the collection of response data is discussed in Technical Report 2 and Technical Report 5. Vibration exposure was determined via measurement and prediction in such a way that, where possible, an estimation of internal vibration exposure was established for each residence in which a questionnaire was completed. The measurement procedures and methods employed to estimate vibration exposure are detailed in Technical Report 1 and Technical Report 3. Estimations of noise exposure were also derived for each residence using the methods detailed in Technical Report 4

Comedy and the “Tragic Complexion” of Tom Jones

Tony Richardson's 1963 film Tom Jones contains an image not explicitly authorized by Fielding?s novel: Tom, with a noose around his neck, being hanged. Fortuitously, he is rescued by Squire Western before gravity takes its toll. Although consistent with other dark film comedies of the 1960s, this image also has considerable basis in the text. Fielding begins the seventeenth book of Tom Jones by putting a hypothetical noose on his hero. With Tom imprisoned, charged with murder, and Sophia Western recaptured by her father, Fielding contemplates an ending for the novel

"a Sceane of Uttmost Vanity": the Spectacle of Gambling in Late Stuart Culture.

Restoration diarist John Evelyn describes a memorable occasion at court on Twelfth Night, 6 January 1662: This evening (according to costóme) his Majestie opned the Réveils of that night, by throwing the Dice himselfe, in the Privy Chamber, where was a table set on purpose, & lost his 100 pounds: the yeare before he won 150 pounds: The Ladys also plaied very deepe: I came away when the Duke of Ormond had won about 1000 pounds & left them still at passage, Cards &c: at other Tables, both there and at the Groome-porters, observing the wiccked folly vanity & monstrous excesse of Passion amongst some loosers, & sorry I am that such a wretched Custome as play to that excesse should be countenanc'd in a Court, which ought to be an example of Virtue to the rest of the kingdome.

Non-preconception

Of the pieces exhibited, the canvas structures are the only originals. The remaining works are cast from stretched canvas constructions--some directly and some from molds taken from the constructions. A wooden frame was first constructed. These frames emphasize geometric shapes and simple curves. Limiting the frames to basic shapes enabled a controlled and simplified form. The canvas is then stretched as taut as possible by hand and boiling water is applied to remove all the wrinkles through shrinkage and to create the desired tension. The form of the canvas is basically dependent on the design of the frame but can be easily altered by the pulling of the cloth, as there are many variations in relation to the pull on horizontals, verticals and diagonals. Although the stretched canvas is in its purest state, a skin over a structure, I found it necessary to reproduce it into a material that would not be as vulnerable to dents, punctures, and the quick aging the canvas forms seem to go through. The larger ones, especially, can be compared to the slow collapse of a balloon. Coating the canvases with paint, gesso or polyester resin offers some resistance to this "quick aging," but at the same time causes the dents to become more permanent. This fragility of the canvas forms makes the additional step of reproduction in plaster, fiber-glass and bronze a necessity for me

The English Lineage Of Diedrich Knickerbocker

The narrator of Washington Irving's A History of New York, an odd, inquisitive gentleman named Diedrich Knickerbocker, who allegedly disappeared in I809, leaving behind him the manuscript of this "only Authentic History of the Times that hath been, or ever will be Published,"1 revivifies a prominent figure in English comic fiction, the self-conscious narrator. Yet no readers of A History of New York have commented extensively on this narrator's relationship to eighteenth-century British writers. Among early critics, Sir Walter Scott noted briefly that he had "never read anything so closely resembling the style of Dean Swift" and that he had also found "some touches which remind me much of Sterne."2 Among modern commentators, Stanley T. Williams, in his biography of Irving, says about the author: "His most servile debts were to Fielding, whose conversations with the reader he reduces to tedium; to Sterne, whose Uncle Toby, now with a Dutch name, again analyzes military science; to Swift, who begot the war of the Long-pipes and Short-pipes."3 More sympathetic and more accurate about Sterne is William L. Hedges, who finds the "key to Irving's achievement" in "the ingenious device of Diedrich Knickerbocker, who manages to sound at once like Sterne's first person narrators, and Fielding's cultivated omniscience going berserk in mazes of irony."4 Neither Williams nor Hedges, however, chose to discuss the precise nature of Knickerbocker's heritage from Henry Fielding, Laurence Sterne, or Jonathan Swift, whose persona in A Tale of a Tub also bears a familial resemblance to Irving's narrator. The purpose of this essay, then, is to define more accurately Irving's use of a literary tradition by identifying Knickerbocker's relationship to Swift's Tubbian hack, Mr. Fielding, Author, and Tristram Shandy, Gentleman

Sentimental Economies in The School for Scandal

Richard Brinsley Sheridan's The School for Scandal, which premiered on 8 May 1777, demonstrates a central fimction of eighteenth-century literary texts, as described by Mary Poovey: "to mediate value-that is, to help people understand the new credit economy and the market model of value that it promoted."l The play perfonns this cultural work through a discourse in which "the languages of sensibility and economic theory, conventionally deemed to be separate and indeed antagonistic," tum out "to overlap and coincide."2 In two of Sheridan's plots the threat to the Teazles' marriage by Joseph Surface and the testing of Joseph and Charles Surface by their Uncle Oliver-he includes scenes in which several characters seem to express sensibility and in which patriarchal figures offer monetary rewards to characters who actually possess it. As these scenes reveal new bases of wealth-trade rather than the inherited property of gentlemen-better characters reap the benefits. Yet Sheridan remains ambivalent about luxury, compelling Lady Teazle to retrench while rewarding Charles in spite of his excesses. Framed by the activities of the Scandal School, these plots mirror the cultural work of the comedy itself, in which Sheridan, also manager of the Drury Lane Theatre in his first season, sought money for his representation of sensibility. artfully embedded in a satire of slander. In The Wealth of Nations, published the year before, Adam Smith speaks of money as "the great wheel of circulation, the great instrument of commerce," which "makes a part and a very valuable part of the capital ... of the society to which it belongs."3 Smith's trope helps us appreciate how much the characters and performances of Sheridan's play depend on circulation, not only on the circulation of money (between nations, between generations, between spouses and brothers, between tradesmen and customers, between audiences and manager), but also on the circulation of scandal, cultural capital, and celebrity, especially the celebrity of the actress who first portrayed Lady Teazle

Evelina, the Rustic Girls of Congreve and Abington, and Surrogation in the 1770s

In the first volume of Evelina (1778), Frances Burney sends her protagonist to London theaters, among the numerous public venues that provide settings for this “Young Lady’s Entrance into the World.” Evelina attends several performances at the Theatre Royal in Drury Lane, supposedly at a time when it was managed by David Garrick, who was not only the leading actor of his era, but also Dr. Charles Burney’s friend. On her first evening in London, Evelina sees Garrick perform in Benjamin Hoadly’s The Suspicious Husband (1747); a week later, in Shakespeare’s King Lear. During the most extended of the Drury Lane episodes she sits with friends in a box at a revival of William Congreve’s late seventeenth-century comedy Love for Love (1696)