scholarly journals Taxonomy of Empire: The Compendium of Birds as an Epistemic and Ecological Representation of Qing China

Journal18 ◽  
2019 ◽  
Author(s):  
Daniel M. Greenberg
Keyword(s):  
Ecological Representation

Hindsight in marine protected area selection: A comparison of ecological representation arising from opportunistic and systematic approaches

2011 ◽  
Vol 144 (6) ◽  
pp. 1866-1875 ◽  
Author(s):  
Gretchen J.A. Hansen ◽  
Natalie C. Ban ◽  
Michael L. Jones ◽  
Les Kaufman ◽  
Hazel M. Panes ◽  
...  
Keyword(s):  
Protected Area ◽  
Marine Protected Area ◽  
Area Selection ◽  
Ecological Representation

The Impasses of Ecological Representation

2013 ◽  
Vol 22 (3) ◽  
pp. 339-358 ◽  
Author(s):  
Kerry H. Whiteside
Keyword(s):  
Ecological Representation

scholarly journals The Next 50 Years: Opportunities for Diversifying the Ecological Representation of the National Wilderness Preservation System within the Contiguous United States

2016 ◽  
Vol 114 (3) ◽  
pp. 396-404 ◽  
Author(s):  
Jocelyn L. Aycrigg ◽  
James Tricker ◽  
R. Travis Belote ◽  
Matthew S. Dietz ◽  
Lisa Duarte ◽  
...  
Keyword(s):  
United States ◽  
Wilderness Preservation ◽  
Ecological Representation

Coastal zone planning: a geophysical classification of inlets to define ecological representation

2011 ◽  
Vol 21 (5) ◽  
pp. 448-461 ◽  
Author(s):  
Michelle E. Greenlaw ◽  
John C. Roff ◽  
Anna M. Redden ◽  
Karel A. Allard
Keyword(s):  
Coastal Zone ◽  
Ecological Representation

A Warped Hometown

2017 ◽  
Author(s):  
Weijie Song
Keyword(s):  
Physical Performance ◽  
Space Time ◽  
Historical Change ◽  
Lao She ◽  
Time Continuum ◽  
Ecological Representation

This chapter explores how Lao She performs an affective mapping of his warped native city’s streets, courtyard houses, ditch, and teahouse: everyday tyranny and despair in the phantasmal and entrapping avenues and streets; wartime atlas of emotions including nostalgia, mourning, shame, anger, and hatred; socialist sentiment and citizenship born in the ideological/ecological representation of Dragon Beard Ditch as a metamorphic space; and self-mourning in a warped and wounded teahouse as a distorted space-time continuum, a shrinking and pessimistic miniature of old Beijing misery and a sign of unfathomable urban darkness. Confronting the advent, expansion, and menace of modernity as well as the whirlwind and whirlpool of political and historical change, Manchu writer Lao She envisions modern Beijing as the locus of pain and pleasure, dystopia and dreamland, moral decline and physical performance, material deformations and emotional vicissitudes.

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