"dead prey" is a correct and usable part of a sentence in written English.
It refers to an animal or creature that has been hunted and killed by another animal for food. Example: The lion prowled through the grass, its gaze fixed on the group of antelope grazing peacefully nearby. It was searching for its next meal, and the sight of the dead prey lying on the ground filled it with satisfaction.
To simulate a wild setting, they fed the sawfish dead prey with weak electrical fields.
There were significant EAG responses to both live and dead slugs (Derocerus reticulatum) and Diptera larvae (Calliphora sp .. Dead prey did not induce a response that was significantly different from that to live prey.
Poachers use poison to kill elephants and rhinos – and to kill vultures to stop them circling in the skies over dead prey and alerting gamekeepers to the presence of dead animals and the poachers.
On average, a cheetah will move its dead prey around 60m before it takes a bite.
The students who represented dead prey re-enter the population as babies, copying the pose of any survivor.
If so, Hauser says, the jury might still be out on whether adult meerkats are teaching their young or merely engaging in stimulus-response behavior: "If pup is young, bring dead prey.
They have been observed securing dead larger prey to ease subsequent dismemberment; a parent currawong had wedged a dead chicken's wings under a log to facilitate pulling off portions such as legs and entrails to feed to its young, and another time hooked a dead rabbit on a spur of a log to rip it into pieces.
A member of the public found the dead bird of prey in the Millcroft area of Strathaven last Friday.
In April, for example, the firm agreed to buy the remnants of Polaroid, a once-iconic instant-photo firm whose only significant asset now is its name.Firms that prey on dead or dying firms are not popular.
Here, as in the manic "Demonlover" (2002), Assayas is onto something the uncontainable means by which modern communications may be binding us together not as one friend to another but as extortioner to victim, predator to prey, or dead to quick.
Here, as in the manic "Demonlover" (2002), Assayas is onto something — the uncontainable means by which modern communications may be binding us together not as one friend to another but as extortioner to victim, predator to prey, or dead to quick.
