Academic literature on the topic '1832-1923'

New taxonomic and diagnostic data for 17 species of Encephalus Kirby, 1832, Gyrophaena Mannerheim, 1830 and Phanerota Casey, 1906 of Sri Lanka and India are provided. Eight species are redescribed: G. (Gyrophaena) furcata (Motschulsky, 1858), G. (G.) indica Motschulsky, 1858, G. (G.) kashmirensis Bernhauer, 1923, G. (G.) livida Motschulsky, 1858, G. (G.) permutaria Schubert, 1906, G. (G.) sexualis Cameron, 1939, G. (G.) soror Bernhauer, 1923, and Ph. (Acanthophaena) appendiculata (Motschulsky, 1858). The following new synonymies are established: G. (G.) cognata Cameron, 1939 = G. setiensis Pace, 2006 syn.n., G. (G.) indica = G. granulifera Kraatz, 1859 syn.n., G. cicatricosa Motschulsky, 1858 syn.n., G. rigida Motschulsky, 1858 syn.n., G. nigrides Newton, 2017 (replacement name for G. nigra Motschulsky 1859) syn.n., G. trifida Motschulsky, 1859 syn.n., G. (G.) livida = G. curtula Motschulsky, 1859 syn.n., and G. (G.) tripartita Cameron, 1939 = G. annapurnensis Pace, 2006 syn.n. Lectotypes for G. (G.) furcata, G. (G.) indica, G. (G.) kashmirensis, G. (G.) livida, G. (G.) soror Bernhauer, 1923, Ph. (Acanthophaena) appendiculata and Ph. (A.) rufiventris (Cameron, 1920) comb.n. (from Gyrophaena) are designated. The habitus of all taxa, aedeagi and apical abdominal sclerites of all species of Gyrophaena and Phanerota are illustrated. Gyrophaena (G.) jumlicola Pace, 2006 is recorded from India for the first time.

The Christian missionary John Thomas Gulick (1832–1923) has long been recognized as an important evolutionary theorist. Most recently, his scientific contributions have been commended by biologists skeptical of the sufficiency of pan-adaptationist accounts of evolution. While Gulick’s scientific work has been noticed, his theological and metaphysical commitments have been largely dismissed, ignored, or downplayed. This paper argues that this not only marginalizes what for Gulick was of central importance but has also distorted historical accounts of his theory of evolution. In the portrait drawn here, Gulick’s understanding of evolution emerges as a significant example of the creative interplay between theological and evolutionary ideas and explanations in the early twentieth century. Gulick’s intellectual influences, his theological vision, and his opposition to fatalism combined to form a lifelong quest to understand both snails and salvation.

The present list includes all available names, both valid and invalid, and the type-species of the genera and subgenera ofCerambycidae, Disteniidae, Oxypeltidae and Vesperidae (Coleoptera) of the Neotropical Region. Two new family-groupnames are proposed: Neoibidionini (type-genus: Neoibidion, a replacement name for Ibidion Audinet-Serville, 1834, ju-nior homonymy of Ibidion Gory, 1833) for Ibidionini Thomson, 1861 and Proholopterini (type-genus Proholopterus, areplacement name for Holopterus Blanchard, 1851, junior homonymy of Holopterus Brehm, 1845) for Holopterini La-cordaire, 1868. Oideterus Thomson, 1857a:15 is revalidated with the type-species, Oideterus buquetii Thomson, 1857 (bymonotypy). Udeterus Thomson, 1858b:515 is a junior synonym of Oideterus Thomson, 1857. Acanthocornis Monné &Monné, 2011 (Prioninae, Meroscelisini) is a new synonym of Hyleoza Galileo, 1987 and Acanthocornis flavus Monné &Monné, 2011 = Hyleoza confusa Tavakilian & Galileo, 1991. The genus Acanthocornis Monné & Monné, 2011 was erro-neously described in the tribe Anacolini. Acanthinodera Hope, 1834 is considered a nomen protectum and hereafter usedas valid genus name. Amallopodes Lequien, 1833 is a nomen oblitum consequently invalid name. Hephaestion (?) zikaniMelzer, 1923 is designated as the type-species of Parahephaestion Melzer, 1930; Corynellus mimulus Bates, 1885 as thetype-species of Corynellus Bates, 1885; Cosmius ochraceus Perty, 1832 as the type-species of Cosmius Perty, 1832 non Cosmius Dumeril, 1806, Diptera, and Alampyris nigra Bates, 1881 as the type-species of Alampyris Bates, 1881.

A phylogenetic study based on 25 species of Phasgonophorinae (Hymenoptera: Chalcididae) and 36 characters was carried out for ensuring the generic placement of three new species from Saudi Arabia. As a result of this study, the genera Trigonura Sichel, 1866, Bactrochalcis Kieffer, 1912, Centrochalcis Cameron, 1913, Centrochalcidia Gahan & Fagan, 1923, Chalcidellia Girault, 1924, Urochalcis Nikol’skaya, 1952, Trigonurella Bouček, 1988, and Muhabbetella Koçak & Kemal, 2008 are synonymized with Phasgonophora Westwood, 1832. This genus is recorded in Saudi Arabia for the first time, represented here by P. rubens (Klug), and newly described species P. baiocchii Soliman & Gul, sp. nov., P. granulis Delvare, sp. nov., and P. magnanii Gadallah & Gul, sp. nov. An illustrated key to species of the Arabian Peninsula is provided. The relevant specimens were mostly reared from buprestid species infesting Acacia sp. and Dodonaea viscosa in Al-Baha, Asir and Riyadh regions, Saudi Arabia.

In this study we used dendrochronology to reconstruct the history of eastern spruce budworm (Choristoneura fumiferana (Clem.)) outbreaks over the last 450 years in the Bas-Saint-Laurent region of southeastern Quebec. In total, 260 tree cores were sampled from 204 beams in seven historic buildings and 12 trees in a virgin forest stand. Eight previously documented outbreaks (1975–1992, 1947–1958, 1914–1923, 1868–1882, 1832–1845, 1805–1812, 1752–1776, 1710–1724) and three presumed previous outbreaks (1678–1690, 1642–1648, 1577–1600) were identified based on periods of growth reduction. Of these 11 confirmed or presumed outbreaks, six were documented for the first time in eastern Quebec. Such data suggest that outbreak frequency has remained quite stable, with a mean interval of about 40 years between the midpoint of successive outbreaks since the mid-16th century. In addition, together with previous studies, our results indicate a strong spatial synchrony of spruce budworm outbreaks across central and eastern Quebec during the last 300 years. Consequently, our study does not support the hypothesis that spruce budworm outbreak frequency and synchrony increased during the 20th century.

The work of Robert Delaunay and particularly his Eiffel Tower paintings are recognized as an essential symbol of modern art. However, their precise assessment by historians varies and there are aspects of these works that have scarcely been studied. The focus of this thesis aims at exploring and unravelling implicit or imprecise connections in several specific topics, like the relation between Delaunay and some contemporary painters, but pre-eminently the links with architectural theory and practice in the first half of the twentieth century. The period comprised between 1850 and 1940 has been taken as a frame of reference. First of all, the great iron constructions and especially the ones built in Paris in the second half of the nineteenth century, are presented in the context of the Industrial Revolution. Particular interest is placed on the production of Gustave Eiffel, including his outstanding viaducts and the 300 meter tower, a summit of engineering but also a unique work. From here on, we comment on the critical assessment of these buildings and the different modalities of representation they appeared in, contributing to their popularity. Special emphasis is placed on the images produced by painters, which have allowed us to find traits that anticipate the canvases by Delaunay and to observe the process of transformation and fragmentation undergone concurrently by painting and architecture from the raise of Impressionism until the outbreak of the avant-garde. Next, the artist Robert Delaunay is introduced through a brief biographical synopsis, to then move on to review the main influences on his work, comprising Monet’s Impressionism, Seurat and Cézanne’s Postimpressionist proposals, and Picasso’s Cubism. His relation with Futurism is also analysed, as well as his role as a pioneer of abstract painting and his special relation with architecture, manifested in his theoretical formulations and his rendering of gothic and modern buildings. Following this, Delaunay's pictorial production inspired by the Eiffel Tower is commented and classified in five groups: the Villes, the first Tours, the great compositions, the Fenêtres and the late Tours. In each one, the artist approaches the monument from a singular perspective, applying in many cases a visual split up that might not seem too rigorous but will prove extremely fertile. The paintings of the tower will bear an impact on the way the public and other artists perceive Eiffel’s monument and by extension all the iron buildings of the nineteenth century. We also explain in what way the different series, that are usually considered as autonomous, possess a sense of unity. A comparative study between Delaunay and the contemporary painters who represented the Eiffel Tower and other modern buildings influenced by him is also presented. Among these are mentioned the cases of American artist John Marin, and above all, Fernand Léger and Marc Chagall. Delaunay interacts dynamically with the tower, revolutionizing the relation between painting and construction. He makes the most of the coincidental characteristics of the monument and its depictions to establish a symbiosis between pictorial and architectural languages. He uses as well the grid, a common feature in modern art and particularly in Cubism, as a fundamental tool in this process of synthesis. The representational system employed would originate partly in the tectonic features of the Eiffel Tower. The influence of Delaunay's paintings will be especially noticeable in the utopian projects of the Russian avant-garde architects, which will be demonstrated through a series of examples. Finally, we explain how Delaunay’s vision transformed the perception of the great iron constructions and contributed to the formulation of a theoretical reference frame for modern architecture in the first half of the twentieth century, through his influence on Le Corbusier and particularly on Sigfried Giedion.
La obra de Robert Delaunay y en particular sus pinturas de la Torre Eiffel son reconocidas como un símbolo esencial del arte moderno. Sin embargo, su valoración exacta por los historiadores es variable y existen aspectos de estas obras que han sido escasamente estudiados. El enfoque de la tesis se orienta a explorar y a revelar conexiones implícitas o poco evidentes en algunos temas concretos como la relación entre Delaunay y ciertos pintores contemporáneos, pero sobre todo los nexos con la teoría y la praxis arquitectónicas de la primera mitad del siglo XX. Como marco referencial se ha tomado el período comprendido entre 1850 y 1940. Se presentan en primera instancia las grandes construcciones de hierro, fruto de la revolución industrial, y especialmente las construidas en Paris en la segunda mitad del siglo XIX. Se aborda con especial interés el trabajo de Gustave Eiffel, en la que destacan los viaductos y la torre de 300 metros como obra culminante pero también única. A partir de aquí se comenta la valoración crítica de estas edificaciones y las distintas modalidades de representación de que fueron objeto, contribuyendo a su popularidad. Se analizan con especial atención las imágenes producidas por los pintores, en las que se han encontrado rasgos que anticipan los lienzos de Delaunay y se observa el proceso de transformación y fragmentación que siguen paralelamente la pintura y la arquitectura desde el surgimiento del Impresionismo hasta la eclosión de las Vanguardias. A continuación se presenta al artista Robert Delaunay con una breve sinopsis biográfica, para luego repasar las principales influencias en su obra, que incluyen el impresionismo de Monet, las propuestas postimpresionistas de Seurat y Cézanne, y el Cubismo de Picasso. También se analiza su relación con el Futurismo, su rol como pionero de la abstracción, y su especial relación con la arquitectura, que se manifiesta en su discurso teórico y en representaciones de edificios góticos y modernos. Seguidamente se comenta su producción pictórica inspirada en la Torre Eiffel clasificada en cinco grupos: las Villes, las primeras Tours, las grandes composiciones, las Fenêtres y las Tours tardías. En cada uno Delaunay se aproxima al monumento desde una óptica singular, aplicando en muchos casos una descomposición visual tal vez poco rigurosa pero de enorme riqueza. Las pinturas de la torre impactan en la manera en que el público y los demás artistas perciben el monumento de Eiffel y por extensión las demás construcciones de hierro del siglo XIX. Se explica también por qué las diferentes series, que se suelen enfocar como autónomas, poseen un sentido unitario. También se presenta un estudio comparativo entre Delaunay y los pintores contemporáneos que representaron la Torre Eiffel y otras edificaciones modernas influenciados por él. Entre estos se mencionan los casos del artista americano John Marin, y sobre todo de Fernand Léger y Marc Chagall. Delaunay interactúa con la torre de manera dinámica, reformulando la relación entre pintura y construcción. Aprovecha las características del monumento y de su representación para establecer una simbiosis entre lenguaje pictórico y lenguaje arquitectónico. Asimismo emplea las retículas, habituales en el arte moderno y en especial en el Cubismo, como herramienta fundamental en este proceso de síntesis. El sistema de representación adoptado derivaría en parte de las características tectónicas de la Torre Eiffel. La influencia de las pinturas de Delaunay será especialmente notoria en las propuestas utópicas de los arquitectos de la Vanguardia rusa, y se presentan diversos ejemplos para demostrarlo. Finalmente se explica de qué manera la visión de Delaunay transforma la percepción de las grandes construcciones de hierro, contribuyendo a la formulación de un marco teórico para la arquitectura moderna en la primera mitad del siglo XX, a través de su influencia sobre Le Corbusier y en especial sobre Sigfried Giedion.