Journal articles on the topic '1883-1939'

The article discusses outstanding interpretations of the works by F. Nietzsche as represented in Polish educational thought during the “Young Poland” period and the following interwar period. The study aims at elucidating the pedagogical dimensions of Nietsche’s idea in the interpretation of the two periods and at identifying the space within which the concept of the author of Thus spake Zarathustra still remains topical and current. The section devoted to the “Young Poland” period includes an analysis of Jan Kurnatowski’s book Nietsche. Studia i tłumaczenia [Nietzsche. Studies and translations], the one and only work of the period that extracts from the output of the German thinker its strictly pedagogical reflections. The next issue to be presented is a discussion on the journalistic writing that was engaged inNietzschean themes that would be of interest to the present-day pedagogy of culture. Interpretation trends that aimed to discover a universal remedy for the crisis in culture and humanity in the works of the author of Untimely Meditations turned out to be dominant at the time. An approach to the interpretation of Nietzsche’s thought in a wide context of social and cultural interactions made it possible to conclude that the category of Bildungsphilister, castigated by the philosopher, reaches much further beyond just criticism of the contemporary model of education due to the tenability of the notion of Bildumg as the accumulation of cultural capital as it was viewed by Pierre Bourideu. In conclusion of the discussion on the modernist period, the author presents postulations that indicate a need for a shift in the reception emphasis towards directions hitherto unexplored. The section devoted to the interwar period presents the interpretation of the pedagogical thought of Nietzsche presented at the inauguration lecture (on the occasion of Antoni Bolesław Dobrowolski’s acceptance of the chair of pedagogy at Wolna Wszechnica Polska [Free Polish University]) delivered by the professor. The presentation is followed by a discussion on the different approaches presented in various pedagogical encyclopaedias and in Ludwik Chamaj’s Kieruki i prądy pedagogiki współczesnej [Trends and directions in modern pedagogy]. The latter approaches present Nietzsche as an instigator and a prime mover in contemporary intellectual currents and trends and discuss his influence upon individual philosophers, extracting from his philosophical output the notions of “individualism”, “criticism of the traditional educational system” and “irrationalism”. The journalistic writings under investigation fit well into this particular interpretative trend. The discussion on the interwar period is complemented with a reference to a booklet written by Stanisław Besser and entitled: Bohaterowie myśli. Nietsche i Weininger [Heroes of Thought. Nietzsche and Weininger] and an analysis of the article written by Marian Wachowski Wspomnienia z pism pedagogicznych Nietzschego i Grundtviga [Pedagogical reflections in the writings of Nietzsche and Grundtvig], being the only Polish contribution to the discussion on the series of lectures by Nietzsche Ueber die Zukunft unserer Bildungsanstalten

Napatree Point, an isolated barrier in southern Rhode Island, provides a case study of barrier spit migration via storm driven overwash and washover fan migration. Documented shoreline changes using historical surveys and vertical aerial photographs show that the barrier had little in the way of net change in position between 1883 and 1939, including the impact of the 1938 hurricane. The barrier retreated rapidly between 1945 and 1975, driven by both tropical and extra-tropical storms. The shoreline position has been largely static since 1975. The removal of the foredune during the 1938 hurricane facilitated landward shoreline migration in subsequent lower intensity storms. Dune recovery following the 1962 Ash Wednesday storm has been allowed due to limited overwash and barrier migration over the last several decades. Shoreline change rates during the period from 1945–1975 were more than double the rate of shoreline change between 1939 and 2014 and triple the rate between 1883 and 2014, exceeding the positional uncertainty of these shoreline pairs. The long-term shoreline change rates used to calculate coastal setbacks in Rhode Island likely underestimate the potential for rapid shoreline retreat over shorter time periods, particularly in a cluster of storm activity. While sea-level rise has increased since 1975, the barrier has not migrated, highlighting the importance of storms in barrier migration.

Bardaxima Walker, 1858 includes 12 species, eight of them occurring in Brazil. The Brazilian species are treated here, including diagnoses and illustrations of both adults and genitalia to allow their identification: B. donatian (Schaus), B. fulgurifera (Walker, 1869), stat. rev. (= demea (Druce, 1895)); B. ionia (Druce, 1900) (= albolimbata (Dognin, 1909), syn. nov., B. ambigua (Dyar, 1908), syn. nov., B. metcalfi (Schaus, 1928), syn. nov.); B. lucilinea Walker, 1858; B. marcida (C. Felder, 1874); B. procne (Schaus, 1892) (= meyeri (Schaus, 1928), syn. nov.); B. sambana (Druce, 1895), stat. rev. (= belizensis Thiaucourt, 2010, syn. nov., bolivari Thiaucourt, 2010, syn. nov., coloradorum Thiaucourt, 2010, syn. nov., panamensis (Draudt, 1932), syn. nov.); B. subrutila (Dognin, 1908); and B. terminalba Jones, 1908 (= oakley (Schaus, 1939)). Bardaxima perses Druce, 1900 is transferred to Elasmia Möschler, 1883 as a new combination, Elasmia perses (Druce, 1900). Stragulodonta gen. nov. is proposed to accommodate Heterocampa stragula Möschler, 1883, comb. nov. (= belua (Draudt, 1932), syn. nov.).

The Brazilian expeditions Revizee and Oceanprof collected samples from the southwest Brazilian coast between depths of 200 and 2200m. These expeditions sampled eleven species ofOplophoridae, ten of them new records for Southwestern Atlantic: Oplophorus gracilirostris A. Milne Edwards, 1881; O. spinosus (Brullé, 1839); Acanthephyra eximia A Milne Edwards, 1881; A. acutifrons Bate, 1888; A. quadrispinosa Kemp, 1939; A. stylorostratis (Bate, 1888); Ephyrina benedicti Smith, 1885; Janicella spinicauda (A. Milne Edwards, 1883); Notostomus elegans A. Milne Edwards, 1881; Systellaspis debilis (A. Milne Edwards, 1881) and S. pellucida (Filhol, 1885). The specimens are described and figured.

In the first decade of the twentieth century, while researching protective coloration in nature, artist-naturalist Abbott H. Thayer (1849–1921), working with his son, Gerald H. Thayer (1883–1939), hypothesized a kind of camouflage that he called “background-picturing.” It was his contention that, in many animals, the patterns on their bodies make it seem as if one could “see through” them, as if they were transparent. This essay revisits that concept, Thayer’s descriptions and demonstrations of it, and compares it to current computer-based practices of replacing gaps in images with “content-aware” digital patches.

Manuel Quintín Lame Chantre (1883-1967) fue uno de los intelectuales originarios más influyentes en el movimiento indígena colombiano, tanto por su accionar como por su pensamiento. Este último ha servido como horizonte de lucha para los pueblos que han resistido siglos de violencia directa, estructural y simbólica desde la invasión de Abya Yala, pasando por la Colonia, hasta la actual historia de Colombia como Estado-nación. Se propone una reflexión sobre el pensar-sentir-decir-actuar de Quintín Lame, entre 1910 y 1939, en un ejercicio que hemos denominado “historiografía de las ausencias” desde la óptica de la re-existencia, entendida desde el campo de la comunicación-educación, como un proceso de construcción de sentidos y significaciones para re-inventarse la vida

<p>This short biography traces the life and medical activities of Rosalie Sattler, née Feuerstein (1883–19??), who was employed as an official female physician at the Austro-Hungarian (AH) provincial public health department in Sarajevo from 1914–1919. Born in 1883 into a Jewish middle-class family in Chernivtsi (then Czernowitz), Ukraine, in Bukovina, the easternmost province in Austria, Feuerstein moved to Vienna in 1904 to study medicine. After earning her MD from Vienna University in 1909, she started her career as an assistant physician at the Kaiser Franz Josef Hospital in Vienna. In spring 1912, Feuerstein moved to Sarajevo to work as an intern at the local provincial hospital (Landeskrankenhaus). In the same year, she married AH district physician Moritz Sattler (1873–1927) in Vienna. In 1914, Sattler-Feuerstein successfully applied to be an AH official female physician in Bosnia. She was an employee of the provincial public health department in Sarajevo and never functioned as an official female physician in the sense of the relevant AH service ordinance. After the collapse of the monarchy, Sattler-Feuerstein continued to be employed as an official female physician of the Kingdom of Serbs, Croats, and Slovenes. She resigned from service in 1919 and established herself as a private general practitioner in Sarajevo with her husband, who had also resigned as an official physician and started to practice privately at that point. Widowed in 1927, she left Sarajevo for an unknown destination, likely in 1938–1939, and vanished from historical records.</p><p><strong> Conclusion</strong>. Rosalie Sattler-Feuerstein (1883–19??) came to Bosnia as the eighth AH official female physician and worked as an employee of the AH provincial public health department in Sarajevo from 1914–1919, after which she practiced as a private physician in Sarajevo for more than 25 years.</p>

Didžiulis ispanų filosofo Jose Ortegos y Gasseto ( Jose Ortega y Gasset, 1883–1955) intelektinis palikimas aprėpia daugybę sričių – estetiką, filosofiją, istoriosofiją, kultūrologiją, politiką, sociologiją. Žvelgiant iš šiandienos perspektyvos, svarbiausiu jo indėliu į Vakarų Europos minties raidą laikytina garsioji estetinė esė „Meno dehumanizavimas“ („La deshumanizacion del arte“, 1925) ir filosofinė studija „Masių sukilimas“ („La rebelion de las masas“, 1930). Plėtodamas savo filosofines koncepcijas, ilgainiui Ortega y Gassetas atsigręžė į kalbą kaip į svarbiausią filosofinio tyrimo įrankį, o susidūręs su savo darbų vertimais į kitas Europos kalbas (daugiausia į vokiečių), ėmė gilintis į kalbos ir vertimo problemas. Šių apmąstymų rezultatas – vertimui skirta esė „Vertimo skurdas ir spindesys“ („Miseria y esplendor de la traduccion“, 1939 m.). 1940 m. ją pirmą sykį išspausdino leidykla „Coleccion austral“ rinkinyje „Pašaukimų knyga“ („El libro de las misiones“) kartu su kitais dviem Ortegos y Gasseto darbais – „Bibliotekininko pašaukimas“ („Mision del bibliotecario“) ir „Universiteto pašaukimas“ („Mision de la Universidad“). Nuo tada visi trys darbai spausdinami kartu, o pati knyga sulaukė daugybės pakartotinių leidimų.

Hubert Pierlot (1883-1963) a été Premier ministre de Belgique entre 1939 et 1945. En 1910, le Congrès eucharistique international qui se tient à Montréal lui offre l’occasion de traverser l’Atlantique. Le jeune homme, déjà intéressé par la Res Publica, découvre lors de son voyage les Canadiens français dont il va aussitôt célébrer, la double identité : la patrie et la foi. Le Canada français représente alors pour lui un véritable modèle « moral », sinon un espoir car il a la possibilité de rejoindre la Belgique sur la voie de l’industrialisation sans renier son passé et ses traditions, conjuguant les innovations techniques et le respect dû aux choses de l’esprit, qu’elles soient religieuses ou aristocratiques. C’est pourtant lors d’un voyage de chasse au Lac-Saint-Jean qu’il pensera avoir touché au plus près de la vie authentique des habitants. Au moment de son entrée dans la carrière politique, en 1925, Pierlot n’aura pas oublié les leçons tirées de son périple transatlantique.

Gerald Handerson Thayer (1883–1939) was an artist, writer and naturalist who worked in North and South America, Europe and the West Indies. In the Lesser Antilles, Thayer made substantial contributions to the knowledge and conservation of birds in St Vincent and the Grenadines. Thayer observed and collected birds throughout much of St Vincent and on many of the Grenadines from January 1924 through to December 1925. Although he produced a preliminary manuscript containing interesting distributional notes and which is an early record of the region's ornithology, Thayer never published the results of his work in the islands. Some 413 bird and bird egg specimens have survived from his work in St Vincent and the Grenadines and are now housed in the American Museum of Natural History (New York City) and the Museum of Comparative Zoology (Cambridge, Massachusetts). Four hundred and fifty eight specimens of birds and eggs collected by Gerald and his father, Abbott, from other countries are held in museums in the United States.

Heinrich Friedrich August Karl Ludwig Friese (1860–1948) was an important pioneer bee biologist (melittologist). Between 1883 and 1939 he described 1,989 new species and 564 new varieties or subspecies of insects, of which over 99% were bees. His research was global, including description of new taxa from all biogeographical regions where bees occur, belonging to all seven extant bee families and 124 genera, including Megachile (with 262 species-group taxa proposed), Bombus (232), and Halictus (153). The present catalog provides a complete list of the taxa proposed by Friese, including a bibliography of his 270 entomological publications. The catalog lists all valid names proposed by Friese and details on the nomenclature, sex, and region of origin of each. The current combination and subgeneric placement are cited for taxa now regarded as valid species. A brief biography is followed by a discussion of how to locate and treat Friese types, a notoriously complicated issue due to Friese’s confusing labeling practices and the broad dispersion of his specimens.

Archaeological interests of the Szembek earls from Siemianice near Kępno (southern Wielkopolska) have spread over many generations starting from the middle of the 19th century until the present time. This is well exemplified by activities of Jadwiga (1883-1939) and Zofia (1884-1974) Szembek. In the years 1897-1908, both sisters undertook systematic and model excavations of the multicultural cemetery (-ies) at Siemianice near Kępno (Bronze Age 11, Bronze Age V - HaD; the Late La Téne - Early Roman Iron Age) and cemetery at Lipie near Kępno (Bronze Age V). Jadwiga Szembek excavated also multicultural settlement at Tarnowica near Jaworów (western Ukraine) in 1924 and 1927. An origin and development of archaeological interests of the Szembek sisters, along with a detailed analysis of their field works, was reconstructed on the basis of unpublished archive materials and old literature of the subject. Assessment of their achievements in this field, according to both previous and current criteria, made possible to support opinion by Prof. Józef Kostrzewski who rated the Szembek sisters among archaeologists of the most outstanding merit before 1918.

During the Campos Basin Deep Sea Environmental Project coordinated by CENPES/PETROBRAS two collecting campaigns were performed. Both used the N/RB Astrogaroupa and fishery nets to collect samples from the continental slope in Campos Basin, RJ (21º48'S to 22º48'S). Campaign Oceanprof I occurred in February, 2003 and collected 18 samples at depths between 1074 and 1649 m. Oceanprof II occurred in August, 2003 and collected 22 samples at depths between 1059 and 1640 m. A total of 14 caridean species were collected: Parapontophilus sp. (Crangonidae); Glyphocrangon longirostris (Smith, 1882) (Glyphocrangonidae); Lebbeus sp. (Hippolytidae); Nematocarcinus ensifer (Smith, 1882) (Nematocarcinidae); Acanthephyra eximia Smith, 1884; A. quadrispinosa Kemp, 1939; A. stylorostratis (Bate, 1888); Janicella spinicauda (A. Milne Edwards, 1883); Meningodora vesca (Smith, 1887); Notostomus elegans A. Milne Edwards, 1881; Oplophorus spinosus (Brullé, 1839); and Systellaspis debilis (A. Milne Edwards, 1881) (Oplophoridae); Heterocarpus inopinatus Tavares, 1999 and Plesionika sp. (Pandalidae). Three out of these 14 species, Parapontophilus sp., Lebbeus sp. and Plesionika sp. are still under investigation and were not included in the present study. From the 11 species identified Nematocarcinus ensifer is a new record for the Brazilian continental slope.

The Mid-Atlantic Ridge (MAR) divides the Atlantic Ocean longitudinally into two halves, each with a series of major basins delimited by secondary, more or less transverse ridges. Recent biological investigations in this area were carried out within the framework of the international project Mar-Eco (Patterns and Processes of the Ecosystems of the Mid-Atlantic Ridge). In 2009 (from October, 25 to November, 29) 12 benthic sampling events were conducted on the R/V Akademik Ioffe, during the first oceanographic cruise of South Atlantic Mar-Eco. As a result we report some rare Oplophoridae species collected during the cruise. This family includes 73 species occurring strictly on the meso- and bathypelagic zones of the oceans. Five Oplophoridae species were sampled: Acanthephyra acanthitelsonis Bate, 1888; A. quadrispinosa Kemp, 1939; Heterogenys monnioti Crosnier, 1987; Hymenodora glacialis (Buchholz, 1874) and Kemphyra corallina (A. Milne-Edwards, 1883). Among these, H. monnioti and K. corallina are considered extremely rare, both with very few records. Of the sampled species, only A. quadrispinosa and H. glacialis were previously recorded to southwestern Atlantic, so the Oplophoridae fauna of the South MAR seems more related with the fauna from the eastern Atlantic and Indian oceans.

Svend Larsen: Kindred souls. Svend Dahl and Wilhelm Munthe on the professionalisation of academic librarianship Svend Dahl (1887–1963) and Wilhelm Munthe (1883–1965) were prominent figures in Scandinavian and international librarianship in the first part of the 20th Century. From 1922–1953, Munthe was head of Oslo University Library which was also Norwegian national library. Internationally, he is known as the author of American Librarianship from a European angle. An attempt at an examination of policies and activities (1939) and as president of the international library federation IFLA (1947–1951). Svend Dahl was head of Copenhagen University Library 1925–1943 and head of the Royal Library and national librarian 1943–1952. Internationally, he is known for his many publications such as the History of the Book (Danish, English, French, German, Spanish and Swedish editions). Dahl and Munthe exchanged just under 200 letters between 1916 and 1953. These letters reveal their views concerning academic librarianship and the need and the ways to professionalise it. In the exchange of letters, the two men also discussed other topics, such as education, internationalisation, and the separation of library and university.

In the last decade there was a remarkable progress in karyological analyses among members of Allium Linnaeus (1753: 294) subg. Melanocrommyum (Webb & Berthelot 1848: 347) Rouy (1910: 378) (Gurushidze et al. 2012, Genç et al. 2013, Akhavan et al. 2015, Genç & Firat 2016, Fritsch 2016), confirming that most species are diploid based on x = 8 (x = 9 and x = 10 are only rare exceptions, Fritsch & Astanova 1998). Triploid plants were rarely found in some members of A. sect. Melanocrommyum Webb & Berthel. (Tzanoudakis 1999, Genç & Özhatay 2014). The tetraploid level was repeatedly reported by several authors for A. cyrilli Tenore (1827: 364) and sporadically for some other species, but higher ploidy levels were only exceptionally reported: 2n = 48 for A. cyrilli by Khoshoo et al. (1966) and for A. giganteum Regel (1883: 97) by Mensinkai (1939), and even 2n = 64 for A. monophyllum Vved. in Czerniakowska (1930: 266) by Kurita (1956). Unfortunately, these hexa- and octoploid counts were based on plants from botanical collections, and the taxonomic identity cannot be proofed because herbarium vouchers of these counts are not known to exist.

The Afrotropical representatives of the hover fly genus Mesembrius Rondani, 1857 (Diptera) are divided into two subgenera, namely Mesembrius s.s. and Vadonimyia Séguy, 1951 and, in this present work, the subgenus Mesembrius s.s. is revised. A total of 23 Mesembrius s.s. species are recognised for the Afrotropics. Known species are re-described and six species new to science are described: Mesembrius arcuatussp. nov., M. copelandisp. nov., M. longipilosussp. nov., M. sulcussp. nov., M. tibialissp. nov. and M. vockerothisp. nov. Mesembrius africanus (Verrall, 1898) is considered a junior synonym of M. senegalensis (Macquart, 1842), M. ctenifer Hull, 1941 a junior synonym of M. caffer (Loew, 1858), M. lagopus (Loew, 1869) a junior synonym of M. capensis (Macquart, 1842) and M. platytarsis Curran, 1929 a junior synonym of M. simplicipes Curran, 1929. The females of Mesembrius chapini Curran, 1939, M. rex Curran, 1927 and M. regulus (Hull, 1937) are described for the first time. Lectotypes are designated for Mesembrius caffer, M. capensis, M. cyanipennis (Bezzi, 1915), M. minor (Bezzi, 1915), M. senegalensis, M. strigilatus (Bezzi, 1912) and M. tarsatus (Bigot, 1883). Separate identification keys for males and females are presented. We obtained 236 DNA barcodes for 18 species. The relationships amongst the different Mesembrius species are briefly discussed, based on morphological and DNA barcode data.

Abstract The time and velocity of ejection of dust particles of anomalous tails from cometary nuclei are determined. It is revealed that some comets cause the formation of an anomalous tail is the collision of their comet nucleus with other bodies of the Solar System. An investigation of the formation conditions of the anomalous tail shows that the dust ejection velocity from the comet nucleus C/1851 U1, C/1885 X2, C/1921 E1, C/1925 V1, C/1930 D1, C/1975 V2, 2P/1924, 6P/1950 and 1976, 10P/1930, 7P/1933 and 35P/1939 O1 can be explained by the sublimation of the ice of the nucleus and the removal of dust by molecules. It was found that the comets C/1823 Y1, C/1882 R1, C/1883 D1, C/1888 R1, C/1892 E1, D/1894 F1, C/1932 M1, C/1954 O1, C/1968 H1, C/1969 T1, C/1973 E1, C/1995 O1, C/1999 S4, C/2004 Q2, 7P/1869 G1, 10P/1930, 19P/1918, 26P/1927 F1, 67P/1982, 73P/1930 J1, 96P/1986 J1 and 109P/1862 O1, formation of the anomalous tail and splitting of the comet nucleus was observed in one appearance. Nuclear splitting 70% of these comets occurred as a result of a collision of the comet’s nucleus with a meteoroid or fragments of their nuclei.

Abstract Purpose To date, 11 scientists have received the Nobel Prize for discoveries directly related to cancer research. This article provides an overview of cancer researchers nominated for the Nobel Prize from 1901 to 1960 with a focus on Ernst von Leyden (1832–1910), the founder of this journal, and Karl Heinrich Bauer (1890–1978). Methods We collected nominations and evaluations in the archive of the Nobel committee of physiology or medicine in Sweden to identify research trends and to analyse oncology in a Nobel Prize context. Results We found a total of 54 nominations citing work on cancer as motivation for 11 candidates based in Germany from 1901 to 1953. In the 1930s, the US became the leading nation of cancer research in a Nobel context with nominees like Harvey Cushing (1869–1939) and George N. Papanicolaou (1883–1962). Discussion The will of Alfred Nobel stipulates that Nobel laureates should have “conferred the greatest benefit to mankind”. Why were then so few cancer researchers recognized with the Nobel medal from 1901 to 1960? Our analysis of the Nobel dossiers points at multiple reasons: (1) Many of the proposed cancer researchers were surgeons, and surgery has a weak track record in a Nobel context; (2) several scholars were put forward for clinical work and not for basic research (historically, the Nobel committee has favoured basic researchers); (3) the scientists were usually not nominated for a single discovery, but rather for a wide range of different achievements.

Розглянуто погляди відомих вчених у галузі палеонтології та їх порівняння з концепцією цього напряму науки О. О. Борисяка та його подвижницьку діяльність. Акцентовано вузлові дати його життя і діяльності. Обговорено нові аргументи щодо концепції палеозоології, яку розробляв О. О. Борисяк. Олексій Олексійович Борисяк (1872, Ромни, Полтавська губернія – 1944, Москва) – вчений-палеонтолог та геолог, академік АН СРСР (1929), лауреат Сталінської премії II ступеня (1943). Засновник та перший директор Палеозоологічного (з 1936 р. Палеонтологічного) інституту АН СРСР. Народився в родині межового інженера, який часто переїжджав у межах імперії. 1883 р. вступив у класичну прогімназію м. Брест-Литовська. 1892 р. закінчив самарську гімназію із золотою медаллю. 1896 р. закінчив Гірничий інститут у Санкт-Петербурзі. 1897–1898 рр. прослухав курс зоології у професора В. Т. Шевякова та пройшов великий біологічний практикум у М. М. Римського-Корсакова. Фактично це була друга вища освіта біологічного фаху. 1896–1932 рр. працював у Геологічному комітеті, де очолював палеонтологічний відділ. 1897–1899 рр. від Геологічного комітету здійснив геологічну зйомку північно-західної околиці Донецького кряжу. 1900 р. разом із К. К. Фохтом проводив дослідження Криму для укладання Кримського аркуша Міжнародної геологічної карти Європи. 1911– 1930 рр. професор та завідувач кафедри історичної геології Гірничого інституту, багато займався палеонтологічною колекцією у музеї інституту. 1930 р. з ініціативи О. О. Борисяка було створено Палеозоологічний інститут АН СРСР (з 1936 р. Палеонтологічний), директором якого вчений залишався до кінця життя. 1939 р. заснував кафедру палеонтології у Московському університеті. Керівник вітчизняної школи палеонтології хребетних. Основні праці присвячені вченню про фації, питанням загальної палеонтології, вивчення юрських молюсків, палеонтології хребетних. Розглядав історію Землі як єдиний закономірний процес розвитку фізико-географічних умов та органічного життя. Головний редактор журналів «Природа» (1931–1935) та «Доповіді Академії наук» (1933–1936).

The university in Vilna (Lithuanian: Vilnius), now Vilniaus universitetas, founded in 1579 by Stefan Batory (Stephen Báthory), King of Poland and Grand Duke of Lithuania, was a centre of Polish botany in 1780-1832 and 1919-1939. The Botanic Garden established by Jean-Emmanuel Gilibert (1741–1814) in 1781 (or, actually, from 1782) survived the loss of independence by Poland (1795), and a later closure of the University (1832), and it continued to function until 1842, when it was shut down by Russian authorities. After Poland had regained independence and the University was reopened as the Stefan Batory University (SBU), its Botanic Garden was established on a new location (1919, active since 1920). It survived as a Polish institution until 1939. After the Second World War, as a result of changed borders, it found itself in the Soviet Union, and from 1990 – in the Republic of Lithuania. A multidisciplinary research project has been recently launched with the aim to create a publication on the history of science at the Stefan Batory University. The botanical part of the project includes, among others, drafting the history of the Botanic Garden. Obtaining electronic copies of archival documents, e.g. annual reports written by the directors, enabled a more thorough analysis of the Garden’s history. Piotr Wiśniewski (1884–1971), a plant physiologist, nominated as Professor in the Department of General Botany on 1 June 1920, was the organiser and the first director of the Garden. He resigned from his post in October 1923, due to financial problems of the Garden. From October 1923 to April 1924, the management was run by the acting director, Edward Bekier (1883–1945), Professor in the Department of Physical Chemistry, Dean of the Faculty of Mathematics and Natural Sciences. For 13 subsequent years, i.e. from 1 May 1924 to 30 April 1937, the directorship of the Garden was held by Józef Trzebiński (1867–1941), a mycologist and one of the pioneers of phytopathology in Poland, Head of the Department of Botany II (Agricultural Botany), renamed in 1926 as the Department of Plant Taxonomy, and in 1937 – the Department of Taxonomy and Geography of Plants. From May 1937 to 1939, his successor as director was Franciszek Ksawery Skupieński (1888–1962), a researcher of slime moulds. Great credit for the development of the Garden is due to the Inspector, i.e. Chief Gardener, Konstanty Prószyński (Proszyński) (1859–1936) working there from 1919, through his official nomination in 1920, until his death. He was an amateur-naturalist, a former landowner, who had lost his property. Apart from the work on establishing and maintaining the Garden’s collection, as well as readying seeds for exchange, he published one mycological paper, and prepared a manuscript on fungi, illustrated by himself, containing descriptions of the new species. Unfortunately, this work was not published for lack of funds, and the prepared material was scattered. Some other illustrations of flowering plants drawn by Prószyński survived. There were some obstacles to the further development of the institution, namely substantially inadequate funds as well as too few members of the personnel (1–3 gardeners, and 1–3 seasonal workers). The area of the Garden, covering approx. 2 hectares was situated on the left bank of the Neris river (Polish: Wilia). It was located on sandy soils of a floodplain, and thus liable to flooding. These were the reasons for the decision taken in June 1939 to move the Garden to a new site but the outbreak of the Second World War stood in the way. Despite these disadvantageous conditions, the management succeeded in setting up sections of plants analogous to these established in other botanical gardens in Poland and throughout the world, i.e. general taxonomy (1922), native flora (1922), psammophilous plants (1922), cultivated plants (1924/1925), plant ecology (1927/1928), alpinarium (1927–1929), high-bog plants (1927–1929), and, additionally – in the 1920s – the arboretum, as well as sections of aquatic and bog plants. A glasshouse was erected in 1926–1929 to provide room for plants of warm and tropical zones. The groups representing the various types of vegetation illustrated the progress in ecology and phytosociology in the science of the period (e.g. in the ecology section, the Raunkiaer’s life forms were presented). The number of species grown increased over time, from 1,347 in 1923/1924 to approx. 2,800 in 1936/1937. Difficult weather conditions – the severe winter of 1928 as well as the snowless winter and the dry summer of 1933/34 contributed to the reduction of the collections. The ground collections, destroyed by flood in spring of 1931, were restored in subsequent years. Initially, the source of plant material was the wild plant species collected during field trips. Many specimens were also obtained from other botanical gardens, such as Warsaw and Cracow (Kraków). Beginning from 1923, printed catalogues of seeds offered for exchange were published (cf. the list on p. ... ). Owing to that, the Garden began to participate in the national and international plant exchange networks. From its inception, the collection of the Garden was used for teaching purposes, primarily to the students of the University, as well as for the botanical education of schoolchildren and the general public, particularly of the residents of Vilna. Scientific experiments on phytopathology were conducted on the Garden’s plots. After Vilna was incorporated into Lithuania in October 1939, the Lithuanian authorities shut down the Stefan Batory University, thus ending the history of the Polish Botanic Garden. Its area is now one of the sections of the Vilnius University Botanic Garden (“Vingis” section – Vilniaus universiteto botanikos sodas). In 1964, its area was extended to 7.35 hectares. In 1974, after establishing the new Botanic Garden in Kairenai to the east of Vilnius, the old Garden lost its significance. Nevertheless, it still serves the students and townspeople of Vilnius, and its collections of flowering plants are often used to decorate and grace the university halls during celebrations.

This overview of the Luciolinae addresses the fauna of S. E. Asia including India, Sri Lanka, China, Japan, Malaysia, Thailand, Laos, Cambodia, Vietnam, Indonesia, the Philippines, the Republic of Palau, Federated States of Micronesia, and the Australopacific area of Australia, Papua New Guinea, Solomon Islands, New Caledonia, Vanuatu and Fiji.Of the 28 genera now recognised in the Luciolinae we address 27 genera from the study area as defined above, including three new genera which are described herein, and 222 species including 13 species newly described herein. Photuroluciola Pic from Madagascar is the only Luciolinae genus not addressed here. A key to genera is presented. Keys to species are either included here or referenced in existing literature. Twelve genera have had no new taxonomic decisions made nor are any new species records listed, and are addressed in an abbreviated fashion, with short diagnoses and plates of features of life stages: Aquatica Fu et al. 2010, Australoluciola Ballantyne 2013, Convexa Ballantyne 2009, Emeia Fu et al. 2012a, Inflata Boontop 2015, Lloydiella Ballantyne 2009, Missimia Ballantyne 2009, Pteroptyx Olivier 1902, Pyrophanes Olivier 1885, Sclerotia Ballantyne 2016, Triangulara Pimpasalee 2016, and Trisinuata Ballantyne 2013. Abscondita Ballantyne 2013 contains 8 species, and includes new records for Abs. anceyi (Olivier 1883), Abs. chinensis (L.) (which is newly synonymised with Luciola succincta Bourgeois), Abs. terminalis (Olivier 1883) including a first record from both Laos and Thailand, and Abs. perplexa (Walker 1858). Luciola pallescens Gorham 1880 is transferred to Abscondita and the pronotal colour range is addressed from a wide range of localities. Abs. berembun Nada sp. nov. and Abs. jerangau Nada sp. nov. are described from Malaysia. Hooked bursa plates are described for pallescens and berembun. Aquilonia Ballantyne 2009 is expanded to include 3 species. Gilvainsula Ballantyne 2009, represented by two species from the south eastern coast of New Guinea is synonymised under Aquilonia Ballantyne 2009, which is briefly redescribed and keyed from: Aquil. costata (Lea) from northern Australia, including many new records, Aquil. messoria (Ballantyne) comb. nov. and Aquil. similismessoria (Ballantyne) comb. nov. Asymmetricata Ballantyne 2009 now includes 4 species. As. bicoloripes (Pic 1927) comb. nov. and As. humeralis (Walker 1858) comb. nov. are transferred from Luciola, with L. doriae Olivier 1885, L. impressa Olivier 1910b and L. notatipennis Olivier 1909a newly synonymised with As. humeralis. Luciola aemula Olivier 1891 is synonymised with As. ovalis (Hope 1831). The variation in the extent of the anterior median emargination of the light organ in ventrite 7, and the possibility of a bipartite light organ in males of As. circumdata (Motsch. 1854) is explored. Females of both As. circumdata and As. ovalis (Hope 1831) are without bursa plates and the distinctively shaped median oviduct plate in each is described. Records from Thailand are recorded for both As. circumdata and As. ovalis. Atyphella Olliff 1890 now contains 28 species with 4 transferred from other genera, and one new species: Aty. abdominalis (Olivier 1886) comb. nov. and Aty. striata (Fabricius 1801) comb. nov. are transferred from Luciola, with Aty. carolinae Olivier 1911b and Aty. rennellia (Ballantyne 2009) comb. nov. transferred from Magnalata Ballantyne 2009. Atyphella telokdalam Ballantyne sp. nov. from Indonesia is described herein. Atyphella is now known from records in the Philippines and Indonesia as well as Australia and New Guinea. Colophotia Motschulsky 1853 is considered here from seven species for which intact types can be located for three. An abbreviated revision based on the United States National Museum collection only is presented, with specimens of C. bakeri Pic 1924, C. brevis Olivier 1903a, C. plagiata (Erichson 1834) and C. praeusta (Eschscholtz 1822) redescribed, using where possible features of males, females and larvae. Colophotia particulariventris Pic 1938 is newly synonymised with C. praeusta. Colophotia miranda Olivier 1886 and L. truncata Olivier 1886 are treated as species incertae sedis. Curtos Motschulsky 1845 includes 19 species with suggestions made, but not yet formalised, for the possible transfer of the following seven species from Luciola: Luciola complanata Gorham 1895, L. costata Pic 1929, L. delauneyi Bourgeois 1890, L. deplanata Pic 1929, L. extricans Walker 1858, L. multicostulata Pic 1927 and L. nigripes Gorham 1903. Curtos is not revised here. Emarginata Ballantyne gen nov. is described for E. trilucida (Jeng et al. 2003b) comb. nov., transferred from Luciola and characterised by the emarginated elytral apex. An extended range of specimens from Thailand is listed. Kuantana Ballantyne gen. nov. from Selangor, Malaysia is described from K. menayah gen. et sp. nov. having bipartite light organs in ventrite 7 and an asymmetrical tergite 8 which is not emarginated on its left side. Female has no bursa plates. Luciola Laporte 1833 s. stricto as defined by a population of the type species Luciola italica (L. 1767) from Pisa, Italy, is further expanded and considered to comprise the following19 species: L. antipodum (Bourgeois 1884), L. aquilaclara Ballantyne 2013, L. chapaensis Pic 1923 which is synonymised with L. atripes Pic 1929, L. curtithorax Pic 1928, L. filiformis Olivier 1913c, L. horni Bourgeois 1905, L. hypocrita Olivier 1888, L. italica (L. 1767), L. kagiana Matsumura 1928, L. oculofissa Ballantyne 2013, L. pallidipes Pic 1928 which is synonymised with L. fletcheri Pic 1935, L. parvula Kiesenwetter 1874, L. satoi Jeng & Yang 2003, L. tuberculata Yiu 2017, and two species treated as near L. laticollis Gorham 1883, and near L. nicollieri Bugnion 1922. The following are described as new: L. niah Jusoh sp. nov., L. jengai Nada sp. nov. and L. tiomana Ballantyne sp. nov. Luciola niah sp. nov. female has two wide bursa plates on each side of the bursa. Luciola s. lato (as defined here) consists of 36 species. Twenty-seven species formerly standing under Luciola have been assigned to other genera or synonymised. Seven species are recommended for transfer to Curtos, and 32 species now stand under species incertae sedis. Magnalata Ballantyne is reduced to the type species M. limbata and redescribed. Medeopteryx Ballantyne 2013 is expanded to 20 species with the addition of two new combinations, Med. semimarginata (Olivier 1883) comb. nov. and Med. timida (Olivier 1883) comb. nov., both transferred from Luciola, and one new species, Med. fraseri Nada sp. nov. from Malaysia. The range of this genus now extends from Australia and the island of New Guinea to SE Asia. Medeopteryx semimarginata females have wide paired bursa plates. Pygoluciola Wittmer 1939 now includes 19 species with 5 new species: P. bangladeshi Ballantyne sp. nov., P. dunguna Nada 2018, P. matalangao Ballantyne sp. nov. (scored by the code name ‘Jeng Matalanga’ in Ballantyne & Lambkin 2013), P. phupan Ballantyne sp. nov. and P. tamarat Jusoh sp. nov. Six species are transferred from Luciola: P. abscondita (Olivier 1891) comb. nov., P. ambita (Olivier 1896) comb. nov., P. calceata (Olivier 1905) comb. nov., P. insularis (Olivier 1883) comb. nov., P. nitescens (Olivier 1903b) comb. nov. and P. vitalisi (Pic 1934) comb. nov., and redescribed from males, and includes female reproductive anatomy for P. nitescens comb. nov. and P. dunguna, both of which have hooked bursa plates. Serratia Ballantyne gen. nov. is erected for S. subuyania gen. et sp. nov. and characterised by the serrate nature of certain antennal flagellar segments in the male. The following 37 species listed under species incertae sedis are further explored: Colophotia miranda Olivier 1886, Lampyris serraticornis Boisduval 1835, Luciola angusticollis Olivier 1886, L. antennalis Bourgeois 1905, L. antica (Boisduval 1835), L. apicalis (Eschscholtz 1822), L. aurantiaca Pic 1927, L. bicoloriceps Pic 1924, L. binhana Pic 1927, L. bourgeoisi Olivier 1895, L. dilatata Pic 1929, L. exigua (Gyllenhall 1817), L. exstincta Olivier 1886, L. fissicollis Fairmaire 1891, L. flava Pic 1929, L. flavescens (Boisduval 1835), L. fukiensis Pic 1955, L. immarginata Bourgeois 1890, L. incerta (Boisduval 1835), L. infuscata (Erichson 1834), L. intricata (Walker 1858), L. japonica (Thunberg 1784), L. klapperichi Pic 1955, L. lata Olivier 1883, L. limbalis Fairmaire 1889, L. marginipennis (Boisduval 1835), L. melancholica Olivier 1913a, L. robusticeps Pic 1928, L. ruficollis (Boisduval 1835), L. spectralis Gorham 1880, L. stigmaticollis Fairmaire 1887, L. tincticollis Gorham 1895, L. trivandrensis Raj 1947, L. truncata Olivier 1886, L. vittata (Laporte 1833) Pteroptyx atripennis Pic 1923 and P. curticollis Pic 1923. While phylogenetic analyses indicate their distinctiveness, no further taxonomic action is taken with Luciola cruciata Motschulsky 1854 and L. owadai Sâtô et Kimura 1994 from Japan given the importance of the former as a national icon. Analyses also indicate that Lampyroidea syriaca Costa 1875 belongs in Luciola s. str. A much wider taxonomic analysis of this genus including all the species is necessary before any further action can be taken.

Fifty species of sea lice, members of the family Caligidae, were collected from the marine fishes of Moreton Bay, Queensland, during two workshops held in 2016. Only 21 of these species had previously been reported from Australian waters: of the remaining 29 species, 13 are new to science and another 16 are recorded from Australia for the first time. An illustrated differential diagnosis is presented for well known species; but for new or poorly known species a full description is provided. The 13 new species are: Anuretes amplus sp. nov. and A. amymichaelae sp. nov., both from Diagramma pictum (Thunberg, 1792); Caligus abigailae sp. nov. from Sphyraena obtusata Cuvier, 1829; C. elasmobranchi sp. nov. from Himantura uarnak (Gmelin, 1789), H. toshi Whitley, 1939, Dasyatis fluviorum Ogilby, 1908, Aetobatus ocellatus (Kuhl, 1823) and Pastinachus atrus (Macleay, 1883); C. hyporhamphi sp. nov. from Hyporhamphus quoyi (Valenciennes, 1847); C. nataliae sp. nov. from Herklotsichthys castelnaui (Ogilby, 1897) and Neoarius graeffei (Kner & Steindachner, 1867); C. neoaricolus sp. nov. and C. paranengai sp. nov. both from Neoarius graeffei; C. pseudorhombi sp. nov. from Pseudorhombus arsius (Hamilton, 1822); C. turbidus sp. nov. from Tripodichthys angustifrons (Hollard, 1854); C. upenei sp. nov. from Upeneus tragula Richardson, 1846; Lepeophtheirus robertae sp. nov. from Scarus ghobbhan Forsskål, 1775 and Pupulina keiri sp. nov. from Aetobatus ocellatus. The rare species Caligodes alatus Heegaard, 1945 is redescribed and transferred to the genus Caligus Müller, 1785, but requires a replacement name due to secondary homonymy: Caligus alepicolus nom. nov. is proposed. Similarly, Parapetalus spinosus Byrnes, 1986 is redescribed and transferred to the genus Caligus where it becomes a secondary homonym: the replacement name Caligus seriolicolus nom. nov. is proposed. Five large species-groups within the genus Caligus are recognised here on the basis of suites of morphological character states. They are based around the following species: C. bonito Wilson, 1905, C. confusus Pillai, 1961, C. diaphanus von Nordmann, 1832, C. macarovi Gusev, 1951 and C. productus Dana, 1852. These species-groups can be used to navigate this relatively large genus, but their monophyletic status should not be assumed.

Niels Krabbe: Paul von Klenau and his ninth Symphony – the sources, the work, the reception In 2001, the Royal Library learned about a comprehensive private collection in Vienna that contained music, letters and lecture manuscripts, photographs and other archive materials of the Danish composer Paul von Klenau (1883–1946). A preliminary survey of the collection revealed that the contents included a number of music manuscripts (symphonies, chamber music concerts and more), which were not known from the rest of the library’s major collection of Klenau works. The collection’s greatest and most interesting work was a major complete “Ninth Symphony” for orchestra, choir and four soloists in eight movements, for a Latin text with a mix of liturgical texts from the Catholic requiem and texts of unknown provenance.In 2005, the library succeeded in acquiring the collection and it was transferred to the Royal Library. Subsequently, the Danish Centre for Music Publication (DCM) organised a philological adaptation and published Symphony No. 9 for the purpose of the premier performance of the work, which duly took place 70 years after it was written, performed as a Thursday Concert in March 2014 and conducted by Michael Schønwandt.Klenau had worked in Germany as a composer and conductor in the 1920s and 1930s. He returned to Denmark in 1939 where he stayed for the rest of his life. Because of his extensive German background he did not receive high recognition in Danish music, despite the range and nature of his musical output. This was mainly because of his relationship with the Third Reich and Nazism, which affected his last years and his posthumous reputation.Symphony No. 9 was composed in the years 1944–45, and is a mix of requiem and a symphony, each in four movements. Due to the text, the work is both a traditional requiem and a requiem about the war. Both in its expression and in its length, it is probably the greatest symphony ever written by a Danish composer.The premier in 2014 received mixed reviews, and Klenau’s attitude to Nazism was discussed once again. The work was criticised for its eclectic character with its mix of late romantic forms of expression on the one side and its accomplished dodecaphonic passages on the other.The newly available Klenau collection from Vienna, including the treated Symphony No. 9, has nuanced and problematised Klenau’s position in Danish music history.

There was an ecclesiastical law shaped hole in the Church of England from the dissolution of Doctors' Commons in 1857 until 1987 when it was filled by the formation of the Ecclesiastical Law Society. In 1947, forty years earlier, the Archbishops' Canon Law Commission had suggested how the hole might be filled. The Commission was appointed in 1939 and published its report under the title The Canon Law of the Church of England (SPCK, 1947). The Report consisted of a learned and authoritative review of the sources of English canon law and made recommendations for its reform, in particular by appending to the Report a body of suggested revised canons. Included in the Report was the following paragraph expressing the hope that a society might be formed for the study of canon law:‘The success of a new code of canons will to a great extent depend on a wider knowledge than at present exists among the clergy of the law of the Church of England, its nature, history, development, and particular characteristics; and it is hoped that the previous chapters of this Report will provide an elementary introduction to the subject. We recommend therefore that those who are responsible for the training of ordination candidates and for the post-ordination training of the clergy should be asked to consider what steps can be taken to give both ordinands and clergy a more professional knowledge of the Church's law and constitution. In giving evidence before the Ecclesiastical Courts Commission in 1883 the late Sir Lewis Dibdin pointed out that since the disappearance of Doctors' Commons in 1857 there had really been no method of teaching or preserving a knowledge of the Ecclesiastical Law. It is impossible at this stage to revive anything like Doctors' Commons, but we would suggest that a society, consisting of clergy, professional historians, and lawyers, be formed for the purpose of studying the Ecclesiastical Law and of suggesting ways in which that law either needs alteration or can be developed to meet new needs. As a rule there is far too little contact and interchange of ideas and points of view between the clergy and ecclesiastical lawyers, and such a society would give opportunities for this. Such a society would train up a number of people competent to advise and help the clergy in the particular problems of Ecclesiastical Law with which from time to time they are confronted.’

Eight genera and eighteen species of the Cryptobatida group of subtribe Agrina, Lebiini, living in Costa Rica are diagnosed, described, illustrated or referenced and new species assigned to inclusive genera. Occurrences of some taxa outside of Costa Rica are also reported, these ranging from Texas to Argentina. Subtribe Agrina consists of those species formerly included in the Subtribe Calleidina. Four new species of Aspasiola Chaudoir 1877 are described: A. bonita Erwin, n. sp. (COSTA RICA. PUNTARENAS, Peninsula de Osa, P.N. Corcovado, Estaci n Sirena, 0 100 m, 08 28' 0 N, 083 35' 0 W, LS270500, 508300), A. osa Erwin, n. sp. (COSTA RICA. PUNTARENAS, Peninsula de Osa, P.N. Corcovado, Estaci n Sirena, upper Ollas Trail, 30 150 m, 08 29' 00 N, 083 34' 39 W), A. selva Erwin, n. sp. (COSTA RICA. HEREDIA, Estaci n Biol gica La Selva, 3.0 km S Puerto Viejo, Finca La Selva, 50 150 m, 10 25' 55 N, 084 00' 32 W, LN535500, 268000), A. steineri Erwin n. sp. (COSTA RICA. HEREDIA, Estaci n Biol gica La Selva, 3.0 km S Puerto Viejo, Finca La Selva, 50 150 m, 10 25' 55 N, 084 00' 32 W, LN535500, 268000). Two new species of Hyboptera Chaudoir 1872 are described: H. apollonia Erwin n. sp. (PANAM , COL N, Porto Bello, 113 m, 09 33' 0 N, 079 39' 0 W), H. auxiliadora Erwin n. sp. (USA. TEXAS, Hidalgo County, Mission; Bentsen State Park, 26 10' 22" N, 098 22' 56" W). Alkestis Liebke 1939 is a nomen dubium and possible junior synonym of Lelis Chaudoir 1869. Aspasiola rutilans ignea Bates 1883 is changed to full species, Aspasiola ignea Bates new status. Pseudolebia Basilewsky 1942 is NOT a synonym of Onota Chaudoir 1872. Pseudometabletus Liebke 1930 is a junior synonym of Cylindronotum Putzeys 1846. Pseudotoglossa rufitarsis nigrescens Mateu 1961:177 is a junior synonym of Pseudotoglossa terminalis (Chaudoir). An identification key is provided to the genera of the Cryptobatida Group and additional keys are provided for those genera with more than one species occurring in Costa Rica. Distribution data is provided for all species including their known occurrence outside of Costa Rica in adjacent Panam and Nicaragua, and other countries. Adults of species of Aspasiola, Cryptobatis, Otoglossa and Hyboptera are known to occur on shelf fungi on rotting logs and have also been fogged from the canopy of tropical trees (which probably contained shelf fungi on dead branches); adults of species of Cylindronotum, Onota, Pseudotoglossa, Valeriaaschero have also been fogged from the canopy of tropical trees and likely adults of Onota and Pseudotoglossa collected from rotten logs were associated with fungi.

In 1883 in Georgia in a peasant family was born Justin Ivlianovich Janelidze. After graduating from the Kutaisi classical gymnasium (1903) studied in Kharkiv (1903-1905) and Geneva universities (1905 – 1909). Defended his thesis on the topic: "the question of teratoma and testicular tumors" (1909). In 1910 I. I. Dzhanelidze returned to Russia and received the title of doctor with honors, doctor of medicine (1911). From 1911 to 1914 he worked at the St. Petersburg women's medical Institute at the Department of hospital surgery. In 1911 G. I. Janelidze made a successful operation a patient with a wound of the right ventricle of the heart, in 1913 - world's first stitched the wound of the ascending aorta. During the first world war Justin Ivlianovich was a doctor of the field hospital trains. On his return from the army he worked as an assistant Professor, Department of General surgery (1921) the Petrograd medical Institute. In 1927, I. I. Janelidze was elected to the chair of hospital surgery of I Leningrad medical Institute, headed until 1943 1932 he is also scientific Director of the Leningrad Institute of emergency care. In 1939, Justin Ivlianovich - chief surgeon of the Navy of the USSR. In 1943, I. I. Janelidze was appointed chief of the Department of hospital surgery educated in the naval medical Academy. I. Janelidze is the author of over 100 scientific works, including monographs: "the Wounds of the heart and their surgical treatment", "Free skin grafting in Russia and the Soviet Union," "Bronchial fistula gunshot origin." He developed methods of surgical treatment of wounds of the heart, mediastinum, arterial and arteriovenous aneurysms of the carotid, subclavian and femoral arteries, plastic surgery, methods of reduction of dislocated shoulder and hip. Most famous was his monograph "Bronchial fistula gunshot origin", for which he was awarded the State prize of the USSR (1948). In 1946 he was elected Chairman of the all-Union society of surgeons and remained in this post until the end of life. He was editor-in-chief of the journal "Bulletin of surgery" (1937-1941 gg.), the editor of "war surgery" in the "Encyclopedic dictionary of military medicine", member of the editorial Board and the author of several chapters of the multivolume work "the Experience of Soviet medicine in great Patriotic war 1941-1945", magazines "Surgery" and "New surgical archive". I. I. Janelidze was elected Deputy of the Leningrad city Council of people's deputies. He was awarded two orders of Lenin, order of the red banner, the Gold medal "hammer and Sickle" and many medals. January 14, 1950 I. I. Janelidze died.

Jorge Alberto Núñez, autor del libro reseñado, tiene una interesante trayectoria académica; de nacionalidad argentina, realizó estudios de doctorado y se graduó en la Universidad de Valladolid (España) en 2013, es profesor de Historia en la Universidad de Buenos Aires y actualmente investigador asociado del prestigioso Max-Planck-Institut für Europäische Rechtsgeschichte, de Fráncfort del Meno.

Changes to the treatment of Coleoptera family-group names published by Bouchard et al. (2011) are given. These include necessary additions and corrections based on much-appreciated suggestions from our colleagues, as well as our own research. Our ultimate goal is to assemble a complete list of available Coleoptera family-group names published up to the end of 2010 (including information about their spelling, author, year of publication, and type genus). The following 59 available Coleoptera family-group names are based on type genera not included in Bouchard et al. (2011): Prothydrinae Guignot, 1954, Aulonogyrini Ochs, 1953 (Gyrinidae); Pogonostomini Mandl 1954, Merismoderini Wasmann, 1929, †Escheriidae Kolbe, 1880 (Carabidae); Timarchopsinae Wang, Ponomarenko &amp; Zhang, 2010 (Coptoclavidae); Stictocraniini Jakobson, 1914 (Staphylinidae); Cylindrocaulini Zang, 1905, Kaupiolinae Zang, 1905 (Passalidae); Phaeochroinae Kolbe, 1912 (Hybosoridae); Anthypnidae Chalande, 1884 (Glaphyridae); Comophorini Britton, 1957, Comophini Britton, 1978, Chasmidae Streubel, 1846, Mimelidae Theobald, 1882, Rhepsimidae Streubel, 1846, Ometidae Streubel, 1846, Jumnidae Burmeister, 1842, Evambateidae Gistel, 1856 (Scarabaeidae); Protelmidae Jeannel, 1950 (Byrrhoidea); Pseudeucinetini Csiki, 1924 (Limnichidae); Xylotrogidae Schönfeldt, 1887 (Bostrichidae); †Mesernobiinae Engel, 2010, Fabrasiinae Lawrence &amp; Reichardt, 1966 (Ptinidae); Arhinopini Kirejtshuk &amp; Bouchard, 2018 (Nitidulidae); Hypodacninae Dajoz, 1976, Ceuthocera Mannerheim, 1852 (Cerylonidae); Symbiotinae Joy, 1932 (Endomychidae); Cheilomenini Schilder &amp; Schilder, 1928, Veraniini Schilder &amp; Schilder, 1928 (Coccinellidae); Ennearthroninae Chûjô, 1939 (Ciidae); Curtimordini Odnosum, 2010, Mordellochroini Odnosum, 2010 (Mordellidae); Chanopterinae Borchmann, 1915 (Promecheilidae); Heptaphyllini Prudhomme de Borre, 1886, Olocratarii Baudi di Selve, 1875, Opatrinaires Mulsant &amp; Rey, 1853, Telacianae Poey, 1854, Ancylopominae Pascoe, 1871 (Tenebrionidae); Oxycopiini Arnett, 1984 (Oedemeridae); Eutrypteidae Gistel, 1856 (Mycteridae); Pogonocerinae Iablokoff-Khnzorian, 1985 (Pyrochroidae); Amblyderini Desbrochers des Loges, 1899 (Anthicidae); Trotommideini Pic, 1903 (Scraptiidae); Acmaeopsini Della Beffa, 1915, Trigonarthrini Villiers, 1984, Eunidiini Téocchi, Sudre &amp; Jiroux, 2010 (Cerambycidae); Macropleini Lopatin, 1977, Stenopodiides Horn, 1883, Microrhopalides Horn, 1883, Colaphidae Siegel, 1866, Lexiphanini Wilcox, 1954 (Chrysomelidae); †Medmetrioxenoidesini Legalov, 2010, †Megametrioxenoidesini Legalov, 2010 (Nemonychidae); Myrmecinae Tanner, 1966, Tapinotinae Joy, 1932, Acallinae Joy, 1932, Cycloderini Hoffmann, 1950, Sthereini Hatch, 1971 (Curculionidae). The following 21 family-group names, listed as unavailable in Bouchard et al. (2011), are determined to be available: Eohomopterinae Wasmann, 1929 (Carabidae); Prosopocoilini Benesh, 1960, Pseudodorcini Benesh, 1960, Rhyssonotini Benesh, 1960 (Lucanidae); Galbini Beaulieu, 1919 (Eucnemidae); Troglopates Mulsant &amp; Rey, 1867 (Melyridae); Hippodamiini Weise, 1885 (Coccinellidae); Micrositates Mulsant &amp; Rey, 1854, Héliopathaires Mulsant &amp; Rey, 1854 (Tenebrionidae); Hypasclerini Arnett, 1984; Oxaciini Arnett, 1984 (Oedemeridae); Stilpnonotinae Borchmann, 1936 (Mycteridae); Trogocryptinae Lawrence, 1991 (Salpingidae); Grammopterini Della Beffa, 1915, Aedilinae Perrier, 1893, Anaesthetinae Perrier, 1893 (Cerambycidae); Physonotitae Spaeth, 1942, Octotomides Horn, 1883 (Chrysomelidae); Sympiezopinorum Faust, 1886, Sueinae Murayama, 1959, Eccoptopterini Kalshoven, 1959 (Curculionidae). The following names were proposed as new without reference to family-group names based on the same type genus which had been made available at an earlier date: Dineutini Ochs, 1926 (Gyrinidae); Odonteini Shokhin, 2007 (Geotrupidae); Fornaxini Cobos, 1965 (Eucnemidae); Auletobiina Legalov, 2001 (Attelabidae). The priority of several family-group names, listed as valid in Bouchard et al. (2011), is affected by recent bibliographic discoveries or new nomenclatural interpretations. †Necronectinae Ponomarenko, 1977 is treated as permanently invalid and replaced with †Timarchopsinae Wang, Ponomarenko &amp; Zhang, 2010 (Coptoclavidae); Agathidiini Westwood, 1838 is replaced by the older name Anisotomini Horaninow, 1834 (Staphylinidae); Cyrtoscydmini Schaufuss, 1889 is replaced by the older name Stenichnini Fauvel, 1885 (Staphylinidae); Eremazinae Iablokoff-Khnzorian, 1977 is treated as unavailable and replaced with Eremazinae Stebnicka, 1977 (Scarabaeidae); Coryphocerina Burmeister, 1842 is replaced by the older name Rhomborhinina Westwood, 1842 (Scarabaeidae); Eudysantina Bouchard, Lawrence, Davies &amp; Newton, 2005 is replaced by the older name Dysantina Gebien, 1922 which is not permanently invalid (Tenebrionidae). The names Macraulacinae/-ini Fleutiaux, 1923 (Eucnemidae), Anamorphinae Strohecker, 1953 (Endomychidae), Pachycnemina Laporte, 1840 (Scarabaeidae), Thaumastodinae Champion, 1924 (Limnichidae), Eudicronychinae Girard, 1971 (Elateridae), Trogoxylini Lesne, 1921 (Bostrichidae), Laemophloeidae Ganglbauer, 1899 (Laemophloeidae); Ancitini Aurivillius, 1917 (Cerambycidae) and Tropiphorini Marseul, 1863 (Curculionidae) are threatened by the discovery of older names; Reversal of Precedence (ICZN 1999: Art. 23.9) or an application to the International Commission on Zoological Nomenclature will be necessary to retain usage of the younger synonyms. Reversal of Precedence is used herein to qualify the following family-group names as nomina protecta: Murmidiinae Jacquelin du Val, 1858 (Cerylonidae) and Chalepini Weise, 1910 (Chrysomelidae). The following 17 Coleoptera family-group names (some of which are used as valid) are homonyms of other family-group names in zoology, these cases must be referred to the Commission for a ruling to remove the homonymy: Catiniidae Ponomarenko, 1968 (Catiniidae); Homopterinae Wasmann, 1920, Glyptini Horn, 1881 (Carabidae); Tychini Raffray, 1904, Ocypodina Hatch, 1957 (Staphylinidae); Gonatinae Kuwert, 1891 (Passalidae); Aplonychidae Burmeister, 1855 (Scarabaeidae); Microchaetini Paulus, 1973 (Byrrhidae); Epiphanini Muona, 1993 (Eucnemidae); Limoniina Jakobson, 1913 (Elateridae); Ichthyurini Champion, 1915 (Cantharidae); Decamerinae Crowson, 1964 (Trogossitidae); Trichodidae Streubel, 1839 (Cleridae); Monocorynini Miyatake, 1988 (Coccinellidae); Gastrophysina Kippenberg, 2010, Chorinini Weise, 1923 (Chrysomelidae); Meconemini Pierce, 1930 (Anthribidae). The following new substitute names are proposed: Phoroschizus (to replace Schizophorus Ponomarenko, 1968) and Phoroschizidae (to replace Schizophoridae Ponomarenko, 1968); Mesostyloides (to replace Mesostylus Faust, 1894) and Mesostyloidini (to replace Mesostylini Reitter, 1913). The following new genus-group name synonyms are proposed [valid names in square brackets]: Plocastes Gistel, 1856 [Aesalus Fabricius, 1801] (Lucanidae); Evambates Gistel, 1856 [Trichius Fabricius, 1775] (Scarabaeidae); Homoeoplastus Gistel, 1856 [Byturus Latreille, 1797] (Byturidae). Two type genera previously treated as preoccupied and invalid, Heteroscelis Latreille, 1828 and Dysantes Pascoe, 1869 (Tenebrionidae), are determined to be senior homonyms based on bibliographical research. While Dysantes is treated as valid here, Reversal of Precedence (ICZN 1999: Art. 23.9) is used to conserve usage of Anomalipus Guérin-Méneville, 1831 over Heteroscelis.

Hugh Miller (1802-1856), Scottish geologist, newspaper editor and writer, is a perhaps unique example of a geologist with a museum dedicated to him in his birthplace cottage, in Cromarty, northern Scotland. He finally housed his geological collection, principally of Scottish fossils, in a purpose-built museum at his house in Portobello, now in Edinburgh. After his death, the collection was purchased in 1859 by Government grant and public appeal, in part as a memorial to Miller, for the Natural History Museum (successively Edinburgh Museum of Science and Art, Royal Scottish Museum, and part of National Museums Scotland). The collection's documentation, curation and display over the years are outlined, using numerical patterns in the documentation as part of the evidence for its history. A substantial permanent display of the Miller Collection, partly by the retired Benjamin Peach (1842-1926), was installed from c. 1912 to 1939, and briefly postwar. A number of temporary displays, and one small permanent display, were thereafter created, especially for the 1952 and 2002 anniversaries. Miller's birthplace cottage was preserved by the family and a museum established there in 1885 by Miller's son Hugh Miller the younger (1850-1896) of the Geological Survey, with the assistance of his brother Lieutenant-Colonel William Miller (1842-1893) of the Indian Army, and the Quaker horticulturalist Sir Thomas Hanbury (c. 1832-1907), using a selection of specimens retained by the family in 1859. It may not have been fully opened to the public till 1888. It was refurbished for the 1902 centenary. A proposal to open a Hugh Miller Institute in Cromarty, combining a library and museum, to mark the centenary, was only partly successful, and the library element only was built. The cottage museum was transferred to the Cromarty Burgh Council in 1926 and the National Trust for Scotland in 1938. It was refurbished for the 1952 and just after the 2002 anniversaries, with transfer of some specimens and MSS to the Royal Scottish Museum and National Library of Scotland. The Cottage now operates as the Hugh Miller Birthplace Cottage and Museum together with Miller House, another family home, next door, with further specimens loaned by National Museums Scotland. The hitherto poorly understood fate of Miller's papers is outlined. They are important for research and as display objects. Most seem to have been lost, especially through the early death of his daughter Harriet Davidson (1839-1883) in Australia. Miller's collection illustrates some of the problems and opportunities of displaying named geological collections in museums, and the use of manuscripts and personalia with them. The exhibition strategies can be shown to respond to changing perceptions of Miller, famous in his time but much less well known latterly. There is, in retrospect, a clear long-term pattern of collaboration between museums and libraries in Edinburgh, Cromarty and elsewhere, strongly coupled to the fifty-year cycle of the anniversaries of Miller's birth.

En este estudio analizaremos el recorrido de los católicos reaccionarios a partir de la Guerra de Independencia y su cambio de antinacionales a nacional-católicos hasta convertirse en fascistizados en el periodo entre la Guerra Civil y el estallido de la Segunda Guerra Mundial. En ese sentido cabe destacar la labor de José Pemartín. La centralidad del estudio la ocupan tres temas contenidos en su obra más importante, Qué es lo Nuevo: la diferencia de matices con respecto a los valores expresados por otros intelectuales nacional-católicos anteriores y contemporáneos a él; la tentativa de conciliar el ideario nacional-católico con las ideas falangistas; y la doctrina fascista. Palabras clave: nacional-catolicismo, fascismo, monarquismo, institucional, circunstancial, tradicionalismo.Topónimo: EspañaPeríodo: Siglo XX ABSTRACTThis study analyses the path traversed by Catholic reactionaries after the War of Independence and their transition from antinational to National Catholic until they converted to Fascism during the period between the Civil War and the outbreak of World War Two. In this respect, it is worth highlighting the work of José Pemartín. This study mainly focuses on three themes in his most important creation, Qué es lo Nuevo: the differences in tone in comparison with the values expressed by both earlier and coetaneous National-Catholic intellectuals; the attempt to reconcile National-Catholic ideology with Falangist thinking; and Fascist doctrine. Keywords: Nacional-Catholism, Fascism, monarchism, institutional, circumstantial, traditionalismPlace names: SpainPeriod: Siglo XX REFERENCIASÁlvarez Junco, J. 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Izinkan tim redaksi membuka editorial dengan membagi kebahagiaan. Edisi ini tampil dalam suasana dan semangat baru yang menggembirakan, karena merupakan edisi pertama setelah Jurnal Sejarah Citra Lekha (JSCL) dinyatakan sebagai jurnal nasional terakreditasi berdasar SK Kementerian Riset dan Pendidikan Tinggi RI No. SK No. 21/E/KPT/2018, 9 Juli 2018.Ada enam artikel dalam edisi ini. Artikel pertama dari Hidayat dan Erond L. Damanik yang membahas tentang konstruksi identitas etnik dalam masyarakat Mandailing dan Angkota di Kota Medan dalam periode 1906-1939. Etnis Mandailing yang Islam mengidentifikasi diri sebagai Melayu dan menolak disebut Batak. Sebaliknya, etnis Angkota menegaskan Batak sebagai identitas mereka. Redefinisi identitas itu terjadi dalam situasi ketiadaan budaya dominan dan berelasi dengan persaingan untuk mendapatkan akses pada sumber daya material, ekonomi, dan politik. Konstruksi identitas itu terus direproduksi sampai saat ini, sehingga akulturasi dan asimilasi tidak mudah terwujud serta berpotensi menimbulkan proses sosial yang disosiatif. Di pihak lain, I Made Pageh menyajikan temuan yang penting dan menarik dalam sistem religi lokal Bali. Melalui mimikri dan hibridisasi, religi lokal itu dapat berfungsi sebagai wahana untuk mengintegrasikan umat Hindu dan Islam di Bali. Dua artikel berikutnya berusaha menggali nilai-nilai budaya dalam karya sastra yang dapat dijadikan basis untuk membangun kehidupan yang lebih baik pada masa kini. Artikel pertama dari Siregar, Djono, dan Leo Agung yang menelaah Si Bulus-Bulus Si Rumbuk-Rumbuk karya Willem Iskandar untuk mengungkap nilai-nilai pendidikan dalam kebudayaan masyarakat Tapanuli Selatan; sedangkan artikel kedua dari Awaludin Nugraha berusaha menggali pemikiran Bupati Sumedang P.A.A. Soeria Atmadja (menjabat pada 1883-1919) mengenai pembangunan berkelanjutan berbasis moral yang tertuang dalam karyanya yang berjudul Di Tioeng Memeh Hudjan. Gagasan P.A.A. Soeria Atmadja melampaui zamannya karena telah dirumuskan jauh sebelum negara-negara Barat mengembangkan konsep pembangunan berkelanjutan pada 1980-an. Artikel berikutnya dari Rabith Jihan Amaruli yang membahas mengenai Sumpah Pemuda Arab pada 1934 yang menjadi cikal-bakal organisasi Arab-Hadrami nasionalis pertama di Indonesia, yaitu Persatuan Arab Indonesia. Topik ini menjadi penting dalam kaitannya dengan fenomena Arabisme yang berkembang akhir-akhir dan terkesan berseberangan dengan nasionalisme Indonesia. Edisi ini ditutup dengan artikel Dhanang Respati Puguh dan Mahendra Pudji Utamatentang peranan pemerintah dalam mengembangkan wayang orang panggung Sriwedari, Ngesti Pandowo, dan Bharata. Ketiga wayang orang panggung itu dapat bertahan sampai kini antara lain berkat adanya dukungan dari pemerintah. Namun demikian pemerintah diharapkan tidak hanya memberi dukungan yang bersifat artifisial, melainkan mengambil peranan yang lebih fundamental sebagai patron-seni. Dalam garis itu, pemerintah perlu menyusun kebijakan budaya sebagai dasar bagi pengembangan wayang orang panggung dan berbagai bentuk kesenian tradisi atau budaya lokal pada umumnya dalam kerangka kebudayaan nasional.Tulisan-tulisan dalam JSCL edisi ini akan menemukan arti penting ketika kita meletakkannya dalam konteks perkembangan Indonesia kontemporer yang begitu dinamis dan cenderung membuka peluang bagi terjadinya konflik. Kebebasan berpendapat diekspresikan secara leluasa melalui penggunaan (atau penyalahgunaan) simbol-simbol budaya yang mudah memantik sentimen SARA, suatu yang sensitif dalam masyarakat majemuk. Hal ini tampak misalnya dalam pelaksanaan Pemilukada serentak pada 2018 dan, tentu sangat tidak diharapkan, barang kali masih akan terus berlanjut mengingat Indonesia akan segera memasuki tahun politik 2019. Seruan untuk menciptakan suasana yang sejuk dan damai kehilangan gaungnya dan seolah-olah tidak berarti, tenggelam oleh gegap gempita euforia demokrasi. Di tengah-tengah situasi itu, para kontributor dalam JSCL edisi mengajak kita untuk mengembangkan sensibilitas dengan belajar dari sejarah. Mereka dengan caranya masing-masing mendorong kita untuk mencari inspirasi dari kearifan masyarakat Nusantara yang dapat dikembangkan sebagai modal penting untuk menambal retak-retak pada perahu besar Indonesia, sehingga dapat melanjutkan pelayaran menuju kehidupan bersama sebagai negara-bangsa yang harmonis, damai, adil-makmur, dan sentosa.Tidak ada yang lebih pantas dikatakan selain ucapan terima kasih yang sebesar-besarnya kepada para kontributor yang telah bersedia membagi pengetahuan yang mencerahkan. Tim redaksi selalu bekerja keras agar JSCL yang kita cintai ini menjadi jurnal yang semakin berkualitas.Salam hangat dan selamat membaca

This catalogue includes all valid family-group (six subtribes), genus-group (55 genera, 33 subgenera), and species-group names (1009 species and subspecies) of Sepidiini darkling beetles (Coleoptera: Tenebrionidae: Pimeliinae), and their available synonyms. For each name, the author, year, and page number of the description are provided, with additional information (e.g., type species for genus-group names, author of synonymies for invalid taxa, notes) depending on the taxon rank. Verified distributional records (loci typici and data acquired from revisionary publications) for all the species are gathered. Distribution of the subtribes is illustrated and discussed. Several new nomenclatural acts are included. The generic names Phanerotomea Koch, 1958 [= Ocnodes Fåhraeus, 1870] and Parmularia Koch, 1955 [= Psammodes Kirby, 1819] are new synonyms (valid names in square brackets). The following new combinations are proposed: Ocnodesacuductusacuductus (Ancey, 1883), O. acuductusufipanus (Koch, 1952), O. adamantinus (Koch, 1952), O. argenteofasciatus (Koch, 1953), O. arnoldiarnoldi (Koch, 1952), O. arnoldisabianus (Koch, 1952), O.barbosai (Koch, 1952), O.basilewskyi (Koch, 1952), O.bellmarleyi (Koch, 1952), O. benguelensis (Koch, 1952), O. bertolonii (Guérin-Méneville, 1844), O. blandus (Koch, 1952), O. brevicornis (Haag-Rutenberg, 1875), O. brunnescensbrunnescens (Haag-Rutenberg, 1871), O. brunnescensmolestus (Haag-Rutenberg, 1875), O. buccinator (Koch, 1952), O. bushmanicus (Koch, 1952), O. carbonarius (Gerstaecker, 1854), O. cardiopterus (Fairmaire, 1888), O. cataractus (Koch, 1952), O. cinerarius (Koch, 1952), O. complanatus (Koch, 1952), O. confertus (Koch, 1952), O. congruens (Péringuey, 1899), O. cordiventris (Haag-Rutenberg, 1871), O. crocodilinus (Koch, 1952), O. dimorphus (Koch, 1952), O. distinctus (Haag-Rutenberg, 1871), O. dolosus (Péringuey, 1899), O. dorsocostatus (Gebien, 1910), O. dubiosus (Péringuey, 1899), O. ejectus (Koch, 1952), O. epronoticus (Koch, 1952), O. erichsoni (Haag-Rutenberg, 1871), O. ferreiraeferreirae (Koch, 1952), O. ferreiraezulu (Koch, 1952), O. fettingi (Haag-Rutenberg, 1875), O. fistucans (Koch, 1952), O. fraternus (Haag-Rutenberg, 1875), O. freyi (Koch, 1952), O. freudei (Koch, 1952), O. fulgidus (Koch, 1952), O. funestus (Haag-Rutenberg, 1871), O. gemmeulus (Koch, 1952), O. gibberosulus (Péringuey, 1908), O. gibbus (Haag-Rutenberg, 1879), O. globosus (Haag-Rutenberg, 1871), O. granisterna (Koch, 1952), O. granulosicollis (Haag-Rutenberg, 1871), O.gridellii (Koch, 1960), O. gueriniguerini (Haag-Rutenberg, 1871), O. guerinilawrencii (Koch, 1954), O. guerinimancus (Koch 1954), O. haemorrhoidalishaemorrhoidalis (Koch, 1952), O. haemorrhoidalissalubris (Koch, 1952), O. heydeni (Haag-Rutenberg, 1871), O. humeralis (Haag-Rutenberg, 1871), O. humerangula (Koch, 1952), O. imbricatus (Koch, 1952), O.imitatorimitator (Péringuey, 1899), O. imitatorinvadens (Koch, 1952), O. inflatus (Koch, 1952), O. janssensi (Koch, 1952), O. javeti (Haag-Rutenberg, 1871), O. junodi (Péringuey, 1899), O. kulzeri (Koch, 1952), O. lacustris (Koch, 1952), O. laevigatus (Olivier, 1795), O. lanceolatus (Koch, 1953), O. licitus (Peringey, 1899), O. luctuosus (Haag-Rutenberg, 1871), O. luxurosus (Koch, 1952), O. maputoensis (Koch, 1952), O. marginicollis (Koch, 1952), O. martinsi (Koch, 1952), O. melleus (Koch, 1952), O. mendicusestermanni (Koch, 1952), O. mendicusmendicus (Péringuey, 1899), O. miles (Péringuey, 1908), O. mimeticus (Koch, 1952), O. misolampoides (Fairmaire, 1888), O. mixtus (Haag-Rutenberg, 1871), O. monacha (Koch, 1952), O. montanus (Koch, 1952), O. mozambicus (Koch, 1952), O. muliebriscurtus (Koch, 1952), O. muliebrismuliebris (Koch, 1952), O. muliebrissilvestris (Koch, 1952), O. nervosus (Haag-Rutenberg, 1871), O.notatum (Thunberg, 1787), O. notaticollis (Koch, 1952), O. odorans (Koch, 1952), O. opacus (Solier, 1843), O. osbecki (Billberg, 1815), O. overlaeti (Koch, 1952), O. ovulus (Haag-Rutenberg, 1871), O. pachysomaornata (Koch, 1952), O. pachysomapachysoma (Péringuey, 1892), O. papillosus (Koch, 1952), O. pedator (Fairmaire, 1888), O. perlucidus (Koch, 1952), O. planus (Koch, 1952), O. pretorianus (Koch, 1952), O. procursus (Péringuey, 1899), O. protectus (Koch, 1952), O. punctatissimus (Koch, 1952), O. puncticollis (Koch, 1952), O. punctipennisplanisculptus (Koch, 1952), O. punctipennispunctipennis (Harold, 1878), O. punctipleura (Koch, 1952), O. rhodesianus (Koch, 1952), O. roriferus (Koch, 1952), O. rufipes (Harold, 1878), O. saltuarius (Koch, 1952), O.scabricollis (Gerstaecker, 1854), O. scopulipes (Koch, 1952), O. scrobicollisgriqua (Koch, 1952), O. scrobicollissimulans (Koch, 1952), O. semirasus (Koch, 1952), O. semiscabrum (Haag-Rutenberg, 1871), O. sericicollis (Koch, 1952), O.similis (Péringuey, 1899), O. sjoestedti (Gebien, 1910), O. spatulipes (Koch, 1952), O. specularis (Péringuey, 1899), O. spinigerus (Koch, 1952), O. stevensoni (Koch, 1952), O. tarsocnoides (Koch, 1952), O. temulentus (Koch, 1952), O. tenebrosusmelanarius (Haag-Rutenberg, 1871), O. tenebrosustenebrosus (Erichson, 1843), O. tibialis (Haag-Rutenberg, 1871), O. torosus (Koch, 1952), O. transversicollis (Haag-Rutenberg, 1879), O. tumidus (Haag-Rutenberg, 1871), O. umvumanus (Koch, 1952), O. vagus (Péringuey, 1899), O. vaticinus (Péringuey, 1899), O. verecundus (Péringuey, 1899), O. vetustus (Koch, 1952), O. vexator (Péringuey, 1899), O. virago (Koch, 1952), O. warmeloi (Koch, 1953), O. zanzibaricus (Haag-Rutenberg, 1875), Psammophanesantinorii (Gridelli, 1939), and P.mirei (Pierre, 1979). The type species [placed in square brackets] of the following genus-group taxa are designated for the first time, Ocnodes Fåhraeus, 1870 [Ocnodesscrobicollis Fåhraeus, 1870], Psammodophysis Péringuey, 1899 [Psammodophysisprobes Péringuey, 1899], and Trachynotidus Péringuey, 1899 [Psammodesthoreyi Haag-Rutenberg, 1871]. A lectotype is designated for Histrionotusomercooperi Koch, 1955 in order to fix its taxonomic status. Ulamus Kamiński is introduced here as a replacement name for Echinotus Marwick, 1935 [Type species.Aviculaechinata Smith, 1817] (Mollusca: Pteriidae) to avoid homonymy with Echinotus Solier, 1843 (Coleoptera: Tenebrionidae).

Статья посвящена истории интеллектуальных взаимодействий Археологического института имени Н.П. Кондакова в Праге, созданного усилиями русских эмигрантов, и венгерских исследователей. В статье реконструируются магистральные направления этих контактов, связанные, главным образом, с именами Н. Феттиха и Д. Моравчика, анализируются взгляды русских ученых на венгерскую археологию, обрисовываются поля сотрудничества. Автор делает акцент, что и русским эмигрантам, и их венгерским коллегам пришлось взаимодействовать в сложную и противоречивую эпоху, связанную с последствиями Первой мировой войны и крушения империй. В заключении делается вывод о высокой результативности российско-венгерских научных контактов. Регулярный научный информационный обмен в межвоенную эпоху, отмеченную политической и экономической нестабильностью, нарастанием международных противоречий, имел огромное значение. Библиографические ссылки Аксенова Е.П. Институт им. Н.П. 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Prag: Seminarium Kondakovianum, 1931. 90 s. Roerich G. N. Fettich: Bronzeguss und Nomadenkunst auf Grund der ungarländischen Denkmäler mit einem Anhang von L. Barttucz über die anthropologischen Ergebnisse der Ausgrabungen von Mosonszentjános, Ungarn // Jornal of Urusvati Himalayan Research Institute. 1931. Vol. I. № 1. P. 94–96. Rásonyi L. Der Volksname берендей // Seminarium Kondakovianum. 1933. T. VI. С. 219–226. Rásonyi L. Les noms de tribus dans le «Слово о полку Игореве» // Seminarium Kondakovianum. 1936. T. VIII. C. 293–299. Rykov P.S. Aknasír a Sinowjewka (Petrowi kerület, Saratow-i kormányzóság) falu melletti dombban // AÉ. 1928. 42. kötet. 225–228. old. Szabó J.B. «Magrebiták», úzok – «kunok», berendek és besenyők: Egy XII. századi keleti betelepülés nyomában // Hadtörténelmi Közlemények. 2016. 129. évf. 1. sz. 148–159. old. Toll N.P. Bronzedolche der Samlung Zichy // ESA. 1929. Vol. IV. S. 183–188. Toll, N. P., Rasovskii, D. A. L’art byzantine chez les Slaves. Les Balkans. 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Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the second and final 1929-1939), followed by Kostana (1928), Peasants (1951) and Fatherland (1960). Konjovic's mature operas are characterized by his masterful handling of form, both in close-ups and in detail, as well as his deeply individual assimilation of musical folklore into his work. The Prince of Zeta is not to be understood as a folk opera, but some main themes are directly derived from folk music, precisely from the Montenegrin folk songs quoted in the Mokranjac's Ninth Garland and treated in Konjovic's post-romantic, almost expressionistic way, interwoven with some Italianate leitmotifs, so as to present the opera's two worlds, Montenegrin and Venetian. In the process of forming Konjovic's operatic style, with vocal parts based mainly on the principle of declamation, the opera Prince of Zeta (first performed in Belgrade, 1929, conducted by Lovro von Matacic) proved to be a work of great impact. Hardly anyone grasped then the wide sweep of inspiration which allowed the composer to set and to solve several important problems connected with music drama, essential also in his subsequent stage works. First of all, Konjovic had to handle in his own way the verbal drama the prototype of his opera, Maxim Crnojevic by the Serbian poet Laza Kostic (1841-1910). Permission came from the playwright in the first decade of the 1900, Prince of Zeta being partly set musically, but from then on with new interventions in the poet's text. Being a highly skilled writer, poet musicologist and essayist (he wrote four books and a great number of articles on music and the theatre, and translated opera librettos of Wagner and Moussorgsky), Konjovic felt free to introduce some daring alterations to the literary works he used for his music dramas. So it was with the play Maxim Crnojevic, premiered in Novi Sad in 1870 (printed in the same place in 1846 and 1866). On the other hand, the young poet Kostic (he was in his early twenties when he wrote Maxim Crnojevic) had the prototype for his play in the folkpoem The Marriage of Maxim Crnojevic, turning a naturalistic folk-story into a Hellenic-Shakespearian drama of friendship and love, full of chivalrous deeds and emotions. The once handsome Maxim, his face ruined by heavy disease, can no longer make his marriage with the doge's daughter Angelica (with whom he was already acquainted). The nobles of Montenegro particularly Ivo Crnojevic, who in the meanwhile, proud of his son, boasted in Venice, conspire a doublecrossing plot (with another man, Milos resembling Maxim as bridegroom) which works in the folk-poem, in some ways in drama, but not in the opera, with the story changed by Konjovic. The difference between drama and folk poetry is essential: in Montenegro Maxim murders Milos for the doge's daughter's dowry, on their way back. In the play, too, the tragic event takes place in Montenegro: on the way home Maxim kills Milos, thinking Milos is going to keep the beautiful Angelica for himself (the agreement was that he will hand over the bride to Maxim immediately after the wedding in Venice), then commits suicide realizing his fatal mistake. The girl, deeply disappointed leaves Montenegro. In the opera Maxim reveals the truth to Angelica in Venice, before she is to be wedded with Milos, and stabs himself. She chooses death also, drinking poison - a dramatically and musically very capturing finale in the style of Romeo and Juliet! In some recently performed versions of the opera (1989) the director (Dejan Miladinovic) and conductor (Oskar Danon) returned to the playwright's original denouement, avoiding the Shakespearian end of Konjovic (although in the spirit of Kostic who was also appreciated as a skillful translator of Shakespeare into Serbian language). In the opera Prince of Zeta Konjovic focuses on Ivo Crnojevic, making his role dominant to that of Maxim. The unhappy father, the tragic Hellenic figure, is with his son Maxim the main historical personality in both opera and drama. Zeta forms part of present-day Montenegro but was independent for a short period, then came under Byzantium, and eventually Rashka-Serbia. After the fall of last remnants of the Serbian vassal state in 1439, Zeta was partly independent protected by Venetians under the ruler Ivo Crnojevic, before the Turks grasped Montenegro. Serbian drama, which is usually trochaic, took an iambic course in Kostic's play. The composer preserved the poet's iambs, following the musically accented flexions of spoken language, which remains the main feature of his style. The impressive vocal parts, especially those of Ivo Crnojevic, starting from the Prologue and the first act, are supported by the dynamic and highly symphonized orchestra. For effective choral music the monks' ensemble in the second act (in the final version) and the dramatic Venetian carnival scene with the stylized Montenegrin folk-dances should be noted in both versions. With Prince of Zeta the author definitely made a distinguished name as a composer in Serbian culture, with a strong influence on younger generations of Serbian musicians.

Tot de rijke en zeer gediversifieerde collectie van het Huis van Alij n behoort ook een omvangrijke collectie pijpen. Zij bevat voornamelijk 19de-eeuwse exemplaren, veelal manueel vervaardigd, van uitzonderlijke kwaliteit en met een bijzonder design. Een belangrijke aanwinst is de collectie pijpen van Frits van den Berghe (1883-1939) die uit ruim 700 pijpen bestaat.

This article critically analyses correspondence and decisions regarding children/young people who were included in the Canadian child migration schemes that ran between 1883 and 1939, and those who were deemed ‘undeserving’ and outside the scope of the schemes. Drawing on critical realist ontology, a metatheory that centralises the causal non-linear dynamics and generative mechanisms in the individual, the cultural sphere, and wider society, the research starts from the premise that the principle of ‘less or more eligibility’ lies at the heart of the British welfare system, both now and historically. Through analysing case files and correspondence relating to children sent to Canada via the Waifs and Strays Society and Fegan Homes, I shed light on the complex interplay between morality, biological determinism, resistance, and resilience in decisions around which children should be included or excluded. I argue that it was the complex interplay and nuance between the moral/immoral, desirable/undesirable, degenerate, and capable/incapable child that guided practice with vulnerable children in the late 1800s. In judgements around ‘deservedness’, related stigmas around poverty and ‘bad’ behaviour were rife. Within this, the child was punished for his/her ‘immoral tendencies’ and ‘inherited traits’, with little regard for the underlying reasons (e.g. abuse and neglect) for their (abnormal) behaviour and ‘mental deficiencies’.

O livro Pedagogia do Oprimido foi editado pela Paz e Terra, do Rio de Janeiro, aqui no Brasil, somente em 1976, pela censura imposta pelos militares. Sua primeira publicação foi em 1968, grande parte dele foi escrito em Santiago, no Chile, nos 05 anos que Paulo freire ali viveu, exilado, sendo finalizado e publicado nos Estados Unidos. Trata-se da obra mais conhecida, senão a mais importante, de autoria do educador brasileiro Paulo Freire (1921-1997). Esta obra é considerada um dos maiores clássicos da Ciências Humanas e Sociais atuais, notadamente no campo da Educação ou da Pedagogia. Costuma-se reconhecer que a obra que buscamos resenhar é a terceira publicação de maior número de citações, no campo da Ciências Humanas e Sociais, no mundo todo, ultrapassando índices de textos clássicos de autores universalmente consagrados como Sigmund Freud (1856-1939) e Karl Marx (1818-1883). Paulo Freire tornou-se o mais importante educador contemporâneo, sem sombra de dúvidas, e provavelmente alcançou a estatura de ser considerado um dos grandes intelectuais da Ciências Humanas e Sociais contemporâneas, atuando no campo da Educação e da Cultura.

This essay delves into Nietzsche’s understanding of the jester in Thus Spoke Zarathustra. I argue here that its existence explains the shifting ethos from tragedy to comedy. The jester in the societal context exhibits the figure of fictionalism that redirects reality into a detour of comic interplays. As such, he embodies fictional overcoming from the modern backdrop. I then employ On the Genealogy of Morals to explain further four principles that aid in taking into effect the birth of the jester. Nietzsche’s critique of morality attacks such principles as ressentiment, guilt and bad conscience taken together, free will, and ascetic ideal. Later, I present a way of going into the shadows as a manner of confronting the jester and overcoming it. References Alfano, Mark, Character as Moral Fiction. Cambridge: Cambridge University Press, 2013. Allison, David, Reading the New Nietzsche, The Birth of Tragedy, The Gay Science, Thus Spoke Zarathustra, and On the Genealogy of Morals. Plymouth, UK: Rowman & Littlefield Publishers, Inc. Arthur Schopenhauer, World as Will and Representation, vol. II, trans. E.F.J. Payne, (New York: Dover Publications. 1969. Bordo, Susan, The Flight to Objectivity: Essays on Cartesianism and Culture. Albany, State University of New York Press: 1987. Burnham, Douglas, and Martin Jesinghausen, Nietzsche’s Thus Spoke Zarathustra. Edinburgh: Edinburgh University Press, Ltd., 2010. Catherine Carlstroem, “Conclusion,” in The Jester and the Sages: Mark Twain in Conversation with Nietzsche, Freud, and Marx. Missouri: University of Missouri Press, 2011, 135-136. Chaput, Charles, “Religion and the Common Good,” Communio vol. 34 no. 1 (Spring 2007). Deleuze, Gilles (1983): Nietzsche and Philosophy (H. Tomlinson, Trans.). New York: Columbia University Press, 1983. Dienstag, Joshua Foa, Nietzsche's Dionysian Pessimism, the American Political Science Review, Vol. 95, No. 4 (Dec., 2001). Foucault, Michel, Madness and Civilization: A History of Insanity in the Age of Reason. Vintage, 1989. Hannah Petkin, Fortune is a Woman: Gender and Politics in the Thought of Niccolo Machiavelli. Berkeley and Los Angeles: University of California Press, 1984. Hemming, Laurence Paul, Heidegger’s Atheism. Notre Dame: University of Notre Dame Press: 2002. Jung, Carl, Nietzsche’s Zarathustra: Notes of the Seminar Given in 1934-1939, vol. 1. Routledge, 2014. Koyré, Alexander, From the Closed World to the Infinite Universe. Baltimore: The Johns Hopkins Press, 1957. Lampert, Laurence, Nietzsche’s Teaching: An Interpretation of Thus Spoke Zarathustra. New Haven and London: Yale University Press, 1986. Landa, Ishay, “Aroma and Shadow: Marx vs Nietzsche on Religion,” in Nature, Society, and Thought, vol. 18, no. 4 (2005). 461-499. May, Simon, Nietzsche’s Ethics and his War on ‘Morality’, Oxford: Clarendon Press, 1999. Niemeyer, Christian, “Nietzsche – Only a Jester? The language of Zarathustra and pedagogy. An Interim Assessment of 125 years of reception history,” in Zeitschrift für Pädagogik vol. 57, no. 1 (2011), pp. 55-69. Nietzsche, Friedrich, Beyond Good and Evil: Prelude to the Philosophy of the Future (H. Zimmern, Trans.). New York: Dover Publications, 1997. (Original work published 1886). ____________. Nietzsche Contra Wagner (J. Norman, Trans.) (A. Ridley, Ed.). Cambridge University Press, 2005. ____________. On the Genealogy of Morals: A Polemic (D. Smith, Trans.). New York: Oxford University Press, 1996. (Original work published 1887). ____________. The Anti-Christ: A Curse on Christianity (W. Kaufmann, Trans.). In the Portable Nietzsche. New York: Penguin Books, pp. 565–656, 1976. ____________. The Birth of Tragedy (C. P. Fadiman, Trans.). New York: Modern Library, 1927. (Original work published 1872). ____________. The Gay Science (W. Kaufmann, Trans.). New York: Vintage Books, 1974. (Original work published 1882). ____________. The Will to Power (W. Kaufmann, & R. J. Hollingdale, Trans.). New York: Vintage Books, 1968. (Original work published 1901). ____________. Thus Spoke Zarathustra: A Book for Everyone and No One (R. J. Hollingdale, Trans.). New York: Penguin Books, 1969. (Original work published 1883–1891). Reginster, Bernard, The Affirmation of Life: Nietzsche on Overcoming Nihilism. Cambridge, MA: Harvard University Press, 2006. Rusten, Jeffery (ed.), The Birth of Comedy. Texts, Documents, and Art from Athenian Comic Competitions, 486-280, trans. Jeffery Henderson, David Konstan, Ralph Rosen, Jeffery Rusten, and Niall W. Slater, Baltimore: The Johns Hopkins University Press, 2011. Seung, T.K., Nietzsche’s Epic of the Soul, Thus Spoke Zarathustra. Oxford: Lexington Books, 2005. Strong, Tracy, Nietzsche and Politics, in Nietzsche: A Collection of Critical Essays, ed. Robert Solomon. Notre Dame: University of Notre Dame Press, 1973. Tassi, Aldo, “Modernity as the Transformation of Truth into Meaning”, Readings in Philosophy of Man, Ateneo de Manila University, 1986. Turi, Zita, “’Border Liners’”. The Ship of Fools Tradition in Sixteenth-Century England,” in TRANS – Revue de litterature generale et comparee, (2010): https://doi.org/10.4000/trans.421 Velkley, Richard (Ed.). Leo Strauss on Nietzsche’s Thus Spoke Zarathustra. Chicago: The University of Chicago Press, 2017.

The present monograph includes general systematic considerations on the family Epimeriidae, a revision of the genus Epimeria Costa in Hope, 1851 in the Southern Ocean, and a shorter account on putatively related eusiroid taxa occurring in Antarctic and sub-Antarctic seas. The former epimeriid genera Actinacanthus Stebbing, 1888 and Paramphithoe Bruzelius, 1859 are transferred to other families, respectively to the Acanthonotozomellidae Coleman & J.L. Barnard, 1991 and the herein re-established Paramphithoidae G.O. Sars, 1883, so that only Epimeria and Uschakoviella Gurjanova, 1955 are retained within the Epimeriidae Boeck, 1871. The genera Apherusa Walker, 1891 and Halirages Boeck, 1891, which are phylogenetically close to Paramphithoe, are also transferred to the Paramphithoidae. The validity of the suborder Senticaudata Lowry & Myers, 2013, which conflicts with traditional and recent concepts of Eusiroidea Stebbing, 1888, is questioned. Eight subgenera are recognized for Antarctic and sub-Antarctic species of the genus Epimeria: Drakepimeria subgen. nov., Epimeriella K.H. Barnard, 1930, Hoplepimeria subgen. nov., Laevepimeria subgen. nov., Metepimeria Schellenberg, 1931, Pseudepimeria Chevreux, 1912, Subepimeria Bellan-Santini, 1972 and Urepimeria subgen. nov. The type subgenus Epimeria, as currently defined, does not occur in the Southern Ocean. Drakepimeria species are superficially similar to the type species of the genus Epimeria: E. cornigera (Fabricius, 1779), but they are phylogenetically unrelated and substantial morphological differences are obvious at a finer level. Twenty-seven new Antarctic Epimeria species are described herein: Epimeria (Drakepimeria) acanthochelon subgen. et sp. nov., E. (D.) anguloce subgen. et sp. nov., E. (D.) colemani subgen. et sp. nov., E. (D.) corbariae subgen. et sp. nov., E. (D.) cyrano subgen. et sp. nov., E. (D.) havermansiana subgen. et sp. nov., E. (D.) leukhoplites subgen. et sp. nov., E. (D.) loerzae subgen. et sp. nov., E. (D.) pandora subgen. et sp. nov., E. (D.) pyrodrakon subgen. et sp. nov., E. (D.) robertiana subgen. et sp. nov., Epimeria (Epimeriella) atalanta sp. nov., Epimeria (Hoplepimeria) cyphorachis subgen. et sp. nov., E. (H.) gargantua subgen. et sp. nov., E. (H.) linseae subgen. et sp. nov., E. (H.) quasimodo subgen. et sp. nov., E. (H.) xesta subgen. et sp. nov., Epimeria (Laevepimeria) anodon subgen. et sp. nov., E. (L.) cinderella subgen. et sp. nov., Epimeria (Pseudepimeria) amoenitas sp. nov., E. (P.) callista sp. nov., E. (P.) debroyeri sp. nov., E. (P.) kharieis sp. nov., Epimeria (Subepimeria) adeliae sp. nov., E. (S.) iota sp. nov., E. (S.) teres sp. nov. and E. (S.) urvillei sp. nov. The type specimens of E. (D.) macrodonta Walker, 1906, E. (D.) similis Chevreux, 1912, E. (H.) georgiana Schellenberg, 1931 and E. (H.) inermis Walker, 1903 are re-described and illustrated. Besides the monographic treatment of Epimeriidae from the Southern Ocean, a brief overview and identification keys are given for their putative and potential relatives from the same ocean, i.e., the Antarctic and sub-Antarctic members of the following eusiroid families: Acanthonotozomellidae Coleman & J.L. Barnard, 1991, Dikwidae Coleman & J.L. Barnard, 1991, Stilipedidae Holmes, 1908 and Vicmusiidae Just, 1990. This overview revealed the existence of a new large and characteristic species of Alexandrella Chevreux, 1911, A. chione sp. nov. but also shows that the taxonomy of that genus remains poorly known and that several ‘variable widespread eurybathic species’ probably are species complexes. Furthermore, the genera Bathypanoploea Schellenberg, 1939 and Astyroides Birstein & Vinogradova, 1960 are considered to be junior synonyms of Alexandrella. Alexandrella mixta Nicholls, 1938 and A. pulchra Ren in Ren & Huang, 1991 are re-established herein, as valid species. It is pointed out that this insufficient taxonomic knowledge of Antarctic amphipods impedes ecological and biogeographical studies requiring precise identifications. Stacking photography was used for the first time to provide iconographic support in amphipod taxonomy, and proves to be a rapid and efficient illustration method for large tridimensionally geometric species. A combined morphological and molecular approach was used whenever possible for distinguishing Epimeria species, which were often very similar (albeit never truly cryptic) and sometimes exhibited allometric and individual variations. However in several cases, taxa were characterized by morphology only, whenever the specimens available for study were inappropriately fixed or when no sequences could be obtained. A large number of Epimeria species, formerly considered as eurybathic and widely distributed, proved to be complexes of species, with a narrower (overlapping or not) distribution. The distributional range of Antarctic Epimeria is very variable from species to species. Current knowledge indicates that some species from the Scotia Arc and the tip of the Antarctic Peninsula are narrow range endemics, sometimes confined to one island, archipelago, or ridge (South Georgia, South Orkney Islands, Elephant Island or Bruce Ridge); other species have a distribution encompassing a broader region, such as the eastern shelf of the Weddell Sea, or extending from the eastern shelf of the Weddell Sea to Adélie Coast. The most widely distributed species are E. (D.) colemani subgen. et sp. nov., E. (E.) macronyx (Walker, 1906), E. (H.) inermis Walker, 1903 and E. (L.) walkeri (K.H. Barnard, 1930), which have been recorded from the Antarctic Peninsula/South Shetland Islands area to the western Ross Sea. Since restricted distributions are common among Antarctic and sub-Antarctic Epimeria, additional new species might be expected in areas such as the Kerguelen Plateau, eastern Ross Sea, Amundsen Sea and the Bellingshausen Sea or isolated seamounts and ridges, where there are currently no Epimeria recorded. The limited distribution of many Epimeria species of the Southern Ocean is presumably related to the poor dispersal capacity in most species of the genus. Indeed with the exception of the pelagic and semi-pelagic species of the subgenus Epimeriella, they are heavy strictly benthic organisms without larval stages, and they have no exceptional level of eurybathy for Antarctic amphipods. Therefore, stretches deeper than 1000 m seem to be efficient geographical barriers for many Epimeria species, but other isolating factors (e.g., large stretches poor in epifauna) might also be at play. The existence of endemic shelf species with limited dispersal capacities in the Southern Ocean (like many Epimeria) suggests the existence of multiple ice-free shelf or upper slope refugia during the Pleistocene glaciations within the distributional and bathymetric range of these species. Genera with narrow range endemics like Epimeria would be excellent model taxa for locating hotspots of Antarctic endemism, and thus potentially play a role in proposing meaningful Marine Protected Areas (MPAs) in the Southern Ocean.

Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussion of nature and culture together.) It’s no news to anyone that not only adaptations, but all art is bred of other art, though sometimes artists seem to get carried away. My favourite example of excess of association or attribution can be found in the acknowledgements page to a verse drama called Beatrice Chancy by the self-defined “maximalist” (not minimalist) poet, novelist, librettist, and critic, George Elliot Clarke. His selected list of the incarnations of the story of Beatrice Cenci, a sixteenth-century Italian noblewoman put to death for the murder of her father, includes dramas, romances, chronicles, screenplays, parodies, sculptures, photographs, and operas: dramas by Vincenzo Pieracci (1816), Percy Bysshe Shelley (1819), Juliusz Slowacki (1843), Waldter Landor (1851), Antonin Artaud (1935) and Alberto Moravia (1958); the romances by Francesco Guerrazi (1854), Henri Pierangeli (1933), Philip Lindsay (1940), Frederic Prokosch (1955) and Susanne Kircher (1976); the chronicles by Stendhal (1839), Mary Shelley (1839), Alexandre Dumas, père (1939-40), Robert Browning (1864), Charles Swinburne (1883), Corrado Ricci (1923), Sir Lionel Cust (1929), Kurt Pfister (1946) and Irene Mitchell (1991); the film/screenplay by Bertrand Tavernier and Colo O’Hagan (1988); the parody by Kathy Acker (1993); the sculpture by Harriet Hosmer (1857); the photograph by Julia Ward Cameron (1866); and the operas by Guido Pannain (1942), Berthold Goldschmidt (1951, 1995) and Havergal Brian (1962). (Beatrice Chancy, 152) He concludes the list with: “These creators have dallied with Beatrice Cenci, but I have committed indiscretions” (152). An “intertextual feast”, by Clarke’s own admission, this rewriting of Beatrice’s story—especially Percy Bysshe Shelley’s own verse play, The Cenci—illustrates brilliantly what Northrop Frye offered as the first principle of the production of literature: “literature can only derive its form from itself” (15). But in the last several decades, what has come to be called intertextuality theory has shifted thinking away from looking at this phenomenon from the point of view of authorial influences on the writing of literature (and works like Harold Bloom’s famous study of the Anxiety of Influence) and toward considering our readerly associations with literature, the connections we (not the author) make—as we read. We, the readers, have become “empowered”, as we say, and we’ve become the object of academic study in our own right. Among the many associations we inevitably make, as readers, is with adaptations of the literature we read, be it of Jane Austin novels or Beowulf. Some of us may have seen the 2006 rock opera of Beowulf done by the Irish Repertory Theatre; others await the new Neil Gaiman animated film. Some may have played the Beowulf videogame. I personally plan to miss the upcoming updated version that makes Beowulf into the son of an African explorer. But I did see Sturla Gunnarsson’s Beowulf and Grendel film, and yearned to see the comic opera at the Lincoln Centre Festival in 2006 called Grendel, the Transcendence of the Great Big Bad. I am not really interested in whether these adaptations—all in the last year or so—signify Hollywood’s need for a new “monster of the week” or are just the sign of a desire to cash in on the success of The Lord of the Rings. For all I know they might well act as an ethical reminder of the human in the alien in a time of global strife (see McGee, A4). What interests me is the impact these multiple adaptations can have on the reader of literature as well as on the production of literature. Literature, like painting, is usually thought of as what Nelson Goodman (114) calls a one-stage art form: what we read (like what we see on a canvas) is what is put there by the originating artist. Several major consequences follow from this view. First, the implication is that the work is thus an original and new creation by that artist. However, even the most original of novelists—like Salman Rushdie—are the first to tell you that stories get told and retold over and over. Indeed his controversial novel, The Satanic Verses, takes this as a major theme. Works like the Thousand and One Nights are crucial references in all of his work. As he writes in Haroun and the Sea of Stories: “no story comes from nowhere; new stories are born of old” (86). But illusion of originality is only one of the implications of seeing literature as a one-stage art form. Another is the assumption that what the writer put on paper is what we read. But entire doctoral programs in literary production and book history have been set up to study how this is not the case, in fact. Editors influence, even change, what authors want to write. Designers control how we literally see the work of literature. Beatrice Chancy’s bookend maps of historical Acadia literally frame how we read the historical story of the title’s mixed-race offspring of an African slave and a white slave owner in colonial Nova Scotia in 1801. Media interest or fashion or academic ideological focus may provoke a publisher to foreground in the physical presentation different elements of a text like this—its stress on race, or gender, or sexuality. The fact that its author won Canada’s Governor General’s Award for poetry might mean that the fact that this is a verse play is emphasised. If the book goes into a second edition, will a new preface get added, changing the framework for the reader once again? As Katherine Larson has convincingly shown, the paratextual elements that surround a work of literature like this one become a major site of meaning generation. What if literature were not a one-stage an art form at all? What if it were, rather, what Goodman calls “two-stage” (114)? What if we accept that other artists, other creators, are needed to bring it to life—editors, publishers, and indeed readers? In a very real and literal sense, from our (audience) point of view, there may be no such thing as a one-stage art work. Just as the experience of literature is made possible for readers by the writer, in conjunction with a team of professional and creative people, so, arguably all art needs its audience to be art; the un-interpreted, un-experienced art work is not worth calling art. Goodman resists this move to considering literature a two-stage art, not at all sure that readings are end products the way that performance works are (114). Plays, films, television shows, or operas would be his prime examples of two-stage arts. In each of these, a text (a playtext, a screenplay, a score, a libretto) is moved from page to stage or screen and given life, by an entire team of creative individuals: directors, actors, designers, musicians, and so on. Literary adaptations to the screen or stage are usually considered as yet another form of this kind of transcription or transposition of a written text to a performance medium. But the verbal move from the “book” to the diminutive “libretto” (in Italian, little book or booklet) is indicative of a view that sees adaptation as a step downward, a move away from a primary literary “source”. In fact, an entire negative rhetoric of “infidelity” has developed in both journalistic reviewing and academic discourse about adaptations, and it is a morally loaded rhetoric that I find surprising in its intensity. Here is the wonderfully critical description of that rhetoric by the king of film adaptation critics, Robert Stam: Terms like “infidelity,” “betrayal,” “deformation,” “violation,” “bastardisation,” “vulgarisation,” and “desecration” proliferate in adaptation discourse, each word carrying its specific charge of opprobrium. “Infidelity” carries overtones of Victorian prudishness; “betrayal” evokes ethical perfidy; “bastardisation” connotes illegitimacy; “deformation” implies aesthetic disgust and monstrosity; “violation” calls to mind sexual violence; “vulgarisation” conjures up class degradation; and “desecration” intimates religious sacrilege and blasphemy. (3) I join many others today, like Stam, in challenging the persistence of this fidelity discourse in adaptation studies, thereby providing yet another example of what, in his article here called “The Persistence of Fidelity: Adaptation Theory Today,” John Connor has called the “fidelity reflex”—the call to end an obsession with fidelity as the sole criterion for judging the success of an adaptation. But here I want to come at this same issue of the relation of adaptation to the adapted text from another angle. When considering an adaptation of a literary work, there are other reasons why the literary “source” text might be privileged. Literature has historical priority as an art form, Stam claims, and so in some people’s eyes will always be superior to other forms. But does it actually have priority? What about even earlier performative forms like ritual and song? Or to look forward, instead of back, as Tim Barker urges us to do in his article here, what about the new media’s additions to our repertoire with the advent of electronic technology? How can we retain this hierarchy of artistic forms—with literature inevitably on top—in a world like ours today? How can both the Romantic ideology of original genius and the capitalist notion of individual authorship hold up in the face of the complex reality of the production of literature today (as well as in the past)? (In “Amen to That: Sampling and Adapting the Past”, Steve Collins shows how digital technology has changed the possibilities of musical creativity in adapting/sampling.) Like many other ages before our own, adaptation is rampant today, as director Spike Jonze and screenwriter Charlie Kaufman clearly realised in creating Adaptation, their meta-cinematic illustration-as-send-up film about adaptation. But rarely has a culture denigrated the adapter as a secondary and derivative creator as much as we do the screenwriter today—as Jonze explores with great irony. Michelle McMerrin and Sergio Rizzo helpfully explain in their pieces here that one of the reasons for this is the strength of auteur theory in film criticism. But we live in a world in which works of literature have been turned into more than films. We now have literary adaptations in the forms of interactive new media works and videogames; we have theme parks; and of course, we have the more common television series, radio and stage plays, musicals, dance works, and operas. And, of course, we now have novelisations of films—and they are not given the respect that originary novels are given: it is the adaptation as adaptation that is denigrated, as Deborah Allison shows in “Film/Print: Novelisations and Capricorn One”. Adaptations across media are inevitably fraught, and for complex and multiple reasons. The financing and distribution issues of these widely different media alone inevitably challenge older capitalist models. The need or desire to appeal to a global market has consequences for adaptations of literature, especially with regard to its regional and historical specificities. These particularities are what usually get adapted or “indigenised” for new audiences—be they the particularities of the Spanish gypsy Carmen (see Ioana Furnica, “Subverting the ‘Good, Old Tune’”), those of the Japanese samurai genre (see Kevin P. Eubanks, “Becoming-Samurai: Samurai [Films], Kung-Fu [Flicks] and Hip-Hop [Soundtracks]”), of American hip hop graffiti (see Kara-Jane Lombard, “‘To Us Writers, the Differences Are Obvious’: The Adaptation of Hip Hop Graffiti to an Australian Context”) or of Jane Austen’s fiction (see Suchitra Mathur, “From British ‘Pride’ to Indian ‘Bride’: Mapping the Contours of a Globalised (Post?)Colonialism”). What happens to the literary text that is being adapted, often multiple times? Rather than being displaced by the adaptation (as is often feared), it most frequently gets a new life: new editions of the book appear, with stills from the movie adaptation on its cover. But if I buy and read the book after seeing the movie, I read it differently than I would have before I had seen the film: in effect, the book, not the adaptation, has become the second and even secondary text for me. And as I read, I can only “see” characters as imagined by the director of the film; the cinematic version has taken over, has even colonised, my reader’s imagination. The literary “source” text, in my readerly, experiential terms, becomes the secondary work. It exists on an experiential continuum, in other words, with its adaptations. It may have been created before, but I only came to know it after. What if I have read the literary work first, and then see the movie? In my imagination, I have already cast the characters: I know what Gabriel and Gretta Conroy of James Joyce’s story, “The Dead,” look and sound like—in my imagination, at least. Then along comes John Huston’s lush period piece cinematic adaptation and the director superimposes his vision upon mine; his forcibly replaces mine. But, in this particular case, Huston still arguably needs my imagination, or at least my memory—though he may not have realised it fully in making the film. When, in a central scene in the narrative, Gabriel watches his wife listening, moved, to the singing of the Irish song, “The Lass of Aughrim,” what we see on screen is a concerned, intrigued, but in the end rather blank face: Gabriel doesn’t alter his expression as he listens and watches. His expression may not change—but I know exactly what he is thinking. Huston does not tell us; indeed, without the use of voice-over, he cannot. And since the song itself is important, voice-over is impossible. But I know exactly what he is thinking: I’ve read the book. I fill in the blank, so to speak. Gabriel looks at Gretta and thinks: There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. … Distant Music he would call the picture if he were a painter. (210) A few pages later the narrator will tell us: At last she turned towards them and Gabriel saw that there was colour on her cheeks and that her eyes were shining. A sudden tide of joy went leaping out of his heart. (212) This joy, of course, puts him in a very different—disastrously different—state of mind than his wife, who (we later learn) is remembering a young man who sang that song to her when she was a girl—and who died, for love of her. I know this—because I’ve read the book. Watching the movie, I interpret Gabriel’s blank expression in this knowledge. Just as the director’s vision can colonise my visual and aural imagination, so too can I, as reader, supplement the film’s silence with the literary text’s inner knowledge. The question, of course, is: should I have to do so? Because I have read the book, I will. But what if I haven’t read the book? Will I substitute my own ideas, from what I’ve seen in the rest of the film, or from what I’ve experienced in my own life? Filmmakers always have to deal with this problem, of course, since the camera is resolutely externalising, and actors must reveal their inner worlds through bodily gesture or facial expression for the camera to record and for the spectator to witness and comprehend. But film is not only a visual medium: it uses music and sound, and it also uses words—spoken words within the dramatic situation, words overheard on the street, on television, but also voice-over words, spoken by a narrating figure. Stephen Dedalus escapes from Ireland at the end of Joseph Strick’s 1978 adaptation of Joyce’s A Portrait of the Artist as a Young Man with the same words as he does in the novel, where they appear as Stephen’s diary entry: Amen. So be it. Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race. … Old father, old artificer, stand me now and ever in good stead. (253) The words from the novel also belong to the film as film, with its very different story, less about an artist than about a young Irishman finally able to escape his family, his religion and his country. What’s deliberately NOT in the movie is the irony of Joyce’s final, benign-looking textual signal to his reader: Dublin, 1904 Trieste, 1914 The first date is the time of Stephen’s leaving Dublin—and the time of his return, as we know from the novel Ulysses, the sequel, if you like, to this novel. The escape was short-lived! Portrait of the Artist as a Young Man has an ironic structure that has primed its readers to expect not escape and triumph but something else. Each chapter of the novel has ended on this kind of personal triumphant high; the next has ironically opened with Stephen mired in the mundane and in failure. Stephen’s final words in both film and novel remind us that he really is an Icarus figure, following his “Old father, old artificer”, his namesake, Daedalus. And Icarus, we recall, takes a tumble. In the novel version, we are reminded that this is the portrait of the artist “as a young man”—later, in 1914, from the distance of Trieste (to which he has escaped) Joyce, writing this story, could take some ironic distance from his earlier persona. There is no such distance in the film version. However, it stands alone, on its own; Joyce’s irony is not appropriate in Strick’s vision. His is a different work, with its own message and its own, considerably more romantic and less ironic power. Literary adaptations are their own things—inspired by, based on an adapted text but something different, something other. I want to argue that these works adapted from literature are now part of our readerly experience of that literature, and for that reason deserve the same attention we give to the literary, and not only the same attention, but also the same respect. I am a literarily trained person. People like me who love words, already love plays, but shouldn’t we also love films—and operas, and musicals, and even videogames? There is no need to denigrate words that are heard (and visualised) in order to privilege words that are read. Works of literature can have afterlives in their adaptations and translations, just as they have pre-lives, in terms of influences and models, as George Eliot Clarke openly allows in those acknowledgements to Beatrice Chancy. I want to return to that Canadian work, because it raises for me many of the issues about adaptation and language that I see at the core of our literary distrust of the move away from the written, printed text. I ended my recent book on adaptation with a brief examination of this work, but I didn’t deal with this particular issue of language. So I want to return to it, as to unfinished business. Clarke is, by the way, clear in the verse drama as well as in articles and interviews that among the many intertexts to Beatrice Chancy, the most important are slave narratives, especially one called Celia, a Slave, and Shelley’s play, The Cenci. Both are stories of mistreated and subordinated women who fight back. Since Clarke himself has written at length about the slave narratives, I’m going to concentrate here on Shelley’s The Cenci. The distance from Shelley’s verse play to Clarke’s verse play is a temporal one, but it is also geographic and ideological one: from the old to the new world, and from a European to what Clarke calls an “Africadian” (African Canadian/African Acadian) perspective. Yet both poets were writing political protest plays against unjust authority and despotic power. And they have both become plays that are more read than performed—a sad fate, according to Clarke, for two works that are so concerned with voice. We know that Shelley sought to calibrate the stylistic registers of his work with various dramatic characters and effects to create a modern “mixed” style that was both a return to the ancients and offered a new drama of great range and flexibility where the expression fits what is being expressed (see Bruhn). His polemic against eighteenth-century European dramatic conventions has been seen as leading the way for realist drama later in the nineteenth century, with what has been called its “mixed style mimesis” (Bruhn) Clarke’s adaptation does not aim for Shelley’s perfect linguistic decorum. It mixes the elevated and the biblical with the idiomatic and the sensual—even the vulgar—the lushly poetic with the coarsely powerful. But perhaps Shelley’s idea of appropriate language fits, after all: Beatrice Chancy is a woman of mixed blood—the child of a slave woman and her slave owner; she has been educated by her white father in a convent school. Sometimes that educated, elevated discourse is heard; at other times, she uses the variety of discourses operative within slave society—from religious to colloquial. But all the time, words count—as in all printed and oral literature. Clarke’s verse drama was given a staged reading in Toronto in 1997, but the story’s, if not the book’s, real second life came when it was used as the basis for an opera libretto. Actually the libretto commission came first (from Queen of Puddings Theatre in Toronto), and Clarke started writing what was to be his first of many opera texts. Constantly frustrated by the art form’s demands for concision, he found himself writing two texts at once—a short libretto and a longer, five-act tragic verse play to be published separately. Since it takes considerably longer to sing than to speak (or read) a line of text, the composer James Rolfe keep asking for cuts—in the name of economy (too many singers), because of clarity of action for audience comprehension, or because of sheer length. Opera audiences have to sit in a theatre for a fixed length of time, unlike readers who can put a book down and return to it later. However, what was never sacrificed to length or to the demands of the music was the language. In fact, the double impact of the powerful mixed language and the equally potent music, increases the impact of the literary text when performed in its operatic adaptation. Here is the verse play version of the scene after Beatrice’s rape by her own father, Francis Chancey: I was black but comely. Don’t glance Upon me. This flesh is crumbling Like proved lies. I’m perfumed, ruddied Carrion. Assassinated. Screams of mucking juncos scrawled Over the chapel and my nerves, A stickiness, as when he finished Maculating my thighs and dress. My eyes seep pus; I can’t walk: the floors Are tizzy, dented by stout mauling. Suddenly I would like poison. The flesh limps from my spine. My inlets crimp. Vultures flutter, ghastly, without meaning. I can see lice swarming the air. … His scythe went shick shick shick and slashed My flowers; they lay, murdered, in heaps. (90) The biblical and the violent meet in the texture of the language. And none of that power gets lost in the opera adaptation, despite cuts and alterations for easier aural comprehension. I was black but comely. Don’t look Upon me: this flesh is dying. I’m perfumed, bleeding carrion, My eyes weep pus, my womb’s sopping With tears; I can hardly walk: the floors Are tizzy, the sick walls tumbling, Crumbling like proved lies. His scythe went shick shick shick and cut My flowers; they lay in heaps, murdered. (95) Clarke has said that he feels the libretto is less “literary” in his words than the verse play, for it removes the lines of French, Latin, Spanish and Italian that pepper the play as part of the author’s critique of the highly educated planter class in Nova Scotia: their education did not guarantee ethical behaviour (“Adaptation” 14). I have not concentrated on the music of the opera, because I wanted to keep the focus on the language. But I should say that the Rolfe’s score is as historically grounded as Clarke’s libretto: it is rooted in African Canadian music (from ring shouts to spirituals to blues) and in Scottish fiddle music and local reels of the time, not to mention bel canto Italian opera. However, the music consciously links black and white traditions in a way that Clarke’s words and story refuse: they remain stubbornly separate, set in deliberate tension with the music’s resolution. Beatrice will murder her father, and, at the very moment that Nova Scotia slaves are liberated, she and her co-conspirators will be hanged for that murder. Unlike the printed verse drama, the shorter opera libretto functions like a screenplay, if you will. It is not so much an autonomous work unto itself, but it points toward a potential enactment or embodiment in performance. Yet, even there, Clarke cannot resist the lure of words—even though they are words that no audience will ever hear. The stage directions for Act 3, scene 2 of the opera read: “The garden. Slaves, sunflowers, stars, sparks” (98). The printed verse play is full of these poetic associative stage directions, suggesting that despite his protestations to the contrary, Clarke may have thought of that version as one meant to be read by the eye. After Beatrice’s rape, the stage directions read: “A violin mopes. Invisible shovelsful of dirt thud upon the scene—as if those present were being buried alive—like ourselves” (91). Our imaginations—and emotions—go to work, assisted by the poet’s associations. There are many such textual helpers—epigraphs, photographs, notes—that we do not have when we watch and listen to the opera. We do have the music, the staged drama, the colours and sounds as well as the words of the text. As Clarke puts the difference: “as a chamber opera, Beatrice Chancy has ascended to television broadcast. But as a closet drama, it play only within the reader’s head” (“Adaptation” 14). Clarke’s work of literature, his verse drama, is a “situated utterance, produced in one medium and in one historical and social context,” to use Robert Stam’s terms. In the opera version, it was transformed into another “equally situated utterance, produced in a different context and relayed through a different medium” (45-6). I want to argue that both are worthy of study and respect by wordsmiths, by people like me. I realise I’ve loaded the dice: here neither the verse play nor the libretto is primary; neither is really the “source” text, for they were written at the same time and by the same person. But for readers and audiences (my focus and interest here), they exist on a continuum—depending on which we happen to experience first. As Ilana Shiloh explores here, the same is true about the short story and film of Memento. I am not alone in wanting to mount a defence of adaptations. Julie Sanders ends her new book called Adaptation and Appropriation with these words: “Adaptation and appropriation … are, endlessly and wonderfully, about seeing things come back to us in as many forms as possible” (160). The storytelling imagination is an adaptive mechanism—whether manifesting itself in print or on stage or on screen. The study of the production of literature should, I would like to argue, include those other forms taken by that storytelling drive. If I can be forgiven a move to the amusing—but still serious—in concluding, Terry Pratchett puts it beautifully in his fantasy story, Witches Abroad: “Stories, great flapping ribbons of shaped space-time, have been blowing and uncoiling around the universe since the beginning of time. And they have evolved. The weakest have died and the strongest have survived and they have grown fat on the retelling.” In biology as in culture, adaptations reign. References Bloom, Harold. The Anxiety of Influence. New York: Oxford University Press, 1975. Bruhn, Mark J. “’Prodigious Mixtures and Confusions Strange’: The Self-Subverting Mixed Style of The Cenci.” Poetics Today 22.4 (2001). Clarke, George Elliott. “Beatrice Chancy: A Libretto in Four Acts.” Canadian Theatre Review 96 (1998): 62-79. ———. Beatrice Chancy. Victoria, BC: Polestar, 1999. ———. “Adaptation: Love or Cannibalism? Some Personal Observations”, unpublished manuscript of article. Frye, Northrop. The Educated Imagination. Toronto: CBC, 1963. Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Bobbs-Merrill, 1968. Hutcheon, Linda, and Gary R. Bortolotti. “On the Origin of Adaptations: Rethinking Fidelity Discourse and “Success”—Biologically.” New Literary History. Forthcoming. Joyce, James. Dubliners. 1916. New York: Viking, 1967. ———. A Portrait of the Artist as a Young Man. 1916. Penguin: Harmondsworth, 1960. Larson, Katherine. “Resistance from the Margins in George Elliott Clarke’s Beatrice Chancy.” Canadian Literature 189 (2006): 103-118. McGee, Celia. “Beowulf on Demand.” New York Times, Arts and Leisure. 30 April 2006. A4. Rushdie, Salman. The Satanic Verses. New York: Viking, 1988. ———. Haroun and the Sea of Stories. London: Granta/Penguin, 1990. Sanders, Julie. Adaptation and Appropriation. London and New York: Routledge, 160. Shelley, Percy Bysshe. The Cenci. Ed. George Edward Woodberry. Boston and London: Heath, 1909. Stam, Robert. “Introduction: The Theory and Practice of Adaptation.” Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Oxford: Blackwell, 2005. 1-52. Citation reference for this article MLA Style Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/01-hutcheon.php>. APA Style Hutcheon, L. (May 2007) "In Defence of Literary Adaptation as Cultural Production," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/01-hutcheon.php>.