Journal articles on the topic 'German Sonnets'

On Bertolt Brecht's sonnet "About Kleist's 'Prinz von Homburg' In addition to his plays, socio-critical, war and love poems, Bertolt Brecht (b. 1898, died 1956) wrote eight art-critical sonnets. which he called "Studies" and published in 1951 in the 11th issue of "Versuche". These sonnets were written during the exile in the years 1934-1940. Brecht is referring here to classic, mostly literary (both lyrical and dramatic) works whose authors are considered classics in the sense of Brecht. Without exception, the sonnets in question deal with works of the past, more than half of the analyzes in the “Studies” refer to works of the German classics, three of them to those of the Weimar Classic. The "Studies" published in 1951 are not about an overall assessment of a classic work, positive or negative, but about conveying reservations about traditional literary material, which Brecht considers worthy of being examined and looked at again. These include the sonnet "About Kleist's play 'Der Prinz von Homburg'", which refers to the play "Prinz Friedrich von Homburg", which stands at the end of German classicism and which Heinrich von Kleist wrote between 1809 and 1811 as the last work before his suicide Has. In this contribution, which I presented as a lecture at the Humboldt University in Berlin in June 2010, I attempt to carry out a linguistic analysis of this sonnet in three points. First I give a brief overview of the development of Heinrich von Kleist's drama "Der Prinz Friedrich von Homburg", then about the critical sonnets "Studies" by Bertolt Brecht, then historical and socio-critical aspects are explained using examples from B. Brecht's sonnet "Über Kleists' Prince of Homburg'” highlighted.

This study aims to assess the adequacy of the form of German sonnets when reproduced in English translations. The focus is on interrogative sentences, which, together with the sonnet in the form of a macro-sentence, the shortened verse and enjambment, are the characteristics of the innovative features of Sonnets to Orpheus by R. M. Rilke. The lyrical cycle Sonnets to Orpheus is among the most translated into world languages of Rilke’s poetry works, as well as Duino Elegies. Both professional and amateur poets and translators have been competing to put the Austrian writer’s best poems into English. Here we examine more than twenty English translations of the Sonnets into English, made from 1936 to 2008. The importance of the comparative linguistic-stylistic study of the original and its translations is determined by the continuing interest in Rilke’s works in English-speaking countries and the necessity to understand the principles of reconstructing the features of Rilke’s poetics using the English language. The system of methods used in this work includes: historical and philological analysis, comparative linguistic and stylistic description, as well as comparative analysis of the original and translation in the form that was developed in the works of V. Bryusov (1905), N. Gumilev (1919), M. Lozinsky (1935), E. Etkind (1963), S. Goncharenko (1987). We have found that the innovative nature of German sonnets is not always reflected in English translations. In some translations, American and British translators significantly modified the form of the original: interrogative sentences dominating in XVII and XVIII sonnets of the second part of the lyric cycle were not reproduced in English translations made by G. Good, D. Young, C. Haseloff, N. Mardas Billias and others.

Although the Elizabethan poet and courtier Henry Constable is best known for his sonnet-sequence Diana (1592), he also wrote a series of sonnets addressed to noble personages that appear only in one manuscript (Victoria and Albert Museum, MS Dyce 44). Three of these lyrics are dedicated to Lady Arbella Stuart – cousin-german to James VI of Scotland–, who was considered a candidate to Elizabeth’s succession for a long time. Two of the sonnets were probably written on the occasion of Constable and Arbella’s meeting at court in 1588, and praise the thirteen-year old lady for her numerous virtues; the other one seems to have been written later on, as a conclusion to the whole book, implying that Constable at a certain moment presented it to Arbella in search for patronage and political protection. At a time when the succession seemed imminent, Constable’s allegiance to the Earl of Essex, who befriended Arbella and yet sent messages to James to assure him of his circle’s support, raises the question of the true motivation of these sonnets. This paper will analyze these particular works in a political context rife with courtly intrigue.

В статье рассматриваются разновременные переводы XXI сонета первой части «Сонетов к Орфею» Р. М. Рильке, выполненные британскими и американскими переводчиками. Изучение типологии поэтического перевода на примере лирического цикла Рильке основывается на классификации поэтического перевода, разработанной Р. Р. Чайковским. Проанализированные в статье переводы XXI сонета первой части в интерпретациях американских переводчиков Р. Блая и Л. Норриса (в соавторстве с А. Килом) представлены прозаическим и адекватным переводами соответственно. Британский поэт и переводчик Д. Патерсон использует сонеты Рильке как основу для создания поэтической версии оригинала, навеянной мотивами переводимого произведения. Сравнение трех переводов XXI сонета позволяет сделать выбор в пользу адекватного перевода Л. Норриса и А. Кила, в котором воссозданы не только образы оригинала, но и его уникальная поэтическая форма. В прозаической интерпретации сонета Р. Блая не учтены ни жанровые характеристики сонета, ни индивидуально-авторский стиль Рильке. The article deals with the different-time translations of the XXI sonnet of the first part of “Sonnets to Orpheus” by R. M. Rilke made by British and American translators. The study of the typology of poetic translation with examples drawn fromRilke’s lyric cycle is based on the classification of poetic translation developed by R. R. Tchaikovsky. The analyzed translations of the XXI sonnet of the first part in the interpretations of the American translators R. Bly and L. Norris (co-authored with A. Keel) are presented by prosaic and adequate translations, respectively. Inspired by Rilke’s original, the British poet and translator D. Paterson uses Rilke’s sonnets as a basis for creating his poetic version (i. e. interpretation based on the original) of the German sonnets. Comparing three English translations of the XXI sonnet allows us to make a choice in favor of the adequate translation made by L. Norris and A. Keel, in which not only the images of the original but also its unique poetic form are thoroughly recreated. In the prosaic interpretation of R. Bly’s sonnet, neither the genre characteristics of the original sonnet nor Rilke’s individual style are taken into account.

The article is devoted to the poet and professional revolutionary D. Gluškov-Oleron and his posthumously published Olympic sonnets (1922). What makes the presentation of classical antiquity in this cycle unique is that ancient culture is perceived by the author through the prism of the French Parnassians and Russian Symbolists. Antiquity turns out to be a “seven-voiced portico” that sounds the voices of seven different cultures : Greek, Roman, Egyptian, Persian, French, German and Russian. This highlights the atemporal character of the ancient world as an unchanging model. The integrity of the whole design, the strict inner logic of ordering the twenty-six sonnets contributes to the plot dynamics and internal consistency of the entire cycle.

Previous scholarship has not considered the continued interest in the philosophical teachings by Boethius (d. 525) by early modern thinkers and poets. This article traces the continued flood of translations and editions of Boethius’s De consolatione philosophiae in Germany far into the seventeenth century and then unearths links between his philosophy and the sonnets by Andreas Gryphius and the epigrams by Johann Scheffler (Angelus Silesius). At first sight, we might not even recognize Boethian ideas in their poems, but the close analysis of images and concepts formulated in these German Baroque texts demonstrate strong similarities. Considering that Boethius was one of the important school authors even in the seventeenth century, it does not surprise us to discover direct echoes of his ideas in these literary reflections.

I read with great interest the paper by Peter Sturrock and Kathleen Erickson (Sturrock & Erickson, 2020) on the Dedication in Shakespeare’s Sonnets. I am neither a scholar of literature, nor of Shakespeare, and I do not want to enter the fray as to who was the author of Shakespeare’s sonnets and plays. But I must confess that I found the arguments presented by Sturrock and Erickson intriguing. It is in that vein I would like to communicate an interesting finding. On page 302, Figure 21, of their paper, they present the Dedication of the Sonnets as a grid of 12 x 12 letters. This was done under the assumption that cryptograms can be deciphered better if they are laid out in a certain format. They then present the message they assume is contained there: “PRO PARE VOTIS EMERITER” as a devotion of Edward de Vere, the Earl of Oxford to his supposed friend, the Earl of Southampton, Henry Wriothesley. I find this a possible meaning. My experience with Latin texts – based on a translation of a medieval mystical writer from Latin into German and the reading of many original Latin texts, mainly from the middle ages and beyond (Hugo de Balma, 2017; Walach, 1994, 2010) – let another sequence jump out at me: SI PATET PRO MIRE VERO RETIRO The translation would read: "If it becomes miraculously obvious [who I am], I retire." That this is a reference of the proposed author, Edward de Vere, to himself would become clear from the double use of “vero”.

Published in the year 2022, the poetic volume Ręka pszczelarza [The Beekeeper’s Hand] by Tomasz Różycki encompasses 78 poems, predominantly sonnets. These poems, according to the publisher’s suggestion, encapsulate the poet’s contemplations during his period of isolation in Berlin amidst the Covid-19 pandemic. Each of these poems serves as a documentation of the metamorphoses undergone by the lyrical persona while confined within an empty apartment-transforming into mythical creatures, with countenances evoking images of an animal. The central figure in these verses embarks on a journey through the deserted streets of Berlin, much like Odysseus, often stumbling upon the “stones of memory” (German: Stolpersteine) embedded in the sidewalks, which serve as poignant reminders of the Jewish inhabitants of the city who perished during the Second World War.

Terminology of many fields of knowledge has become a component of modern language. It is the basis of professional communication, often breaks stylistic boundaries and under the influence of external and internal language factors expands the scope of its operation. Penetrating into the poetic context, the terms denote both the realities of modern everyday life and become a source of artistic imagery. A. Moisienko's poetry has not been considered from this point of view yet, so the article intends to consider the idiosyncrasy of the writer in such a perspective. Anatolii Moisienko is a well-known Ukrainian poet, author of poetry collections: "I Accept" (1986), "Sonnets and Verlibry" (1996, 1998), "Chess Poetry" (1997), "Seven strings" (2003), "Favorites" (2005), "From the Chernihiv Gardens: New Sonnets and Verlibrs" (2008), "About Veronica Borachok" (2020), etc. He is also known as a translator from German and Slavic languages. Despite his high scientific degree and a worthy position at the prestigious Kyiv University, his soul has always longed for the poetic word, the music of sounds in poetic images. . Moisienko as a scientist constantly operates with te. Moisienko as a scientist constantly operates with terms in his professional activity. This is mainly a philological terminology. However, in his poetic texts we come across the terminology of various spheres of life: flight, airfield, airplane, liner (aviation vocabulary), hard labor, prison (penitentiary), music, melody, sonata, allegro, flute, overture, orchestral, symphony, clarinet, drum, horn (musical), poetry, grotesque, rhyme, epilogue (literary studies), harvest, scythe, mowers, field, stubble, grass, farmer, harvest, rye (agriculture), icon, pray, fasting (sacred), trolleybus, tram, bus, stop, route (transport), cannon, shot, battle, enemy , protection, rifle (military), lightning, storm, rain, wind, snow, sun, clouds, huga, frost (meteorological), convulsions, body, pain, X-ray, plague (medical), etc. In the literary text there is a rethinking of the term in the figurative plane, where semantic innovations are born, due primarily to the context of use. The author's linguistic thinking is purely individual. The subject of poetry is extremely broad. Terminology, which covers not only terms but also professionalisms, professional jargons, nomenclature names, in the poetic text rarely performs its main function - the designation of scientific concepts. For the most part, it becomes an integral part of the figurative outline of the work. The poetic word is the bearer of intellectual and emotional memory, which is actualized in certain images, able to express in a condensed form the emotional attitude to the signified, and therefore has its own internal epistemological, socio-psychological potential.

Professional solar astronomy concentrates on the study of the atmosphere and interior of the Sun. Little attention is given to “classical” programmes, mainly statistical investigations of solar activity. Although the main properties of phenomena associated with the solar cycle seem to be understood there are still enough details to be explained, making it worthwhile monitoring different indicators of solar activity, even if no immediate results are to be expected. Such routine observations are ideal work of amateur astronomers.Members of West German local astronomical societies founded the journal Sonne in 1977 to combine their efforts on solar observations. The first issue was presented at a conference on amateur solar observation held in Berlin in April 1977. Sonne is compiled by an editorial staff of 23 amateurs from all over West Germany, and is distributed among nearly 500 readers in 20 countries. With the increasing number of foreign readers, the main articles in Sonne are provided with English abstracts.

The book was written by German author Dr. Sigrid Hunke at 1963 and then translated to Arabic, French, and Persian (the title of its Persian translation is “ The Culture of Islam in Europe”). Its German title – Allahs Sonne über dem Abendland Unser Arabisches Erbe – can be translated to English as “Allah's Sun over the Occident: Our Arabian Heritage”.

Between 1800 and 1917 the music section at the Library of Congress grew from a few items in The Gentleman's Magazine to almost a million items. The history of this development provides a unique view of the infant discipline of musicology and the central role that libraries played in its growth in the United States. Between 1800 and 1870 only 500 items were acquired by the music section at the Library of Congress. In 1870 approximately 36,000 copyright deposits (which had been accumulating at several copyright depositories since 1789) enlarged the music section by more than seventy fold. After 1870 the copyright process brought an avalanche of music items into the Library of Congress. In 1901 Herbert Putnam, Librarian of Congress, hired American-born, German-educated Oscar Sonneck to be the second Chief of the Music Division. Together Putnam and Sonneck produced an ambitious acquisitions program, a far-sighted classification, cataloging, and shelving scheme, and an extensive series of publications. They were part of Putnam's strategy to transform the Library of Congress from a legislative into a national library. Sonneck wanted to make American students of music independent of European libraries and to establish the discipline of musicology in the United States. Through easy access to comprehensive and diverse collections Putnam and Sonneck succeeded in making the Library of Congress and its music section a symbol of the free society that it served.

Background. In recent years, there has been an increasing interest in the performing style issues in modern musicology. However, creative work of each musician provides new and new grounds for further reflection, in particular, the creativity of the outstanding contemporary singer Jonas Kaufmann. He is now at the height of his career and his works include opera roles and chamber programs based on the compositions by R. Wagner, J. Verdi, J. Massenet, J. Puccini, R. Strauss, F. Schubert, J. Bizet, and J. Paisiello. The urgency of this study exists owing to the lack of a scientific description of the creative work of J. Kaufmann. The objective of this study is to determine the main features of Kaufmann’s singing style from the point of view of the phenomenological approach. Methods. The complex research methodology is based on the theoretical substantiation of the analysis of a performer style through the positions of the phenomenology of creativity (research by E. Husserl, A. Losev, M. Arkadyev, G. Tsypin). The application of a systematic approach led also to the involvement of the theory of the performing style (research by V. Medushevsky, V. Moskalenko, and Yu. Nikolaievska). Results. The results of the research support the idea that J. Kaufmann’s singing style is a system of interrelated parameters. There are three components of the singing style. The first is related to the general phenomenon of style, the second – to the process of performance and the third – to the specifics of vocal performance. Thus, the musical style (component 1) is an expression of the peculiarities of musical thinking, and musical compositions are the product of dialogue and communication between the performer and the composer (according to V. Medushevsky). In this sense, the status of the performer, who, in fact, is the creator of the interpretation, is strengthened. For the theory of the performing style (component 2) the definition of V. Kholopova is relevant, that style is a «category-introvert» and the concept of «style of creative personality» (S.Shyp), «style of musical creativity» (V. Moskalenko), «type of creative personality» (E. Liberman),»archetype of a musician» (O. Katrych), which focus on individual characteristics, but in the perspective of the formation of universal features. The thinking of the performer-vocalist (component 3) is focused on the vocal-acting embodiment and reincarnation with the help of the voice as an instrument of what is laid down by the composer in the text of the composition, based on his own creative thinking and personality type. Thus, the definition is proposed: The performing vocal (singing) style is the integrity of the highest order, which manifests itself as a type of music-making, based on the characteristics of the timbre colouring of the sound and formed vocal techniques (orientation on language phonetics, rigor or improvisational freedom, expression, etc.). The noted theoretical provisions allow revealing more fully the specifics of J. Kaufmann’s performing style. In addition, basing on journalistic research, interviews and biographical materials, the periods of J. Kaufmann’s creative work has been proposed. Based on the guidelines of the phenomenology of creativity (G. Tsypin) and various interpretative versions of J. Kaufmann, the following components of his singing style have been formulated. 1. Intellectualism, conceptuality of the idea and «cyclicality» of the embodiment – the parameter that is manifested in the singer’s interpretation of the image of Faust in different interpretations (1999 – opera by F. Busoni, 2002, 2005, 2011, 2012, 2015 – dramatic legend by H. Berlioz and opera by S. Gounod, 2011 – symphony by F. Liszt). Moreover, the basis of the singer’s interpretations in the compositions by Ch. Gounod, F. Busoni, H. Berlioz is the German tradition of interpreting the image of Faust and, in particular, Goethe’s poem), which forms the integrity of the singer’s interpretative concept. It has been pointed out that J. Kaufmann always chooses complex programs (chamber cycles by R. Wagner, R. Strauss, G. Mahler) for the formation of liberabends, and the programs are dominated by song cycles «Five Songs on Matilda Wesendonk’s Poems» by R. Wagner, «Three Sonnets of Petrarch» by F. Liszt, «Seven Sonnets of Michelangelo» by B. Britten, «Winter Road» by F. Schubert, «Songs about the Dead Children» by G. Mahler), or evenings are even dedicated to the creative work of one composer (R. Wagner, R. Strauss, G. Mahler), which is reinterpreted by the singer and presented in a new emotional and intellectual key. 2. Commitment to director’s theatre. J. Kaufmann shares the views on the dominance of director’s theatre in the modern world, which he repeatedly noted in the interviews. And although, in particular, the interpretation of Faust as a character of the concepts of different directors is centred by the artist”s personal understanding of the depths of this image, still in different performances one can see its different shades (which depend on the director’s interpretations). 3. Composite system of vocal expression means that allow the singer to model different facets of images. It is noted that J. Kaufmann’s interpretations are characterized by: economy of performing means, commitment of the singer to the cantilena, the role of the rhythmic component in the vocal score, the ability to adjust his voice in different vocal ensembles, brilliant piano and mezzo voce, brightness of forte, filigree of diminuendo and more. J. Kaufmann treats the text (score) with respect, always knows the libretto, he never allows himself to exaggerate in terms of agogics, dynamics, etc.). In Kaufmann’s performance, masculinity always prevails. Conclusions. The essence of the phenomenon of J. Kaufmann’s work is the desire not to stand still, to move forward, to open new pages of music or to rethink already known ones, i. e. the tendency to constant self-development, in terms of phenomenology This applies to the interpretations of the works by F. Schubert, G. Mahler, R. Strauss, the mentioned interpretation of the image of Faust in the works of various composers, which demonstrates his constant rethinking. J. Kaufmann’s chamber performing is of great interest for the study of his style. The complexity and diversity of images, texts of works, the unity of style, the ability to distribute the power of the voice, to subordinate its capabilities to the artistic idea – these are the features that characterize a true master. In addition, in his control is to almost the entire tenor repertoire – opera, concert, and chamber. Overall, we regard him a singer of universal type.

This paper presents qualitative research findings from a literature-focused classroom project in which EFL (English as a foreign language) learners engage queerly with Shakespeare’s famous Sonnet 18 “Shall I compare thee to a summer’s day” and Patrick Ness’ young adult (YA) fiction narrative Different for Boys. This project was carried out at a German secondary school (Gymnasium) with a year 11 upper-level class of advanced English. The central rationale of this project – informed by a theoretical basis of literary studies, EFL pedagogy, and queer theory – was to retrace how far the learning processes of students concerning these two texts may validate, irritate or dissipate heteronormative literary readings and interpretations, which are framed here as ‘hetero-normalization’. The results show that a queer focus can draw all learners into critical and committed literary interpretations – with each learner displaying highly individual negotiations located between upfront queer visibility and continued ‘hetero-normalization’.

We analyzed the bathymetric data obtained during the cruises on the German research vessel “Sonne” using multibeam echosounders within the framework of the Russian-German projects KALMAR (cruise SO201-2, 2009) and BERING (cruise SO249-2, 2016) in the Komandorsky Basin of the Bering Sea. Detailed bathymetric maps of the Piip submarine volcano were constructed. New morphological features of its summit edifices and their age relations are described, hydrothermal activity confined to the edifices is localized, and all side cones and lava flows are mapped. Based on the flank cones and fissure lava flows alignments we determined the tectonic paleostress that existed at the time of their formation, presumably after the Late Miocene-Early Pliocene. It differs from the recent tectonic stress caused by right-lateral displacements along the Bering fault zone.

Mass migration and the so-called refugee crisis have put questions of national identifications high on political and social agendas in Germany and all over Europe, and have ignited anew debates about the inclusiveness and exclusiveness of Germanness. In this context, popular culture texts and practices offer insights into how identities are marked, and they engage in and produce discourses about national belonging. In this article, I will focus on how popular music in particular plays a pivotal role in the creation and negotiation of national identifications as it functions as a site of continuous (re-)articulations of Germanness. I focus on a recent peak in the controversy of the discourse surrounding Germanness as it unravelled in 2013, when the nation’s most successful Heimat- and Schlager singer Heino ironically covered, among others, the song ‘Sonne’ by Germany’s internationally most successful (and notoriously controversial) popular music export: Rammstein. In analysing the multiple layers of irony articulated by Rammstein, Heino and the audience as tropes of negotiations of Germanness in popular music as processes through which identity is actively imagined, created, and constructed, I argue that the double-ironic articulation of Germanness by Rammstein and Heino, and the discursive controversy in its wake, point to the melancholic temporality of German national identification as an impossible ‘remembrance’ of its traumatic national past.

Three deep-sea tardigrade species were identified from the sediment samples collected during the four German–Russian joint deep-sea cruises that were conducted in the North-Western Pacific: Coronarctus sonne sp. nov., Moebjergarctus okhotensis sp. nov., and Angursa cf. bicuspis. Specimens of those species were collected at depths between 1700 and 5410 m. The new species Coronarctus sonne sp. nov. belongs to the Cor. tenellus group of species on the basis of morphological traits such as the short cephalic appendages and heteromorphic claws. The structure of the secondary clavae and two points, with an accessory point and a primary point simultaneously on the internal and external claws on legs IV, are significant characteristics distinguishing Coronarctus sonne sp. nov. from other described species. Moebjergarctus okhotensis sp. nov. is characterized by having cephalic cirri with the long smooth portion of the scapus and annulated scapus only in the basal portion, the structure of the male and female reproductive system, and differences in the sizes of some structures compared to the other described species. An analysis of the results of four deep-sea expeditions indicates a patchy distribution of tardigrades in the North-Western Pacific.

The essay describes the use of the Night-Death binomial and tracks its evolution from the eighteenth century to Expressionism across Great Britain, Germany, Spain, and Austria, at the hand of poems such as Edward Young’s Night Thoughts (1745), Novalis’s Hymnen an die Nacht, (1800), José Blanco White’s sonnet “Night and Death” (1828), and Georg Trakl’s “Verwandlung des Bösen” (1914). Romanticism brought along a preference for the nocturnal: night, moonlight, shades and shadows, mist and mystery, somber mood, morbidity, and death, as opposed to the Enlightenment’s predilection for day, light, clarity, and life. The essay analyses how poets from different national contexts and ages employ images and symbols of the night to create an association with death. It furthermore shows how, with varying attitudes and results, they manage to convert this binomial into a poetic ploy.

A new mysid genus and species, Stellamblyops vassilenkoae gen. nov., sp. nov., is described. It is the seventh genus of the tribe Amblyopsini. Stellamblyops gen. nov. is characterized by the form of eyes, which are flattened laterally, tear-shaped plates with very long, pointed frontal processus, the uropodal endopod without spines in the statocyst region and the form of the telson, which is elongated, linguiform with minimal width on the distal third, the telson apex with small cleft, whose margins have small spines, distal three-quarters of the lateral margins of the telson with larger spines. All specimens of this species were collected with help of a camera-epibenthic sledge during two deep-sea Russian-German expeditions in the Kuril-Kamchatka Trench and its adjacent waters: KuramBio expedition (Kurile Kamchatka Biodiversity Studies) and SokhoBio expedition (Sea of Okhotsk Biodiversity Studies): holotype: 1>, length 13.2 mm, 23.08.2012, RV Sonne, KuramBio expedition, st. 09-9, depth: 5399–5408 m, 40°35.48?N; 150°59.92?E – 40°34.25?N; 150°59.91?E; non-type specimens: 1+, length approximately 9.1 mm, 17.08.2012, RV Sonne, KuramBio expedition, st. 07-9, depth: 5216–5223 m, 43°02.84?N; 152°59.43?E – 43°01.49?N; 152°58.36?E; 1juv., length 6.0 mm, 30.07.2012, RV Sonne, KuramBio expedition, st. 01-10, depth: 5418–5429 m, 43°58.26?N; 157°19.67?E – 43°58.33?N; 157°17.97?E; and 1>, length approximately 18.5 mm, 26.07.2015, RV Akademik M.A. Lavrentiev, SokhoBio expedition, st. 09-7, depth: 3371–3377 m, 46°16.16?N; 152°03.10?E – 46°16.07?N; 152°03.32?E.

Abstract. Measurements of atmospheric column-averaged dry-air mole fractions of carbon dioxide (XCO2), methane (XCH4), and carbon monoxide (XCO) have been collected across the Pacific Ocean during the Measuring Ocean REferences 2 (MORE-2) campaign in June 2019. We deployed a shipborne variant of the EM27/SUN Fourier transform spectrometer (FTS) on board the German R/V Sonne which, during MORE-2, crossed the Pacific Ocean from Vancouver, Canada, to Singapore. Equipped with a specially manufactured fast solar tracker, the FTS operated in direct-sun viewing geometry during the ship cruise reliably delivering solar absorption spectra in the shortwave infrared spectral range (4000 to 11000 cm−1). After filtering and bias correcting the dataset, we report on XCO2, XCH4, and XCO measurements for 22 d along a trajectory that largely aligns with 30∘ N of latitude between 140∘ W and 120∘ E of longitude. The dataset has been scaled to the Total Carbon Column Observing Network (TCCON) station in Karlsruhe, Germany, before and after the MORE-2 campaign through side-by-side measurements. The 1σ repeatability of hourly means of XCO2, XCH4, and XCO is found to be 0.24 ppm, 1.1 ppb, and 0.75 ppb, respectively. The Copernicus Atmosphere Monitoring Service (CAMS) models gridded concentration fields of the atmospheric composition using assimilated satellite observations, which show excellent agreement of 0.52±0.31 ppm for XCO2, 0.9±4.1 ppb for XCH4, and 3.2±3.4 ppb for XCO (mean difference ± SD, standard deviation, of differences for entire record) with our observations. Likewise, we find excellent agreement to within 2.2±6.6 ppb with the XCO observations of the TROPOspheric MOnitoring Instrument (TROPOMI) on the Sentinel-5 Precursor satellite (S5P). The shipborne measurements are accessible at https://doi.org/10.1594/PANGAEA.917240 (Knapp et al., 2020).

I am sitting at a table in a popular North End diner in Halifax, looking at a menu for Café DaPoPo, a theatre event created by Garry Williams, when an actress comes up to me and asks me if I am ready to order my performance. “Just to let you know the specials are listed on the back of the menu,” she says, “and we have no one act play tonight.” As a regular theatregoer, I feel rather confused. On the one hand, I have never ordered my theatre before, so I cannot pretend to know how to do it. However, the menu clearly lists the scenes as starters, mains, and deserts, and I must confess that I am a big fan of food. The fact is, I have never had to make this kind of choice. Not only am I taken out of my normal, comfortable position of audience member; I already sense an emerging theme to the evening — the role of the spectator in the hybrid performance space — in which I am going to be involved. Suddenly, another actor begins intimately reciting a Shakespearean sonnet for a couple seated at a table in the corner. He is whispering into their ears, and it looks rather enticing. “I’ll have one of those to start,” I say. The actress replies, “Would you like to add a German hand puppet to that for an extra dollar?”

New geophysical data were obtained in 2017 in cruise #SO258/2 of RV Sonne in the Central Indian Basin between 81° and 84°E. Total length of collected geophysical profiles (bathymetry, seismoacoustic profiling, magnetometry, gravimetry) is about 6,500 miles. Deep seismic sounding was carried out along N-S profile by 375 m long, which extends on the land, and SW-NE profile by 340 m long. The main objectives of the research were to verify the existing kinematic/geodynamic models of separation of India from Antarctica, to determine drift rate of the Indian Plate, location of the continent-ocean transition zone south of Sri Lanka and structure of 85°E Ridge. The cruise was part of a project INGON performed by the Center for marine research, GEOMAR and the Institute for polar and marine research Alfred Wegener.

New geological-geophysical data were obtained during Cruise SO258 leg 1 of the R/V SONNE carried out in the eastern part of the Indian Ocean in 2017. This expedition was part of the research project INGON, which is a collaboration between the Alfred Wegener Institute Helmholtz Centre for Polar and Marine Research (AWI) and the GEOMAR Helmholtz Centre for Ocean Research Kiel. Multibeam echo-sounder bathymetry, seismic reflection profiling and rock sampling were done on 3 areas on 85° E Ridge and close to the Ninetyeast Ridge. The paper describes the first results.

Abstract. A perfluorocarbon tracer system (PERTRAS), specifically designed for Lagrangian aircraft experiments, has been developed by the Deutsches Zentrum für Luft- und Raumfahrt (German Aerospace Center, DLR). It consists of three main parts: a tracer release unit (RU), an adsorption tube sampler (ATS), and a tracer analytical system. The RU was designed for airborne tracer release experiments; meanwhile, it can be used on various platforms for different experimental purposes (here research vessel). PERTRAS was for the first time applied in the field campaign Stratospheric ozone: Halogen Impacts in a Varying Atmosphere (SHIVA) in November 2011. An amount of 8.8 kg perfluoromethylcyclopentane (PMCP) was released aboard the research vessel Sonne (RV Sonne) near the operational site of this campaign, Miri, Malaysia, on 21 November. The tracer samples collected using the ATS onboard the DLR research aircraft Falcon were analyzed in the laboratory using a thermal desorber–gas chromatography–mass spectrometry (TD–GC–MS) system. Guided by forecasts calculated with the Lagrangian model Hybrid Single Particle Lagrangian Integrated Trajectory (HYSPLIT), 64 tracer samples were collected onboard the Falcon approximately 5 and 25 h after the release, mostly with a time resolution of 1 min. Enhanced PMCP concentrations relative to ambient PMCP background values (mean: 6.62 fmol mol−1) were detected during three intersects of the fresh tracer plume (age 5 h), with a maximum value of 301.33 fmol mol−1. This indicates that the fresh tracer plume was successfully intercepted at the forecast position. During the second flight, 25 h after the release, the center of tracer plume was not detected by the sampling system due to a faster advection of the plume than forecast. The newly developed PERTRAS system has been successfully deployed for the first time. The instrumental setup and comparisons between the measurements and HYSPLIT simulations are presented in this study.

Abstract. A perfluorocarbon tracer system (PERTRAS), specifically designed for Lagrangian aircraft experiments, has been developed by the Deutsches Zentrum für Luft- und Raumfahrt (German Aerospace Center, DLR). It consists of three main parts: a tracer release unit (RU), an adsorption tube sampler (ATS) and a tracer analytical system. The RU was designed for airborne tracer release experiments; meanwhile, it can be used on various platforms for different experimental purpose (here research vessel). PERTRAS was for the first time applied in the field campaign Stratospheric ozone: halogen Impacts in a Varying Atmosphere (SHIVA) in November 2011. An amount of 8.8 kg perfluoromethylcyclopentane (PMCP) was released aboard the research vessel Sonne (RV Sonne) near the operational site of this campaign, Miri, Malaysia, on 21 November. The tracer samples collected using the ATS on board the DLR research aircraft Falcon were analyzed in the laboratory using a thermal desorber/gas chromatography/mass spectrometry (TD/GC/MS) system. Guided by forecasts calculated with the Lagrangian model, Hybrid Single Particle Lagrangian Integrated Trajectory (HYSPLIT), 64 tracer samples were collected onboard the Falcon approximately 5 and 25 h after the release, respectively, mostly with a time resolution of 1 min. Enhanced PMCP concentrations relative to ambient PMCP background values (mean: 6.62 fmol mol−1) were detected during three intersects of the fresh tracer plume (age 5 h), with a maximum value of 301.33 fmol mol−1. This indicates that the fresh tracer plume was successfully intercepted at the forecasted position. During the second flight, 25 h after the release, the center of tracer plume was not detected by the sampling system due to a faster advection of the plume than forecasted. The newly developed PERTRAS system has been successfully deployed for the first time. The instrumental set-up and comparisons between the measurements and HYSPLIT simulations are presented in this study.

The article describes the premiere of the ballet «Dante», which was performed at the National Opera of Ukraine in June 2021. The director of the ballet, dedicated to the 700th anniversary of the death of the outstanding Italian Renaissance humanist poet Dante Alighieri, was Yaroslav Ivanenko, a graduate of the Kyiv State Choreographic School who began his dancing career at the National Opera and has worked abroad since 1996, including as a soloist with the Hamburg Ballet under the direction of John Neumayer in 1998-2010. Yaroslav Ivanenko has extensive experience in ballet mastery, his choreographic productions have been repeatedly honoured with prestigious awards. Since 2011, he has been heading the ballet troupe of the Kiel Opera House in Germany, where he has staged many ballets in various choreographic styles. The staging of Dante at the National Opera of Ukraine was an interesting experience both for the Kyiv ballet troupe, which got acquainted with new choreographic vocabulary, and for the choreographer himself, for whom the creation of an original full-scale performance based on Dante’s biography and works was a new stage in his development, compared to working on plotless ballets and interpreting well-known classical plots. In an interview with the author of the article, a former ballerina of the National Opera of Ukraine, Yaroslav Ivanenko revealed the details of the work on the staging of Dante on the Kyiv stage, the creation of the director’s concept of the performance, the musical composition, which harmoniously combines works by classical and contemporary composers, the choreographic text, and shared his thoughts on the prospects for the development of ballet art and culture in general. In particular, the ballet master, who has also staged «Romeo and Juliet» and « Evgeny Onegin», analyses the images of these classical works in the context of the present, and finds semantic parallels with the story of Dante’s ideal love for Beatrice, whose image inspired the artist to create sonnets and poems that became part of the treasury of Italian Renaissance poetry.

Abstract. A latitudinal cross-section and vertical profiles of iodine monoxide (IO) are reported from the marine boundary layer of the Western Pacific. The measurements were taken using Multi-Axis Differential Optical Absorption Spectroscopy (MAX-DOAS) during the TransBrom cruise of the German research vessel Sonne, which led from Tomakomai, Japan (42° N, 141° E) through the Western Pacific to Townsville, Australia (19° S, 146° E) in October 2009. In the marine boundary layer within the tropics (between 20° N and 5° S), IO mixing ratios ranged between 1 and 2.2 ppt, whereas in the subtropics and at mid-latitudes typical IO mixing ratios were around 1 ppt in the daytime. The profile retrieval reveals that the bulk of the IO was located in the lower part of the marine boundary layer. Photochemical simulations indicate that the organic iodine precursors observed during the cruise (CH3I, CH2I2, CH2ClI, CH2BrI) are not sufficient to explain the measured IO mixing ratios. Reasonable agreement between measured and modelled IO can only be achieved, if an additional sea-air flux of inorganic iodine (e.g. I2) is assumed in the model. Our observations add further evidence to previous studies that reactive iodine is an important oxidant in the marine boundary layer.

Abstract. A latitudinal cross-section and vertical profiles of iodine monoxide (IO) are reported from the marine boundary layer of the Western Pacific. The measurements were taken using Multi-Axis Differential Optical Absorption Spectroscopy (MAX-DOAS) during the TransBrom cruise of the German research vessel Sonne, which led from Tomakomai, Japan (42° N, 141° E) through the Western Pacific to Townsville, Australia (19° S, 146° E) in October 2009. In the marine boundary layer within the tropics (between 20° N and 5° S), IO mixing ratios ranged between 1 and 2.2 ppt, whereas in the subtropics and at mid-latitudes typical IO mixing ratios were around 1 ppt in the daytime. The profile retrieval reveals that the bulk of the IO was located in the lower part of the marine boundary layer. Photochemical simulations indicate that the organic iodine precursors observed during the cruise (CH3I, CH2I2, CH2ClI, CH2BrI) are not sufficient to explain the measured IO mixing ratios. Reasonable agreement between measured and modelled IO can only be achieved if an additional sea-air flux of inorganic iodine (e.g., I2) is assumed in the model. Our observations add further evidence to previous studies that reactive iodine is an important oxidant in the marine boundary layer.

New Zealand’s surrounding deep waters have become known as a diversity hotspot for glass sponges (Porifera: Hexactinellida) in recent years, and description and collection efforts are continuing. Here we report on eight rossellids (Hexasterophora: Lyssacinosida: Rossellidae) collected during the 2017 RV Sonne cruise SO254 by ROV Kiel 6000 as part of Project PoribacNewZ of the University of Oldenburg, Germany. The material includes six species new to science, two of which are assigned to a so far undescribed genus; we further re-describe two previously known species. The known extant rossellid diversity from the New Zealand region is thus almost doubled, from nine species in five genera to 17 species in eight genera. The specimens described here are only a small fraction of hexactinellids collected on cruise SO254. Unfortunately, the first author passed away while working on this collection, only being able to complete the nine descriptions reported here. The paper concludes with an obituary to him, the world-leading expert on glass sponge taxonomy who will be greatly missed.

Abstract. Seafloor drill rigs are remotely operated systems that provide a cost effective means to recover sedimentary records of the upper sub-seafloor deposits. Recent increases in their payload included downhole logging tools or autoclave coring systems. We here report on another milestone in using seafloor rigs: the development and installation of shallow borehole observatories. Three different systems have been developed for the MARUM-MeBo seafloor drill, which is operated by MARUM, University of Bremen, Germany. A simple design, the MeBoPLUG, separates the inner borehole from the overlying ocean by using o-ring seals at the conical threads of the drill pipe. The systems are self-contained and include data loggers, batteries, thermistors and a differential pressure sensor. A second design, the so-called MeBoCORK, is more sophisticated and also hosts an acoustic modem for data transfer and, if desired, fluid sampling capability using osmotic pumps. Of these MeBoCORKs, two systems have to be distinguished: the CORK-A (A = autonomous) can be installed by the MeBo alone and monitors pressure and temperature inside and above the borehole (the latter for reference). The CORK-B (B = bottom) has a higher payload and can additionally be equipped with geochemical, biological or other physical components. Owing to its larger size, it is installed by ROV and utilises a hotstab connection in the upper portion of the drill string. Either design relies on a hotstab connection from beneath which coiled tubing with a conical drop weight is lowered to couple to the formation. These tubes are fluid-saturated and either serve to transmit pore pressure signals or collect pore water in the osmo-sampler. The third design, the MeBoPUPPI (Pop-Up Pore Pressure Instrument), is similar to the MeBoCORK-A and monitors pore pressure and temperature in a self-contained manner. Instead of transferring data upon command using an acoustic modem, the MeBoPUPPI contains a pop-up telemetry with Iridium link. After a predefined period, the data unit with satellite link is released, ascends to the sea surface, and remains there for up to two weeks while sending the long-term data sets to shore. In summer 2012, two MeBoPLUGs, one MeBoCORK-A and one MeBoCORK-B were installed with MeBo on German RV Sonne in the Nankai Trough area, Japan. We have successfully downloaded data from the CORKs, attesting that coupling to the formation worked and pressure records were elevated relative to the seafloor reference. In the near future, we will further deploy the first two MeBoPUPPIs. Recovery of all monitoring systems by ROV is planned for 2016.

The article analyzes the structural and semantic features of German phraseological units of the thematic group “Weather”. This thematic group was chosen for the study given the great importance of weather conditions for various spheres of human life, especially for agriculture, which is undoubtedly refl ected in the language by the presence of a large number of features, descriptions and phraseological units. The study is based on the electronic resource “Oldphras”. Three hundred and four phraseological units, which are the subject of this study, were identifi ed by using the resource search system. The main thematic subgroups are Wetter “weather”, Regen “rain”, Hagel “hail”, Blitz “lightning”, Donner “thunder”, Nebel “fog”, Wind “wind”, Sturm “storm”, Gewitter “bad weather”, Schnee “Snow”, Wolke “cloud”, Frost “frost”, Hitze “heat”, Sonne “sun”, Himmel “sky”, Jahreszeit “season”, Winter “winter”, Frühling “spring”, Sommer “summer”. The electronic resource allows us to accurately understand the meaning of the selected units, as the page has an explanation of each of them, as well as to see whether this phraseology is relevant in modern German and whether it has undergone some changes. The next step was to classify phraseological units according to their structure and semantics. According to the criterion of structure, phraseological units constitute the “phrasicon” of a language – that is, the whole inventory of idioms and phrases, both word-like and sentencelike set expressions. Using these criteria, the fi rst type includes the following compounds: in den Wind reden – “waste (one’s) breath”; Wind haben – “as hungry as a hunter”; in allen Himmeln schweben – “head in the clouds”; Sturm läuten – “to ring the alarm bell”. As for the second type, here are the following examples: Sie hat wohl der Blitz beim letzten Schiß erwischt? – “Are you insane?”; Аhа, daher weht der Wind! – “That’s what the smell is!”; jetzt pfeift der Wind aus einem anderen Loch (jetzt pfeift ein anderer Wind) – “change one`s tune”. The results indicate that sentence-like expressions account for 31.6 % of the entire sample, while word-like ones comprise 68.4 %. Also, we have made use of V. V. Vinogradov’s classifi cation system which is based on the degree of semantic cohesion between the components of a phraseological unit. As a result, the selected phraseological units were classifi ed by translation methods, and it was determined that the most commonly used methods are analogues (41.5 %) and descriptive (36.6 %) ones, while equivalent, combined, antonymous, loan translation, and translation in one word are much less fr).equent (21.9 % altogether). Key words: phraseological unit, translation, semantics, translation equivalence, translation transformations.

Abstract The present article discusses, in a first step, ground-breaking recent publications on the lyric subject, and dedicates itself, in a second step, to a new concept of lyric persona, which is devised to overcome the constrictions of the categories of subject and subjectivity and to open access of theory to all kinds and eras of lyric poetry from the Old English Seafarer to modern concrete poetry. The first book to be reviewed is Autor und Subjekt im Gedicht. Positionen, Perspektiven und Praktiken heute (2021), a collection of essays which pursues an argumentatively stimulating dialogical strategy. The articles begin with Wolf Schmid’s twenty theses on the abstract author, an appropriation of the narratological »implicit« author to the theory of lyric poetry. This statement is followed by a number of articles which alternatingly argue in favour of and against the concept of the abstract author. Peter Hühn, for instance, believes the term to be analytically especially fruitful, while Ralph Müller speaks of it as a »narratological spectre«. It is significant that, using Schmid’s term, Rainer Grübel analyzes a number of intriguing modern Russian poems, which he calls hybrid, since he identifies transitions from poetic to quasi reality-related passages and diagnoses concomitant stylistic changes in the texts. The international perspective is then widened by a comprehensive investigation of Russian, German and English terminological traditions. Marion Rutz demonstrates that handbooks and textbooks are by far not compatible. Among other terms she deals with the controversial German term »das lyrische Ich« (the lyric I). An investigation of the use of this term is then afforded by Hermann Korte’s examination of the poetry and poetics of Gottfried Benn, Thomas Kling and Durs Grünbein. Subsequently, a group of articles deals with the fate of the subject in recent and current German poetry. Analyzing poems by Sabine Scho, Anne Cotton and Thomas Kling, Friederike Reents verifies, instead of »subject fatigue«, new possibilities of the subject. Analogous insights are gained by Mirjam Springer in her investigation of the lyric portrait and in a politically tempered article by Peter Geist, which discovers examples of varying degrees of imaginative self-construction going together with increasing author-relatedness. The volume concludes with a large-scale philosophically oriented article by Henrieke Stahl which constructs the model of a polymorphous subject based on Heinrich Barth’s existential variant of transcendental philosophy. The second publication to be discussed is Varja Balžalorsky Antić’s monograph The Lyric Subject. A Reconceptualization (2022), which, though treating roughly the same subject as Autor und Subjekt, is oriented a totally different way. Like the one year previously published work, Antić proceeds from the awareness that the numerous new developments of poetry call for a reconceptualization of the genre and especially of the concept of the subject. In order to clarify the relation between the subject of language and the subject of poetry, she makes wide-ranging excursions into philosophy and discourse theory, which have not been undertaken in that way by other researchers in the field. Antić’s treatment of the prehistory of the concept of subjectivity is comprehensive. She erects her edifice of ideas on the basis of the theories of Émile Benveniste, Henri Meschonnic and others. Also, she goes back to Germanophone philosophers and theorists like Friedrich Schleiermacher and Wilhelm von Humboldt. In particular, she emphasizes the development of Benveniste’s linguistics of enunciation to Meschonnic’s poetics of enunciation, according to which subjectivity does not reside in the lyric persona, but in the »the transsubject, the I-you of enunciation expanded onto all discourse«. In this context Meschonnic’s rhythm theory, which has profound ethical implications, is of central importance. Literary works which she subjects to analysis are troubadour poetry, in which she identifies polyphony and internal dialogism and consequently subjectivization, Nerval’s sonnet »El Desdichado«, to which she applies Paul Ricœur’s dialectic of ipse and idem, and Henri Michaux’ long poem »La Ralentie«, in which she identifies »dispersed multiplicity« and simultaneously integrated totality. The last chapter »Recapitulation and Systematization of Subject Configuration« has deserved special attention. Inspired by a short article, »Persona. Its Meaning and Significance«, by James Dowthwaite (2023), the present author elaborates the concept of the lyric persona in the last part of the contribution. The creative capacity of persona is seen to occupy the free space between the empiric author and the finished product. The independence of the persona from the author has a liberating quality, which allows the author a fictional space and a range of possible expressions. The lyric persona can be called the aesthetic and cognitive laboratory between author and poem, which is responsible for the invention of speakers, the use of pronouns and all the formal and aesthetic elements represented in the poem. One advantage of the persona concept is that it has a liberating effect in regard to the overuse of the subject concept, though forms of I-saying are within the reach of the persona. Another advantage is the scope of the term persona. It can be applied from the Old English »Seafarer« to modern concrete poems like Edwin Morgan’s »Pomander«.

Abstract. Seafloor drill rigs are remotely operated systems that provide a cost-effective means to recover sedimentary records of the upper sub-seafloor deposits. Recent increases in their payload included downhole logging tools or autoclave coring systems. Here we report on another milestone in using seafloor rigs: the development and installation of shallow borehole observatories. Three different systems have been developed for the MARUM-MeBo (Meeresboden-Bohrgerät) seafloor drill, which is operated by MARUM, University of Bremen, Germany. A simple design, the MeBoPLUG, separates the inner borehole from the overlying ocean by using o-ring seals at the conical threads of the drill pipe. The systems are self-contained and include data loggers, batteries, thermistors and a differential pressure sensor. A second design, the so-called MeBoCORK (Circulation Obviation Retrofit Kit), is more sophisticated and also hosts an acoustic modem for data transfer and, if desired, fluid sampling capability using osmotic pumps. In these MeBoCORKs, two systems have to be distinguished: the CORK-A (A stands for autonomous) can be installed by the MeBo alone and monitors pressure and temperature inside and above the borehole (the latter for reference); the CORK-B (B stands for bottom) has a higher payload and can additionally be equipped with geochemical, biological or other physical components. Owing to its larger size, it is installed by a remotely operated underwater vehicle (ROV) and utilises a hot-stab connection in the upper portion of the drill string. Either design relies on a hot-stab connection from beneath in which coiled tubing with a conical drop weight is lowered to couple to the formation. These tubes are fluid-saturated and either serve to transmit pore pressure signals or collect porewater in the osmo-sampler. The third design, the MeBoPUPPI (Pop-Up Pore Pressure Instrument), is similar to the MeBoCORK-A and monitors pore pressure and temperature in a self-contained manner. Instead of transferring data on command using an acoustic modem, the MeBoPUPPI contains a pop-up telemetry with iridium link. After a predefined period, the data unit with satellite link is released, ascends to the sea surface, and remains there for up to 2 weeks while sending the long-term data sets to shore. In summer 2012, two MeBoPLUGs, one MeBoCORK-A and one MeBoCORK-B were installed with MeBo on RV Sonne, Germany, in the Nankai Trough area, Japan. We have successfully downloaded data from the CORKs, attesting that coupling to the formation worked, and pressure records were elevated relative to the seafloor reference. In the near future, we will further deploy the first two MeBoPUPPIs. Recovery of all monitoring systems by a ROV is planned for 2016.

Abstract. High-resolution optical and hydro-acoustic sea floor data acquired in 2015 enabled the reconstruction and exact localization of disturbance tracks of a past deep-sea recolonization experiment (DISCOL) that was conducted in 1989 in the Peru Basin during a German environmental impact study associated with manganese-nodule mining. Based on this information, the disturbance level of the experiment regarding the direct plough impact and distribution and redeposition of sediment from the evolving sediment plume was assessed qualitatively. The compilation of all available optical and acoustic data sets available from the DISCOL Experimental Area (DEA) and the derived accurate positions of the different plough marks facilitate the analysis of the sedimentary evolution over the last 26 years for a sub-set of the 78 disturbance tracks. The results highlight the remarkable difference between natural sedimentation in the deep sea and sedimentation of a resettled sediment plume; most of the blanketing of the plough tracks happened through the resettling of plume sediment from plough tracks created later. Generally sediment plumes are seen as one of the important impacts associated with potential Mn-nodule mining. For enabling a better evaluation and interpretation of particularly geochemical and microbiological data, a relative age sequence of single plough marks and groups of them was derived and is presented here. This is important as the thickness of resettled sediment differs distinctly between plough marks created earlier and later. Problems in data processing became eminent for data from the late 1980s, at a time when GPS was just invented and underwater navigation was in an infant stage. However, even today the uncertainties of underwater navigation need to be considered if a variety of acoustical and optical sensors with different resolution should be merged to correlate accurately with the absolute geographic position. In this study, the ship-based bathymetric map was used as the absolute geographic reference layer and a workflow was applied for geo-referencing all the other data sets of the DISCOL Experimental Area until the end of 2015. New high-resolution field data were mainly acquired with sensors attached to GEOMAR's AUV Abyss and the 0.5∘ × 1∘ EM122 multibeam system of RV Sonne during cruise SO242-1. Legacy data from the 1980s and 1990s first needed to be found and compiled before they could be digitized and properly geo-referenced for our joined analyses.

ABSTRACTThe “Luther film” is still a little-examined source for the Protestant self-image, despite the fact that the medium was employed since 1911 to portray the history of the Reformation. Of the four known silent films on the subject, two are preserved only as copies of a late censored version. There is a clearly recognizable paradigm shift in the portrayal of the reformer over the twenty-year span of these Luther films. Luther is transformed from the romantic aesthete of the “Wittenberger Nachtigall” in 1913 to the hero of the “deutschen Reformation” in 1927. Concerning the earliest films, made in 1911 (“Doktor Martin Luther”) and 1913 (“Wittenberger Nachtigall” renamed “Der Weg zur Sonne” in 1921), the circumstances of and grounds for production are no longer entirely clear. Most likely they were primarily concerned with commercial enterprise, but at the same time they reflected the spirit of the Luther-Renaissance in a popular way. Nevertheless the importance of the silent movie for the transfer of the patterns and images of Lutheran iconography into film cannot be underestimated. A fundamental difference from the later films is the focus of the earlier films’ biographical narrative upon Luther’s wedding. This approach would not be used again until after World War II. The influence of the church can first be demonstrated in the Luther film of 1923. The initiative for the film - in light of the meeting of the Lutheran World Assembly in Eisenach on August 21, 1923 - probably came from the Baron von den Heyden- Rynsch, who was at that time head of the Eisenach city Bureau for Art, Sport and Tourism. The highest church authorities supported the production in two ways: they offered scriptwriting advice and also eventually allowed the film to be distributed through the Evangelical Picture Association (Evangelische Bilderkammer|). However, the resulting film received mixed reviews. This was due not only to deficiencies in the acting, but also to the tentative portrayal of the film’s religious subject matter. “Luther. Ein Film der deutschen Reformation” (1926-1927) was much more professionally and lavishly produced. It completely served the national Protestant propaganda of the Evangelical League (Evangelischer Bund|), which founded the production company. The chairman of the League, the Berlin cathedral pastor and university professor Bruno Döhring, had a decisive influence on the script. The film, which would be in wide release until 1939, effectively extended the cultural conflict between the two leading churches, Catholic and Lutheran. It would finally lead to the sort of denominational conflicts that halted the tradition of Luther films in Germany. (Translation by Heather McCune Bruhn, Pennstate College)

[full article, abstract in German] Friedrich Georg von Bunges Lebens entwickelte sich dergestalt, dass er noch vor dem 30. Geburtstag für die II. Abteilung der Persönlichen Kanzlei Seiner Kaiserlichen Hoheit zu arbeiten begann und dies in den folgendenmehr als 30 Jahren fortsetzte (1831–1865). Bunge besaß zweifelsohne eine besondere Begabung für die Kodifizierung, denn als er zweimal die Chance hatte, Richter zu werden (anfangs am Hofgericht in Riga und 1865 am Obersten Gericht des Reichs in St. Petersburg, dem Senat), dann lehnte er beide Male ohne Nachdenken ab. Ihn interessierte stets die wissenschaftliche und Kodifizierungsarbeit mehr als die am Gericht oder in der Verwaltung oder selbst die pädagogische an der Universität.Wenn bis jetzt Bunges Leben in der historischen Literatur in unterschiedliche Abschnitte aufgeteilt wurde (Professur an der Universität Tartu 1830–1842, Ratsherr in Tallinn 1843–1856, St. Petersburg 1856–1865, als er dort mit seiner Familie weilte), dann unterschätzt diese Einteilung grundlos die persönlichen Prioritäten seiner Tätigkeit und ermöglicht nicht, seine wirkliche Bedeutung bei den gesetzgeberischen Reformen des Russischen Imperiums des 19. Jahrhunderts zu erkennen. Um Bunges Anteil im größeren Zusammenhang zu verstehen, muss betont werden, dass er vierunddreißig Jahre seines Lebens mit der Kodifizierung des Rechts desRussischen Reichs verbunden war.Wenn wir uns im Rahmen der Geschichte der Institutionen die Bedeutung der II. Abteilung der Persönlichen Kanzlei Seiner Kaiserlichen Hoheit verdeutlichen wollen, dann war Bunge einer jener besonders mit Estland verbundenen Juristen, dessen Tätigkeit zweifelsohne einen untrennbarenTeil der Aktivitäten der ganzen Abteilung bildete.Wenn wir für das bessere Verständnis unserer Geschichte im bunten Muster des 19. Jahrhunderts bedeutende Wendepunkte und Durchbrüche finden möchten, dann können wir über das Leben Bunges sagen, dass er sich größtenteils Aufgaben widmete, die wenigstens einen wichtigen Bestandteil der Rechtsreformen des 19. Jahrhunderts umfassten, nämlich die Ordnung des Privatrechts der Ostseeprovinzen. Oder war sein Leben vielleicht sogar ein untrennbarer Teil jener Reformen?Wenn wir das Leben und die Taten Friedrich Georg von Bunges erforschen, dann dürfen wir ihn keinesfalls in das Prokrustes-Bett der heutigen Wissenschaften zwängen. In diesem Fall untersuchen wir nicht die Geschichte (die Lebensgeschichte eines Mannes), sondern genießen es für unsere gegenwärtigen Fragen eine heutige Antwort in einem intellektuellen Spiel zu erhalten. Leider geht bei diesem Spiel das mögliche Subjekt der Untersuchung, in diesem Fall die historische Persönlichkeit Professor Friedrich Georg von Bunge, verloren. In den Augen junger Wissenschaftler mutiert Bunge auch zu einer rückständigen Person, die nichts verstand von der Fragestellung einer heutigen eng begrenzten Forschungsrichtung. Der junge Forscher versucht, eine neue Geschichte zu konstruieren, in der die zentrale Frage, eine konkrete historische Persönlichkeit, zu einem Mittelpunkt, einer Sonne der Juristen des 19. Jahrhunderts wird.Geschichte kann von verschiedenen Fragestellungen ausgehend geschrieben werden und darin besteht ihr besonderer Charme. Doch muss betont werden, dass ungeachtet der Forschungsarbeit der Juristen eine Monografie über Bunge als intellektuelle und schöpferische Persönlichkeit, in der er selber im Mittelpunkt steht, noch ungeschrieben ist. Es bleibt zu hoffen, dass das unter der Ägide der Gelehrten Estnischen Gesellschaft in Tartu stattgefundene Seminar, auf dem Vertreter verschiedener Wissenschaften zusammentrafen, in der Zukunft dabei hilft, die Bunge-Forschung in den Rahmen unterschiedlicher Wissenschaften einzubetten und ein Bild zu erschaffen von einer hochinteressanten Persönlichkeit des 19. Jahrhunderts, die irgendwie nicht in den engen Rahmen der spezialisierten Wissenschaften des 21. Jahrhunderts passt.

More than 4700 nominal family-group names (including names for fossils and ichnotaxa) are nomenclaturally available in the order Coleoptera. Since each family-group name is based on the concept of its type genus, we argue that the stability of names used for the classification of beetles depends on accurate nomenclatural data for each type genus. Following a review of taxonomic literature, with a focus on works that potentially contain type species designations, we provide a synthesis of nomenclatural data associated with the type genus of each nomenclaturally available family-group name in Coleoptera. For each type genus the author(s), year of publication, and page number are given as well as its current status (i.e., whether treated as valid or not) and current classification. Information about the type species of each type genus and the type species fixation (i.e., fixed originally or subsequently, and if subsequently, by whom) is also given. The original spelling of the family-group name that is based on each type genus is included, with its author(s), year, and stem. We append a list of nomenclaturally available family-group names presented in a classification scheme. Because of the importance of the Principle of Priority in zoological nomenclature, we provide information on the date of publication of the references cited in this work, when known. Several nomenclatural issues emerged during the course of this work. We therefore appeal to the community of coleopterists to submit applications to the International Commission on Zoological Nomenclature (henceforth “Commission”) in order to permanently resolve some of the problems outlined here. The following changes of authorship for type genera are implemented here (these changes do not affect the concept of each type genus): CHRYSOMELIDAE: Fulcidax Crotch, 1870 (previously credited to “Clavareau, 1913”); CICINDELIDAE: Euprosopus W.S. MacLeay, 1825 (previously credited to “Dejean, 1825”); COCCINELLIDAE: Alesia Reiche, 1848 (previously credited to “Mulsant, 1850”); CURCULIONIDAE: Arachnopus Boisduval, 1835 (previously credited to “Guérin-Méneville, 1838”); ELATERIDAE: Thylacosternus Gemminger, 1869 (previously credited to “Bonvouloir, 1871”); EUCNEMIDAE: Arrhipis Gemminger, 1869 (previously credited to “Bonvouloir, 1871”), Mesogenus Gemminger, 1869 (previously credited to “Bonvouloir, 1871”); LUCANIDAE: Sinodendron Hellwig, 1791 (previously credited to “Hellwig, 1792”); PASSALIDAE: Neleides Harold, 1868 (previously credited to “Kaup, 1869”), Neleus Harold, 1868 (previously credited to “Kaup, 1869”), Pertinax Harold, 1868 (previously credited to “Kaup, 1869”), Petrejus Harold, 1868 (previously credited to “Kaup, 1869”), Undulifer Harold, 1868 (previously credited to “Kaup, 1869”), Vatinius Harold, 1868 (previously credited to “Kaup, 1869”); PTINIDAE: Mezium Leach, 1819 (previously credited to “Curtis, 1828”); PYROCHROIDAE: Agnathus Germar, 1818 (previously credited to “Germar, 1825”); SCARABAEIDAE: Eucranium Dejean, 1833 (previously “Brullé, 1838”). The following changes of type species were implemented following the discovery of older type species fixations (these changes do not pose a threat to nomenclatural stability): BOLBOCERATIDAE: Bolbocerus bocchus Erichson, 1841 for Bolbelasmus Boucomont, 1911 (previously Bolboceras gallicum Mulsant, 1842); BUPRESTIDAE: Stigmodera guerinii Hope, 1843 for Neocuris Saunders, 1868 (previously Anthaxia fortnumi Hope, 1846), Stigmodera peroni Laporte & Gory, 1837 for Curis Laporte & Gory, 1837 (previously Buprestis caloptera Boisduval, 1835); CARABIDAE: Carabus elatus Fabricius, 1801 for Molops Bonelli, 1810 (previously Carabus terricola Herbst, 1784 sensu Fabricius, 1792); CERAMBYCIDAE: Prionus palmatus Fabricius, 1792 for Macrotoma Audinet-Serville, 1832 (previously Prionus serripes Fabricius, 1781); CHRYSOMELIDAE: Donacia equiseti Fabricius, 1798 for Haemonia Dejean, 1821 (previously Donacia zosterae Fabricius, 1801), Eumolpus ruber Latreille, 1807 for Euryope Dalman, 1824 (previously Cryptocephalus rubrifrons Fabricius, 1787), Galeruca affinis Paykull, 1799 for Psylliodes Latreille, 1829 (previously Chrysomela chrysocephala Linnaeus, 1758); COCCINELLIDAE: Dermestes rufus Herbst, 1783 for Coccidula Kugelann, 1798 (previously Chrysomela scutellata Herbst, 1783); CRYPTOPHAGIDAE: Ips caricis G.-A. Olivier, 1790 for Telmatophilus Heer, 1841 (previously Cryptophagus typhae Fallén, 1802), Silpha evanescens Marsham, 1802 for Atomaria Stephens, 1829 (previously Dermestes nigripennis Paykull, 1798); CURCULIONIDAE: Bostrichus cinereus Herbst, 1794 for Crypturgus Erichson, 1836 (previously Bostrichus pusillus Gyllenhal, 1813); DERMESTIDAE: Dermestes trifasciatus Fabricius, 1787 for Attagenus Latreille, 1802 (previously Dermestes pellio Linnaeus, 1758); ELATERIDAE: Elater sulcatus Fabricius, 1777 for Chalcolepidius Eschscholtz, 1829 (previously Chalcolepidius zonatus Eschscholtz, 1829); ENDOMYCHIDAE: Endomychus rufitarsis Chevrolat, 1835 for Epipocus Chevrolat, 1836 (previously Endomychus tibialis Guérin-Méneville, 1834); EROTYLIDAE: Ips humeralis Fabricius, 1787 for Dacne Latreille, 1797 (previously Dermestes bipustulatus Thunberg, 1781); EUCNEMIDAE: Fornax austrocaledonicus Perroud & Montrouzier, 1865 for Mesogenus Gemminger, 1869 (previously Mesogenus mellyi Bonvouloir, 1871); GLAPHYRIDAE: Melolontha serratulae Fabricius, 1792 for Glaphyrus Latreille, 1802 (previously Scarabaeus maurus Linnaeus, 1758); HISTERIDAE: Hister striatus Forster, 1771 for Onthophilus Leach, 1817 (previously Hister sulcatus Moll, 1784); LAMPYRIDAE: Ototreta fornicata E. Olivier, 1900 for Ototreta E. Olivier, 1900 (previously Ototreta weyersi E. Olivier, 1900); LUCANIDAE: Lucanus cancroides Fabricius, 1787 for Lissotes Westwood, 1855 (previously Lissotes menalcas Westwood, 1855); MELANDRYIDAE: Nothus clavipes G.-A. Olivier, 1812 for Nothus G.-A. Olivier, 1812 (previously Nothus praeustus G.-A. Olivier, 1812); MELYRIDAE: Lagria ater Fabricius, 1787 for Enicopus Stephens, 1830 (previously Dermestes hirtus Linnaeus, 1767); NITIDULIDAE: Sphaeridium luteum Fabricius, 1787 for Cychramus Kugelann, 1794 (previously Strongylus quadripunctatus Herbst, 1792); OEDEMERIDAE: Helops laevis Fabricius, 1787 for Ditylus Fischer, 1817 (previously Ditylus helopioides Fischer, 1817 [sic]); PHALACRIDAE: Sphaeridium aeneum Fabricius, 1792 for Olibrus Erichson, 1845 (previously Sphaeridium bicolor Fabricius, 1792); RHIPICERIDAE: Sandalus niger Knoch, 1801 for Sandalus Knoch, 1801 (previously Sandalus petrophya Knoch, 1801); SCARABAEIDAE: Cetonia clathrata G.-A. Olivier, 1792 for Inca Lepeletier & Audinet-Serville, 1828 (previously Cetonia ynca Weber, 1801); Gnathocera vitticollis W. Kirby, 1825 for Gnathocera W. Kirby, 1825 (previously Gnathocera immaculata W. Kirby, 1825); Melolontha villosula Illiger, 1803 for Chasmatopterus Dejean, 1821 (previously Melolontha hirtula Illiger, 1803); STAPHYLINIDAE: Staphylinus politus Linnaeus, 1758 for Philonthus Stephens, 1829 (previously Staphylinus splendens Fabricius, 1792); ZOPHERIDAE: Hispa mutica Linnaeus, 1767 for Orthocerus Latreille, 1797 (previously Tenebrio hirticornis DeGeer, 1775). The discovery of type species fixations that are older than those currently accepted pose a threat to nomenclatural stability (an application to the Commission is necessary to address each problem): CANTHARIDAE: Malthinus Latreille, 1805, Malthodes Kiesenwetter, 1852; CARABIDAE: Bradycellus Erichson, 1837, Chlaenius Bonelli, 1810, Harpalus Latreille, 1802, Lebia Latreille, 1802, Pheropsophus Solier, 1834, Trechus Clairville, 1806; CERAMBYCIDAE: Callichroma Latreille, 1816, Callidium Fabricius, 1775, Cerasphorus Audinet-Serville, 1834, Dorcadion Dalman, 1817, Leptura Linnaeus, 1758, Mesosa Latreille, 1829, Plectromerus Haldeman, 1847; CHRYSOMELIDAE: Amblycerus Thunberg, 1815, Chaetocnema Stephens, 1831, Chlamys Knoch, 1801, Monomacra Chevrolat, 1836, Phratora Chevrolat, 1836, Stylosomus Suffrian, 1847; COLONIDAE: Colon Herbst, 1797; CURCULIONIDAE: Cryphalus Erichson, 1836, Lepyrus Germar, 1817; ELATERIDAE: Adelocera Latreille, 1829, Beliophorus Eschscholtz, 1829; ENDOMYCHIDAE: Amphisternus Germar, 1843, Dapsa Latreille, 1829; GLAPHYRIDAE: Anthypna Eschscholtz, 1818; HISTERIDAE: Hololepta Paykull, 1811, Trypanaeus Eschscholtz, 1829; LEIODIDAE: Anisotoma Panzer, 1796, Camiarus Sharp, 1878, Choleva Latreille, 1797; LYCIDAE: Calopteron Laporte, 1838, Dictyoptera Latreille, 1829; MELOIDAE: Epicauta Dejean, 1834; NITIDULIDAE: Strongylus Herbst, 1792; SCARABAEIDAE: Anisoplia Schönherr, 1817, Anticheira Eschscholtz, 1818, Cyclocephala Dejean, 1821, Glycyphana Burmeister, 1842, Omaloplia Schönherr, 1817, Oniticellus Dejean, 1821, Parachilia Burmeister, 1842, Xylotrupes Hope, 1837; STAPHYLINIDAE: Batrisus Aubé, 1833, Phloeonomus Heer, 1840, Silpha Linnaeus, 1758; TENEBRIONIDAE: Bolitophagus Illiger, 1798, Mycetochara Guérin-Méneville, 1827. Type species are fixed for the following nominal genera: ANTHRIBIDAE: Decataphanes gracilis Labram & Imhoff, 1840 for Decataphanes Labram & Imhoff, 1840; CARABIDAE: Feronia erratica Dejean, 1828 for Loxandrus J.L. LeConte, 1853; CERAMBYCIDAE: Tmesisternus oblongus Boisduval, 1835 for Icthyosoma Boisduval, 1835; CHRYSOMELIDAE: Brachydactyla annulipes Pic, 1913 for Pseudocrioceris Pic, 1916, Cassida viridis Linnaeus, 1758 for Evaspistes Gistel, 1856, Ocnoscelis cyanoptera Erichson, 1847 for Ocnoscelis Erichson, 1847, Promecotheca petelii Guérin-Méneville, 1840 for Promecotheca Guérin- Méneville, 1840; CLERIDAE: Attelabus mollis Linnaeus, 1758 for Dendroplanetes Gistel, 1856; CORYLOPHIDAE: Corylophus marginicollis J.L. LeConte, 1852 for Corylophodes A. Matthews, 1885; CURCULIONIDAE: Hoplorhinus melanocephalus Chevrolat, 1878 for Hoplorhinus Chevrolat, 1878; Sonnetius binarius Casey, 1922 for Sonnetius Casey, 1922; ELATERIDAE: Pyrophorus melanoxanthus Candèze, 1865 for Alampes Champion, 1896; PHYCOSECIDAE: Phycosecis litoralis Pascoe, 1875 for Phycosecis Pascoe, 1875; PTILODACTYLIDAE: Aploglossa sallei Guérin-Méneville, 1849 for Aploglossa Guérin-Méneville, 1849, Colobodera ovata Klug, 1837 for Colobodera Klug, 1837; PTINIDAE: Dryophilus anobioides Chevrolat, 1832 for Dryobia Gistel, 1856; SCARABAEIDAE: Achloa helvola Erichson, 1840 for Achloa Erichson, 1840, Camenta obesa Burmeister, 1855 for Camenta Erichson, 1847, Pinotus talaus Erichson, 1847 for Pinotus Erichson, 1847, Psilonychus ecklonii Burmeister, 1855 for Psilonychus Burmeister, 1855. New replacement name: CERAMBYCIDAE: Basorus Bouchard & Bousquet, nom. nov. for Sobarus Harold, 1879. New status: CARABIDAE: KRYZHANOVSKIANINI Deuve, 2020, stat. nov. is given the rank of tribe instead of subfamily since our classification uses the rank of subfamily for PAUSSINAE rather than family rank; CERAMBYCIDAE: Amymoma Pascoe, 1866, stat. nov. is used as valid over Neoamymoma Marinoni, 1977, Holopterus Blanchard, 1851, stat. nov. is used as valid over Proholopterus Monné, 2012; CURCULIONIDAE: Phytophilus Schönherr, 1835, stat. nov. is used as valid over the unnecessary new replacement name Synophthalmus Lacordaire, 1863; EUCNEMIDAE: Nematodinus Lea, 1919, stat. nov. is used as valid instead of Arrhipis Gemminger, 1869, which is a junior homonym. Details regarding additional nomenclatural issues that still need to be resolved are included in the entry for each of these type genera: BOSTRICHIDAE: Lyctus Fabricius, 1792; BRENTIDAE: Trachelizus Dejean, 1834; BUPRESTIDAE: Pristiptera Dejean, 1833; CANTHARIDAE: Chauliognathus Hentz, 1830, Telephorus Schäffer, 1766; CARABIDAE: Calathus Bonelli, 1810, Cosnania Dejean, 1821, Dicrochile Guérin-Méneville, 1847, Epactius D.H. Schneider, 1791, Merismoderus Westwood, 1847, Polyhirma Chaudoir, 1850, Solenogenys Westwood, 1860, Zabrus Clairville, 1806; CERAMBYCIDAE: Ancita J. Thomson, 1864, Compsocerus Audinet-Serville, 1834, Dorcadodium Gistel, 1856, Glenea Newman, 1842; Hesperophanes Dejean, 1835, Neoclytus J. Thomson, 1860, Phymasterna Laporte, 1840, Tetrops Stephens, 1829, Zygocera Erichson, 1842; CHRYSOMELIDAE: Acanthoscelides Schilsky, 1905, Corynodes Hope, 1841, Edusella Chapuis, 1874; Hemisphaerota Chevrolat, 1836; Physonota Boheman, 1854, Porphyraspis Hope, 1841; CLERIDAE: Dermestoides Schäffer, 1777; COCCINELLIDAE: Hippodamia Chevrolat, 1836, Myzia Mulsant, 1846, Platynaspis L. Redtenbacher, 1843; CURCULIONIDAE: Coeliodes Schönherr, 1837, Cryptoderma Ritsema, 1885, Deporaus Leach, 1819, Epistrophus Kirsch, 1869, Geonemus Schönherr, 1833, Hylastes Erichson, 1836; DYTISCIDAE: Deronectes Sharp, 1882, Platynectes Régimbart, 1879; EUCNEMIDAE: Dirhagus Latreille, 1834; HYBOSORIDAE: Ceratocanthus A. White, 1842; HYDROPHILIDAE: Cyclonotum Erichson, 1837; LAMPYRIDAE: Luciola Laporte, 1833; LEIODIDAE: Ptomaphagus Hellwig, 1795; LUCANIDAE: Leptinopterus Hope, 1838; LYCIDAE: Cladophorus Guérin-Méneville, 1830, Mimolibnetis Kazantsev, 2000; MELOIDAE: Mylabris Fabricius, 1775; NITIDULIDAE: Meligethes Stephens, 1829; PTILODACTYLIDAE: Daemon Laporte, 1838; SCARABAEIDAE: Allidiostoma Arrow, 1940, Heterochelus Burmeister, 1844, Liatongus Reitter, 1892, Lomaptera Gory & Percheron, 1833, Megaceras Hope, 1837, Stenotarsia Burmeister, 1842; STAPHYLINIDAE: Actocharis Fauvel, 1871, Aleochara Gravenhorst, 1802; STENOTRACHELIDAE: Stenotrachelus Berthold, 1827; TENEBRIONIDAE: Cryptochile Latreille, 1828, Heliopates Dejean, 1834, Helops Fabricius, 1775. First Reviser actions deciding the correct original spelling: CARABIDAE: Aristochroodes Marcilhac, 1993 (not Aritochroodes); CERAMBYCIDAE: Dorcadodium Gistel, 1856 (not Dorcadodion), EVODININI Zamoroka, 2022 (not EVODINIINI); CHRYSOMELIDAE: Caryopemon Jekel, 1855 (not Carpopemon), Decarthrocera Laboissière, 1937 (not Decarthrocerina); CICINDELIDAE: Odontocheila Laporte, 1834 (not Odontacheila); CLERIDAE: CORMODINA Bartlett, 2021 (not CORMODIINA), Orthopleura Spinola, 1845 (not Orthoplevra, not Orthopleuva); CURCULIONIDAE: Arachnobas Boisduval, 1835 (not Arachnopus), Palaeocryptorhynchus Poinar, 2009 (not Palaeocryptorhynus); DYTISCIDAE: Ambarticus Yang et al., 2019 and AMBARTICINI Yang et al., 2019 (not Ambraticus, not AMBRATICINI); LAMPYRIDAE: Megalophthalmus G.R. Gray, 1831 (not Megolophthalmus, not Megalopthalmus); SCARABAEIDAE: Mentophilus Laporte, 1840 (not Mintophilus, not Minthophilus), Pseudadoretus dilutellus Semenov, 1889 (not P. ditutellus). While the correct identification of the type species is assumed, in some cases evidence suggests that species were misidentified when they were fixed as the type of a particular nominal genus. Following the requirements of Article 70.3.2 of the International Code of Zoological Nomenclature we hereby fix the following type species (which in each case is the taxonomic species actually involved in the misidentification): ATTELABIDAE: Rhynchites cavifrons Gyllenhal, 1833 for Lasiorhynchites Jekel, 1860; BOSTRICHIDAE: Ligniperda terebrans Pallas, 1772 for Apate Fabricius, 1775; BRENTIDAE: Ceocephalus appendiculatus Boheman, 1833 for Uroptera Berthold, 1827; BUPRESTIDAE: Buprestis undecimmaculata Herbst, 1784 for Ptosima Dejean, 1833; CARABIDAE: Amara lunicollis Schiødte, 1837 for Amara Bonelli, 1810, Buprestis connexus Geoffroy, 1785 for Polistichus Bonelli, 1810, Carabus atrorufus Strøm, 1768 for Patrobus Dejean, 1821, Carabus gigas Creutzer, 1799 for Procerus Dejean, 1821, Carabus teutonus Schrank, 1781 for Stenolophus Dejean, 1821, Carenum bonellii Westwood, 1842 for Carenum Bonelli, 1813, Scarites picipes G.-A. Olivier, 1795 for Acinopus Dejean, 1821, Trigonotoma indica Brullé, 1834 for Trigonotoma Dejean, 1828; CERAMBYCIDAE: Cerambyx lusitanus Linnaeus, 1767 for Exocentrus Dejean, 1835, Clytus supernotatus Say, 1824 for Psenocerus J.L. LeConte, 1852; CICINDELIDAE: Ctenostoma jekelii Chevrolat, 1858 for Ctenostoma Klug, 1821; CURCULIONIDAE: Cnemogonus lecontei Dietz, 1896 for Cnemogonus J.L. LeConte, 1876; Phloeophagus turbatus Schönherr, 1845 for Phloeophagus Schönherr, 1838; GEOTRUPIDAE: Lucanus apterus Laxmann, 1770 for Lethrus Scopoli, 1777; HISTERIDAE: Hister rugiceps Duftschmid, 1805 for Hypocaccus C.G. Thomson, 1867; HYBOSORIDAE: Hybosorus illigeri Reiche, 1853 for Hybosorus W.S. MacLeay, 1819; HYDROPHILIDAE: Hydrophilus melanocephalus G.-A. Olivier, 1793 for Enochrus C.G. Thomson, 1859; MYCETAEIDAE: Dermestes subterraneus Fabricius, 1801 for Mycetaea Stephens, 1829; SCARABAEIDAE: Aulacium carinatum Reiche, 1841 for Mentophilus Laporte, 1840, Phanaeus vindex W.S. MacLeay, 1819 for Phanaeus W.S. MacLeay, 1819, Ptinus germanus Linnaeus, 1767 for Rhyssemus Mulsant, 1842, Scarabaeus latipes Guérin-Méneville, 1838 for Cheiroplatys Hope, 1837; STAPHYLINIDAE: Scydmaenus tarsatus P.W.J. Müller & Kunze, 1822 for Scydmaenus Latreille, 1802. New synonyms: CERAMBYCIDAE: CARILIINI Zamoroka, 2022, syn. nov. of ACMAEOPINI Della Beffa, 1915, DOLOCERINI Özdikmen, 2016, syn. nov. of BRACHYPTEROMINI Sama, 2008, PELOSSINI Tavakilian, 2013, syn. nov. of LYGRINI Sama, 2008, PROHOLOPTERINI Monné, 2012, syn. nov. of HOLOPTERINI Lacordaire, 1868.

That murmur, soon replies, “God doth not need Either man’s work or his own gifts; who best Bear his mild yoke, they serve him best. His state Is Kingly. Thousands at his bidding speed And post o’er Land and Ocean without rest: They also serve who only stand and wait.”1 1John Milton, Sonnet 19 The COVID-19 Pandemic has brought out most of the best (and some of the worst) in us. Much has been said, shared, even sung about health care workers as frontline heroes. Whether we indeed form the frontline, or man the last line of defense, due credit is being given to all “front-liners” – essential-service workers, drivers and delivery personnel, security guards, the military and police who literally serve in the trenches of this invisible war. Indeed, it is heartening to read the inspiring messages, hear the encouraging words, listen to the uplifting (sometimes funny) music and songs, witness the moving memes and cartoons, watch the refreshing dances and tributes, and receive the healing blessings and prayers on various media and social media platforms. Indeed, we are motivated to continue to work, so that others may safely stay home. Some of us have even been called upon to die, so that others may live. But so much less is and has been said about those who make our battle possible, who selflessly and silently took it upon themselves to clothe us with personal protective equipment, feed us, transport us, and even shelter us as we engage the unseen enemy. It is these heroes I wish to thank today. I certainly cannot thank them all, but I sincerely hope that those I do mention will represent the many others I cannot. Early on, my brother Elmer Lapeña and his Team Twilight group of “golfing enthusiasts and friends” (“company owners, executives, managers, engineers, technicians, entrepreneurs, and expats in the electronics, semiconductor, metalworking, automotive, aerospace, and packaging manufacturing industries”) responded to the call for better protection for frontliners with door-to-door deliveries of Personal Protective Equipment (PPE) to over 40 hospitals in the National Capitol Region, Rizal, Cavite, Laguna and Batangas including the Philippine General Hospital (PGH).2 On a personal note, Elmer and my sister-in-law Annette were closely monitoring our situation, going out of their way to obtain difficult-to-find PPEs for my wife Josie and myself, and our respective Departments of Family and Community Medicine (DFCM) and Otorhinolaryngology (ORL) at the PGH. For her part, our very dear friend Gigi Bautista Rapadas organized Project #HelpCovid19Warriors(HCW), to “go where the virus goes” and “help where help is needed and requested,” harnessing donations from ‘family, friends, and friends of friends” to procure PPE (as well as disinfectants, even canned goods) that were distributed “from Metro Manila to the provinces: Tuguegarao, Bataan, Bulacan, La Union, Nueva Vizcaya, Cavite,” moving from hospitals and health centers to correctional institutes.3 It is because of them that our PGH Department of ORL obtained very expensive but essential respirator hoods for added protection from aerosolized virus when conducting airway procedures, in addition to head-to-foot PPEs for use of the PGH DFCM in attending to PGH staff at the UP Health Service. Meanwhile, without fanfare, our dear friends Popot and Agnes (also my DLSU ’79 classmate) Lorenzana provided cooked meals for 1,000 persons daily. Working with on-the-ground social workers and with the 2KK Tulong sa Kapwa Kapatid Foundation, their Feeding Program “A thousand meals for poor communities” reached Payatas, Talayan, Pinyahan, Smokey Mountain, Maisan, Bagong Silang, Old Balara, Tatalon, Sta. Teresita, Sampaloc, and Sta. Ana, among more than 50 other communities. They generously responded to my wife’s request to provide meals for her community patients of the Canossa Health Center in Tondo. They have also provided meals for hospital staff of Amang Rodriguez Memorial Medical Center, the Medical City Hospital, Veterans Memorial Medical Center, Dr. Jose Fabella Memorial Hospital, Dr. Jose Rodriquez Memorial Hospital, Quezon City General Hospital, the San Lazaro Hospital, Valenzuela City Emergency and Lung Center of the Philippines. They continue this service which to date has provided for more than 32,000 meals, with corporate partners and private individuals joining the effort.4 Other De La Salle University (DLSU) College ‘79 batchmates who wish to remain anonymous obtained board approval of their endorsement to channel all the social development funds of their Maritime Multipurpose Cooperative for the next 3 years to the Philippine General Hospital. Adding their personal funds (and those solicited by their daughter and nephew), they took on the daunting task of sourcing and proving Powered Air Purifying Respirators (PAPRs) for our use. Another DLSU batchmate has been providing PPEs to various hospitals including PGH through their family corporation, Nobleland Ventures, Inc. Even their high school batch ’75 of Saint Jude Catholic School has donated boxes and boxes of PPEs to the PGH and other hospitals. Other DLSU ’79 classmates Bel and Bong Consing, and Timmy, Joy (and Tita Linda) Bautista have personally donated PPEs and funds for our COVID-19 operations, while classmate Fritz de Lange even sent over sweet mangoes for us to enjoy with our fellow frontliners. Generous donations also poured in from La Salle Green Hills (LSGH) High School ’76 friends Cris Ibarra, Norman Uy, Class 4E, and batchmates Tito and Pepper who wish to remain anonymous, as well as Menchit Borbon and her St. Theresa’s College Quezon City (STCQC) - Section 1 classmates. We even received overseas support from my LSGH 4B classmate Bingo Pantaleon from Yangon; my mom Libby, brother Bernie and Lilli, and friend Soyanto from Singapore, and sister Sabine from Germany. And how can we forget the regular frozen food deliveries of Jollibee chicken drumsticks and home-made Bulgogi and Tapa from our dear friends Ed and Aning Go? Perhaps the most touching gifts of all came from my eldest and youngest daughters Melay and Jica, who lovingly prepared and delivered much-appreciated meals to us, and middle child Ro-an, who with our son-in-law Reycay serenaded us with beautiful music that was appreciated by no less than Vice President Leni Robredo and featured by the Philippine Philharmonic Orchestra.5 Their musical fund-raising campaign started with another haunting piece featuring my sister Nina and brother-in-law Kiko.6 As if that was not enough, Ro-an bakes cookies to raise funds for our ongoing COVID-19 operations at PGH, while Melay and Jica keep asking us what we want to eat next. These three count among those who have least, yet “put in everything ” from what little they have.7 These are but a few examples of those known personally to me- my family and friends. And there are many more. In the same way, every other doctor and front liner will have their own stories to tell, of friends, family even mere acquaintances who have come out of the shadows to help, to care, to share in whatever way they can, in fighting this battle with us. Let this be their tribute as well. Those of us who serve in the Philippine General Hospital have been called People Giving Hope.8,9 I believe that we do give hope because others give us hope in turn. I like to think that the inscription in the PGH lobby “They Also Serve Who Care and Share” honors these others in a special way who go over and beyond the call of duty. With apologies to John Milton, our heroes go way over and beyond “they also serve who only stand and wait.”

AbstractRestoration censorship forced European Romantic literature to retreat from society and politics into subjective intimacy, fantasy, mythology, history, and exotic places. In addition to conforming to restrictions, however, censorship also led writers to evade its control (pseudonyms, publication abroad, allusive style) and, more rarely, to overt or covert rebellion (petitions, satire, etc.). An example of this is the German sonnets written by the Slovenian romanticist France Prešeren in the mid-1830s as a poetic response to the public controversy over the cultural strategies of national revival (the so-called Slovenian ABC war) and the behind-the-scenes struggles over the censorship of the poetry almanac Krajnska čbelica (Carniolan Bee). With their illocutionary force, Prešeren’s sonnets are directed against prominent collaborators of censorship and the centers of ecclesiastical and secular power that wanted to keep the embrionic Slovenian literary field under their control. These poems move between satirical irony and sentiment, between the fictional suspension of dominant positions in the field and the search for sympathy for the depressing lack of consecration. The satire against the censors of his elegy dedicated to Matija Čop stands out with its acrostic and the affect of rage.

representatives of modern German literature. In particular, Duino Laments and Sonnets to Orpheus are characterized as his masterpieces in the field of poetry. However, the writing of these two works took place under very difficult conditions. Rilke was plunged into a deep crisis in 1910, but was able to find peace when he completed Laments and Sonnets in 1922. The intervening years (1910-1922) are the subject of this study. Our aim is to examine how and under what conditions these two masterpieces were written. In these twelve years, Rilke had experiences that left deep traces in his art and were reflected in the motifs of both works. These twelve years are also referred to as Rilke's "late period" in which he reached maturity and begins after the 1910 publication of the novel The Notes of Malte Lauridds Brigge. Set in Paris, this novel is considered the first modern novel written in the German language. Rilke reached the pinnacle of his art with this novel and the New Poems published before it. However, as soon as Malte Lauridds finished Brigge's Notes, Rilke, as noted, fell into a major productivity crisis. The following years were spent trying to overcome this crisis and continue to produce at the same high artistic level. Rilke's first remedy to overcome the crisis was to distract himself by translating. At this time, the desire to travel also showed up. While Rilke's "Middle Period" (1902-1910) bore the stamp of Paris, his late period after 1910 was marked by his travels and travels. This study mainly deals with these years and aims to show how Rilke's two works, which are considered his masterpieces, came to be despite such displacement. The experiences that left deep traces in Rilke's life and work are discussed throughout the study and reflected from a positivist perspective. According to the order in his biography, the first important trip of Rilke in these years was the 1910 trip to North Africa and Egypt. Rilke was heavily inspired by ancient Egyptian civilization and the vibrant Islam of the Maghreb. As a matter of fact, he managed to write the first lines of Duino Laments in the Duino Castle, where he stayed as a guest in 1912. His second important trip was his trip to Spain in 1912-13. Shortly after returning to Paris from Spain for a while, World War I broke out and Rilke was forced to stay in Germany until 1919. In 1919, however, he left Germany, never to return, and settled in Switzerland (where he completed both of his masterpieces in 1922).

In 1983, Wilhelm Pötters introduced to the Italian attention a new theory on the genesis of the sonnet based on the relationship between mathematics and metrics, integrating the problem of ‘derivation’ with that of ‘invention’: it was the beginning of a heated debate, initiated by a single research project in Germany and welcomed in Italy by touchy refusals or enthusiastic acceptance, of which this contribution gives an overall interpretation.

Teesid: Tartu Ülikooli maailmakirjanduse professori, luuletaja, kirjandusteadlase ja hispaaniakeelse kirjanduse spetsialisti Jüri Talveti tõlketegevuse viljade hulka kuulub luulet ja proosat nii sajandeid vanast Hispaania klassikast kui ka 20. sajandil või tänapäeval romaani keeltes või inglise keeles loodud teostest. Käesolev artikkel keskendub sellele, kuidas professor Talvet on tõlgendanud luule ja poeetika, kuid ka kirjandusajaloo, iseäranis barokk-kirjanduse alaseid küsimusi oma kirjandusteaduslikes esseedes. Vaadeldakse ka tema tõlketegevuse mahtu ja tõlketöö põhimõtteid. Jüri Talvet (born in 1945) is a poet and a scholar of comparative literature, Chair Professor of World Literature at the University of Tartu. His numerous translations of poetry and poetical fiction from the Romance languages and, to a lesser extent, from English, reflect his views on world poetry. Those views are also expressed in his theoretical writings from the years of 1977 to 2015. Having studied English literature as the main subject at the University of Tartu, he early developed an interest in Spanish, in other Iberian languages, and in the Iberoamerican literatures. His translations from that area include works from medieval and early modern literature as well as notable literary achievements from the 20th century and the contemporary era. Talvet’s interpretations of Federico García Lorca and the “Latin American boom” authors are supported by profound insights into the philosophy, aesthetics, and poetics of the 17th century Spanish Baroque literature, known as the literary Golden Age of Spain. The influence which Talvet’s activities have exerted has widened the horizons of Estonia’s literary culture: while in the early 20th century, the previous German, Russian and Finnish leanings were supplemented by orientations to, and translations from, French and Italian literatures, Talvet has helped to enrich the Estonian literary landscape with the mentality and traditions of even more distant language areas, such as Castilian (Spanish), Catalan, Galician, Portuguese, and the Latin American countries. In the section “Quevedo and Góngora” of this article, Talvet’s interpretation of some of the key issues of dispute in the Baroque literature of Spain are studied, based both on his theoretical essays and on his translations of the poetry of Francisco de Quevedo. Talvet has attempted to use the terms of the Baroque philosopher and writer Baltasar Gracián, agudeza, concepto (definable approximately as “conceit” or “wit”) and conceptismo, for the analysis of the late 20th century Estonian poetry. On that background, defnitions of conceptismo and cultismo (the other main school in Spanish Baroque poetry) are offered in this article, with implications that those definitions may have for understanding different styles and methods of poetry in general, and the characteristics of Talvet’s own poems and poetry translations in particular. To escape diffusion in pure sensuality and verbal indulgence, poetry has to rely on concepts as well as images. Talvet’s interpretations of poetry and poetical thinking are found to be close to conceptismo, or with a considerable amount of conceptuality inherent to them. The juxtaposition of paradoxical ideas from different levels of reality, social and psychic, is seen as the essential poetical method that Talvet refers to as he defines, quoting Yuri Lotman, the structural-semantic code of poetry as being “paradigmatic”. In the final section of the article, Talvet’s 23 book-length published translations are listed, including translations from Spanish, Catalan, English and French. The list does not include numerous translations of single poems or cycles of poetry that have appeared in literary journals, nor his contributions to anthologies of poetry, nor the translations from his native Estonian into a foreign language, such as Spanish or English, in which he has participated. His translations encompass lyrical works as well as fiction and plays. Talvet has translated classical European poetry, such as the sonnets of Petrarch and Quevedo and Provençal poems, as well as the rhymed poems of American poets into Estonian with complete metrical correspondence and full rhymes. However, in the latest decades Talvet has expressed scepticism in the sense and feasibility of attempting to convey the rhyming complexities of the major European literatures into Estonian, a language with a considerably smaller potential for finding full rhymes. Accordingly, his three translations of Spanish Baroque drama (by Calderón and Tirso de Molina) employ a liberal method of versification. In all his versatile activities as a poet, a translator, and a theorist of poetry, Professor Talvet has shown great devotion to developing and cultivating aesthetic values. A lot of his colleagues and students have benefited from his friendly advice. Thinking of his contributions to Estonia’s literary tradition, one may repeat and paraphrase the sentence that he used for the conclusion of his essay on the Catalan poet Salvador Espriu in 1977: “to write (and to translate) poetry is to work for the benefit of the people.”

CONTENTS: FOREWORD PAUL LAURENCE DUNBAR • Ere Sleep Comes Down to Soothe the Weary Eyes • Death Song • Life • After the Quarrel • Ships that Pass in the Night • We Wear the Mask • Sympathy • The Debt JOSEPH S. COTTER, SR • The Tragedy of Pete • The Way-side Well JAMES WELDON JOHNSON • From the German of Uhland • The Glory of the Day Was in Her Face • The Creation • The White Witch • My City WILLIAM EDWARD BURGHARDT Du BOIS • A Litany of Atlanta WILLIAM STANLEY BRAITHWAITE • Scintilla • Rye Bread • October XXIX, 1795 • Del Cascar JAMES EDWARD MCCALL • The New Negro ANGELINA WELD GRIMKE • Hushed by the Hands of Sleep • Greenness • • The Eyes of My Regret • Grass Fingers • Surrender • The Ways o' Men • Tenebris • When the Green Lies Over the Earth • A Mona Lisa • Paradox • Your Hands • I Weep • For the Candle Light • Dusk. • The Puppet Player • A Winter Twilight ANNE SPENCER • Neighbors • I Have a Friend • Substitution • Questing • Life-long, Poor Browning • Dunbar • Innocence • Creed • Lines to a Nasturtium • At the Carnival MARY EFFIE LEE NEWSOME • Morning Light • Pansy • Sassafras Tea • Sky Pictures • The Quilt • The Baker's Boy • Wild Roses • Quoits JOHN FREDERICK MATHEUS • Requiem FENTON JOHNSON • When I Die • Puck Goes to Court • The Marathon Runner • JESSIE FAUSET • Words! Words! • Touche • Noblesse Oblige • La Vie C'est la Vie • The Return • Rencontre • Fragment ALICE DUNBAR NELSON • Snow in October • Sonnet • I Sit and Sew GEORGIA DOUGLAS JOHNSON • Service • Hope • The Suppliant • Little Son • Old Black Men • Lethe • Proving • I Want to Die While You Love Me • Recessional • My Little Dreams • What Need Have I for Memory? • When I Am Dead • The Dreams of the Dreamer • The Heart of a Woman CLAUDE McKAy • America • Exhortation: Summer, 1919 • Flame-heart • The Wild Goat • Russian Cathedral • Desolate • Absence • My House JEAN TOOMER • Reapers • Evening Song • Georgia Dusk • Song of the Son • Cotton Song • Face • November Cotton Flower JOSEPH S. COTTER, JR • Rain Music • Supplication • An April Day • The Deserter • And What Shall You Say? • The Band of Gideon BLANCHE TAYLOR DICKINSON • The Walls of Jericho • Poem • Revelation • That Hill • To an Icicle • Four Walls FRANK HORNE • On Seeing Two Brown Boys in a Catholic Church • To a Persistent Phantom • Letters Found Near a Suicide • Nigger LEWIS ALEXANDER • Negro Woman • Africa • Transformation • The Dark Brother • Tanka I-VIII • Japanese Hokku • Day and Night STERLING A. BROWN • Odyssey of Big Boy • Maumee Ruth • Long Gone • To a Certain Lady, in Her Garden • Salutamus • Challenge • Return CLARISSA SCOTT DELANY • Joy • Solace • Interim • The Mask LANGSTON HUGHES • I, Too • Prayer • Song for a Dark Girl • Homesick Blues • Fantasy in Purple • Dream Variation • The Negro Speaks of Rivers • Poem • Suicide's Note • Mother to Son • A House in Taos GWENDOLYN B. BENNETT • Quatrains • Secret • Advice • To a Dark Girl • Your Songs • Fantasy • Lines Written at the Grave of Alexander Dumas • Hatred • Sonnet—l • Sonnet—2 AnNA BONTEMPS • The Return • A Black Man Talks of Reaping • To a Young Girl Leaving the Hill Country • Nocturne at Bethesda • Length of Moon • Lancelot • Gethsemane • A Tree Design • Blight • The Day-breakers • Close Your Eyes! • God Give to Men • Homing • Golgotha Is a Mountain ALBERT RICE • The Black Madonna • To a Certain Woman COUNTEE CULLEN • I Have a Rendezvous with Life • Protest • Yet Do I Marvel • To Lovers of Earth: Fair Warning • From the Dark Tower • To John Keats, Poet, at Springtime • Four Epitaphs • Incident DONALD JEFFREY HAYES • Inscription • Auf Wiedersehen • Night • Confession • Nocturne • After All • JONATHAN HENDERSON BROOKS • The Resurrection • The Last Quarter Moon of the Dying Year • Paean GLADYS MAY CASELY HAYFORD • Nativity • Rainy Season Love Song • The Serving Girl • Baby Cobina LuCY ARIEL WILLIAMS • Northboun' GEORGE LEONARD ALLEN • To Melody • Portrait RICHARD BRUCE • Shadow • Cavalier WARING CUNEY • The Death Bed • A Triviality • I Think I See Him There • Dust • No Images • The Radical • True Love EDWARD S. SILVERA • South Street • Jungle Taste HELENE JOHNSON • What Do I Care for Morning • Sonnet to a Negro in Harlem • Summer Matures • Poem • Fulfillment • The Road • Bottled • Magalu WESLEY CURTWRIGHT • The Close of Day LULA LOWE WEEDEN • Me Alone • Have You Seen It • Robin Red Breast 228 • The Stream • The Little Dandelion • Dance

The process of rehearsing and performing a choral piece involves numerous decisions by the conductor. One part of this decision-making is related to the sung text and includes aspects of diction that are not indicated by Western musical notation, for instance the exact instant of articulation of initial consonants. Although choices related to diction have consequences for elements such as clearness of enunciation, rhythmic precision, or intonation, only a few writings on choral conducting are explicit about them. This paper aims to discuss conductors’ choices concerning the instant of articulation of initial consonants in choral performances of works sung in German. It compares conductors’ theoretical suggestions with analyses of six recordings of Johann Sebastian Bach’s movement Trotz dem alten Drachen, BWV 227/5, and four recordings of Franz Schubert’s part-song An die Sonne, D439. Methods include analyses of writings on choral conducting, interviews with conductors, and analyses of recordings using the software programme Sonic Visualiser. Similarities are observed between the theoretical suggestions of conductors and the analysed recordings, however there are some striking differences, including conductors’ underestimations of the actual duration of consonants. Analyses of the recordings reveal that initial consonants are nearly always anticipated (i.e., articulated ahead of the beat to which they are assigned). Exceptions to this concern the plosive [kʰ] and the second consonant of a cluster on occasion. Analyses of recordings also point to the impact on timing anticipation due to the consonant’s surroundings and from the ability or otherwise for the sound of a consonant to be lengthened (i.e., its “lengthenability”). Evidence from the recordings is discussed in relation to conductors’ varying theoretical suggestions on the articulation of consonants, flagging up inconsistencies as well as considering practicalities, and providing insights for choral conductors into the nuances of consonant articulation with ramifications for conducting pedagogy and future research.

Purpose: The aim of this study was to investigate the speech prosody of postlingually deaf cochlear implant (CI) users compared with control speakers without hearing or speech impairment. Method: Speech recordings of 74 CI users (37 males and 37 females) and 72 age-balanced control speakers (36 males and 36 females) are considered. All participants are German native speakers and read Der Nordwind und die Sonne (The North Wind and the Sun), a standard text in pathological speech analysis and phonetic transcriptions. Automatic acoustic analysis is performed considering pitch, loudness, and duration features, including speech rate and rhythm. Results: In general, duration and rhythm features differ between CI users and control speakers. CI users read slower and have a lower voiced segment ratio compared with control speakers. A lower voiced ratio goes along with a prolongation of the voiced segments' duration in male and with a prolongation of pauses in female CI users. Rhythm features in CI users have higher variability in the duration of vowels and consonants than in control speakers. The use of bilateral CIs showed no advantages concerning speech prosody features in comparison to unilateral use of CI. Conclusions: Even after cochlear implantation and rehabilitation, the speech of postlingually deaf adults deviates from the speech of control speakers, which might be due to changed auditory feedback. We suggest considering changes in temporal aspects of speech in future rehabilitation strategies. Supplemental Material: https://doi.org/10.23641/asha.21579171