Journal articles on the topic 'Liphyra'

The butterfly checklist of Bongal Gaon village in Assam revealed a total of 171 species which included 20 species listed as protected under the various schedules of the Wildlife (Protection) Act 1972, enacted in India. Fieldwork for butterfly collection took seven years. The checklist comprises six families, 22 subfamilies, and 105 genera. It includes sightings of the ‘rare’ and ‘very rare’ Moth Butterfly, Liphyra brassolis (Westwood, 1864), the Veined Palmer, Hidari bhawani (de Nicéville, 1889), the Colon Swift, Caltoris cahira (Moore, 1877), and the Scarce Rajah, Charaxes aristogiton (C. & R. Felder, 1867), from in and around Dergaon urban areas of upper Assam in north-eastern India.

Asian weaver ants (<i>Oecophylla smaragdina</i>) are an important biocontrol agent in agricultural habitats. We conducted surveys in oil palm plantations in Riau, Indonesia for an obligate myrmecophilous butterfly larvae, <i>Liphyra brassolis</i> (Lepidoptera, Lycaenidae), that is known to consume weaver ant larvae in other habitat types. We found <i>L. brassolis</i> larvae in five of the twenty nests surveyed, with larval presence not being related to weaver ant nest size. We also observed <i>L. brassolis</i> larvae in a weaver ant mass rearing facility. This is the first report of <i>L. brassolis</i> from oil palm plantations and may have implications for the use of weaver ants as biological control agents.

The article accompanies the comments and publication of letters written by an Estonian artist Woldemar Friedrich Krüger to his friend Karl Eduard von Liphart, an art collector and expert from Munich between 1832–1834. The main intention of the author has been to provide the reader with the necessary short biography of the Woldemar Krüger and to contextualize the years in which the letters were written. Also the paper aims to open up some subjects and keywords that occur in the letters sent by Krüger to Liphart. The letters that are deposited in the Herder Institute Dokumentesammlung (DSHI) illustrate the early years in the lives of Krüger and Liphart when they both were in their twenties and only in the very beginning with their professional career. Artist Krüger, who was able to study and travel abroad only with the help of the Lipharts family, was especially interested in acquiring technical skills in lithography and encaustic (wax painting). The letters from Munich reveal us a very practically minded and careful personality as Krüger even hesitates before travelling to Italy being afraid that it could lead him away from his routine and practicing. Unfortunately, the letters do not prove whether Krüger attended any official and regular art course during his stay in Munich. However, the letters add valuable information about the developing years of both of the artist Woldemar Krüger and art connoisseur Karl Eduard von Liphart. The correspondence enables us to have a glance at the ideas and acquaintances that they shared and how studying abroad could look like in the 19th century.

The article introduces the archive of the von Lipharts, a noble Baltic German family, stored in the document collection of the Herder Institute in Marburg (DSHI). The von Lipharts and their Raadi Manor near Tartu were of great importance to Baltic cultural history, and the archive reflects their role in the politics, economy and cultural life of Livonia, as well as the family’s subsequent status. A more in-depth presentation is made of the various materials in the archive that are related to the communications and activities of the Liphart family related to culture and art. In addition to describing the development and character of the family archive at the Herder Institute, the article also provides a survey of the historiography of the Liphart family and the latest research based on the collections in the archive.

A key to the six known species of Calliphora Robineau-Desvoidy (Diptera: Calliphoridae) from the Neotropical Regionis given. Species distributions and key characters are discussed. Calliphora irazuana Townsend, 1908 is resurrected as avalid name for a species found in Central America and Mexico, stat. nov. Calliphora triseta sp. nov. is described fromnumerous specimens from Costa Rica, El Salvador and Mexico. Nominal species Calliphora nigra Mello, 1974 and Cal-liphora antojuanae Mariluis, 1982 are synonymized with Calliphora nigribasis Macquart, 1851, n. syn. An Appendix isprovided that clarifies the status of the names Calliphora peruviana Robineau-Desvoidy, 1830, Lucilia peruviana Robineau-Desvoidy, 1830, and Calliphora peruviana Macquart, 1851.

Abstract Objective To determine the effectiveness of Pasteurella haemolytica biovar A, serovar 1 (Ph A1) killed by UV light and incorporated with an oil adjuvant or carriers. Animals 40 weanling male Spanish goats. Procedure Goats were randomly allotted to 1 of 6 treatment groups: 4 Ph A1 bacterins (agar beads, polyacrylate beads [PA], phosphate-buffered saline solution, Freund's incomplete adjuvant), live Ph A1 with polyacrylate beads (LiPhPA), and polyacrylate beads (UnVac). Each of 4 Ph A1 vaccines was administered SC twice, 21 days apart, to 1 of 4 groups; another group received only PA beads SC, and the last group received live Ph A1 with PA beads by transthoracic injection into the left lung. 14 days after the second vaccination, all goats were challenge exposed with live Ph A1 by transthoracic injection into the right lung, and 4 days later, all goats were euthanatized and necropsied. Results Mean volume of consolidated right lung tissue was 1.02 cm3 for the LiPhPA group, 168.1 cm3 for the UnVac group, 2.3 cm3 for the Freund's incomplete adjuvant bacterin group, 5.53 cm3 for the PA bacterin group, 9.01 cm3 for the agar beads bacterin group, and 7.51 cm3 for the phosphate-buffered saline solution bacterin group. Mean volume of consolidated lung tissue was significantly different between the UnVac group and the other 5 groups. Conclusion The LiPhPA group and 4 bacterin groups developed protective immunity against live Ph A1 challenge exposure. Clinical Relevance An SC administered, UV light- killed Ph A1 bacterin induced protective immunity equal to that induced by virulent live Ph A1 injected into the target organ, the lung. (Am J Vet Res 1996;57:1168-1174)

Tis paper aims to describe the syntax of the constructions that present the verbal extensions {-ik-} and {-uk-} and their allomorphs in Shimakonde, a Bantu language classifed as P23 in the Guthrie classifcation (GUTHRIE 1967-71). Tis language is spoken in the northern regions of Mozambique and Tanzania. Tese verbal extensions are reported in literature under the labels of stative, impositive, pseudo-passive, neuter, and quasi-passive (DOKE, 1947; SATYO, 1985; MCHOMBO, 1993; DUBINSKY SIMANGO, 1996; BENTLEY KULEMEKA, 2001; LIPHOLA, 2001; NGUNGA, 2004; KHUMALO, 2009; LEACH, 2010; LANGA, 2013). Te addition of the {-ik-} or {-uk-} morphemes to the verb structure usually demotes or suppresses the external argument, turning a basically transitive predicate into an intransitive one. Tis paper aims to investigate in Shimakonde if alternations from a dyadic to a monadic predicate, through the use of one of the aforementioned morphemes, are instances of the phenomenon known in literature as causative/ anticausative alternation (HASPELMATH, 1987, 1993; LEVIN RAPPAPORT HOVAV, 1992, 1995; NAVES, 1998, 2005; VAN HOUT, 2004; OLIVEIRA, 2011; KALLULLI, 2007). In order to do so, I analyze the grammatical role of this morpheme with two Shimakonde native consultants from different Mozambique districts (Mocimboa da Praia and Montepuez). Te feldwork activities consisted of translations of sentences from Portuguese to Shimakonde, testing the grammaticality of the proposed sentences. In order to examine the data that were collected, I adopted the Alexiadou, Anagnostopoulou and Schäfer (2006) refnement of the verbal categories by Levin Rappaport Hovav (1992, 1995). One of the results obtained is that the verbal extensions display an atelic reading (giving rise to stative interpretation) or a telic reading (giving rise to anticausative or passive interpretation). To account for the different interpretations in these constructions, I propose distinct associations between Asp head and Voice head in accordance with Kratzer (1996), Pylkkänen (2002), van Hout (2004), and Oliveira (2010).

Introduction. The article shows that as the number of ethno-national conflicts increases in almost all parts of the world, secession processes are becoming more and more popular. At the same time, the legal and political mechanisms for preventing secession may differ radically depending on national characteristics. But even those mechanisms that have shown their effectiveness for a long period under certain (crisis) conditions stop working, forcing states to look for new tools to prevent secession of their regions. The purpose and objectives of the study. The purpose of the study is to study the experience of preventing secession of the national regions of the UK in the process of leaving the EU. It is argued that the strict instruments of limiting the autonomy of the re-gions were not only ineffective, but increased the risk of the collapse of the country. The task of analyzing changes in the regional policy of the United Kingdom in the Brexit process is set. Methodology. The methodo-logical model of A. Liphart, the classical approach of A.V. Daisi to the definition of parliamentary sovereignty is used. General scientific methods of generalization and system analysis are also used. The results of the study. It is proved that tough tools to prevent secession in the crisis conditions of the UK’s withdrawal from the EU proved ineffective and, on the contrary, stimulated separatist sentiments in the national regions of the country. Conclusion. It is concluded that only the use of flexible forms of interaction and the formation of new partner-ship instruments allowed to avoid secession of regions. This required the development of new legal and political instruments of interaction and cooperation between the central government and local elites.

The article deals with an encounter between Julie Hagen Schwarz, a Baltic German artist (1824–1902), and the Ausburg artist Moritz Rugendas (1802–1858), which was of great importance for the former, while she was studying in Munich around 1850. It also deals with the first presentation of her work in the Munich artist community, which resulted from cooperation with and promotion by Rugendas. Special attention is paid to the history of Hagen’s “Portrait of Moritz Rugendas in Brasilian Costume”, which originated from the artist’s close cooperation with the master Rugendas. Its presentation in the Munich and Augsburg Art Associations (Kunstverein) in October 1849 and May 1850 and the effect this had on the artistic career of Julie Hagen is examined. From this moment on, her works were discussed by colleagues and important personalities. She received many portrait commissions and her works were shown at several exhibitions in Munich and Augsburg. A discussion on the whereabouts of the still lost original painting and the provenance and authorship of a smaller copy in the collection of the Kadriorg Museum in Tallinn, which until now was identified as a “Self-Portrait” by Moritz Rugendas, follows. The attribution and the provenance of the preserved work from the Liphart collection are considered, along with the source texts, which suggest that Julie Hagen was the author and a correction of the attribution is in order.The collected findings published here were developed from the preserved letters of Julie Hagen, which, as rich and unique source material, show the artistic career of the painter. As a representative of her generation of female artists, it also provides an insight into the social context and educational situation of ambitious female painters around 1850. In connection with the correct attribution, the art-history investigation and positioning of the artist in the art community, it is hoped that the uncertainty that currently exists when evaluating the artistic performance of female painters and the low status assigned to them in exhibitions and the acquisition policy of museums will give way to growing interest, understanding and greater recognition.

Asian weaver ants (Oecophylla smaragdina) are an important biocontrol agent in agricultural habitats. We conducted surveys in oil palm plantations in Riau, Indonesia for an obligate myrmecophilous butterfly larvae, Liphyra brassolis (Lepidoptera, Lycaenidae), that is known to consume weaver ant larvae in other habitat types. We found L. brassolis larvae in five of the twenty nests surveyed, with larval presence not being related to weaver ant nest size. We also observed L. brassolis larvae in a weaver ant mass rearing facility. This is the first report of L. brassolis from oil palm plantations and may have implications for the use of weaver ants as biological control agents.

We have discussed the use of naftidrofuryl oxalate (Praxilene - Lipha) in peripheral vascular disease, senile dementia and acute cerebrovascular disease several times over the past 16 years. On each occasion we concluded that the evidence that naftidrofuryl gave clinical benefit was at best equivocal, and further trials were needed. We now review recent trials and other new information about the drug.

The following are abstracts of presentations given to a workshop on Raynaud's Phenomenon held at the Royal College of Physicians and Surgeons of Glasgow on 9 November 1984. The workshop was sponsored by Bayer UK Ltd, Cyanamid of Great Britain, Lipha Pharmaceuticals Ltd, Medmek Ltd, Merck, Sharpe and Dohme Ltd, Pfizer Central Research, Schering Chemicals Ltd, Sterling Research Laboratories, Vacuum Reflex and Wellcome Research Foundation.

Glyceryl trinitrate (GTN – nitroglycerin) is one of the oldest synthetic drugs still in widespread use. Sublingual tablets have been used for over a century for rapid, short-term prophylaxis and relief of angina pectoris. More recently three sublingual sprays have been marketed – Nitrolingual (Lipha), Coro-Nitro (Boehringer Mannheim) and Glytrin (Sanofi Winthrop). Advantages claimed for the spray formulation include greater convenience, a more rapid action and a longer storage life. How important are these properties in practice?

The University of the Free State Language Policy 2024 takes off from the premise that, firstly, students come from diverse linguistic backgrounds, of which the majority come from a Sesotho language background. Secondly, when our students join the university, they are confronted by English as the medium of instruction which is not their language, thus, it creates a barrier to effective learning. Thirdly, when our students join their specific disciplines, they are also confronted by unfamiliar environments of new disciplinary terminology and concepts which they are expected to learn and master in a foreign language. The language policy made a conscious commitment to develop and intellectualise Sesotho so that it becomes an academic language and a resource for supporting academic access and success for African students, in alignment with the Language Policy Framework for Higher Education 2020. This paper employs a literature-based methodological approach, focusing on a single university as a qualitative case study. Underpinned by the Language Management Theory, we argue that the African indigenous language, Sesotho, requires an effective and conscious process of intellectualisation. Strategies like terminology development are proposed to effectively support the learning of new concepts and theories across disciplines and thus reduce the burden imposed by English instruction among Sesotho speakers. The paper also argues that the intellectualisation of African languages in higher education is critical for ensuring that African students are not provided access without support in the persistent English monolingual higher education fraternity. IQOQA INqubomgomo Yolimi YeNyuvesi YaseFreyistata Yowezi-2024 isusela embonweni wokuthi, okokuqala, abafundi baphuma ezizindeni ezahlukene zezilimi, iningi labo liphuma emakhaya okukhulunywa ulimi lweSesotho. Okwesibili, uma abafundi bengena enyuvesi babhekana nesiNgisi njengolimi lokufundisa okungelona ulimi lwabo, ngaleyo ndlela, kudala isithiyo ekufundeni ngempumelelo. Okwesithathu, lapho abafundi bengena emikhakheni yabo ehlukahlukene abazikhethele yona baphinde babhekane nezimo ezingajwayelekile zamagama amasha aqondene nemikhakha yemfundo abakuyo okulindeleke ukuthi bawafunde futhi bawazi kahle ngolimi lwangaphandle. Inqubomgomo yolimi inika isibophezelo ekuthuthukiseni nasekuhlakanishisweni kweSesotho ukuze sibe ulimi lolwazimfundo kanye nensizakusebenza yokweseka abafundi abangama-Afrika ukuba bafinyelele kulwazimfundo ngempumelelo. Le nqubomgomo iyahambisana futhi noHlaka Lwenqubomgomo Yolimi Yemfundo Ephakeme wezi-2020. Ukubukwa kwalezi zinqubomgomo neminye imibhalo yocwaningo kungenye yezindlela zocwaningo ezisetshenzisiwe njengocwaningo lwesimo ngaphansi kwendlelande yocwaningo lobunjalo botho. Leli phepha elisekelwe Injulalwazi Yokulawulwa Kolimi liqakulisa ngokuthi ulimi lomdabu lwase-Afrika, iSesotho, ludinga inqubo esebenzayo neqaphelayo yobuhlakani ngokusebenzisa amasu afana nokwakhiwa kwamagama. Lokhu kusemqoka ukuze kusekele ngempumelelo ukufundwa kwemicabangonzulu nezinjulalwazi ezintsha emikhakheni yemfundo abakuyo abafundi abakhuluma ulimi lweSesotho. Okunye futhi lokhu kuzophinde kunciphise amandla athweswa isiNgisi phakathi kwabakhulumi bolimi lweSesotho. Leli phepha liphinde liphakamise ukuhlakanishiswa kwezilimi zomdabu zase-Afrika emfundweni ephakeme kubalulekile ukuze kuqinisekiswe ukuthi abafundi abangama-Afrika abanikezwa amathuba okufunda ngaphandle kokusekwa kodwa benikwa imfundo yesiNgisi ewubulimibunye.

The aspiration for truth that was a feature of the Age of Enlightenment was also a driving force for studying Baltic history, and for describing and drawing old buildings and ruins. This activity became more systematic in the next century, when the Baltic educated literati established learned societies. However, when the University of Tartu was reopened in 1802, the professor of aesthetics and related subjects focused on classical antiquity and neglected local art history. It was only in 1919, when the University was reorganised as a national institution of the independent Republic of Estonia, that a separate chair was established for art history. The competition for the first professor of art history resulted in the invitation of a Swedish art historian Tor Helge Kjellin (1885–1984), who launched the systematic study of local mediaeval heritage, especially churches. His arrival in Tartu in 1922 can be considered the starting point of the professionalisation of the research of Estonian art history.&#x0D; Estonian art historiography has been studied sporadically since the 1960s, with only a few articles published before the 2010s on the beginnings of professional art history education at the University of Tartu. The Soviet occupation of Estonia made it impossible to travel abroad to study Helge Kjellin’s written legacy in Swedish archives. After the restoration of Estonia’s independence, a new interest in Estonian art historiography emerged. The leading researchers of Estonian art historiography have been Juta Keevallik and Professor Krista Kodres, who have inspired me to study the 1920s.&#x0D; In 1919, following the example of the Nordic countries, a ‘chair of aesthetics and general history of art’ was also established at the University of Tartu. Yet it was not until the Estonian state had acquired part of the art collection of the Liphart Baltic German noble family that the competition for the chair of art history was launched in June of 1920. A year later, the Viennese professor Josef Strzygowsky was elected as the first professor of art history, but since he declined, the next candidate in the competition, the art history docent from Lund University, Helge Kjellin, was invited. He arrived in Tartu the next year, on 17 January 1922. On 23 January, he already appealed to the university rector to allocate rooms for his art history seminar:&#x0D; After all, art history is a new discipline at this university and so the university library is not stocked well enough with special literature on art history. Therefore, I have brought with me my own library […], and picture collection (photographs, slides, etc).&#x0D; Professor Kjellin pointed out that the art history seminar should also be provided with drawings and graphic art collections for the students to study different artistic techniques. He mentioned 15 chairs for students as part of the furniture needed for the seminar. However, a week later it turned out that about 40 students had registered for his seminars and about 100 wished to attend his lectures, most of them girls who thirsted for knowledge. In Estonia, art history was still regarded as a subject of general knowledge for the educated elite, rather than the scientific study of art, Kunstwissenschaft, which German scholars envisioned and had aspired to since the end of the 19th century, with the most important centres at the universities of Berlin and Vienna. However, it was precisely this new Scientific (or academic) art history that Kjellin wanted to establish in Tartu.&#x0D; Kjellin directly linked Tartu to Berlin. He had studied at Uppsala University with the Swedish art historian, then a docent, Johnny Roosval, and later at Lund University with Professor Ewert Wrangel. In turn, Heinrich Wölfflin and Adolph Goldschmidt were Roosval’s professors in Berlin. Roosval wanted to shape Swedish art history according to the German model. He inspired his students to choose Swedish mediaeval art as their subject, and Kjellin was one of the students who followed his advice. After graduating from Uppsala University in 1913, Kjellin worked at museums in Stockholm and Malmö, but was then invited by Wrangel to continue his studies in Lund where he also defended his doctoral thesis in 1917. Kjellin concentrated on the study of mediaeval Swedish churches. In Estonia as well, he wanted to discover the mediaeval influences from the island of Gotland on the churches in the Old Livonian island of Ösel and the county of Wiek (the western part of Estonia).&#x0D; Kjellin managed to engage at least some of his Estonian students to help him with his scholarly pursuits. In fact, the University of Tartu’s study system at that time encouraged students to already practice research methods in their first years. Seminars had a significant role in the teaching of art history at the beginning of the 20th century. Kjellin gave students practical exercises in the art history seminars at Tartu, e.g. they had to describe neoclassical buildings in the city of Tartu. Later they would catalogue the university library’s graphic collections. In seminars, they would present a paper on a chosen or given subject, but they would also discuss papers presented by their fellow students. During summer vacation, some students had the opportunity to put their knowledge into practice by helping Kjellin to describe churches in Saaremaa. Some more able students, who chose art history as their main subject, would even conduct independent research at archives in Tartu, Tallinn, and Riga, where they would also collect (photo)graphic and descriptive material on historic buildings and art.&#x0D; Kjellin already left the chair in Tartu in September of 1924 for financial reasons. The University of Tartu could not pay Kjellin the salary he requested because it was more than the Ministry of Education allowed.&#x0D; Foreign professors received larger salaries than Estonian professors anyway. Kjellin agreed to examine his students in 1925 as well and reviewed a few of his students’ master’s theses in 1926 and 1928. He also continued his research on Estonian medieval architecture and published a few studies in 1928 and 1932, but later dropped Estonian subjects from his fields of interest.&#x0D; As mentioned before, Kjellin had ca 100 art history students. A third of them took the final exam in art history. Only seven of them sat the exam at the most difficult level, which allowed them to defend a master’s degree in art history. Of these seven, only two defended their degree and only one of them – Voldemar Vaga – went to work as an art historian and later became Professor of Art History at the University of Tartu. Many of the female students who studied art history with Kjellin became history teachers in schools.&#x0D; However, Kjellin’s contribution to the study and teaching of art history, but also heritage conservation in Estonia, is fundamental. Together with the archaeology professor Aarne Michael Tallgren, he prepared the draft of the first heritage conservation law in Estonia, which was passed in the Estonian parliament in 1925. The study collections – photographs, slides, measurement drawings, and descriptions of the art history seminar (later cabinet) have retained their scholarly value even today. Although the chair of art history was left vacant starting from 1925, Sweden was once again the place from where the second professor of art history – Sten Ingvar Karling – was invited to Tartu in 1932. Kjellin had created excellent teaching conditions for the new professor and for future students to study art history at the University of Tartu.