Journal articles on the topic 'Parc national du Mercantour (France)'

Observations of Bombus gerstaeckeri Morawitz (Hymenoptera, Apidae) foraging Dephinium dubium (Rouy and Fouc.) Pawl. (Ranunculaceae) in the Massif des Écrins (Hautes-Alpes, France). Bombus gerstaeckeri Morawitz, well-known as a bumblebee specialized on monkshood (Aconitum, Ranunculaceae), was observed in August 2006 in various localities of the Parc Naturel National des Ecrins (Hautes- Alpes, France). In one of the stations, the author noted regular visits of this bumblebee on Delphinium dubium (Rouy et Fouc.) Pawl. (Ranunculaceae), which has never been reported before.

ABSTRACT A real-time PCR assay with locked nucleic acid probes was developed to screen mutations at codons 79 and 83 of the Streptococcus pneumoniae parC gene. Only silent mutations were detected among 236 French invasive fluoroquinolone-susceptible strains. This test could be useful for some high-risk patients or in national surveys.

A new species of the genusStygepactophanesMoeschler & Rouch, 1984 (Copepoda, Harpacticoida, Canthocamptidae) is established to accommodate a small canthocamptid population collected from a spring system in the “Parc du Mercantour”, Var catchment, southern France. The population analysed in the present study is defined by a set of morphological characters of the female, namely a very large maxilliped, a rudimentary mandibular palp, P1 with 3-segmented exopod and 2-segmented endopod, a falcate terminal claw of the P1 endopod, dorsal seta of caudal rami inserted on the inner margin, and anal operculum not overreaching the insertion of the caudal rami, thus supporting its assignment into the genusStygepactophanes. The new speciesStygepactophanesoccitanusshows marked differences with the nominotypical species of the genus that was originally described by monotypy with the speciesStygepactophanesjurassicusMoeschler & Rouch, 1984. The main diagnostic traits ofS.jurassicusare the absence of the P5 and a falcate outer terminal claw of P1 endopod.Stygepactophanesjurassicusalso shows a reduced armature of the antennal exopod, bearing one seta, 1-segmented P2–P4 endopods, a reduced armature of P2–P4 exopodal segments 3 (3,4,4 armature elements, respectively), P6 bearing only one long seta, a rounded short and smooth anal operculum. Conversely the female ofS.occitanusGalassi & Fiers,sp. n.has a well-developed P5, with rudimentary intercoxal sclerite, together with a falcate outer terminal claw of P1 endopod, antennal exopod bearing two elements, P4 endopod 1-segmented versus 2-segmented in P2–P3, P2–P4 exopodal segment 3 with five armature elements, P6 with three setae of different lengths, rounded anal operculum, bearing 3–4 strong spinules.According to our present knowledge,S.occitanusGalassi & Fiers,sp. n.is assigned to the genusStygepactophanesas the most conservative solution, waiting for the male to be discovered. The genusStygepactophanesrepresents a distinct lineage within the harpacticoid family Canthocamptidae that colonised southern European groundwater, the genus being known only from the saturated karst in Switzerland and a fissured saturated aquifer in southern France. Both species of the genus are stygobites and narrow endemics, the nominotypical species being known from the type locality Source de la Doux in Délemont (Switzerland), andS.occitanusGalassi & Fiers,sp. n.described herein from a spring system of the Var catchment (France).

L’étude de cas proposée dans le cadre de cette contribution se situe dans le département des Pyrénées-Atlantiques, dans le sud-ouest de la France, limitrophe de l’Espagne. Ce département, dont une partie est intégrée au Parc national des Pyrénées, propose une vingtaine de routes thématiques et compte depuis 2008 un nouvel itinéraire appelé la Route géologique transpyrénéenne. Notre hypothèse de travail appréhende, par l’étude de cet itinéraire, le point de vue de l’aménagement touristique en étudiant sept équipements, disposés le long d’un axe routier préexistant à forte circulation et au sein d’espaces publics urbains.

ABSTRACT Resistance to fluoroquinolone (FQ) antibiotics inStreptococcus pneumoniae has been attributed primarily to specific mutations in the genes for DNA gyrase (gyrA andgyrB) and topoisomerase IV (parC andparE). Resistance to some FQs can result from a single mutation in one or more of the genes encoding these essential enzymes. A group of 160 clinical isolates of pneumococci was examined in this study, including 36 ofloxacin-resistant isolates (MICs, ≥8 μg/ml) recovered from patients in North America, France, and Belgium. The susceptibilities of all isolates to clinafloxacin, grepafloxacin, levofloxacin, sparfloxacin, and trovafloxacin were examined by the National Committee for Clinical Laboratory Standards reference broth microdilution and disk diffusion susceptibility testing methods. Among the ofloxacin-resistant strains, 32 of 36 were also categorized as resistant to levofloxacin, 35 were resistant to sparfloxacin, 29 were resistant to grepafloxacin, and 19 were resistant to trovafloxacin. In vitro susceptibility to clinafloxacin appeared to be least affected by resistance to the other FQs. Eight isolates with high- and low-level resistance to the newer FQs were selected for DNA sequence analysis of the quinolone resistance-determining regions (QRDRs) ofgyrA, gyrB, parC, andparE. The DNA and the inferred amino acid sequences of the resistant strains were compared with the analogous sequences of reference strain S. pneumoniae ATCC 49619 and FQ-susceptible laboratory strain R6. Reduced susceptibilities to grepafloxacin and sparfloxacin (MICs, 1 to 2 μg/ml) and trovafloxacin (MICs, 0.5 to 1 μg/ml) were associated with either a mutation inparC that led to a single amino acid substitution (Ser-79 to Phe or Tyr) or double mutations that involved the genes for both GyrA (Ser-81 to Phe) and ParE (Asp-435 to Asn). High-level resistance to all of the compounds except clinafloxacin was associated with two or more amino acid substitutions involving both GyrA (Ser-81 to Phe) and ParC (Ser-79 to Phe or Ser-80 to Pro and Asp-83 to Tyr). No mutations were observed in the gyrB sequences of resistant strains. These data indicate that mutations in pneumococcal gyrA,parC, and parE genes all contribute to decreased susceptibility to the newer FQs, and genetic analysis of the QRDR of a single gene, either gyrA or parC, is not predictive of pneumococcal resistance to these agents.

L’auteur de cet article revient sur les causes ayant provoqué la disparition des salles de cinéma en Afrique sud saharienne, phénomène propre à cette étendue géographique vaste comme treize fois la France. Après l’immobilisme du duopole français COMACICO-SECMA qui a cumulé durant un demi-siècle les fonctions d’importation et de distribution de la quasi-totalité des films, d’exploitation directe de la majorité du parc et de programmation des autres salles de la zone, l’aveuglement idéologique et la défense à court terme des intérêts corporatifs des cinéastes africains durant les deux décennies suivant les indépendances ont signé la disparition de toute la filière cinéma dans les années 1980. La méconnaissance des marchés internationaux de la distribution, l’absence de formation des exploitants, l’atomisation des marchés qui se sont repliés sur le pré carré national, le refus d’une billetterie contrôlée par la puissance publique, auxquels s’ajoutent la corruption et le piratage : les bases minimales d’une régulation étatique des marchés manquent encore, empêchant toujours la reconstruction des salles comme de toute la filière cinématographique.

From the long-term monitoring of isard females ( Rupicapra pyrenaica pyrenaica Bonaparte, 1845) marked in two areas of the Parc National des Pyrénées (France) with a quite constant population size for 20 years, we have conducted an analysis of age variation in recruitment (estimated as the proportion of offspring surviving through the winter per female). As predicted for a well-established high-density population, recruitment rates were low for young females (0.156 at 3 years of age and 0.221 at 4 years of age), but also for prime-aged females (0.414 per year for 5–16 year old females). No female older than 16 that we monitored recruited in any year. Recruitment rates were highly variable among females, among years (0.183 in 2002 vs. 0.635 in 1996 for prime-age females), and among areas (0.562 kid at Mayouret vs. 0.359 at Péguère). The use of an age-structured demographic model allowed us then to compare population dynamics between the well-established isard population in the Park and the colonizing population of isards at Bazès, in the eastern part of the Pyrénées. As predicted, the natural rate of increase of the isard population was much higher at Bazès (1.262) than in the Park (1.037). Likewise, the age structure of isard in the Park markedly differed from that obtained at Bazès (50% of females were younger than 5 years of age, and 19% were older than 10 years of age in the Park versus 67% and only 3.6%, respectively, at Bazès). Such differences in both population growth and age structure between isard populations with contrasted demographic regimes were well illustrated by marked differences in generation time (4.97 years at Bazès vs. 8.25 years in the Park). Our comparative study therefore demonstrates that generation time can vary markedly in relation to the demographic status within a given species.

ABSTRACTNatural samples of soil, sediment and natural water were collected in the “Parc National du Mercantour” in France. Soil and sediment samples were studied to better understand the behaviors of radionuclides (RNs) in different natural compartments. Considering 137Cs and 241Am activities in depth (measured by α- and γ-spectrometries), two types of sediment profiles can be distinguished depending on the origin (Chernobyl accident or atmospheric nuclear weapon tests). Due to difficulties in modeling the dispersion of those RNs in natural samples, even in a protected area, semi-synthetic studies were conducted. Eu(III) was used as an analogue of Am(III). Eu behavior in water was studied by EXAFS and compared to speciation diagrams drawn in similar chemical conditions. Eu is mainly complexed by carbonate and phosphate ions. The mean Eu-O distance (2.46 Å) obtained by EXAFS is in agreement with predominant solid species determined by speciation diagrams and previous published studies.

IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas and their like” (McGillivray 134–35) transforming natural vistas into theatrical scenes. Such a transformation was made possible by a habit of spectating that was informed by the theatrical metaphor or theatrum mundi, one version of which emphasised the relationship between spectator and the thing seen. The idea of the natural world as an aesthetic object first developed in poetry and painting and then through English landscape garden style was wrought in three dimensions on the land itself. From representations of place a theatrical transformation occurred so that gardens became a places of representation.“The Genius of the Place in All”The eighteenth century inherited theatrum mundi from the Renaissance, although the genealogy of its key features date back to ancient times. Broadly speaking, theatrum mundi was a metaphorical expression of the world and humanity in two ways: dramaturgically and formally. During the Renaissance the dramaturgical metaphor was a moral emblem concerned with the contingency of human life; as Shakespeare famously wrote, “men and women [were] merely players” whose lives consisted of “seven ages” or “acts” (2.7.139–65). In contrast to the dramaturgical metaphor with its emphasis on role-playing humanity, the formalist version highlighted a relationship between spectator, theatre-space and spectacle. Rooted in Renaissance neo-Platonism, the formalist metaphor configured the world as a spectacle and “Man” its spectator. If the dramaturgical metaphor was inflected with medieval moral pessimism, the formalist metaphor was more optimistic.The neo-Platonist spectator searched in the world for a divine plan or grand design and spectatorship became an epistemological challenge. As a seer and a knower on the world stage, the human being became the one who thought about the world not just as a theatre but also through theatre. This is apparent in the etymology of “theatre” from the Greek theatron, or “seeing place,” but the word also shares a stem with “theory”: theaomai or “to look at.” In a graceful compression of both roots, Martin Heidegger suggests a “theatre” might be any “seeing place” in which any thing being beheld offers itself to careful scrutiny by the beholder (163–65). By the eighteenth century, the ancient idea of a seeing-knowing place coalesced with the new empirical method and aesthetic sensibility: the world was out there, so to speak, to provide pleasure and instruction.Joseph Addison, among others, in the first half of the century reconsidered the utilitarian appeal of the natural world and proposed it as the model for artistic inspiration and appreciation. In “Pleasures of the Imagination,” a series of essays in The Spectator published in 1712, Addison claimed that “there is something more bold and masterly in the rough careless strokes of nature, than in the nice touches and embellishments of art,” and compared to the beauty of an ordered garden, “the sight wanders up and down without confinement” the “wide fields of nature” and is “fed with an infinite variety of images, without any certain stint or number” (67).Yet art still had a role because, Addison argues, although “wild scenes [. . .] are more delightful than any artificial shows” the pleasure of nature increases the more it begins to resemble art; the mind experiences the “double” pleasure of comparing nature’s original beauty with its copy (68). This is why “we take delight in a prospect which is well laid out, and diversified, with fields and meadows, woods and rivers” (68); a carefully designed estate can be both profitable and beautiful and “a man might make a pretty landskip of his own possessions” (69). Although nature should always be one’s guide, nonetheless, with some small “improvements” it was possible to transform an estate into a landscape picture. Nearly twenty years later in response to the neo-Palladian architectural ambitions of Richard Boyle, the third Earl of Burlington, and with a similarly pictorial eye to nature, Alexander Pope advised:To build, to plant, whatever you intend,To rear the Column, or the Arch to bend,To swell the Terras, or to sink the Grot;In all, let Nature never be forgot.But treat the Goddess like a modest fair,Nor over-dress, nor leave her wholly bare;Let not each beauty ev’ry where be spy’d,Where half the skill is decently to hide.He gains all points, who pleasingly confounds,Surprizes, varies, and conceals the Bounds.Consult the Genius of the Place in all;That tells the Waters or to rise, or fall,Or helps th’ ambitious Hill the heav’ns to scale,Or scoops in circling theatres the Vale,Calls in the Country, catches opening glades, Joins willing woods, and varies shades from shades,Now breaks or now directs, th’ intending Lines;Paints as you plant, and, as you work, designs. (Epistle IV, ll 47–64) Whereas Addison still gestured towards estate management, Pope explicitly advocated a painterly approach to garden design. His epistle articulated some key principles that he enacted in his own garden at Twickenham and which would inform later garden design. No matter what one added to a landscape, one needed to be guided by nature; one should be moderate in one’s designs and neither plant too much nor too little; one must be aware of the spectator’s journey through the garden and take care to provide variety by creating “surprises” that would be revealed at different points. Finally, one had to find the “spirit” of the place that gave it its distinct character and use this to create the cohesion in diversity that was aspired to in a garden. Nature’s aestheticisation had begun with poetry, developed into painting, and was now enacted on actual natural environments with the emergence of English landscape style. This painterly approach to gardening demanded an imaginative, emotional, and intellectual engagement with place and it stylistically rejected the neo-classical geometry and regularity of the baroque garden (exemplified by Le Nôtre’s gardens at Versailles). Experiencing landscape now took on a third dimension as wealthy landowners and their friends put themselves within the picture frame and into the scene. Although landscape style changed during the century, a number of principles remained more or less consistent: the garden should be modelled on nature but “improved,” any improvements should not be obvious, pictorial composition should be observed, the garden should be concerned with the spectator’s experience and should aim to provoke an imaginative or emotional engagement with it. During the seventeenth century, developments in theatrical technology, particularly the emergence of the proscenium arch theatre with moveable scenery, showed that poetry and painting could be spectacularly combined on the stage. Later in the eighteenth century the artist and stage designer Philippe Jacques de Loutherbourg combined picturesque painting aesthetics with theatrical design in works such as The Wonders of Derbyshire in 1779 (McGillivray 136). It was a short step to shift the onstage scene outside. Theatricality was invoked when pictorial principles were applied three dimensionally; gardens became sites for pastoral genre scenes that ambiguously positioned their visitors both as spectators and actors. Theatrical SceneryGardens and theatres were explicitly connected. Like “theatre,” the word “garden” was sometimes used to describe a collection, in book form, which promised “a whole world of items” which was not always “redeemable” in “straightforward ways” (Hunt, Gardens 54–55). Theatrum mundi could be emblematically expressed in a garden through statues and architectural fabriques which drew spectators into complex chains of associations involving literature, art, and society, as they progressed through it.In the previous century, writes John Dixon Hunt, “the expectation of a fine garden [. . .] was that it work upon its visitor, involving him [sic] often insidiously as a participant in its dramas, which were presented to him as he explored its spaces by a variety of statues, inscriptions and [. . .] hydraulically controlled automata” (Gardens 54). Such devices, which featured heavily in the Italian baroque garden, were by the mid eighteenth century seen by English and French garden theorists to be overly contrived. Nonetheless, as David Marshall argues, “eighteenth-century garden design is famous for its excesses [. . .] the picturesque garden may have aimed to be less theatrical, but it aimed no less to be theater” (38). Such gardens still required their visitors’ participation and were designed to deliver an experience that stimulated the spectators’ imaginations and emotions as they moved through them. Theatrum mundi is implicit in eighteenth-century gardens through a common idea of the world reimagined into four geographical quadrants emblematically represented by fabriques in the garden. The model here is Alexander Pope’s influential poem, “The Temple of Fame” (1715), which depicted the eponymous temple with four different geographic faces: its western face was represented by western classical architecture, its east face by Chinese, Persian, and Assyrian, its north was Gothic and Celtic, and its south, Egyptian. These tropes make their appearance in eighteenth-century landscape gardens. In Désert de Retz, a garden created between 1774 and 1789 by François Racine de Monville, about twenty kilometres west of Paris, one can still see amongst its remaining fabriques: a ruined “gothic” church, a “Tartar” tent (it used to have a Chinese maison, now lost), a pyramid, and the classically inspired Temple of Pan. Similar principles underpin the design of Jardin (now Parc) Monceau that I discuss below. Retz: Figure 1. Tartar tent.Figure 2. Temple of PanStowe Gardens in Buckinghamshire has a similar array of structures (although the classical predominates) including its original Chinese pavillion. It, too, once featured a pyramid designed by the architect and playwright John Vanbrugh, and erected as a memorial to him after his death in 1726. On it was carved a quote from Horace that explicitly referenced the dramaturgical version of theatrum mundi: You have played, eaten enough and drunk enough,Now is time to leave the stage for younger men. (Garnett 19) Stowe’s Elysian Fields, designed by William Kent in the 1730s according to picturesque principles, offered its visitor two narrative choices, to take the Path of Virtue or the Path of Vice, just like a re-imagined morality play. As visitors progressed along their chosen paths they would encounter various fabriques and statues, some carved with inscriptions in either Latin or English, like the Vanbrugh pyramid, that would encourage associations between the ancient world and the contemporary world of the garden’s owner Richard Temple, Lord Cobham, and his circle. Stowe: Figure 3. Chinese Pavillion.Figure 4. Temple of VirtueKent’s background was as a painter and scene designer and he brought a theatrical sensibility to his designs; as Hunt writes, Kent particularly enjoyed designing “recessions into woodland space where ‘wings’ [were] created” (Picturesque 29). Importantly, Kent’s garden drawings reveal his awareness of gardens as “theatrical scenes for human action and interaction, where the premium is upon more personal experiences” and it this spatial dimension that was opened up at Stowe (Picturesque 30).Picturesque garden design emphasised pictorial composition that was similar to stage design and because a garden, like a stage, was a three-dimensional place for human action, it could also function as a set for that action. Unlike a painting, a garden was experiential and time-based and a visitor to it had an experience not unlike, to cautiously use an anachronism, a contemporary promenade performance. The habit of imaginatively wandering through a theatre in book-form, moving associatively from one item to the next, trying to discern the author’s pattern or structure, was one educated Europeans were used to, and a garden provided an embodied dimension to this activity. We can see how this might have been by visiting Parc Monceau in Paris which still contains remnants of the garden designed by Louis Carrogis (known as Carmontelle) for the Duc de Chartres in the 1770s. Carmontelle, like Kent, had a theatrical background and his primary role was as head of entertainments for the Orléans family; as such he was responsible for designing and writing plays for the family’s private theatricals (Hays 449). According to Hunt, Carmontelle intended visitors to Jardin de Monceau to take a specific itinerary through its “quantity of curious things”:Visitors entered by a Chinese gateway, next door to a gothic building that served as a chemical laboratory, and passed through greenhouses and coloured pavilions. Upon pressing a button, a mirrored wall opened into a winter garden painted with trompe-l’œil trees, floored with red sand, filled with exotic plants, and containing at its far end a grotto in which supper parties were held while music was played in the chamber above. Outside was a farm. Then there followed a series of exotic “locations”: a Temple of Mars, a winding river with an island of rocks and a Dutch mill, a dairy, two flower gardens, a Turkish tent poised, minaret-like, above an icehouse, a grove of tombs [. . .], and an Italian vineyard with a classical Bacchus at its center, regularly laid out to contrast with an irregular wood that succeeded it. The final stretches of the itinerary included a Naumachia or Roman water-theatre [. . .], more Turkish and Chinese effects, a ruined castle, yet another water-mill, and an island on which sheep grazed. (Picturesque 121) Monceau: Figure 5. Naumachia.Figure 6. PyramidIn its presentation of a multitude of different times and different places one can trace a line of descent from Jardin de Monceau to the great nineteenth-century World Expos and on to Disneyland. This lineage is not as trite as it seems once we realise that Carmontelle himself intended the garden to represent “all times and all places” and Pope’s four quadrants of the world were represented by fabriques at Monceau (Picturesque 121). As Jardin de Monceau reveals, gardens were also sites for smaller performative interventions such as the popular fêtes champêtres, garden parties in which the participants ate, drank, danced, played music, and acted in comedies. Role playing and masquerade were an important part of the fêtes as we see, for example, in Jean-Antoine Watteau’s Fêtes Vénitiennes (1718–19) where a “Moorishly” attired man addresses (or is dancing with) a young woman before an audience of young men and women, lolling around a fabrique (Watteau). Scenic design in the theatre inspired garden designs and gardens “featured prominently as dramatic locations in intermezzi, operas, and plays”, an exchange that encouraged visitors to gardens to see themselves as performers as much as spectators (Hunt, Gardens 64). A garden, particularly within the liminal aegis of a fête was a site for deceptions, tricks, ruses and revelations, assignations and seductions, all activities which were inherently theatrical; in such a garden visitors could find themselves acting in or watching a comedy or drama of their own devising. Marie-Antoinette built English gardens and a rural “hamlet” at Versailles. She and her intimate circle would retire to rustic cottages, which belied the opulence of their interiors, and dressed in white muslin dresses and straw hats, would play at being dairy maids, milking cows (pre-cleaned by the servants) into fine porcelain buckets (Martin 3). Just as the queen acted in pastoral operas in her theatre in the grounds of the Petit Trianon, her hamlet provided an opportunity for her to “live” a pastoral fantasy. Similarly, François Racine de Monville, who commissioned Désert de Retz, was a talented harpist and flautist and his Temple of Pan was, appropriately, a music room.Versailles: Figure 7. Hamlet ConclusionRichard Steele, Addison’s friend and co-founder of The Spectator, casually invoked theatrum mundi when he wrote in 1720: “the World and the Stage [. . .] have been ten thousand times observed to be the Pictures of one another” (51). Steele’s reiteration of a Renaissance commonplace revealed a different emphasis, an emphasis on the metaphor’s spatial and spectacular elements. Although Steele reasserts the idea that the world and stage resemble each other, he does so through a third level of abstraction: it is as pictures that they have an affinity. World and stage are both positioned for the observer within complementary picture frames and it is as pictures that he or she is invited to make sense of them. The formalist version of theatrum mundi invokes a spectator beholding the world for his (usually!) pleasure and in the process nature itself is transformed. No longer were natural landscapes wildernesses to be tamed and economically exploited, but could become gardens rendered into scenes for their aristocratic owners’ pleasure. Désert de Retz, as its name suggests, was an artfully composed wilderness, a version of the natural world sculpted into scenery. Theatrum mundi, through the aesthetic category of the picturesque, emerged in English landscape style and effected a theatricalised transformation of nature that was enacted in the aristocratic gardens of Europe.ReferencesAddison, Joseph. The Spectator. No. 414 (25 June 1712): 67–70. Eighteenth Century Collections Online.Garnett, Oliver. Stowe. Buckinghamshire. The National Trust, 2011.Hays, David. “Carmontelle's Design for the Jardin de Monceau: A Freemasonic Garden in Late-Eighteenth-Century France.” Eighteenth-Century Studies 32.4 (1999): 447–62.Heidegger, Martin. The Question Concerning Technology and Other Essays. Trans. William Lovitt. New York: Harper and Row, 1977.Hunt, John Dixon. Gardens and the Picturesque: Studies in the History of Landscape Architecture. Cambridge, Massachusetts: MIT Press, 1992.———. The Picturesque Garden in Europe. London: Thames and Hudson, 2002.Marshall, David. The Frame of Art. Fictions of Aesthetic Experience, 1750–1815. Baltimore: Johns Hopkins UP, 2005.Martin, Meredith S. Dairy Queens: The Politics of Pastoral Architecture from Catherine de' Medici to Marie-Antoinette. Harvard: Harvard UP, 2011.McGillivray, Glen. "The Picturesque World Stage." Performance Research 13.4 (2008): 127–39.Pope, Alexander. “Epistle IV. To Richard Boyle, Earl of Burlington.” Epistles to Several Persons. London, 1744. Eighteenth Century Collections Online.———. The Temple of Fame: A Vision. By Mr. Pope. 2nd ed. London, 1715. Eighteenth Century Collections Online. Shakespeare, William. As You Like It. Ed. Agnes Latham. London: Routledge, 1991.Steele, Richard. The Theatre. No. 7 (23 January 1720).