Studies on hymenopteran parasitism of Drosophila

Studies on Hymenopteran Parasitism of Drosophila

Flies of the genus Drosophila are subject to attack by a number of parasitic forms. Sturtevant (1921) has listed records of parasitism by protozoa (Leptomonas), fungi (Muiaria and Stigmatomyces), nematodes, mites and v~rious hymenoptera. According to Sturtevant, Perkins (1913) has bred at least five species of hymenoptera, belonging to the proctotrupoid, cynipoid and chalcidoid groups, upon Drosophiline flies. H.S. Smith has bred an unidentified proctotrupoid and a chalcidoid, Pachy crepoideus dubius Ashmead* from both Drosophila melanogaster ani D. hydei. Kieffer ( 1913) has described three species of hymenoptera from Africa collected by Silvestri and stated by him to be parasitic on Drosophila, species not given. They are Trichopria (Planopria) rhopalica (Diapriidae), Ashmeadopria drosophilae (Diapriidae), and the insect which forms the subject matter of the present investigation, Eucoila drosophilae (Figitidae).

There are in addition a number of predacious enemies among wasps, spiders, flies and beetles.

The present account is concerned with parasitism of various species of Drosophila by Eucoila drosophilae Kieff. The wasps were found b y Dr. w. P. Spencer who exposed traps in an effort to collect Drosophila at Long Lake, Ohio, in Sept. 1934 . Drosophila larvae from the trap gave a large number of pupae from which wasps emerged in considerable proportions. Since that time stock s have been maintained in culture on Drosophila melanogaster.

The Art of Madness

The nineteenth century was not an entirely kind time for the female artist. Coming of age as the 1800’s bridged into its latter half, literary artists Elizabeth Stuart Phelps Ward, Charlotte Perkins Gilman, and Kate Chopin were all well aware of their uncharitable culture. Equipped with firm feminist bents and creative visions, each of three women produced a seminal work – The Story of Avis, “The Yellow Wallpaper,” and The Awakening, respectively – taking that atmosphere to task. In these stories, each of the three women produces a female protagonist who struggles for having been born simultaneously an artist and a woman. The writers pit their women’s desires against the restrictive latitude of their time and show how such conditions drive women to madness, as a result of which they are forced to either escape into the blind mind of insanity or deal daily with their pain and inescapable societal condemnation. In an age where “hysteria” was a frequent hit in the vernacular, Phelps, Gilman and Chopin use art and literature as mediums to show that, indeed, there is a method behind the madness.