Angularella audubonensis sp. n. (Dilepididae) and Other Cestodes of Cliff Swallows in Colorado

One hundred forty-five cliff swallows, Petrochelidon pyrrhonota, were examined for cestodes in two separate surveys in Weld County, Colorado. Seven species representing four genera were found. Angularella audubonensis sp. n. is differentiated by the small size of the rostellar hooks (8.4-13.5 μm) and the medial relationship of the cirrus pouch to the osmoregulatory canals. Other species collected were Angularella beema, Anonchotaenia globata, Mayhewia ababili, Vitta magniuncinata, Vitta parvirostris and Vitta riparia. Seven new hosts and geographic distribution records were established for Colorado, and six new records were determined for North America.

Effectiveness of a White-Tailed Deer Exclusion Fence Based on Traction Limitations of the Hoof: The Slippery Fence

We hypothesized that an exclusion fence could be devised to capitalize on traction limitations of the hooves of white-tailed deer (Odocoileus virginianus). Hexagonal plots (9.8 m wide) enclosed by a 2.4 m field fence with two openings (4.9 m) were established. Data were collected daily on consumption of corn provided (2.27 kg) and events recorded by infrared monitors (IR) for treatment and control sites. Five-day treatment periods consisted of test panels (4.9 m x 2.4 m) placed in plot openings at 0°, 5° and 10° slopes, and lubricant applied at the 10° slope. Deer consumed all corn provided at control sites. At the 10° slope, daily corn consumption decreased (1.50 kg ± 0.26, p < .01), and IR events were lower (p < .01) at treatment sites (23.6 ± 3.2) compared to controls (50.3 ± 9.6). With the addition of a lubricant, corn consumption decreased further (p < .001) to 0.17 kg ± 0.03, and IR recorded events were lower (p < .001) at treatment sites (6.58 ± 0.89) compared to controls (44.8 ± 3.1). Results of this study indicate that traction limitation of the hoof can be exploited.

Empathy Conditioned Conservation: “Walking-in-the-Shoes-of-Others” as a Conservation Farmer

Since the destruction and despair caused by the dust bowl of the 1930’s, Americans and their government have taken a keen interest in natural resource conservation policy on agricultural land. The Soil Conservation and Domestic Allotment Act of 1936 was the first farm bill to include provisions that provided payments to farmers willing to employ soil conservation measures (Cain and Lovejoy, 2004). While the main purpose of this bill was to provide financial support to impoverished farmers, the fact remains that natural resource conservation was starting to become an important issue for the American public.

WOLF CONTROL IN BRITISH COLUMBIA, CANADA

Up to 1949, the Fish and Game Branch employed personnel, some of whom were temporary, to attempt control of the extremely high wolf pop¬ulations of the central and northern portions of British Columbia. Coyotes were also very numerous in the central and southern regions and had to be considered because of their depredations. The field men were keen and conscientious but their efforts were not co-ordinated. Control areas were severely restricted in size as techniques were not adaptable enough and because of a lack of manpower. Eventually, sheepmen went out of business entirely over wide areas, cattlemen were subjected to huge annual losses, and sportsmen were very concerned. However, stock losses constituted the major complaint and resulted in ranchers demanding action* Two major changes came out of this. First, the bounty on wolves was raised and second, the present Predator Control Division was formed. The administration was convinced that a force of experienced, fully-trained field staff under a single supervision would be far more effective than bounty payments. Unfortunately, bounties were in vogue during that time and forced the necessity of proving the worth of organized controls before any consideration could be given to the elimination of the bounty system.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton

Pissing Glass and the Body Crass: Adaptations of the Scatological in Théophile

Examination of scatological motifs in Théophile de Viau’s (1590-1626) libertine, or ‘cabaret’ poetry is important in terms of how the scatological contributes to the depiction of the Early Modern body in the French lyric.1 This essay does not examine Théophile’s portrait of the body strictly in terms of the ‘Baroque’ or the ‘neo-Classical.’ Rather, it argues that the scatological context in which he situates the body (either his, or those of others), reflects a keen sensibility of the body representative of the transition between these two eras. Théophile reinforces what Bernard Beugnot terms the body’s inherent ‘eloquence’ (17), or what Patrick Dandrey describes as an innate ‘textuality’ in what the body ‘writes’ (31), and how it discloses meaning. The poet’s scatological lyric, much of which was published in the Pamasse Satyrique of 1622, projects a different view of the body’s ‘eloquence’ by depicting a certain realism and honesty about the body as well as the pleasure and suffering it experiences. This Baroque realism, which derives from a sense of the grotesque and the salacious, finds itself in conflict with the Classical body which is frequently characterized as elegant, adorned, and ‘domesticated’ (Beugnot 25). Théophile’s private body is completely exposed, and, unlike the public body of the court, does not rely on masking and pretension to define itself. Mitchell Greenberg contends that the body in late sixteenth-century and early seventeenth-century French literature is often depicted in a chaotic manner because, ‘the French body politic was rent by tumultuous religious and social upheavals’ (62).2 While one could argue that Théophile’s portraits of a syphilis-ridden narrators are more a reflection of his personal agony rather than that of France as a whole, what emerges in Théophile is an emphasis on the movement, if not decomposition of the body.3 Given Théophile’s public persona and the satirical dimension of his work, it is difficult to imagine that the degeneration he portrays is limited only to his individual experience. On a collective level, Théophile reflects what Greenberg calls ‘a continued, if skewed apprehension of the world in both its physical and metaphysical dimensions’(62–3) typical of the era. To a large extent, the body Théophile depicts is a scatological body, one whose deterioration takes the form of waste, disease, and evacuation as represented in both the private and public domain. Of course, one could cast aside any serious reading of Théophile’s libertine verse, and virtually all of scatological literature for that matter, as an immature indulgence in the prurient. Nonetheless, it was for his dissolute behavior and his scatological poetry that Théophile was imprisoned and condemned to death. Consequently, this part of his work merits serious consideration in terms of the personal and poetic (if not occasionally political) statement it represents. With the exception of Claire Gaudiani’s outstanding critical edition of Théophile’s cabaret lyric, there exist no extensive studies of the poet’s libertine œuvre.4 Clearly however, these poems should be taken seriously with respect to their philosophical and aesthetic import. As a consequence, the objective becomes that of enhancing the reader’s understanding of the lyric contexts in which Théophile’s scatological offerings situate themselves. Structurally, the reader sees how the poet’s libertine ceuvre is just that — an integrated work in which the various components correspond to one another to set forth a number of approaches from which the texts are to be read. These points of view are not always consistent, and Théophile cannot be thought of as writing in a sequential manner along the lines of devotional Baroque poets such as Jean de La Ceppède and Jean de Sponde. However, there is a tendency not to read these poems in their vulgar totality, and to overlook the formal and substantive unity in this category of Théophile’s work. The poet’s resistance to poetic and cultural standards takes a profane, if not pornographic form because it seeks to disgust and arouse while denigrating the self, the lyric other, and the reader. Théophile’s pornography makes no distinction between the erotic and scatological. The poet conflates sex and shit because they present a double form of protest to artistic and social decency while titillating and attacking the reader’s sensibilities. Examination of the repugnant gives way to a cathartic experience which yields an understanding of, if not ironic delight in, one’s own filthy nature.