Olfaction in the Queensland fruit fly, Bactrocera tryoni. I: Identification of olfactory receptor neuron types responding to environmental odors

The electroantennogram method was used to investigate the number of distinct olfactory receptor neuron types responding to a range of behaviorally active volatile chemicals in gravid Queensland fruit flies, Bactrocera tryoni. Three receptor neuron types were identified. One type responds to methyl butyrate, 2-butanone, farnesene, and carbon dioxide; a second to ethanol; and a third to n-butyric acid and ammonia. The receptor neuron type responding to methyl butyrate, 2-butanone, farnesene, and carbon dioxide consists of three subtypes. The presence of a limited number of receptor neuron types responding to a diverse set of chemicals and the reception of carbon dioxide by a receptor neuron type that responds to other odorants are novel aspects of the peripheral olfactory discrimination process.

Did they read Marx? Marx reception and social democratic party members in imperial Germany, 1890-1914

Did rank-and-file members of the German Social Democratic party before 1914 bother to read Marx? A number of studies of borrowing from trade union and other workers' libraries since the 1970s have indicated that workers who read Marx were rare, although this does not mean that workers' reading habits were not influenced by socialist ideas. However, for a broader understanding of the reception of Marx's writings among rank-and-file German socialists, it is necessary to consider not only books, but the pamphlet literature produced by the SPD in huge quantities, serialisations and other treatments in the party press, and oral communication. When the full range of sources is considered, the extent of the reception of Marx's writings, albeit often in very simplified forms, can be more fully appreciated.

The Seduction of Sarah: travel memoirs and intercultural learning

The paper explores the nexus between intercultural storytelling and intercultural learning. Noting the wide appeal of the travel memoir set in France, it takes as a case study a book that, while positioned within that genre, attempts to shift some predictable patterns: Sarah Turnbull’s best-selling Almost French. Analysis shows that the book in fact participates in a subtle play of genres, whereby the lure of the travel memoir is used to entice readers towards a position where they read the book as a guide to French culture. The particular form of hybridity attempted is, however, a delicate enterprise, as the reception of the book demonstrates, in that the intercultural lessons on offer risk being overshadowed by the expectations readers bring to the genre of the travel memoir. The paper examines the competing seductions operating throughout the text and relates the conditions for taking up the opportunity for intercultural learning to questions of genre. It offers a pedagogical uptake of the textual analysis, thus bridging disciplines in a way that mirrors Turnbull’s bridging of genres

Anxious futures: Magpie2 and 'new generationalism' in Australian youth-specific theatre

The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre, for, by, and about young people outside the school context. Instead, 'new generation' approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural 'generationalism', particularly in larger arts organization as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a 'new generation' approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.