A Cu tolerant population of the earthworm Dendrodrilus rubidus (Savigny, 1862) at Coniston Copper Mines, Cumbria, UK

Dendrodrilus rubidus were sampled from a mine spoil soil at Coniston Copper Mine, an abandoned Cu mine in Cumbria, UK and a Cu-free control site. Earthworms were maintained for 14 d in both Kettering loam and a Moorland soil amended with Cu nitrate. Mortality, condition index, weight change and tissue concentration were determined. In both soils D. rubidus native to the mine site were able to tolerate significantly higher soil Cu concentrations (MWRT, p <= 0.001), and exhibited significantly less change in weight (t-test, p <= 0.001) and a lower loss in condition (t-test, p <= 0.001) than control earthworms. For a given soil Cu concentration tissue Cu concentrations were greater in the mine site earthworms. Low cocoon production and viability from the mine site population prevented the determination of toxicity parameters on the F1 generation and may be an indicator of the cost of tolerance to the population. (c) 2007 Elsevier Ltd. All rights reserved.

Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930

Throughout history of painting, the representation of landscape has been considered a laboratory for the human gaze on the world. The First World War and its new approach to the battlefield altered deeply the classical forms of representation, and replaced them with a mechanised and fragmentary vision, which was related with the development of photography and cinema. As Vicente J. Benet has analysed, Hollywod cinema used these deep changes in its filmic versions of the conflict, although it organised them following a narrative logic. In this text we intend to study how the battlefield and, particularly, the trench, are inserted in this logic of the history of landscape painting. We do so through some Hollywood films from the period 1918-1930. Firstly, we approach the trench as a composition value which can structure the image and guide the camera movement. In the second place, we study how it creates a dialog between its inside, melodrama scenery, and the outside, battlefield and danger. In both cases, we conclude that the trench as a form and as a narrative element plays a structuring and integrative role with the storytelling logic.