Use of ocean and estuarine habitats by young-of-year bluefish (Pomatomus saltatrix) in the New York Bight

Young-of-year (YOY) blue-fish (Pomatomus saltatrix) along the U.S. east coast are often assumed to use estuaries almost exclusively during the summer. Here we present data from 1995 to 1998 indicating that YOY (30–260 mm FL) also use ocean habitats along the coast of New Jersey. An analysis of historical and recent data on northern and southern ocean beaches (0.1–2 m) and the inner continental shelf (5–27 m) during extensive sampling in New Jersey waters from 1995 to 1998 indicated that multiple cohorts occurred (June–August) in every year. When comparable collections of YOY were made in the ocean and in an adjacent estuary, the abundance was 1–2 orders of magnitude greater on ocean beaches during the summer. The YOY were even more abundant in ocean habitats in the fall (September–October), presumably as a result of YOY leaving estuaries to join the coastal migration south. During 1999 and 2000, YOY bluefish were tagged with internal sequential coded wire microtags in order to refine our under-standing of habitat use and movement. Few (0.04%) of the fish tagged on ocean beaches were recaptured; however, 2.2% of the fish tagged in the estuary were recaptured from 2 to 27 days after tagging. Recaptured fish grew quickly (average 1.37 mm FL/d). On ocean beaches YOY fed on a variety of invertebrates and fishes but their diet changed with size. By approximately 80–100 mm FL, they were piscivorous and fed primarily on engraulids, a pattern similar to that reported in estuaries. Based on distribution, abundance, and feeding, both spring- and summer-spawned cohorts of YOY bluefish commonly use ocean habitats. Therefore, attempts to determine factors affecting recruitment success based solely on estuarine sampling may be inadequate and further examination, especially of the contribution of the summer-spawned cohort in ocean habitats, appears warranted.

A memorial of the dedication of monuments erected by the Moravian Historical Society : to mark the sites of ancient missionary stations in New York and Connecticut.

http://www.archive.org/details/memorialofdedica00moraiala

Papers presented at conference on the situation in China : under the auspices of the Committee of Reference and Counsel, representing the Foreign Missions Conference of North America : February 29, 1912, 156 Fifth Avenue, New York City.

http://www.archive.org/details/paperspresenteda00foreuoft

North American Indians : Mission to the Oregon Indians [Choctaws, Cherokees, Pawnees, Sioux, Ojibwas, Stockbridge Indians, New York Indians, and Abenaquis].

http://www.archive.org/details/northoregonind00amerrich

Letter to Daniel A. Whedon. New York. April 13, 1867

Handwritten 1867 letter from Daniel D. Whedon to his nephew, Daniel A. Whedon, requesting books.

John Ireland, "L’art déloyal, théâtralité et engagement dans l’oeuvre de J.P. Sartre", thèse New York University, 299 pages.

Paris

[Book review] Reviews. Scarlett Thomas, PopCo, London and New York: Fourth Estate, 2004

Book review of: Scarlett Thomas, PopCo, London and New York: Fourth Estate, 2004. 1-84115-763-5, £12.99.

New York City: 12 December, 1980

This article compares two documentary treatments of the Central Park vigil for John Lennon in 1980: Happy Birthday to John (Jonas Mekas, 1995, 16mm, 18 min.), and Dix minutes de silence pour John Lennon/Ten Minutes Silence for John Lennon (Raymond Depardon, 1980, 16mm, 10 min.). Mekas and Depardon might seem an improbable combination but as the article demonstrates there are affinities, if not direct points of convergence, in outlook and documentary method: both sensibilities have been shaped by migrant experiences, and much of their work, for all its formal and structural differences, is preoccupied with experiences of exile and displacement, rootedness and the meaning of home, the country and the city (and in Mekas’s case, the country in the city). Mekas and Depardon are also Europeans who have developed an intimate social and artistic relationship with New York City; both are concerned with the place of autobiography in their work, using captions, inter-titles, diary entries, photographs, and 1st person commentary to complicate relations between the imaginary and the documentary. In addition to discussing the significance of these preoccupations, and differences in the manner in which both filmmakers witness the apotheosis of Lennon as cultural martyr (and natural New Yorker), the article also examines the phenomenon of public mourning, and how it often displaces its ostensible subject: associatively, in the case of Mekas; incidentally, in the case of Depardon; and intentionally, in the case of the mass media, and popular culture.