Annual message of his excellency Robert K. Scott, Governor of South Carolina, to the General Assembly, at the regular session, commencing November 28, 1871

This speech was delivered to by the Governor to give the general assembly information of the condition of the state and give them recommendations to consider measures that the Governor deems necessary or expedient. He provides the information regarding the state debt, taxes, and bonded debt. He describes the financial agent of the state as well as the expenditures of the state government.

Message of Robert K. Scott, Governor of South Carolina to the General Assembly, November 24, 1869

This speech was addressed to the people of the Senate and House of Representatives. It was delivered to inform them of the progress over the past year made to place the finances of the state on a firm and healthy basis. He gives a report on all departments and projects funded by the government in the past year.

Do Urban Canyons Influence Street Level Grass Pollen Concentrations

In epidemiological studies, outdoor exposure to pollen is typically estimated using rooftop monitoring station data, whilst exposure overwhelmingly occurs at street level. In this study the relationship between street level and roof level grass pollen concentrations was investigated for city centre street canyon environments in Aarhus, Denmark, and London, UK, during the grass pollen seasons of 2010 and 2011 respectively. For the period mid-day to late evening, street level concentrations in both cities tended to be lower than roof-level concentrations, though this difference was found to be statistically significant only in London. The ratio of street/roof level concentrations was compared with temperature, relative humidity, wind speed and direction, and solar radiation. Results indicated that the concentration ratio responds to wind direction with respect to relative canyon orientation and local source distribution. In the London study, an increase in relative humidity was linked to a significant decrease in street/roof level concentration ratio, and a possible causative mechanism involving moisture mediated pollen grain buoyancy is proposed. Relationships with the other weather variables were not found to be significant in either location. These results suggest a tendency for monitoring station data to overestimate exposure in the canyon environment.

Personal Exposure to Grass Pollen: Relating Inhaled Dose to Background Concentration

Background Very few studies on human exposure to allergenic pollen have been conducted using direct methods, with background concentrations measured at city center monitoring stations typically taken as a proxy for exposure despite the inhomogeneous nature of atmospheric pollen concentrations. A 2003 World Health Organization report highlighted the need for an improved understanding of the relation between monitoring station data and actual exposure. Objective To investigate the relation between grass pollen dose and background concentrations measured at a monitoring station, to assess the fidelity of monitoring station data as a qualitative proxy for dose, and to evaluate the ratio of dose rate to background concentration. Methods Grass pollen dose data were collected in Aarhus, Denmark, in an area where grass pollen sources were prevalent, using Nasal Air Samplers. Sample collection lasted for approximately 25 to 30 minutes and was performed at 2-hour intervals from noon to midevening under moderate exercise by 2 individuals. Results A median ratio of dose rate to background concentration of 0.018 was recorded, with higher ratio values frequently occurring at 12 to 2 pm, the time of day when grass species likely to be present in the area are expected to flower. From 4 to 8 pm, dose rate and background concentration data were found to be strongly and significantly correlated (rs = 0.81). Averaged dose rate and background concentration data showed opposing temporal trends. Conclusion Where local emissions are not a factor, background concentration data constitute a good quantitative proxy for inhaled dose. The present ratio of dose rate to background concentration may aid the study of dose–response relations.

Relative Efficiencies of the Burkard 7-Day, Rotorod and Burkard Personal Samplers for Poaceae and Urticaceae Pollen under Field Conditions

Introduction: In aerobiological studies it is often necessary to compare concentration data recorded with different models of sampling instrument. Sampler efficiency typically varies from device to device, and depends on the target aerosol and local atmospheric conditions. To account for these differences inter-sampler correction factors may be applied, however for many pollen samplers and pollen taxa such correction factors do not exist and cannot be derived from existing published work. Materials and methods: In this study the relative efficiencies of the Burkard 7-Day Recording Volumetric Spore Trap, the Sampling Technologies Rotorod Model 20 and the Burkard Personal Volumetric Air Sampler were evaluated for Urticaceae and Poaceae pollen under field conditions, and the influence of wind speed and relative humidity on these efficiency relationships was assessed. Data for the two pollen taxa were collected during 2010 and 2011-12 respectively. Results: The three devices were found to record significantly different concentrations for both pollen taxa, with the exception of the 7-Day and Rotorod samplers for Poaceae pollen. Under the range of conditions present during the study wind speed was found to only have a significant impact on inter-sampler relationships involving the vertically orientated Burkard Personal sampler, whilst no interaction between relative efficiency and relative humidity was observed. Conclusions: Data collected with the three models of sampler should only be compared once the appropriate correction has been made, with wind speed taken into account where appropriate.

Seasonal Variation in Diurnal Atmospheric Grass Pollen Concentration Profiles

In this study, the diurnal atmospheric grass pollen concentration profile within the Danish city of Aarhus was shown to change in a systematic manner as the pollen season progressed. Although diurnal grass pollen profiles can differ greatly from day-to-day, it is common practice to establish the time of day when peak concentrations are most likely to occur using seasonally averaged diurnal profiles. Atmospheric pollen loads are highly dependent upon emissions, and different species of grass are known to flower and emit pollen at different times of the day and during different periods of the pollen season. Pollen concentrations are also influenced by meteorological factors – directly through those parameters that govern pollen dispersion and transport, and indirectly through the weather-driven flowering process. We found that three different profiles dominated the grass pollen season in Aarhus – a twin peak profile during the early season, a single evening profile during the middle of the season, and a single midday peak during the late season. Whilst this variation could not be explained by meteorological factors, no inconsistencies were found with the theory that it was driven by a succession of different grass species with different diurnal flowering patterns dominating atmospheric pollen loads as the season progressed. The potential for exposure was found to be significantly greater during the late-season period than during either the early- or mid-season periods.

The Contemporary Group, April 21, 1968

Concert program for The Contemporary Group, April 21, 1968

Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don’t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood’s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice’s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke’s Tarzan movies, Robert Stevenson’s King Solomon’s Mines (1937), and, on the European side, Duvivier’s Pépé le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane’s Borom Sarret and La Noire de…, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun’s 2006 Daratt, Saison sèche - or the same director’s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mambéty’s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Cissé’s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker’s stand. Sembene himself declared: “I consider cinema a means of political action” (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to “take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs” (Jeffries 2002: 11). All this echoes the claims of the Fédération Panafricaine des Cinéastes (FEPACI, founded in 1969), an organisation “dedicated to the liberation of Africa”. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communauté organique francophone, FEPACI called for “the creation of an aesthetics of disalienation… [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West” (Diawara 1996: 40). Sembene’s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world – with Hollywood at its centre?

Robert Crawford, Baritone, August 16, 1937

Concert Program for Robert Crawford, Baritone, August 16, 1937

Beyond time and oblivion : Sir Robert Sidney’s autograph manuscript

Dealing with ancient manuscript or old printed texts often constitutes a difficult task, especially to philologists and editors, for two main reasons: the precarious state of preservation of the documents and the uncertainty regarding their origin, authenticity and authorship. These problems are aggravated by spurious versions, due to the publication of truncated works, poorly supervised miscellanies and non-authorised editions. Sir Robert Sidney’s literary text constitutes an exception amidst such vicissitudes, once the original corpus is wholly contained in a notebook exhibiting the organisation and unity conceived by the author himself. Today, there is no evidence that any loose poems, either autograph or copied by amanuenses, were in circulation among members of the Elizabethan court society. The notebook was kept in private collections for four centuries, which probably explains why it was so well preserved. In fact, only in 1984 would P.J. Croft’s fine edition bring the youngest Sidney’s Poems into light. In this work, I approach Croft’s perceptive, accurate philological study that eventually rescued from oblivion a remarkable piece both of the Elizabethan lyric poetry and of the English Renaissance, and, at the same time, look into Robert Sidney’s peculiar, careful and original formatting of his own autograph manuscript.