Collecção das leis do Imperio do Brasil de 1862

Parte 1 - Atos do Poder Legislativo

Sex ratios of Metapenaeus kutchensis George, George and Rao, 1963 and Parapenaeopsis sculptilis (Heller, 1862) in the Gulf of Kachchh, Western India

Sex ratio data of two species of penaeid prawns Metapenaues kutchensis George, George and Rao, 1963 and Parapenaeopsis sculptilis (Heller, 1862), occurring in the Gulf of Kachchh, were statistically analysed. A preponderance of females was observed in both the species and the ratio of male to female for both years combined for M. kutchensis and P. sculptilis was found to be 1:15 and 1:2.7, respectively. Chi-square analysis revealed significant difference in the sex ratio of the two species.

Species diversity of the subgenus Amiota (s. str.) Loew, 1862 (Diptera, Drosophilidae) in southern China

A total of 38 Amiota (s. str.) species (about 40% of the world total) are reported from southern China, with descriptions of 23 new species, i.e. sinuata species-group: aculeata Chen and Aotsuka, sp. nov., subsinuata Chen and Aotsuka, sp. nov., xishuangbanna Chen and Aotsuka, sp. nov.; basdeni species-group: brevipartita Chen and Gao, sp. nov., curvispina Chen and Gao, sp. nov., lipingae Chen and Gao, sp. nov., huae Chen and Gao, sp. nov., longispina Chen and Gao, sp. nov.; taurusata species-group: asymmetrica Chen and Takamori, sp. nov.; femorata Chen and Takamori, sp. nov., yixiangensis Chen and Takamori, sp. nov.; alboguttata species-group: ailaoshanensis Chen and Watabe, sp. nov., arcuata Chen and Watabe, sp. nov., dehiscentia Chen and Watabe, sp. nov., jizushanensis Chen and Watabe, sp. nov., latitabula Chen and Watabe, sp. nov., luguhuensis Chen and Watabe, sp. nov., nozawai Chen and Watabe, sp. nov., paraspinata Chen and Watabe, sp. nov., shangrila Chen and Watabe, sp. nov.; and ungrouped: fuscicata Chen and Zhang, sp. nov., wangi Chen and Zhang, sp. nov., wuyishanensis Chen and Zhang, sp. nov. A key to all species from southern China is provided. The Amiota fauna of southern China at the species-group level is compared with that of six geographic regions. The subgenus Amiota is assumed to have originated and produced many species-groups in the Oriental region of East Asia, and then the basdeni, alboguttata and rufescens species-groups might have spread to Europe and North-Central America throughout the Palearctic region of East Asia and both the apodemata, sinuata and nagatai species-groups to tropical regions of South-East Asia.

瘦尾细额溞Oxyurella tenuicaudis(Sars,1862)的若干生物学特征

瘦尾细额溞是一种出现数量极其稀少的枝角类。关于它的生物学特征尚未见诸文献。本文测量了一次采自云南永胜一池塘的本种300个两性个体的体长和怀卵量,就其幼体与成体的数量、体长与怀卵量、雄性以及性比等问题探讨了种群的生物学状况。 详细观察比较了这个种的重要分类特征——雌体后腹部,并描述了变异范围。对卵鞍和雄体也作了描述。

Singing Through Struggle: Music as a Mode of Cultural Exchange in African American Border City Churches After Emancipation, 1862-1890

This project investigates how religious music, invested with symbolic and cultural meaning, provided African Americans in border city churches with a way to negotiate conflict, assert individual values, and establish a collective identity in the post- emancipation era. In order to focus on the encounter between former slaves and free Blacks, the dissertation examines black churches that received large numbers of southern migrants during and after the Civil War. Primarily a work of history, the study also employs insights and conceptual frameworks from other disciplines including anthropology and ritual studies, African American studies, aesthetic theory, and musicology. It is a work of historical reconstruction in the tradition of scholarship that some have called "lived religion." Chapter 1 introduces the dissertation topic and explains how it contributes to scholarship. Chapter 2 examines social and religious conditions African Americans faced in Baltimore, MD, Philadelphia, PA, and Washington, DC to show why the Black Church played a key role in African Americans' adjustment to post-emancipation life. Chapter 3 compares religious slave music and free black church music to identify differences and continuities between them, as well as their functions in religious settings. Chapters 4, 5, and 6 present case studies on Bethel African Methodist Episcopal Church (Baltimore), Zoar Methodist Episcopal Church (Philadelphia), and St. Luke’s Protestant Episcopal Church (Washington, DC), respectively. Informed by fresh archival materials, the dissertation shows how each congregation used its musical life to uphold values like education and community, to come to terms with a shared experience, and to confront or avert authority when cultural priorities were threatened. By arguing over musical choices or performance practices, or agreeing on mutually appealing musical forms like the gospel songs of the Sunday school movement, African Americans forged lively faith communities and distinctive cultures in otherwise adverse environments. The study concludes that religious music was a crucial form of African American discourse and expression in the post-emancipation era. In the Black Church, it nurtured an atmosphere of exchange, gave structure and voice to conflict, helped create a public sphere, and upheld the values of black people.

Écrits intimes et prophétiques de Madame Krüdener 1785-1807, Lyon 1975, 283 p.

info:eu-repo/semantics/published

Becoming a national composer: critical reception to c.1925

The centrality of Vaughan Williams to British music in the first half of the twentieth century is now a commonplace in musicology, but this has not always been so. Prior to 1914 Vaughan Williams was regarded by a number of British critics as a figure of considerable potential, but of less interest than composers like Granville Bantock, Cyril Scott, and Joseph Holbrooke: a reflection, in part, of the many different strands that existed in musical modernism in pre-war Britain, as well as scepticism that Vaughan Williams's engagement with English folksong offered anything original. In this chapter, I consider this inauspicious early period of Vaughan Williams reception, when even works considered seminal today like the Fantasia on a Theme by Thomas Tallis were received by some critics with bewilderment, and the changes that took place in the years after World War One after which Vaughan Williams became the leader of British musical modernism. I argue that Vaughan Williams's emergence reflects a change in attitude by British critics to modernism in general, to their approach to musical criticism, and to Vaughan Williams's musical language; in particular I note the distinction increasingly drawn by critics between folksong arrangements and a musical language derived from folksong.