National civic commemoration of the days of remembrance : Wednesday, April 6, 1994, noon, United States Capitol Rotunda, Washington, D.C. : dedicated to the Hungarian Jewish community decimated in the Holocaust, remembering the gypsy communities that were ravaged by Nazi Germany in 1944.

Shipping list no.: 94-0122-P.

Founder p.Arg 446* mutation in the PDHX gene explains over half of cases with congenital lactic acidosis in Roma children

Investigation of 31 of Roma patients with congenital lactic acidosis (CLA) from Bulgaria identified homozygosity for the R446* mutation in the PDHX gene as the most common cause of the disorder in this ethnic group. It accounted for around 60% of patients in the study and over 25% of all CLA cases referred to the National Genetic Laboratory in Bulgaria. The detection of a homozygous patient from Hungary and carriers among population controls from Romania and Slovakia suggests a wide spread of the mutation in the European Roma population. The clinical phenotype of the twenty R446* homozygotes was relatively homogeneous, with lactic acidosis crisis in the first days or months of life as the most common initial presentation (15/20 patients) and delayed psychomotor development and/or seizures in infancy as the leading manifestations in a smaller group (5/20 patients). The subsequent clinical picture was dominated by impaired physical growth and a very consistent pattern of static cerebral palsy-like encephalopathy with spasticity and severe to profound mental retardation seen in over 80% of cases. Most patients had a positive family history. We propose testing for the R446* mutation in PDHX as a rapid first screening in Roma infants with metabolic acidosis. It will facilitate and accelerate diagnosis in a large proportion of cases, allow early rehabilitation to alleviate the chronic clinical course, and prevent further affected births in high-risk families.

: Parasitoids of the painted apple moth Teia anartoides Walker (Lepidoptera: Lymantriidae) in Australia.

Painted apple moth Teia anartoides Walker (Lepidoptera: Lymantriidae), a native to Australia, was discovered in Auckland, New Zealand in late 1999 and eradicated by 2006. It was recognised in 2002 that biological control would be the most effective long-term control strategy if eradication was unsuccessful, and a search was initiated for potential biocontrol agents in Australia. In 2003, autumn and spring surveys were undertaken in Victoria, Tasmania and South Australia of the guild of parasitoid natural enemies of T. anartoides. Eggs, larvae and pupae were collected and held to rear out any parasitoids. In addition, localised searches were made in Queensland in late 2003 early 2004 and laboratory-reared juvenile stages of T. anartoides were released for recapture in both Victoria and Queensland. Acacia dealbata Link (Fabales: Fabaceae) was the main plant from which T. anartoides was recovered, followed by apple. Most T. anartoides samples were collected from Victoria and Tasmania. Eighteen species from 13 genera of egg, larval and pupal parasitoids were reared and included Diptera (Tachinidae) and Hymenoptera (Braconidae, Encyrtidae, Eulophidae and Ichneumonidae). Of the seven Hymenopteran genera recovered from the larval stage, the most common in Victoria and Tasmania was a previously unidentified larval parasitoid Cotesia Cameron (Hymenoptera: Braconidae) sp. Echthromorpha intricatoria (Fabricius) (Hymenoptera: Ichneumonidae) was the dominant pupal parasitoid. The survey showed that the parasitoid complex associated with T anartoides is structurally very similar to that on other pest Lymantriidae in the northern hemisphere such as gypsy moth (Lymantria dispar L.) (Lepidoptera: Lymantriidae). Meteorus pulchricornis (Wesmael) (Hymenoptera: Braconidae) was recorded for the first time in Australia.

Ikasle ijitoak eskolan: Hezkuntza Inklusiborako bidean

Umeen garapen psikologikoan bi oinarrizko faktorek eragiten dute, besteak beste: familia eta eskola. Hortaz, familia hain garrantzitsua izanda, horren kulturak lehen mailako papera hartzen du garapen horretan. Kultura ijitoa ikerketaren oinarri bezala hartuta, beharrezkoa da ume horien egoera behatzea. Hori dela eta, lan honek objektibo bikoitza dauka: kultura ijitoaren ohiturak zein eskolarekiko duen harremana ezagutzea eta eskolaratze arrakastatsuaren klabeak lortzea. Eskola, gizartearen ordezkari bezala, pertsona guztien eskubideak betetzen dituen berdintasunezko gizarteak sortzeko oinarrizko eta erantzukizunezko bidea da.

CO2浓度升高对三种树木叶片化学和舞毒蛾幼虫取食及生长的影响

探讨全球气候变化的生物学和生态学效应是当今生态学中的热点，研究大气CO2浓度升高对植物-昆虫相互作用关系的影响具有重要的理论和实践意义。本文使用开顶式气室（Open-top chamber，OTC）在野外条件下研究了CO2浓度升高对三种树木（小青杨、白桦和蒙古栎）叶片化学成分含量的影响，以及树木叶片品质变化对一种广食性森林昆虫（舞毒蛾）幼虫取食、生长发育和取食偏嗜性的影响。得出如下结果：（1）CO2浓度升高对3个受试树种叶片中的营养成分及次生代谢物含量均有显著影响，总体表现为氮含量降低，而碳氮比、非结构性碳水化合物、总酚和缩合丹宁含量增加。叶片中的化学成分含量可随时间发生显著变化，不同树种、甚至同一树种不同冠层高度的叶片对CO2浓度升高的响应强度也是不同的。叶片的干物质含量和比叶重对CO2浓度升高的响应不显著。（2）室内非选择性取食实验、室内选择性取食实验以及上树取食饲养方式下的多龄期取食实验，均发现高浓度CO2处理组内舞毒蛾幼虫的生长发育受到显著抑制。但对四龄舞毒蛾幼虫所进行的短期生物测定并未发现不同CO2浓度处理下幼虫的生长发育速率、对食物的取食率和转化率等昆虫营养指标存在显著差异。（3）叶片品质的降低是导致舞毒蛾幼虫生长发育受抑制的主要原因。但是总体上，CO2浓度升高导致的叶片品质变化并未显著影响幼虫的取食率和取食量。（4）舞毒蛾幼虫对不同叶片种类表现出清晰的取食选择性，这种选择性在其幼龄期就可表现出来。幼虫对小青杨上层叶片有最显著的偏嗜性，对蒙古栎下层叶片有最明显的拒食性。但是CO2浓度升高导致的叶片品质变化对舞毒蛾幼虫的取食选择性和寄主偏嗜行为并未产生显著影响。（5）检测出高浓度CO2处理组内舞毒蛾幼虫虫粪中含有浓度更高的植物次生代谢物质（总酚和缩合单宁），这很可能是昆虫整体生长发育受抑制的重要原因之一。

WORKS BY FRANCO-BELGIAN COMPOSERS AND THE VIOLINISTS WHO INSPIRED THEM

In the late nineteenth century, French composers such as Camille Saint- Saens, Cesar Franck, and Claude Debussy worked to elevate instrumental music in late-Romantic period France, creating symphonies, concertos, and chamber ensembles, including duo sonatas. These composers and followers like, Ernest Chausson and Guillaume Lekeu were all influenced by a particular violinist to whom they dedicated their compositions. The primary violinist who inspired these composers was Eugene Ysaye (1858-1931), a brilliant performer and composer. His freedom of expression motivated many prominent French composers to dedicate major works to him. For example, Debussy dedicated his string quartet to Ysaye, who established the Ysaye Quartet and premiered Debussy's composition. In 1886, Franck completed his sonata for violin and piano which he also dedicated to Ysaye. Fritz Kreisler (1875-1962), one of the most talented violinists of his era, had a relationship withYsaye that was quite special. They respected, supported, and befriended each other. To Ysaye, Kreisler dedicated his Recitativo and Scherzo. To Kreisler, Ysaye dedicated one ofhis celebrated Sonatas for Solo Violin. Pablo de Sarasate (1844-1908) was a magnificent Spanish violinist of the late nineteenth century, and his music and performances influenced many composers, especially Saint-Saens, who included Spanish gypsy fragments in his works. These motifs may found in his Havanaise, Introduction and Rondo Capriccioso and Violin Concerto No.3 which were dedicated to Sarasate. My goal for this dissertation project has been to find and present, in three recitals, works by French composers and also works by the violinists who inspired them. As a violinist, I have endeavored to understand the influence of the various violinists on these French composers and how that knowledge can inform my approach to performing these works. In my first recital, with pianist Soo Young Jung, I performed works by Saint-Saens, Ysaye and Sarasate. With pianist Sun Ha Yoon, I performed works by Ysaye, Debussy, Kreisler and Franck in my second recital. My third recital, again with pianist Sun Ha Yoon, featured works by Ysaye, Chausson, and Lekeu. All recitals were recorded and performed at the University ofMaryland, College Park.

MUSICAL EXOTICISM EXPLORED IN PIANO WORKS FROM THE EIGHTEENTH CENTURY THROUGH THE EARLY TWENTIETH CENTURY

Musical exoticism is the evocation of a culture different from that of the composer. It occurs anytime a composer tries to conjure up the music of a country not his own. Although there have been studies of exoticism in the piano works of an individual composer, namely Debussy, there has not been a comprehensive study of musical exoticism in the piano literature as a whole. Upon chronological examination of the piano repertoire, general trends exhibiting exoticism become evident. The first general trend is the emergence of the Turkish style (alia turca) in the eighteenth century. Turkish style soon transmuted to the Hungarian-Gypsy style (all 'ongarese or style hongrois). [In Beethoven's Op. 129, it is alia ingharese.] Composers often alternated between the two styles even in the same composition. By the late nineteenth century, style hongrois was firmly entrenched in the musical language of Austro-German composers, as seen in the works of Brahms. In the nineteenth century, composers turned to the Middle East, North Africa and Spain for inspiration. In particular are several compositions emulating Spanish dance music, culminating in the Spanish works of Debussy and Ravel. The gamelans from Indonesia and objects from the Far East of Japan and China, brought by advances in trade and transportation, captivated the imagination of composers at the turn of the twentieth century. Also in the early twentieth century, composers tried emulating dance and jazz music coming from the Americas, such as the cakewalk, minstrelsy, and the blues. One sees the ever widening sphere of exotic inspiration for western music composers: from the Turkish invasions to the traveling Gypsies of Hungary; to the captivating dance rhythms, soulful cante jondo sections, and guitar flourishes of Spain; expanding further to the far reaches of Asia and the jazzy rhythms of the Americas. This performance dissertation consists of three recitals presented at the University of Maryland, and is documented on compact disc recordings which are housed within the University of Maryland Library System. The recordings present the music of Balakirev, Beethoven, Brahms, Chopin, Debussy, Haydn, Hummel, Milhaud, Moszkowski, Mozart, Ravel, and Schubert.

The Voyage of Impressionism in Three Violin Recitals: To See the World in Different Colors

Impressionism serves as the transition between romantic and modern music. This dissertation examines the varying characteristics and colors of Impressionism in the works of late-romantic French composers, French Impressionistic composers, and composers with Impressionistic influence from countries other than France. Violin Sonata in g minor, L. 140 (1917) is the last work composed by Claude Debussy. The impressionistic characters in this work includes the ambiguous yet innovative and variant sonority and form. As a work also written in 1917, Ottorino Respighi's Violin Sonata in b minor is deeply rooted in Italian Romanticism. Some of the Impressionistic characters can be found in the second movement where the harmonies are in parallel motion. César Franck, a forerunner of impressionism, heavily influenced Debussy with the use of cyclic form. The Violin Sonata in A major (1886) is rich in harmonic language. Ernest Chausson's works mark the transition between Franck and Debussy. The Poème portrays a love story, Song of Love Triumphant by Turgenev. The work is a symphonic poem for violin and orchestra. The Mythes, Op. 30 (1915) by Karol Szymanowski is based on Greek mythology. Ravel's Sonata for Violin and Cello (1922), dedicated to Debussy, points to the future with a sophisticated harmonic language extending into atonality, spare texture, and expanded palate of impressionistic colors and techniques. Ernest Bloch's Violin Sonata No. 1 (1920) portrays the feeling of torment. Beneath the soaring cries of the violin, the harmonic sonority of Impressionism are present. Gabriel Fauré's Violin Sonata No. 1 in A major, op. 13 (1876) is the earliest work of this project. The scherzo movement became a prototype for future scherzo movements for Ravel and Debussy. Ravel's Tzigane (1924), at once a paragon of French impressionism, a delightful gypsy-style dance-fantasy, and a breathtaking virtuoso piece, is the perfect conclusion to my dissertation project. The pieces discussed above were presented in three recitals. Compact disc recordings of these recitals are available in the Michelle Smith Performing Arts Library of the Clarice Smith Performing Arts Center at the University of Maryland.

All change!: Romani studies through Romani eyes

The welcome emergence of a Gypsy/Roma/Traveller academic and intellectual community has stimulated new reflections on and reassessments of many of the established ideas surrounding Romani history and culture. New questions are being asked and, in turn, new critical challenges have arisen, in part because, for these individuals, Gypsy identity has never been something exotic and Other, but their own.

Reviews

[Review of] Lou Charnon-Deutsch, The Spanish Gypsy: The History of a European Obsession, Pennsylvania State University Press: University Park, PA, 2004; 280 pp., 31 illus.; 0271023597, $42.95 (hbk).

Second site

An exhibition by four artists from Roma/Gypsy/Traveller communities. [From the press release]

Educação intercultural

Dissertação de Mestrado, Observação e Análise da Relação Educativa, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2007

A etnia cigana : cultura e educação

Trabalho de projecto de mestrado, Ciências da Educação (Formação de Adultos), Universidade de Lisboa, Instituto de Educação, 2011

Caractérisation clinique et génétique d’une famille canadienne-française atteinte de la neuropathie héréditaire sensitive avec rétinite pigmentaire et ataxie

La complexité de l’étude des neuropathies héréditaires provient de leur hétérogénéité clinique et génétique et de la diversité des fibres composant les nerfs périphériques. Cette complexité se reflète dans les nombreuses classifications différentes. Les neuropathies héréditaires se classifient entre autres selon leur mode de transmission et leur atteinte sensitive, autonomique et motrice. Les neuropathies héréditaires sensitives et autonomiques (NHSA) se présentent avec une perte de la sensation distale aux membres, accompagnée d’autres manifestations selon le type de NHSA. L’étude des NHSA est facilitée lorsqu’il existe des grappes de familles originaires de régions du Québec où des effets fondateurs pour des maladies récessives ont déjà été identifiés. Nous avons recruté une grande famille canadienne-française originaire de Paspébiac dans la Baie-des-Chaleurs dans laquelle nous avons identifié quatre cas atteints d’une neuropathie héréditaire sensitive avec rétinite pigmentaire et ataxie (NHSRPA). Nous avons émis l’hypothèse que nous étions en présence d’une nouvelle forme de neuropathie héréditaire sensitive récessive à effet fondateur. Afin d’identifier la position chromosomique du gène muté responsable de la NHSRPA, nous avons tout d’abord complété un criblage du génome en génotypant des marqueurs microsatellites «single tandem repeat» (STR) sur des individus clés et nous avons ensuite procédé à une analyse de liaison génétique paramétrique. Ces études nous ont permis de lier cette famille au chromosome 1 et de définir un premier intervalle candidat de 6,7 Mb. Grâce à un génotypage de marqueurs «single nucleotide polymorphism» (SNP), nous avons réduit l’intervalle candidat à 5,3 Mb au locus 1q32,2-q32,3. Cette région contient 44 gènes candidats. Une revue plus fine de la littérature a fait ressortir qu’une famille espagnole et une américaine de souche hollandaise souffrant de la même maladie avaient déjà été liées au même locus. L’origine possiblement basque de notre famille gaspésienne nous a poussé à comparer l’haplotype porteur avec celui de la famille espagnole qui, quoi que gitane, provient du pays basque espagnol. Ces travaux ont démontré le partage d’une région de 203 kb. Afin de rétrécir davantage notre intervalle candidat, nous avons comparé les haplotypes des cas entre les deux familles et nous avons identifié un dernier intervalle candidat de 60 SNP au locus 1q32,3. Cette région ne contient que quatre gènes candidats dont le plus intéressant est le gène «activating transcription factor» (ATF3). À ce jour, aucune mutation n’a été trouvée dans le gène ATF3 et les gènes FAM71A, BATF3 et NSL1. Des expériences supplémentaires sont nécessaires afin d’identifier le gène muté responsable de la NHSRPA.

Les musiques tziganes mises en scène : construction mémorielle et réappropriation de soi

Ce mémoire de maîtrise porte principalement sur la question de la réappropriation historique et musicale des Tziganes dans le docu-fiction Latcho Drom (1993) de Tony Gatlif. Dans un premier chapitre, il s’agit de comparer l’histoire écrite sur les Tziganes avec leur mise en image afin de déterminer comment le cinéaste apporte dans le langage audiovisuel de Latcho Drom un total renouveau dans le discours dominant. Dans cette perspective, l’appareil cinématographique se révèle être un médium de revendication et de réappropriation de l’être tzigane et de son histoire. Dans un deuxième chapitre, il est question de démontrer avec des études basées sur l’ethnomusicologie comment les musiques tziganes, sont rapidement assimilées au patrimoine culturel des sociétés européennes. Latcho Drom qui traduit avec justesse des expressions musicales très encrées de la vie de ces communautés, s’inscrit en contradiction avec la conception territorialiste de musicologues et ethnomusicologues qui refusent d’accorder à la musique tzigane légitimité et autonomie. Dans un troisième chapitre, il s’agit de déterminer comment le cinéaste cherche à faire entrer son spectateur dans un rapport de proximité avec les communautés de Latcho Drom afin de susciter en lui reconnaissance et empathie.