Are differences in life history parameters of the pine beauty moth Panolis flammea modified by host plant quality or gender?

Pine beauty moth (Panolis flammea D&S, Lepidoptera: Noctuidae) were reared individually from egg hatch to pupation on one of three host plants, Pinus sylvestris (native host plant), Pinus contorta (Central Interior seed origin - good quality introduced host) and P. contorta (Alaskan seed origin - poor quality introduced host). After emerging from the pupae the adult moths were confined to a Skeena River seed origin of P. contorta. Female pupal weight and adult life span were significantly higher on P. sylvestris than on the two lodgepole pine seed origins. Development time was, however, not significantly different between treatments, but larval mean relative growth rate was found to be negatively correlated with birth weight and positively correlated with pupal weight. The time to emerge from the pupa was also not significantly different between treatments. However, there were marked differences between the genders. Male moths lost a significantly greater proportion of their weight over the pupal stage but lived significantly longer as adults than the females. Female moths emerged from the pupal stage significantly sooner than male moths. There was no apparent advantage of lai-ge birth size when looked at in terms of subsequent performance. These results are discussed in light of current life history theory.

Spectacle/gender/history: the case of Gone with the Wind

The essay asserts that, since pioneering work in the 1970s and 80s (in Screen in particular), the study of classical Hollywood cinema has failed adequately to acknowledge and understand the role of spectacle therein. This essay outlines theoretical but, even more, practical understandings of particular kinds of spectacle; they are susceptible to the practice of close analysis. Seeking to discuss spectacle in precise terms and in particular contexts, I define two kinds of spectacle associated with the historical film: ‘the decor of history’ and ‘the spectacular vista’. The example of Gone with the Wind illustrates the interrelationship between these two kinds of spectacle and their associations with particular ideas of femininity and masculinity. This gendering of spectacle is related to ‘the historical gaze’, a performative gesture that exemplifies the wider rhetoric of historical films, in their seeking to address the historical knowledge of the film spectator and to uphold a vision of history as being driven by powerful men, aware of their own destiny. Over the course of the three famous hilltop scenes in Gone with the Wind, one can plot Scarlett O'Hara's increased access to this kind of foresight and fortitude coded as ‘masculine’. This character arc can also be traced through Scarlett's shifting place within the film's use of spectacle: she begins the film wholly preoccupied with the domestic world of lavish parties and beautiful gowns; however, after her encounter with cataclysmic history visualized as a vast, terrible spectacle (the fall of Atlanta), Scarlett assumes the role occupied by her broken and emasculated father.

Influence of the APOC3 −2854T>G polymorphism on plasma lipid levels: effect of age and gender

The APOC3 −2854T>G polymorphism lies in the APOC3–A4 intergenic region. In a group of healthy adults, this polymorphism was associated with circulating triglycerides, with 55% lower fasting levels in the homozygous wild-type (TT) compared to the homozygous rare allele (GG) genotype. Age and gender had a significant impact on genotype–triglyceride interactions.