New Weir and Fish Pass Whitendale in August 1951

Two men working in a weir and fish pass at Whitendale, North West England, UK. This photo is part of a Photo Album that includes pictures from 1935 to 1954.

New Weir and Fish Pass Whitendale in August 1951

Two men working in a weir and fish pass at Whitendale, North West England, UK. This photo is part of a Photo Album that includes pictures from 1935 to 1954.

Fish Trap at Gastang weir in the River Wyre in August 1951

Fish trap at Garstang weir in the River Wyre, North West of England, UK. This photo shows pollution in River Lune in July 1949. This photo is part of a Photo Album that includes pictures from 1935 to 1954.

Maryland commercial fisheries statistics, 1951-1952

This bulletin is the third of a series begun in 1948, presenting detailed data on the commercial fin-fishery of Maryland. A full description of the techniques of collection and tabulation were included in the first bulletin [Publication 69], and inasmuch as identical procedures have been employed throughout the program, further mention of methods is not made. As in past years, records were received on a voluntary basis from approximately 94% of all licensed fishermen. Most of the records were submitted in the form of weekly or monthly summaries. The statistics set forth were derived from records obtained only from licensed commercial fishermen and contain no data pertaining to small unlicensed units of fishing gear, or to the sport fishery.

Reconstructed drought history, north-central Great Basin, 1600-1982 [abstract]

EXTRACT (SEE PDF FOR FULL ABSTRACT): Tree-ring chronologies, developed from cores from Pinyon pines growing on climatically sensitive sites in the north-central Great Basin, have been used to reconstruct precipitation and drought histories of the area from A.D. 1600 to 1982. Analysis of these hydrologic time series helps to place current climatic conditions into the perspective of the past 383 years (since 1600). ... The years 1934 and 1959 were the first and fourth driest while 1934 had the lowest July Palmer Drought Severity Index (PDSI) of the reconstructed records. Nevertheless, the decade of the 1930's is only the seventh driest since 1600; the decade 1953-1962 ranks as the second driest. The driest non-overlapping decade since 1600 was 1856-1865. Interestingly, the second wettest decade was 1932-1941. An examination of 30-year mean precipitation data shows that the driest 30-year period was 1871-1900; 1931-1960 ranks as the fourth driest. The current 30-year period (1951-1980) ranks twelfth.

East African Fisheries Research Organization Annual Report 1951

The examination of a considerable amount of data has led to the conclusion that Lake Victoria should be considered as many lakes within a lake. This is not a vague and seemingly obvious remark based on the superficial observation that it is a very large lake containing numerous islands and with a highly indented coastline, and therefore providing variable local conditions. Such local conditions would exist in any lake whose basin departed from a simple geometric form. But evidence has now been collected to show that really significant differences occur between different regions within the lake. These differences are apparent from a variety of data, including the nature of the bottom deposits, the chemical and hydrological condition of the water, the amount and kind of plankton and the distribution and abundance of the fauna. Our findings are as yet somewhat sketchy, and it will be a long time before it will be possible to draw an adequate picture of the various regions of the lake; it is however, of great value to have reached a position enabling us to form this general concept. The most striking and definite evidence is derived, as might be expected, from hydrological data. Details of this work are contained in the hydrological section of this report. Any data recorded below should be considered as applying only to the particular areas mentioned. In other words it would, to draw an obvious example be wrong to suppose that because fish grow at a particular rate in one part of the lake they will grow at the same rate or to the same size in other regions of the lake.

Common evolutionary origin of aquareoviruses and orthoreoviruses revealed by genome characterization of Golden shiner reovirus, Grass carp reovirus, Striped bass reovirus and golden ide reovirus (genus Aquareovirus, family Reoviridae)

Full-length and partial genome sequences of four members of the genus Aquareovirus, family Reoviridae (Golden shiner reovirus, Grass carp reovirus, Striped bass reovirus and golden ide reovirus) were characterized. Based on sequence comparison, the unclassified Grass carp reovirus was shown to be a member of the species Aquareovirus C The status of golden ide reovirus, another unclassified aquareovirus, was also examined. Sequence analysis showed that it did not belong to the species Aquareovirus A or C, but assessment of its relationship to the species Aquareovirus B, D, E and F was hampered by the absence of genetic data from these species. In agreement with previous reports of ultrastructural resemblance between aquareoviruses and orthoreoviruses, genetic analysis revealed homology in the genes of the two groups. This homology concerned eight of the 11 segments of the aquareovirus genome (amino acid identity 17-42%), and similar genetic organization was observed in two other segments. The conserved terminal sequences in the genomes of members of the two groups were also similar. These data are undoubtedly an indication of the common evolutionary origin of these viruses. This clear genetic relatedness between members of distinct genera is unique within the family Reoviridae. Such a genetic relationship is usually observed between members of a single genus. However, the current taxonomic classification of aquareoviruses and orthoreoviruses in two different genera is supported by a number of characteristics, including their distinct G+C contents, unequal numbers of genome segments, absence of an antigenic relationship, different cytopathic effects and specific econiches.

Ocorrência do pulgão-do-milho Rhopalosiphum maidis (Fitch, 1856): identificação, biologia e danos.

2006

'We are not Seeking Strength for its Own Sake': The British Labour Party, West Germany and the Cold War, 1951-64

Hughes, R. (2002). 'We are not Seeking Strength for its Own Sake': The British Labour Party, West Germany and the Cold War, 1951-64. Cold War History. 3(1) pp.67-94 RAE2008

?Minorities with a Message?: The Beveridge Report on Broadcasting (1949?1951) and Wales

Medhurst, J. (2008). 'Minorities with a Message': the Beveridge Report on Broadcasting (1949-51) and Wales. Twentieth Century British History. 19(2), pp.217-233. RAE2008

Nouvelles approches de la ville dans la littérature française contemporaine : Thomas Clerc et Philippe Vasset

On the basis of two indecidable texts (Thomas Clerc, “Paris, musée du XXIe siècle. Le dixième arrondissement”, Gallimard 2007 and Philippe Vasset, “Un livre blanc”, Fayard 2007), we will reflect on new approaches to the city in contemporary French litterature. Clerc and Vasset, in their respective texts, suggest considering litterature as a series of practices connected with the exploration of the city (Clerc) and of the urban area (Vasset) according to the idea of an arbitrary itinerary. The image of the city whose space, subject to a permanent process of museifi cation, is constantly considered to be a work of art (Clerc) contrasts with a project of viewing the deserted areas of the city and of its surroundings as an infinite collection of “artistic installations” created in daily life (Vasset). Clerc’s and Vasset’s artistic mentality leads them to the fascination with “works of involuntary art”, both concrete signs and tangible proof of the transitional period which they try to describe systematically, following, at the same time, the principles of an axonometric city map.

THE PIANO MUSIC OF ROBERT SCHUMANN (1810-1856) AND JOHANNES BRAHMS (1833- 1897): A SURVEY OF CONCERTI, VARIATIONS, AND CHARACTER PIECES

Robert Schumann (1810-1856) and Johannes Brahms (1833-1897), in some ways Robert Schumann's artistic descendant, are the most important and representative German piano composers during the Romantic period. Schumann was already a mature and established musician in 1853 when he first met the young Brahms and recognized his talents, an encounter that had a long-lasting affect on the lives and careers of both men. After Schumann’s mental breakdown and death, Brahms maintained his admiration of Schumann’s music and preserved an intimate relationship with Clara Schumann. In spite of the personal and musical closeness of the two men, Schumann’s music is stylistically distinct from that of Brahms. Brahms followed traditions from Baroque and Classical music, and avoided using images and expressive titles in his music. Brahms extraordinarily intermingled earlier musical forms with multicolored tones of German Romanticism. In contrast, Schumann saw himself as a radical composer devoted to personal emotionalism and spontaneity. He favored programmatic titles for his character pieces and extra-musical references in his music. While developing their own musical styles as German Romantic composers, Schumann and Brahms both utilized the piano as a resourceful tool for self-realization and compositional development. To investigate and compare the main characteristics of Schumann and Brahms’s piano music, I looked at three genres. First, in the category of the piano concerto, I chose two major Romantic works, Schumann’s A minor concerto and Brahms’s B-flat major concerto. Second, for the category of piano variations I included two sets by Brahms because the variation framework was such an important vehicle for him to express his musical thoughts. Schumann’s unique motivic approach to variation is displayed vividly in his character-piece cycle Carnaval. Third, the category of the character piece, perhaps the favorite medium of Romantic expression at the piano, is shown by Schumann’s Papillons and Brahms’s sets of pieces Op.118 and Op.119. This performance dissertation consists of three recitals performed in the Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

PHILIPPE ROGIER (c.1561-1596): MISSA INCLITA STIRPS JESSE. A CRITICAL AND PERFORMING EDITION WITH PERFORMANCE COMMENTARY

The dissertation comprises two parts: (a) a musical edition and (b) a performance given on 3 July, 2008 of Philippe Rogier’s Missa Inclita stirps Jesse. The dissertation explores some of the editorial decisions required, how the demands of performers and musicologists differ, and whether they can be reconciled in one single edition. The commentary explains the preparation and realization of the edition. A video recording of the concert performance is attached to the dissertation. The Mass: The Missa Inclita stirps Jesse was published in Madrid in 1598 in a collection entitled Missae Sex. The mass setting is for four voices, except the Agnus Dei, which is for five, and is based on musical material in the motet Inclita stirps Jesse by Jacobus Clemens non Papa (c. 1510-15 – c.1556-6). Rogier’s choice and use of musical material from the motet (published in 1549) are discussed in the dissertation. The Edition: The edition is made from a microfilm copy of the Missae Sex held in the Biblioteca del Conservatorio de Musica “Giuseppe Verdi” in Milan. The Missae Sex was originally dedicated to King Philip II of Spain (1527-1598, reg. 1556-1598), whom Rogier had served as chorister and then maestro de capilla. Both Rogier and King Philip died before the volume was ready for publication. One of Rogier’s pupils, Géry de Ghersem, prepared the volume, which was printed in 1598, dedicated to King Philip III. The Performance: The mass was performed at a concert of Spanish Renaissance music in St. Matthew’s Cathedral, Washington, DC, on 3 July 2008, sung by the ensemble Orpheus directed by Philip Cave as part of the Chorworks summer workshop entitled Kings and Conquistadors: Music of Old and New Spain.