Cartas enviadas por Augusto Barcia a Justo Garate entre 1941 y 1942

12 cartas (manuscritas) ; entre 210x270mm y 140x225mm

Mechanism of red colouration in Tovel-See (”Conclusions” only) [Translation from: Archiv fur Hydrobiologie 38 299-302, 1941]

Cases of red colouration in small lake basins, due to the abundant appearance of microorganisms have long been known. Usually it is caused by a fast, sudden, intensive propagation (so called ”bloom”) of Cyanophycae and bacteria. (e.g. Oscillatoracae, thiobacteria etc.). An exception to this is the red colouration of Tovel-See, an alpine lake basin in the Dolomites of the Brenta group (Trentino), lying at a height of 1178 m and hidden in the woodland of a valley. Here the red bloom has a double rhythm: a daily and a yearly rhythm. The colouration of one part of the lake takes place in the warmest months of the year (i.e. July, August, September) and in the middle hours of the day. The immediate origin of the bloom has been known for a long time: it is caused by the Peridinacae Glenodinium sanguineum. This paper describes the phenomenon of red colouration of the lake and discusses its conditions.

A contribution to the algal flora of the Kola Peninsula [Translation from: Trudy Institut Botaniki Trudy Institut Botaniki Kharkivskii. Univ Vol. 4, pp. 53-76, 1941]

During recent years in connection with the industrialisation of the Kola Peninsula, the study of this district in the botanical respect, in particular the study of the microflora of various bodies of water, began to advance markedly. This article describes the algal flora of the Kola Peninsula. Morphological descriptions are given for three Tetraspora: Tetraspora simplex, Tetraspora tenera, Tetraspora imperfecta. Chlorophysema aduata is also described, and short descriptions of further algae found in the Kola Peninsula are given.

Effect of substituting animal protein sources with soybean meal in diets of Oreochromis karongae (Trewavas 1941)

Three diets were formulated using locally available feed ingredients in Malawi to test the effect of replacing animal protein (fish meal, meat and bone meal) with soybean meal (10:0, 5:5, 0:10% of diet) as the protein source on growth and feed conversion of Oreochromis karongae. There were no significant differences in growth rate (GR), specific growth rate (SGR) and feed conversion ratios (FCR) among the three diets. It can be concluded that more expensive and limited animal protein sources can totally be replaced by cheaper soybean in order to get similar growth rates in O. karongae.

Genetic evidence of two sibling species within the Contracoecum ogmorhini Johnson & Mawson 1941 complex (Nematoda; Anisakidae) from otariid seals in boreal and austral regions

Genetic variation of Contracaecum ogmorhini (sensu lato) populations from different otariid seals of the northern and southern hemisphere was studied on the basis of 18 enzyme loci as well as preliminary sequence analysis of the mitochondrial cyt b gene (260 bp). Samples were collected from Zalophus californianus in the boreal region and from Arctocephalus pusillus pusillus, A. pusillus doriferus and A. australis from the austral region. Marked genetic heterogeneity was found between C. ogmorhini (sensu lato) samples from the boreal and austral region, respectively. Two loci (Mdh-2 and NADHdh) showed fixed differences and a further three loci (Iddh, Mdh-1 and 6Pgdh) were highly differentiated between boreal and austral samples. Their average genetic distance was DNei = 0.36 at isozyme level. At mitochondrial DNA level, an average proportion of nucleotide substitution of 3.7% was observed. These findings support the existence of two distinct sibling species, for which the names C. ogmorhini (sensu stricto) and C. margolisi n. sp., respectively, for the austral and boreal taxon, are proposed. A description for C. margolisi n. sp. is provided. No diagnostic morphological characters have so far been detected; on the other hand, two enzyme loci, Mdh-2 and NADHdh, fully diagnostic between the two species, can be used for the routine identification of males, females and larval stages. Mirounga leonina was found to host C. ogmorhini (s.s.) inmixed infections with C. osculatum (s.l.) (of which C. ogmorhini (s.l.) was in the past considered to be a synonym) and C. miroungae; no hybrid genotypes were found,confirming the reproductive isolation of these three anisakid species. The hosts and geographical range so far recorded for C. margolisi n. sp. and C. ogmorhini (s.s.) are given.

Maria Eugenia Celso: entre o impresso feminino, a casa e o espaço público (1920-1941)

Esta dissertação se situa no campo de estudos da História da Educação e privilegia o período compreendido entre 1920 e 1941, com vistas a destacar a dimensão educativa dos escritos de Maria Eugenia Celso em diálogo com estudos sobre a história das mulheres no Brasil e no ocidente, com a questão de gênero. Para dar tratamento a esse propósito, investe-se nas possibilidades de pesquisa do texto jornalístico e literário de Maria Eugenia Celso, elencando-se seus escritos na coluna Pagina de Eva do periódico Revista da Semana, reportagens em prol da Federação Brasileira pelo Progresso Feminino publicados pelo Jornal do Brasil e documentos desta entidade, bem como o livro Diário de Ana Lúcia. A escolha pelos referidos escritos justifica-se pela presença de discursos que encaminham para uma educação da mulher. Nesta perspectiva, neste texto acadêmico, busca-se lançar luz sobre a trajetória da escritora, para que suas obras tenham mais visibilidade. Almeja-se, da mesma forma, possibilitar uma leitura mais aprofundada da sociedade à época tanto quanto da dimensão educativa do impresso para a história das mulheres brasileiras. Neste estudo, destaco a mulher presente no espaço doméstico e no espaço público, abordando diferentes representações da mulher nas primeiras décadas do século XX

Sea surface temperature and paleo-El Niño events in Santa Barbara Basin, AD 1841-1941

Like pages of a "natural coastal diary", successive layers of anoxic varved sediment in the central Santa Barbara Basin have been used by paleoceanographers to reconstruct aspects of past coastal climate. This report focuses on the end of the "Little Ice Age" (15th to 19th century) and on the beginning of this century, a period known to encompass extreme climate excursions and weather events in the Santa Barbara Basin and other parts of Southern California. El Niño events are known to disrupt Southern California's coastal ecosystems and to cause anomalous weather conditions, but El Niño events in Southern California before 1990 have been largely undocumented.

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.

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.

The Evolution of Rachmaninov's Pianistic Style from 1892 to 1941 as Seen in Selected Original Works and Transcriptions for Piano

Unlike some other major composer-pianists (Franz Liszt and Alexander Scriabin being the most notable examples), Sergei Rachmaninov did not experience any dramatic changes in his compositional style; one can, however, notice certain stylistic differences between piano works composed during different periods of his long creative life. This dissertation argues that a clear evolution of Rachmaninov's pianistic style through his three creative periods can be traced by examining a selection of his compositions, from his first significant cycle for piano, 5 Marceaux de fantaisie, Op. 3 (1892), all the way through to his last piano work, a transcription of P.I.Tchakovsky's Lullaby, Op. 16, No. 1 (1941). Rachmaninov's life as a composer can be divided into three periods. His early period was ended abruptly by the disastrous premiere ofhis First Symphony in 1897, which caused a deep psychological crisis in the life of the young composer. Piano works of this period are often characterized by relatively simple homophonic texture, when Rachmaninov was clearly influenced by some of his Russian predecessors, most notably Tchaikovsky. His second and most productive period, also known as the period of"Russian maturity," started in 1900, when he began working on the Second Suite for two pianos, Op. 17, and the Second Concerto, Op. 18; this phase ended with the Russian Bolshevik revolution of 1917. Works of this time exhibit a mature style of piano writing, with rich, virtuosic - often considered excessive by many critics - texture and ever-increasing use of chromatic harmonies. Rachmaninov's works of the third period are limited in number owing to the composer's preoccupation with a career as pianist. Original works for piano now give way to revisions of earlier compositions and transcriptions: Rachmaninov's piano writing becomes more efficient and economical without losing any of its virtuosic brilliance. This dissertation project examines in detail, over the course of three piano recitals, a variety of works composed during the "Russian maturity" period, from several Preludes from Op. 23 (1903), the first major cycle for solo piano of the period, to 9 Etudes-Tableaux, Op.39 (1917), the last one; the early period is represented by 3 of 5 Marceaux defantaisie, Op. 3 (1892), while the late period is shown through several piano transcriptions and revised versions of the remaining 2 pieces from Op. 3.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.