Olfactory attractiveness of mixtures of some host plant and conspecific semiochemicals to the banana weevil Cosmopolites sordidus (Germar, 1824)

A simple "Y" shaped olfactometer was used in laboratory studies on the olfactory attractiveness of mixtures in various proportions of industrial analogues of some host plant and conspecific-based semiochemicals, or their combinations with banana rhizome, to the banana weevil. The aim was to identify factors that influence their attractiveness to the weevil, and consider the possibility for their use as lures for trapping the weevil in the field. Cosmopolites sordidus was attracted to the mixtures at specific concentrations and proportions of constituent chemicals. 6-methylhept-5-en-2-one was only attractive on its own at 1 µl/100 ml and in mixture with 4- mercaptophenol, but not at 10 µl, 0.01 µl, or in combination with banana rhizome. 4-mercaptohpenol and 2-n-butylfuran, which were compatible with most host plant-based chemicals and were attractive as a mixture, were perceived to be key elements in the composition of attractants to the weevil. It was concluded that in addition to the composition, other factors that may determine the attractiveness or otherwise of a mixture to C. sordidus are the proportions and concentrations of the constituent chemicals.

'A theatre of ruins'. Edward Bond & Samuel Beckett: theatrical antagonists

The playwright Edward Bond has long made known his antagonism to dramatists allied to Martin Esslin’s Theatre of the Absurd. The work of Samuel Beckett has come in for particular criticism by Bond. Using published writings (and unpublished correspondence between myself and Bond), I hope to trace the development of this antagonism between ‘Bondian’ and ‘Beckettian’ views of theatre. However, this article will also set out to argue that both early work such as The Pope’s Wedding (1962), and more recent work such as Coffee (1995), make use of motifs, characters and ideas from Beckett’s theatre. The article will set out provisional reasons why Bond, despite his misgivings, is not averse to incorporating elements from Beckett’s ‘theatre of ruins’, as he terms it, into his own work.

Edward Bond & the celebrity of exile

A shibboleth has grown up around the work of Edward Bond. The tag ‘controversial dramatist’ has continued to dog both the man and his work. This article will hope to explore some of the contradictory, and sometimes frustrating manifestations that such ‘celebrity’ has produced. Since the reception of The War Plays [1985] by the Royal Shakespeare Company at the National Theatre Bond has largely withdrawn his work from mainstream British theatre. Since the late 1990s he has looked to a new home – La Colline Theatre – in France, to premiere new work and run retrospective seasons of older plays. Here, Bond's celebrity is of a different kind, and has allowed him to enhance and develop his work as a playwright, director and writer about theatre. While this article draws on secondary sources it also uses material based on personal correspondence with Edward Bond.

Max Weber in the thought of Edward Shils (1910–1995) and Ernest Gellner (1925–1995): the paradox of two Weberian approaches to the understanding of nations and nationalism?

This article traces the paradoxical impact of Weber's oeuvre on two major scholars of nationalism, Ernest Gellner and Edward Shils. Both these scholars died in 1995, leaving behind a rich corpus of writings on the nation and nationalism, much of which was inspired by Max Weber. The paradox is that although neither scholar accepted Weber's sceptical attitude to the concept of ‘nation’, they both used his other major concepts, such as ‘rationality’, ‘disenchantment’, ‘unintended consequences’, the ‘ethic of responsibility’ and ‘charisma’, in their very analyses of the nation and nationalism. And they both saw, each in his own way, the nation and nationalism as constitutive elements of modern societies. However, the paradox ceases being a paradox if one sees the integration, by Shils and Gellner, of concepts of the nation and of nationalism in the analysis of modernity, as a development of Weber's ideas.