Semblanzas Ictiológicas Iberoamericanas: Enrique Daniel Laaz Moncayo.

A través de esta nueva serie tratamos de conocer diferentes aspectos personales de los integrantes de la comunidad ictiológica iberoamericana. Esta iniciativa, comparte el espíritu y objetivo de las semblanzas nacionales buscando informalmente otro punto de unión en la “comunidad de ictiólogos iberoamericanos”. Quizás esté equivocado en mi apreciación, pero creo que vale la pena este intento, ya que, con la colaboración generosa e insoslayable de los integrantes de este “universo”, señalaremos un registro en el tiempo de la Ictiología Neotropical.

南美白对虾（Penaeus vannamei Boone,1931)卵子质量的形态学评估

1）本文描述了南美白对虾正常的卵子形态及发生特点，以及受精卵和非受精卵的形态学鉴别方法。2）从生产的角度出发提出了评估卵子质量的五项指标：同批卵子规格的一致程度，卵子的沉降速度，孵化膜的抗变形能力，4－8细胞期的分裂特点，扩膜卵在同批卵中所占的比例。除此外，对于亲虾持续产卵与所产卵子质量的关系等也作了相应的探讨。

Daniel Owen a 'Gwir Gychwyn' y Mudiad Drama

Williams, I. (2005). Daniel Owen a 'Gwir Gychwyn' y Mudiad Drama. Ll?n Cymru. 28, pp.138-159.

Letter to Charlie Brown from Daniel Denison Whedon

This letter is part of the Autograph Letters Collection.

June 12, 1820 letter to Epaphras "Kibby[sic]" on Circular by Baltimore preachers in the M.E. Church

Handwritten letter from Timothy Merritt to Epaphras "Kibby [sic]" on a Circular published by local preachers of the Baltimore area. Letter dated 6/12/1820, Circular dated 5/20/1820. Both are on the subject of the changed protocols resulting from decisions made at a General Conference held just previous to publication, involving the installment of new preachers

Letter to Daniel A. Whedon. New York. April 13, 1867

Handwritten 1867 letter from Daniel D. Whedon to his nephew, Daniel A. Whedon, requesting books.

Letter to Daniel Avery Whedon. Brooklyn, NY. Nov. 22, 1865.

Handwritten 1865 handwritten letter from Daniel D. Whedon to Daniel A. Whedon, his nephew, regarding slavery in relation to the Church as well as the Christian Union.

Daniel Giovannangeli, La Passion de l’origine, Paris :Galilée, 1995, 137 p.

Paris

COMPOSITIONS FEATURING THE PIANO IN FANTASY FORM: 1820-1920

The Fantasy form offered a composer the freedom to create a work without concerns for fitting into the current stylistic and traditional structures. The flowering of the form seems to be concentrated from 1820-1920 since the composer started to use it as a way to convey a personal idea or to portray a special spirit. This dissertation is comprised of three recitals with fantasies in different genres and styles. Through performing these diverse fantasies, I have been inspired to connect with the imagery and spirit of the compositions in order to capture the unique sentiments of each piece. Also, in order to keep the audience absorbed in the music that is without structure, I have focused on expanding my technical abilities to vary color, sonority, and phrasing. Program one (April 26,2004) includes Fantasie, Op. 17 and Piano Concerto, Op. 54 (assisted by Ya-Hsin Wu) by R. Schumann. Program two (December 10, 2004) includes Three Fantastic Dances, Op. 5 by D. Shostakovitch, Fantasy "Sonataecossaise ", Op. 28 by F. Mendelssohn, Sonata No.2 "Sonata-Fantasy", Op. 19 by A. Scriabin and Fantasie for Piano and Violin, D 934 by F. Schubert with violinist, TaoChang Yu. The last program (November 1, 2005) includes Fantasia baetica by E. de Falla, Morceaux de Fantaisie, Op. 3 by S. Rachrnaninoff, Fantaisie, Op. 49, Impromptu No. 4 '%h.ntasy-hpromptu", Op. 66 and Polonaise-Fantaisie, Op. 61 by F. Chopin.