Status of the biodiversity of St. Martin's Island, Bay of Bengal, Bangladesh

A total of 234 species of fish have been recorded from the St Martin Island. Of which, 98 species are coral associated. The total number of recorded mollusc and crab species stands at 187 and 7 species respectively. A total of 66 coral species were recorded, of which 19 are fossil corals, 36 living corals and the rest are under 6 families of subclass Octocorallia (soft corals). A total of 14 species of algae have been recorded from the St. Martin's Island. There is an estimated amount of 1500 MT red sea weed biomass available around the St. Martin's Island. The island contains some of the most unique, benthic community associations in Bangladesh, not found anywhere else in the South Asian region. The unique marine communities have very high scientific value for research and monitoring and there are only a few examples worldwide, where coral-algal communities dominate rocky reefs. The economy of the island is based on fishing. It is estimated that, about 1650 MT of fish are caught annually. Over-exploitation of renewable marine and coastal resources (e.g., rocky reef fisheries, coral and shell extraction; removal of coastal vegetation from inter-tidal and sub-tidal habitats) is a major threat to this ecosystem. Destructive fishing practices, mainly the use of rock-weighted gill nets over the inshore boulder reefs is of prime aggravates. Proper implementation of the rules and regulation for Ecologically Critical Areas (ECA's), alternative livelihood for the local people and further research should be immediately taken for sustainable utilization and to save the rich biodiversity of the only coral island in Bangladesh.

Report of the SocMon capacity development workshop for the Bay of Bengal Large Marine Ecosystem countries in South Asia, St Martin's Island, Bangladesh, 2-11 January, 2015

Socio-economic Monitoring (SocMon) is an approach and set of tools for conducting socio-economic monitoring of changes in coastal communities. Planned outputs of the workshop included: training of local staff i SocMon methodologies; draft a SocMon report for St. Martin's Island; a workplan for implementing the SocMon; a communication strategy; and key inputs to a regional SocMon strategy

Socio-economic monitoring report for St Martin's Island, Bangladesh

This report was based on fieldwork conducted by trainees at the Socio-economic Monitoring (SocMon) workshop held at St Martin's Island. Topics included: community infrastructure; educational services; health services; water and sewerage; coastal and marine activities; material style of life; status of women; governance; and perceptions

Saint Martin's biological survey report, Bangladesh: fauna and flora checklist

This report presents an overview of the land-based biodiversity of the St Martin's Island, based on field visits during October 2014 and from historical data.

Report on Saint Martin's Island ecosystem boundary, Bangladesh: final report

This report seeks to strengthen national capacity on managing Marine Protected Area (MPAs) in Bangladesh. St Martin's Island was used as the pilot ecosystem boundary delineation.

Indian Country: Travels in the American Southwest

Padget, M. (2004). Indian Country: Travels in the American Southwest. Albuquerque: University of New Mexico Press. RAE2008

Writing Home : Martin Walser's Ein fliehendes Pferd as Anti-Tourist Literature

Wilkinson, Jane, 'Writing Home: Martin Walser's Ein fliehendes Pferd as Anti-Tourist Literature', Journal of Tourism and Cultural Change (2006) 4(3) pp.001-017 RAE2008

Christology in the Epistle to the Hebrews: Martin Luther's Reception of John Chrysostom

Throughout the history of the Church, the Epistle to the Hebrews has been one of the most puzzling letters in the Canon, particularly regarding the implications of understanding the person of Jesus Christ. John Chrysostom, an important patristic writer, is acknowledged to have made significant contributions to the exegesis of this letter. Chrysostom's thought became the norm for traditional thinking and interpretation of this letter in the Middle Ages. Martin Luther's reception of Chrysostom's Homilies on Hebrews presents a unique interpretation that some scholars may describe as the "Reformation Discovery" on Hebrews. In tracing Luther's reception and appropriation of Chrysostom's exegesis of the letter to the Hebrews, there is a noticeable and significant shift in Christological interpretation. Whether or not these modifications were necessary is a matter of debate; however, they do reflect Luther's contextual and existential questions regarding faith, Christ and knowledge of God, which is evident in his Lectures on Hebrews.

Nurturing Change: Lilly Martin Spencer's Images of Children

This dissertation is the first full-length study to concentrate on American genre painter Lilly Martin Spencer's images of children, which constituted nearly one half of her saleable production during the height of her artistic career from 1848 to 1869. At this time, many young parents received advice regarding child rearing through books and other publications, having moved away from their families of origin in search of employment. These literatures, which gained in popularity from the 1830s onward, focused on spiritual, emotional, and disciplinary matters. My study considers four major themes from the period's writing on child nurture that changed over time, including depravity and innocence, parent/child bonding, standards of behavior and moral rectitude, and children's influence on adults. It demonstrates how Spencer's paintings, prints, and drawings featuring children supported and challenged these evolving ideologies, helping to shed light not only on the artist's reception of child-rearing advice, but also on its possible impact on her middle-class audience, to whom she closely catered. In four chapters, I investigate Spencer's images of sleeping children as visual equivalents of contemporary consolation literature during a time of high infant and child mortality rates; her paintings of parent/child interaction as promoting separation from mothers and emotional bonding with fathers; her prints of mischievous children as both considering changing ideals about children's behavior and comforting Anglo-American citizens afraid of what they saw as threatening minority groups; and her pictures with Civil War and Reconstruction subject matter as contending with the popular concept of the moral utility of children. By framing my interpretations of Spencer's output around key issues in the period's dynamic child-nurture literature, I advance new comprehensive readings of many of her most well-known paintings, including Domestic Happiness, Fi, Fo, Fum!, and The Pic Nic or the Fourth of July. I also consider work often overlooked by other art historians, but which received acclaim in Spencer's own time, including the lithographs of children made after her designs, and the allegorical painting Truth Unveiling Falsehood. Significantly, I provide the first in-depth analysis of a newly rediscovered Reconstruction-era painting, The Home of the Red, White, and Blue.

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.

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.