A review of the fisheries of the Uganda waters of Lake Albert East Africa, 1928-1965/66, with catch data mainly from 1953

An historical account is given of the development of the Lake Albert fisheries since Worthington's survey in 1928. It is noted that the development of the fisheries was related to, and dependent upon, improvements in the type of gear and canoes, an incFease in the number of canoes and outboard engines in use, improved marketing facilities and better road communications. Summarized data, collected mainly since 1954, has been analysed and tabulated to show annual exports to the Congo, total annual catches 'and annual catches of individual species. A change in the relative abundance of the various species in the annual catches is described. It is noted that this change was caused by a change-over from large to small mesh size gill-nets, and that it was associated with an increased demand within Uganda for the smaller species of fish, such as Aleste's baremose and Hydrocynus forskahlii. A brief description of fish processing and marketing in the Lake Albert region is given, which emphasizes the suitability of salt-cured fish to the social and physical environment of the area. Finally, a summary of a recent survey of the potential fish resources of the lake is given in the discussion, and estimates of the 1965 catch at the north and south ends of the lake are compared with the findings of the survey. This showed that there is little danger of overfishing the Alestes baremose stocks of the Wanseko area at the 1965 rate of exploitation of the species, and that the total catch for 1965 at the south end of the lake was well below the estimated annual sustainable yield from the area.

Annual Report of the Game and Fisheries Department for the year ended 31st December, 1953

Summary of fish production on main lakes of Uganda 1953, consumption of fish in Uganda 1953, imports and exports of fish, including reports from the different regions Fisheries by Regions (1) Lake Victoria (2) Lake Albert (3) Lake Kyoga and Waters of Eastern Uganda Lakes George, Edward, Fish Farming, Dams and miscellaneous minor waters. It includes information on: Angling which includes Trouting, Nile Perch fishing and Tiger Fishing, Ripon Falls Barbel and Tailpiece.

A new species of Henneguya (Myxosporida, Protozoa) from West African catfish, Clarias lazera Val., with a review of the genus Henneguya Thelohan, 1892

A new species of myxosporida, Henneguya clariae, is described from the gills of Claria’s Iazera caught from various waters in Nigeria. Pathogenic effects in the destruction of the components of the branchial system are about 25% of Clarias lazera. A review of the genera Henneguya myxobilatus, and Neohenneguya is made and these were synonymised, with some reservations in the case of to Henneguya. A checklist of the genus Henneguya is given.

Em 1953 foi descoberta a estrutura do DNA: relato de uma grande descoberta científica.

2004

Propaganda by Proxy?: Britain, America, and Arab Radio Broadcasting, 1953-1957

Vaughn, James, ''Propaganda by Proxy': Britain, America and Arab Radio Broadcasting 1953-1957 ', Historical Journal of Film, Radio and Television (2002) 22(2) pp.157-172 RAE2008

Un Bywyd o Blith Nifer: Cofiant Saunders Lewis, 1892-1985

Chapman, T. (2006). Un Bywyd o Blith Nifer: Cofiant Saunders Lewis, 1892-1985. Llandysul: Gwasg Gomer.

Lights and shades of mission work, or, Leaves from a worker's note book : being reminiscenses of seven years service at the capital, 1885-1892 / by B.H.W.

http://www.archive.org/details/lightsandshades00bhwuoft

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

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.