Die Kirchengeschichte des Gelasios von Kaisareia : die vorlage für die beiden letzten bücher der Kirchengeschichte Rufins.

Published in full as Byzantinisches archiv, heft 6.

Geschichte des kunstgewerbes in einzeldarstellungen von H.Blümner u. dr. O. v. Schorn.

bd. 1-2. Das kunstgewerbe im altertum / von H. Blümner. bd. 1, abth. 1. Das antike kunstgewerbe nach seinen verschiedenen zweigen -- bd. 2, abth. 2. Die erzeugnisse der griechisch-italischen kunstgewerbes -- bd.3. Die textilkunst, von dr. Otto von Schorn. -- bd. 4. Die kunsterzeugnisse aus Thon und Glas,von dr. Otto von Schorn.

Cyneirlyfr: neu, Eiriadur Cymraeg.

Mode of access: Internet.

Perllan Gwent, sef Awdlau, englynion, chaniadau ar amrywiol destunau.

Mode of access: Internet.

1943 UM Track Team

Top Row: Dick Bernard, Jim Conant, Gene Moody, Bill Dale, George Kraeger, Bob Gardner, Don Sternisha, Bill Matney, Coach Chester Stackhouse.

2nd Row: acting mngr. Johnny Patterson, Ross Hume, Jim Sears, Lennie Alkon, Livius Stroia, Bud Byerly, John Roxborough, Ernie Leonardi, Art Upton.

Front: Chuck Pinney, Willis Glas, captain Dave Matthews, Coach Ken Doherty, Bob Hume, Bob Ufer, Bob Segula

1944 UM Track Team.

Front Row: Jack Martin, George Kraeger, captain-elect Ross Hume, Coach Doherty, captain Robert Hume, Robert Ufer, William Dale

2nd Row: Robert Nussbaumer, John Purdue, Elroy Hirsch, J. Elmer Swanson, Wayne Glas, Richard Barnard, Eugene Moody, Richard Forrestel.

3rd Row: st. mngr Hal Fletcher, George Vetter, Julian Witherspoon, Philip Collia, James Pierce, Frederick Stoliker, Warren Bentz, Charles Birdsall.

4th Row: trainer Lyle Bennett, Melvin Detwiler, Ben Richards, Sheldon Kavieff, R. Bruce Blanchard, George Chute, Ralph Gibson, asst. coach Chester Stackhouse.

Top Row: Rex Wells, Fred Negus, Thomas Paton, Max Kelly, John Eisley.

Distance Medley Relay team, UM Track,1944 Penn Relays champions

L-R: Wayne Glas, Bob Ufer, Ross Hume, Robert Hume

Poppionjärer & propagandaprojekt : En kritisk diskursanalys av det svenska musikundrets framställning i kulturjournalistiken

Sedan 1990-talet har uttrycket ”det svenska musikundret” använts för att beskriva Sverige som en stor musikexportör i världen. Detta begrepp är dock mångfacetterat och inte helt oproblematiskt. I denna uppsats har jag genom en kritisk diskursanalys studerat hur det svenska musikundret framställs inom kulturjournalistiken. Mitt syfte har varit att ta reda på vilka diskurser av det svenska musikundret som dominerar i medieframställningen, hur dikotomin kultur och ekonomi synliggörs i framställningen av dessa diskurser samt vilken roll journalisten har i reproducerandet. Uppsatsen har Bourdieus teorier om kapital och fält som grund, vilka är essentiella för förstå de regler som förekommer inom populärmusikens produktionsfält. Vidare har jag utgått från kritisk teori, forskning kring kulturjournalistik samt relationen mellan ekonomi och kultur. I min analys har jag kommit fram till fyra dominerande diskurser – den postmoderna, den marknadsliberala, den kollektivistiska och den anti- nationalistiska diskursen. Utifrån dessa diskurser har jag kommit fram till några olika sätt som dikotomin kultur och ekonomi synliggörs på. Det har skett en de-differentiering och placeringen på produktionsfältet kan idag tillåtas vara närmare den kommersiella polen. Musikundret är en del av ”varumärket Sverige”, där Sverige som musikland lyfts fram, och fungerar som en populärmusikalisk kanon eftersom uttrycket pekar på någon slag enhet. Journalisterna är representanter i ett åsiktsmaskineri som handlar om det svenska musik- undret, vilka till stor del består av vita män. De bidrar till formandet och reproducerandet av synen på det svenska musikundret som baseras på subjektiva åsikter. Synen på populärmusik verkar från journalisthåll ha förändrats mot en större öppenhet även för mer kommersiella akter inom musikundret. Det visar på att journalisternas texter präglas av den samhälleliga kontexten, samtidigt som deras texter är med och formar samhällskontexten. 

Data compilation on the biological response to ocean acidification: environmental and experimental context of data sets and related literature

The exponential growth of studies on the biological response to ocean acidification over the last few decades has generated a large amount of data. To facilitate data comparison, a data compilation hosted at the data publisher PANGAEA was initiated in 2008 and is updated on a regular basis (doi:10.1594/PANGAEA.149999). By January 2015, a total of 581 data sets (over 4 000 000 data points) from 539 papers had been archived. Here we present the developments of this data compilation five years since its first description by Nisumaa et al. (2010). Most of study sites from which data archived are still in the Northern Hemisphere and the number of archived data from studies from the Southern Hemisphere and polar oceans are still relatively low. Data from 60 studies that investigated the response of a mix of organisms or natural communities were all added after 2010, indicating a welcomed shift from the study of individual organisms to communities and ecosystems. The initial imbalance of considerably more data archived on calcification and primary production than on other processes has improved. There is also a clear tendency towards more data archived from multifactorial studies after 2010. For easier and more effective access to ocean acidification data, the ocean acidification community is strongly encouraged to contribute to the data archiving effort, and help develop standard vocabularies describing the variables and define best practices for archiving ocean acidification data.

Genome-wide association and genome partitioning reveal novel genomic regions underlying variation in gastrointestinal nematode burden in a wild bird

Acknowledgements This study was funded by a BBSRC studentship (MA Wenzel) and NERC grants NE/H00775X/1 and NE/D000602/1 (SB Piertney). The authors are grateful to Fiona Leckie, Andrew MacColl, Jesús Martínez-Padilla, François Mougeot, Steve Redpath, Pablo Vergara† and Lucy M.I. Webster for samples; Keliya Bai, Daisy Brickhill, Edward Graham, Alyson Little, Daniel Mifsud, Lizzie Molyneux and Mario Röder for fieldwork assistance; Gillian Murray-Dickson and Laura Watt for laboratory assistance; Heather Ritchie for helpful comments on manuscript drafts; and all estate owners, factors and keepers for access to field sites, most particularly Stuart Young and Derek Calder (Edinglassie), Simon Blackett, Jim Davidson and Liam Donald (Invercauld and Glas Choille), Richard Cooke and Fred Taylor† (Invermark) and T. Helps (Catterick).

Physiological and ecological variables measured at the high and low pCO2 reef sections

Experiments have shown that ocean acidification due to rising atmospheric carbon dioxide concentrations has deleterious effects on the performance of many marine organisms. However, few empirical or modelling studies have addressed the long-term consequences of ocean acidification for marine ecosystems. Here we show that as pH declines from 8.1 to 7.8 (the change expected if atmospheric carbon dioxide concentrations increase from 390 to 750 ppm, consistent with some scenarios for the end of this century) some organisms benefit, but many more lose out. We investigated coral reefs, seagrasses and sediments that are acclimatized to low pH at three cool and shallow volcanic carbon dioxide seeps in Papua New Guinea. At reduced pH, we observed reductions in coral diversity, recruitment and abundances of structurally complex framework builders, and shifts in competitive interactions between taxa. However, coral cover remained constant between pH 8.1 and ~7.8, because massive Porites corals established dominance over structural corals, despite low rates of calcification. Reef development ceased below pH 7.7. Our empirical data from this unique field setting confirm model predictions that ocean acidification, together with temperature stress, will probably lead to severely reduced diversity, structural complexity and resilience of Indo-Pacific coral reefs within this century.

La historia contemporánea en relación con la memoria, los museos y los espacios de memoria Internacionales - pasado, presente y futuro

El artículo examina los conceptos de Monumentos, Sitios y Museos conmemorativos a nivel internacional. Se comienza con la terminología de historia contemporánea como un término que se desarrolló y amplió desde 1950. La historia contemporánea influye también en el campo de las Bellas Artes. Los monumentos conmemorativos o sitios de la memoria en lugares auténticos son de gran importancia para la concienciación. En combinación con los museos tienen la posibilidad de recoger diversos objetos como fuentes escritas, artefactos, fotografías y registros de la historia oral como testimonios de los antiguos acontecimientos. En cuanto a los museos, esto se refleja particularmente en las concepciones de los museos para la Guerra y la Paz, los museos de la Memoria sobre el Genocidio, y los museos de Movimientos de Resistencia. Un artefacto particular del ataque terrorista del 11 de septiembre de 2001 es la Karyatide del famoso artista alemán Fritz Koenig, ahora colocado en el Battery Park al sur de Manhattan. Por último, el Memorial y Museo Nacional 11 de Septiembre se explica junto con su arquitectura, la idea de “Ausencia Reflexionada” y la Misión de la Memoria para el futuro.