Suggestive role of eye-stalk of Macrobrachium gangeticum Bate, 1868 in regulation of its reproductive behaviour

Role of eye-stalk of Macrobrachium gangeticum Bate, 1868 in its reproductive behaviour has been examined by conducting deletion and addition experiments. Eye-stalk ablation induced gonadal maturity in both sexes, leading to change in colour and size of ovaries and increase in GSI and oocyte diameter in females and increased length of testes and diameters of seminiferous tubules in males. Injection of eye-stalk extracts tended to at least partly restrict the effects in both sexes. The experiments thus suggested that the eye-stalk of M. gangeticum released some gonad inhibiting factors.

Geographic variation of Chevrier's field mouse (Apodemus chevrieri) (Milne-Edwards, 1868) (Muridae : Murinae) from southwestern China based on cranial morphometric variables

Geographic variation of Chevrier's field mouse (Apodemus chevrieri) (Milne-Edwards, 1868) (Muridae: Murinae) from southwestern China based on cranial morphometric variables. Zoological Studies 47(4): 393-401. A sample of 134 specimens of Apodemus chevrieri was investigated in the present study. Individuals were divided into male and female groups, and these were respectively subjected to multivariate analysis. Results indicated that 3 geographic populations of A. chevrieri inhabit southwestern China: a Sichuan population in western Sichuan Province; a northwestern Yunnan population ranging from northwestern Yunnan Province eastward to southern Sichuan Province; and a central Yunnan population in central Yunnan Province. In addition, a coefficient of difference analysis was performed among these 3 geographic populations. The results suggested that these 3 geographical populations of A. chevrieri belonged to 2 subspecies. Furthermore, we discuss the relationships of the subspecific differentiation of A. chevneri with changes in latitude in southwestern China.

The Newgate Novel and Sensation Fiction 1830-1868

Pykett, Lyn. 'The Newgate Novel and Sensation Fiction 1830-1868', In: The Cambridge Companion to Crime fiction (Cambridge: Cambridge University Press, 2003), pp.19-39 RAE2008

Letter to nephew, 01/13/1868

January 13 1868 letter from Daniel A. Whedon to nephew.

Letter to nephew, 12/11/1868

Letter from Daniel Whedon to nephew, Daneil Avery Whedon. Dated December 11 1868.

Letter to nephew, 02/06/1868

Letter from Daniel Whedon to nephew, Daniel Avery Whedon. Dated February, 6, 1868.

SOLOS DE CONCOURS FOR FLUTE AT THE PARTS CONSERVATORY: TWO DECADES-1900s AND 1940s

The topic of this dissertation is the concours pieces for flute at the Paris Conservatory covering two decades. The works are used for exit examination pieces for graduating students at the conservatory. The music is chosen by the director, the professors in the performance area, and a committee of other professors. These pieces still seem to be among the more important pieces known by flutists in the twenty-first century, and they are also frequently used as required audition pieces by conservatories, orchestras, and competitions. I have performed the works used for examination in two decades separated by almost half a century: The pieces from 1900 to 1909 and from 1940-1949, This performance dissertation contains three recital programs, and the recordings of the recitals are filed electronicaIly. I have grouped them according to contrasting styles in three recitals. Works performed are Agrestide (1942) by Eugene Bozza, Andante et Scherzo (1945) by Francois J. Brun, Preude et Scherzo (1908) by Henri Busser, Concertino (1902) by Cecile Chaminade, sixth Solo (1855) by Jules Demersseman (it was on the concours of 1896, dates which are outside the scope of this dissertation), Sonatine (1943) by Henri Dutilleux, Cantabile et Presto (1904) by Georges Enesco, Andante et Scheno (1901) by Louis Ganne, Fantaisie (1920) by Philippe Gaubert, Nocturne et Allegro Scherzando (1906) by Philippe Gaubert, Chant de Linos (1944) by Andre Jolivet, Fantasiestuck (1947) by Henri Martelli, Eglogue (1909) by Jules Mouquet, Concerto in A (1945-1949) by mile Passani, Ballade (1903) by Albert Perhilou, Sonatine (1946) by Pierre Sancan, Andante Pastorale et Scherzettim (1907) by Paul Taffanel, and Concertino in E Major (1945) by Henri Tornasi. Cantabile et Presto was required in both 1904 and 1940, and Andante et Scherzo was required in both 1901 and 1905.

FLUTE MUSIC FROM THE MID-TWENTIETH CENTURY BY THREE FRENCH COMPOSERS: JEAN-MICHEL DAMASE, ANDRE JOLIVET, AND HENRI TOMASI

Jean-Michel Damase (b.1928), Andre Jolivet (1905-1974), and Henri Tomasi (1901-1971) are three prominent French composers ofthe twentieth century. Tomasi won the Prix de Rome in 1927, and Damase won the Prix de Rome in 1947. All three composers were educated and lived in Paris around the same period; however, their musical styles are quite distinct. Most of Jolivet's compositions for flute are well known and are often selected as international competition repertoire. The compositions for flute by Damase and Tomasi are not as recognized as those of Jolivet, and most of their works for flute still have not been commercially recorded. The purpose of this dissertation is to provide a more comprehensive guide to the compositions for flute by Damase, Jolivet and Tomasi, and, in addition, to make the works ofDamase and Tomasi familiar to flutists. This dissertation will focus on the compositions ofDamase, Jolivet, and Tomasi for flute alone and those for flute and piano, written between 1928 and 1971 (1928 is the year Damase was born, and 1971 is the year that Tomasi died). Damase continues French romanticism, and his music is always playful, elegant, and accessible with rhythmic and harmonic surprises, but with an underlying complexity. His compositions for flute include three concertos, two double concertos, one flute solo work, and nine works for flute and piano. Jolivet's compositions make use of ancient rituals, incantations, and spirituality, as well as repeated phrases and single notes, irregular rhythmic patterns, dissonant effects, and rhythmic drive. He composed one flute concerto, three works for flute solo, and four works for flute and piano. Tomasi's compositions also continue French romanticism and contain melodies which often seem to tell a story, and which are not only full of flourishes and vitality, but are also delicate, colorful, and romantic. Virtuosic technical demand is another characteristic of his style. Tomasi composed three flute concertos, three works for solo flute, and one work for flute and piano. Appendix I is a list of the compositions for flute by Damase, Jolivet, and Tomasi, and Appendix II is a discography of their works.