January to August temperature variability since 1776 inferred from tree-ring width of Pinus tabulaeformis in Helan Mountain

IEECAS SKLLQG

Bioecologia e controle da cochonilha-parda Parthenolecanium persicae (Fabricius, 1776) (Hemiptera: Coccidade) na cultura da videira.

2002

Calyptostoma velutinum (Müller, 1776) (Acari, Actinotrichida, Parasitengona) s. lato na tle Calyptostomatoidea świata

Wydział Biologii i Hodowli Zwierząt Uniwersytet Przyrodniczy we Wrocławiu

DEGENERATE MUSIC?! MUSICAL CENSORSHIP IN THE THIRD REICH

In 1938, in Düsseldorf, the Nazis put on an exhibit entitled "Entartete Musik” (degenerate music), which included composers on the basis of their “racial origins” (i.e. Jews), or because of the “modernist style” of their music. Performance, publication, broadcast, or sale of music by composers deemed “degenerate” was forbidden by law throughout the Third Reich. Among these composers were some of the most prominent composers of the first half of the twentieth-century. They included Stravinsky, Schoenberg, Webern, Berg, Mahler, Ernst Krenek, George Gershwin, Kurt Weill, Erwin Schulhoff, and others. The music of nineteenth-century composers of Jewish origin, such as Mendelssohn and Meyerbeer, was also officially proscribed. In each of the three recitals for this project, significant works were performed by composers who were included in this exhibition, namely, Mendelssohn, Webern, Berg, Weill, and Hans Gal. In addition, as an example of self-censorship, a work of Karl Amadeus Hartmann was included. Hartmann chose “internal exile” by refusing to allow performance of his works in Germany during the Nazi regime. One notable exception to the above categories was a work by Beethoven that was presented as a bellwether of the relationship between music and politics. The range of styles and genres in these three recitals indicates the degree to which Nazi musical censorship cut a wide swath across Europe’s musical life with devastating consequences for its music and culture.

THE DIVERGENT PATHS OF OPERA IN THE CLASSICAL PERIOD AS SEEN THROUGH THE OPERATIC WORKS OF CHRISTOPH WILLIBALD GLUCK AND WOLFGANG AMADEUS MOZART

Although evidence of Gluck's influence on Mozart is sometimes discernible, by examining the two operas I have performed and a recital of arias by these two composers we can see clear contrasts in their approach to and expression of classical opera. The two operas discussed are Gluck's Armide and Mozart's Le Nozze di Figaro. Gluck and Mozart were both innovators but in very different ways. Gluck comes from a dramatic background (his principles have been compared to those of Wagner) and Mozart brings together dramatic excellence with the greatness of his musical genius, his gift of melody, and his ensemble writing, which is arguably unequaled in the repertory. A well-rounded performer strives to understand what the composer is really trying to say with his work, what the message to the audience is and what his particular way of conveying it is. The understanding of a composer's approach to drama and character interaction plays a huge role in character development. This applies no matter what role you are preparing whether it is baroque opera or late romantic. Discovering the ideals, style, and purpose of a composer contributes to an effective and rewarding performance experience, for those on stage, those in the pit, and those sitting in the seats.

Reproduction and fecundity of the Irish pollan (Coregonus autumnalis Pallas, 1776), a threatened lake coregonid

The sex ratio, age at maturation, fecundity, and seasonal development of gonads of pollan (Coregonus autumnalis) in Lough Neagh are described from samples collected between November 1997 and December 1999. Pollan reproductive ecology in the 1990s was similar to that found in the 1970s. Pollan egg size and fecundity differed between years but there were no long-term trends in fecundity despite considerable subsequent eutrophication of the lough and changes in the fish community.

On the ultracompact nature of 4U 1822-000

We report the discovery of a periodic modulation in the optical lightcurve of the candidate ultracompact X-ray binary 4U 1822-000. Using time-resolved optical photometry taken with the William Herschel Telescope we find evidence for a sinusoidal modulation with a semi-amplitude of 8 per cent and a period of 191 min, which is most likely close to the true orbital period of the binary. Using the van Paradijs & McClintock relation for the absolute magnitude and the distance modulus allowing for interstellar reddening, we estimate the distance to 4U 1822-000 to be 6.3 kpc. The long orbital period casts severe doubts on the ultracompact nature of 4U 1822-000.

Between Colonial Violence and Socialist Worldview: The Conversions of Ernst Daumig

In 1900, Ernst Däumig (1866–1922) wrote to Karl Kautsky of his ‘bitter experiences’ of violence in the French Foreign Legion and then in the Prussian military that had led to his recent ‘conversion’ to the socialist worldview. This article takes up Däumig's letters, articles and travelogues, and a drama, to explore how he recast his experiences of colonial and military violence twice, first as a writer for a German soldiers’ journal and then as an aspiring socialist journalist. As well as a burden that pushed him to critique his past, Däumig's military and colonial experiences are shown to have been his starting capital in the world of journalism and politics. The article gives particular attention to the process of conversion, through which Däumig forged a new life narrative out of the moral tales offered by the adopted worldview and the events of his own past. In addition to providing a case study of worldview conversion, this article demonstrates how biographical research can challenge assumptions about the impact of colonial violence on German metropolitan culture. At the same time, this biographical analysis sheds light on the early career of one of the key figures in the German Revolution of 1918 to 1921. As co-chairman of the Independent Social Democratic Party (USPD), Däumig led the USPD into union with the Communist Party in 1920.