Variation in the host preferences and responses of Ascia monuste orseis Godart (Lepidoptera: Pieridae) to cultivars of collard greens Brassica oleracea (L.) var. acephala

This work evaluated the preference of Ascia monuste orseis among 29 cultivars of collard greens through free- and no-choice assays using female adults (attractiveness and oviposition) and third-instar larvae (feeding preference), in both laboratory and greenhouse conditions. In free-choice tests with female adults, the L, V, Y, H, A, and Z cultivars produced oviposition non-preference in butterflies. Cultivars R, P, C, and D produced feeding non-preference in third-instar larvae of A. monuste orseis in free- and no-choice tests. Our findings may be useful for genetic improvement focusing on the development of B. oleracea var. acephala cultivars resistant to A. monuste orseis.

Resistance of collard greens to Ascia monuste orseis (Lepidoptera: Pieridae)

Ascia monuste orseis (Godart) (Lepidoptera: Pieridae) is a production limiting pest in collard greens, Brassica oleracea (L.) var. acephala, cultivation. Because of the overuse and harmful effects of synthetic insecticides on nontarget species, the use of insect-resistant cultivars can be a valuable strategy in pest control. In this study, newly hatched A. monuste orseis larvae were confined to the leaves of 29 collard greens cultivars under a controlled environment to investigate plant resistance. We evaluated the incubation period, duration of instars, total duration of the immature and pupal phases, the egg to adult life cycle duration, mortality per instar, total weight of fifth instar larvae and pupae (age = 24 h) and larval and pupal survival and eclosion. Antibiosis and/or antixenosis were observed in selected cultivars. The results show that Gigante I-915 (E) exhibited high larval mortality and that the Pires 1 de Campinas cultivar (P) prevented all pupae from proceeding to the adult stage. The Introdu double dagger es do municipio de Arthur Nogueira Z (Y), Cabocla (AA), Japonesa (R) and Manteiga de Mococa (M) cultivars prolonged the larval stage. Japonesa (R) and Introdu double dagger es do municipio de Arthur Nogueira Z (Y) increased the egg to adult developmental period, and the Japonesa (R) cultivar also prolonged the pupal stage. The Verde-escura (O), Crespa de Capo Bonito (I), Couve de folhas Manteiga 900 Legitima P, Alto (AB), Gigante I-915 (E) and Manteiga Ribeiro Pires I-2446 (H) cultivars reduced the larval weight of A. monuste orseis.

The queen of the kitchen. A collection of Southern cooking receipts. Containing over one thousand Southern receipts in practical cookery.

At head of title: The great "Southern cook book."

From Sydney and Shanghai : Australian and Chinese women writing modernism

In the 1930s and 1940s, Australian women writers published novels, poems, and short stories that pushed the boundaries of their national literary culture. From their position in the Pacific, they entered into a dialogue with a European modernism that they reworked to invigorate their own writing and to make cross-continental connections. My interest in the work of Australian women prose writers of this period stems from an appreciation of the extent of their engagement with interwar modernism (an engagement that is generally under-acknowledged) and the realization that there are commonalities of approach with the ways in which contemporaneous Chinese authors negotiated this transnational cultural traffic. China and Australia, it has been argued, share an imaginative and literal association of many centuries, and this psychic history produces a situation in which ‘Australians feel drawn towards China: they cannot leave it alone.’1 Equally, Chinese exploration of the great southern land began in the fifteenth century, prior to European contact. In recent times, the intensity of Australia’s cultural and commercial connections with Asia has led to a repositioning of the Australian sense of regionalism in general and, in particular, has activated yet another stage in the history of its relationship with China. In this context, the association of Australian and Chinese writing is instructive because the commonalities of approach and areas of interest between certain authors indicate that Australian writers were not alone in either the content or style of their response to European modernism. This recognition, in turn, advances discussions of modernism in Australia and reveals an alternative way of looking at the world from the Pacific Rim through literature. The intent is to examine selective Australian and Chinese authors who are part of this continuous history and whose writing demonstrates common thematic and stylistic features via the vector of modernism. I focus on the 1930s and 1940s because these are the decades in which Australia and China experienced wideranging conflict in the Pacific, and it is significant that war, both forthcoming and actual, features as an ominous soundtrack in the writing of Chinese and Australian women. I argue that, given the immensity of cultural difference between Australia and China, there is an especially interesting juncture in the ways in which the authors interrogate modernist practices and the challenge of modernism. The process in which writing from the Pacific Rim jointly negotiates the twin desires of engaging with European literary form and representing one’s own culture may be seen as what Jessica Berman identifies as a geomodernism, one of the ‘new possible geographies’ of modernism.2 My discussion centres on the work of the Australian women, to which the Chinese material serves as a point of reference, albeit a critical one. The Chinese writing examined here is restricted to authors who wrote at least some material in English and whose work is available in translation.

H-house

The author's approach to the problems associated with building in bushfire prone landscapes comes from 12 years of study of the biophysical and cultural landscapes in the Great Southern Region of Western Australia - research which resulted in the design and construction of the H-house at Bremer Bay. The house was developed using a 'ground up' approach whereby Dr Weir conducted topographical surveys and worked with a local botanist and a bushfire risk consultant to ascertain the level of threat that fire presented to this particular site. The intention from the outset however, was not to design a bushfire resistant house per se, but to develop a design which would place the owners in close proximity to the highly biodiverse heath vegetation of their site. The research aim was to find ways - through architectural design-to link the patterns of usage of the house with other site specific conditions related to the prevailing winds, solar orientation and seasonal change. The H-house has a number of features which increase the level of bushfire safety. These include: Fire rated roller shutters (tested by the CSIRO for ember attack and radiant heat), Fire resistant double glazing (on windows not protected by the shutters), Fibre-cement sheet cladding of the underside of the elevated timber floor structure, Manually operated high pressure sprinkler system on exposed timber decks, A fire refuge (an enlarged laundry, shower area) within the house with a dedicated cabinet for fire fighting equipment) and A low pressure solar powered domestic water supply system.

Time alone

Time Alone is the introductory image to the exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside an abandoned building which the author converted into a camera obscura. It depicts an inverted image of the outside environment and the text 'time' - which is constructed by torch-light within the building interior and during the photographic exposure. The image evokes isolation and the temporality of inhabitation within the remote farmlands of the Great Southern Region of Western Australia: the region of focus for all of the twelve works in Lightsite. Indeed the owner of this now-abandoned house passed away and was not found for a week - bringing poignancy to the central theme of this creative work.

Self landcape - Hotspot

Self Landscape is an introductory image of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. Self Landscape depicts an inverted image of the outside environment - a revegetated farmland in the Great Southern Region of Western Australia. The light from the exterior landscape passes though the pinhole camera's aperture and illuminates the internal scene which includes that part of the landscape upon which the floorless room is erected, along with the author who is standing inside. The text "Hotspot" appears where the author has scribed that word with a torch during the long exposure. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. It is through the agency of light that we construct our connectivity to landscape.

Barbara at content too

Barbara at Content Too is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The work depicts amateur botanist Barbara Miller-Hornsey conducting a botanical survey. The pinhole camera-room is sited with the biodiverse heath landscape at Bremer Bay in the Great Southern Region of Western Australia. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the heath upon which the floorless room is erected, along with Barbara who is kneeling inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. In this way it is through the agency of light that we construct our connectivity to landscape.

Working sheep at 'Glen Shiel'

Working Sheep on 'Glen Shiel' is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The work depicts octogenarian Ian Mangan who is both one of the first and last soldier settler farmers in the Gairdner-Jerramungup district in the Great Southern Region of Western Australia. Ian, his son, Stuart and Grandson Jacob, are preparing the last mob of sheep for sale before they move off their farm. The pinhole camera-room is sited amongst the sheep in the farm's sheep yards. Stuart and Jacob are depicted here standing amongst the sheep. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the sheep yards upon which the floorless room is erected, along with Ian who is standing motionless inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. In this way it is through the agency of light that we construct our connectivity to landscape.

Bushfire responsive architecture : strategies for reconciling bushfire and biodiversity with daily life

My perspective on the problems associated with building in bushfire prone landscapes comes from 12 years of study of the biophysical and cultural landscapes in the Great Southern Region of WA which resulted in the design and construction of the ‘Hhouse’ at Bremer Bay. The house was developed using a ‘ground up’ approach whereby I conducted a topographical survey and worked with a local botanist and a bushfire risk consultant to ascertain the level of threat that fire presented to this particular site. My intention from the outset however, was not to design a bushfire resistant house per se, but to develop a design which would place the owners in close proximity to the highly biodiverse heath vegetation of the site. I was also seeking a means—through architectural design—of linking the patterns of usage of the house with other site specific conditions related to the prevailing winds, solar orientation and seasonal change.

The invasion of five alien species in the Delta do Parnaiba Environmental Protection Area, Northeastern Brazil

Marine biological invasions have been regarded as one of the major causes of native biodiversity loss, with shipping and aquaculture being the leading contributors for the introductions of alien species in aquatic ecosystems. In the present study, five aquatic alien species (one mollusk, three crustaceans and one fish species) were detected during dives, shore searches and from the fisheries on the coast of the Delta do Parnaiba Environmental Protection Area, in the States of Piaui and Maranhao, Northeastern Brazil. The species were the bicolor purse-oyster Isognomon bicolor, the whiteleg shrimp Litopenaeus vannamei, the giant river prawn Macrobrachium rosenbergii, the Indo-Pacific swimming crab Charybdis hellerii and, the muzzled blenny Omobranchus punctatus. Ballast water (I. bicolor, C. hellerii, and O. punctatus) and aquaculture activities (L. vannamei and M. rosenbergii) in adjacent areas are the most likely vectors of introduction. All exotic species found have potential impact risks to the environment because they are able to compete against native species for resources (food and habitat). Isognomon bicolor share the same habitat and food items with the native bivalve species of mussels and barnacles. Litopenaeus vannamei share the same habitat and food items with the native penaeids such as the pinkspot shrimp Farfantepenaeus brasiliensis, the Southern brown shrimp Farfantepenaeus subtilis, and the Southern white shrimp Litopenaeus schmitti, and in the past few years L. vannamei was responsible for a viral epidemics in the cultivation tanks that could be transmitted to native penaeid shrimps. Charybdis hellerii is also able to cause impacts on the local fisheries as the species can decrease the populations of native portunid crabs which are commercialized in the studied region. Macrobrachium rosenbergii may be sharing natural resources with the Amazon River prawn Macrobrachium amazonicum. Omobranchus punctatus shares habit with the native redlip blenny Ophioblennius atlanticus and other fishes, such as the frillfin goby Bathigobius soporator. Some immediate remedial measures to prevent further introductions from ballast water and shrimp farm ponds should be: (i) to prevent the release of ballast water by ship/vessels in the region; (ii) to reroute all effluent waters from shrimp rearing facilities through an underground or above-ground dry well; (iii) to install adequate sand and gravel filter which will allow passage of water but not livestock; (iv) outdoor shrimp pounds located on floodable land should be diked, and; (v) to promote environmental awareness of those directly involved with ballast water (crews of ship/vessels) and shrimp farms in the region. Rev. Biol. Trop. 58 (3): 909-923. Epub 2010 September 01.

Annual report of the New Orleans & North Eastern Railroad Co. and statement of accounts : for the year ending ...

Imprint varies.