THE COCKROACHES OF THE PROVINCE OF QUEBEC

1947 ◽  
Vol 79 (3) ◽  
pp. 57-58
Author(s):  
Gustave Chagnon
Keyword(s):  
The Body ◽  
The Other ◽  
The Family ◽  
Long Time

For a long time, the order Orthoptera was a loosely interpreted group which has now been restricted to more homogeneous forms. The well known cockroaches which formed the family Blattidae are now considered as a séparate order under the name of Blattaria.The cockroaches are so well known that there is no need for a detailed description of their morphology. They are easily separated from the other insects by their soft bodies, by their oval and flattened form; the antennae are often longer than the body and are composed of many short segments; the head when at rest, is bent under and almost concealed by the pronotum, so that the mouth projects back to the base of the front legs.

A Liberating Experience. On Becoming a Work of Art

2020 ◽  
Vol 7 (2) ◽  
pp. 411-430
Author(s):  
Maja Tabea Jerrentrup
Keyword(s):  
Three Dimensional ◽  
The Body ◽  
The Other ◽  
Work Of Art ◽  
Other Hand ◽  
Film Clips ◽  
Long Time ◽  
The One ◽  
Body Painting ◽  
Dimensional Surface

Abstract The art of bodypainting that is fairly unknown to a wider public turns the body into a canvas - it is a frequently used phrase in the field of bodypainting that illustrates the challenge it faces: it uses a three-dimensional surface and has to cope with its irregularities, but also with the model’s abilities and characteristics. This paper looks at individuals who are turned into art by bodypainting. Although body painting can be very challenging for them - they have to expose their bodies and to stand still for a long time while getting transformed - models report that they enjoy both the process and the result, even if they are not confident about their own bodies. Among the reasons there are physical aspects like the sensual enjoyment, but also the feeling of being part of something artistic. This is enhanced and preserved through double staging - becoming a threedimentional work of art and then being staged for photography or film clips. This process gives the model the chance to experience their own body in a detached way. On the one hand, bodypainting closely relates to the body and on the other hand, it can help to over-come the body.

New Light on the Grylli

1935 ◽  
Vol 55 (2) ◽  
pp. 232-235
Author(s):  
Anne Roes
Keyword(s):  
The Body ◽  
The Other ◽  
Hellenistic Period ◽  
Other Hand ◽  
Long Time ◽  
Greek Art

Well known though the grylli are, we have still very little to say about their meaning and about their origin.Our knowledge of them, which has hardly increased since the days of Furtwangler, amounts to the following facts. Grylli were one of the most popular motives for the decoration of gems in Roman times; they remained in favour during more than three centuries. Several indications lead us to believe that some pro-phylactic value was ascribed to them; this may also account for their long popularity. In appearance they can as a rule be divided into two classes. Either they are a composition of various human and animal heads, sometimes with birds added to them, or else they consist of the body of a bird, generally a cock, to which heads and masks are attached in different ways. As the cock often is provided with a horse's head, we are reminded of the Attic hippalectryon; it is, however, impossible to trace their descent from Greek art, for we do not know of any more complicated Greek design that may have inspired Roman gem-cutters; the hippalectryon itself even does not seem to have lived down to the Hellenistic period. On the other hand, it is equally impossible to regard them as an original Roman fantasy. In the first place, their connexion with the hippalectryon, though distant, is unmistakable; secondly and chiefly, we know there were grylli before the days of Roman glyptic art. In the necropolis of Tharros in Sardinia have been found several scarabs decorated with motives closely resembling the Roman grylli. Now the necropolis seems to have been in use for a very long time, but Furtwangler believed, no doubt rightly, that the bulk of the objects found in it, and especially the grylli, must be dated rather early as they still show some of the traditions of archaic art. Our Fig. 3a is a good example.

Buxtonella sulcata Jameson, 1926 (Protozoa, Ciliata): Cysts and Cyst Formation

Parasitology ◽  
1929 ◽  
Vol 21 (3) ◽  
pp. 266-268 ◽  
Author(s):  
Elery R. Becker ◽  
T. S. Hsiung
Keyword(s):  
Cyst Formation ◽  
The Body ◽  
The Other ◽  
The Family ◽  
Dorsal Ridge ◽  
Buxtonella Sulcata

Jameson (1926) has described from the caeca of cattle a ciliate belonging to the family Isotrichidae to which he has given the name Buxtonella sulcata. The most prominent character of this ciliate is a dorsal ridge running in a wide sweeping curve from one end of the body to the other with a groove running down the middle. Other characters of importance are a peculiar indentation near the mouth and the not uncommon occurrence of the macronucleus in two separate rounded portions. Roundish oval cysts of this ciliate, 80 to 100 microns in length by 60 to 80 microns in width, were also found by him.

Multiple records and polymorphism of Parastichopus regalis (Cuvier, 1817) (Echinodermata: Holothuroidea: Stichopodidae) along the Algerian coast

Zootaxa ◽  
2021 ◽  
Vol 5032 (4) ◽  
pp. 549-562
Author(s):  
IHCENE KHODJA ◽  
KARIM MEZALI ◽  
AHMED S. THANDAR
Keyword(s):  
Statistical Analysis ◽  
Mediterranean Sea ◽  
Endemic Species ◽  
Body Wall ◽  
Dorsal Surface ◽  
The Body ◽  
The Other ◽  
Disk Diameter ◽  
The Family ◽  
Algerian Coast

The family Stichopodidae is represented in the Mediterranean Sea by the genus Parastichopus which includes two non-endemic species; Parastichopus tremulus (Gunnerus, 1767) and Parastichopus regalis (Cuvier, 1817). On the Algerian coast (southwestern Mediterranean Sea), two morphotypes of P. regalis were observed, one with dark spots on the dorsal surface and the other non-spotted. In total, 65 individuals of P. regalis were recorded from 22 stations along the Algerian coast during an oceanographic campaign. Twelve individuals (6 of each morphotype) were used for a comparative study of the morphological (including endoskeletal) characteristics. Table ossicles, the only ossicles of the body wall of the two morphotypes of P. regalis, are here compared with regard to the disk diameter of the tables and the total area of the surface of the disc. Statistical analysis did not show any significant differences between the spotted and the non-spotted morphotypes.  

scholarly journals Crepant resolutions and open strings II

2018 ◽  
Vol Volume 2 ◽  
Author(s):  
Andrea Brini ◽  
Renzo Cavalieri
Keyword(s):  
Three Dimensional ◽  
Type A ◽  
Projective Planes ◽  
Closed String ◽  
The Body ◽  
The Other ◽  
Crepant Resolution ◽  
Open Strings ◽  
The Family ◽  
Crepant Resolutions

We recently formulated a number of Crepant Resolution Conjectures (CRC) for open Gromov-Witten invariants of Aganagic-Vafa Lagrangian branes and verified them for the family of threefold type A-singularities. In this paper we enlarge the body of evidence in favor of our open CRCs, along two different strands. In one direction, we consider non-hard Lefschetz targets and verify the disk CRC for local weighted projective planes. In the other, we complete the proof of the quantized (all-genus) open CRC for hard Lefschetz toric Calabi-Yau three dimensional representations by a detailed study of the G-Hilb resolution of $[C^3/G]$ for $G=\mathbb{Z}_2 \times \mathbb{Z}_2$. Our results have implications for closed-string CRCs of Coates-Iritani-Tseng, Iritani, and Ruan for this class of examples. Comment: v2: typos fixed, minor changes. v3: some minor points have been clarified, further typos fixed. v4: version accepted for publication on EPIGA

Memoirs: Materials for a Monograph of the Ascons.--I. On the Origin and Growth of the Triradiate and Quadriradiate Spicules in the Family Clathrinidæ

1898 ◽  
Vol s2-40 (160) ◽  
pp. 469-587
Author(s):  
E. A. MINCHIN
Keyword(s):  
Distal Portion ◽  
The Body ◽  
The Other ◽  
Ground Substance ◽  
Connective Tissue Layer ◽  
Dermal Layer ◽  
Straight Line ◽  
The Family ◽  
A Cell ◽  
Pore Cell

1. The first appearance of a calcareous spicule or spicular element, both ancestrally and in the actual development, was probably a minute vacuole in a cell of the dermal layer, filled with an organic substance perhaps identical with the intercellular ground substance, within which the minute sclerite appeared as a crystal or concretion. 2. The ancestral sclerite, though crystalline in structure, soon assumed a non-crystalline form as a whole, as an adaptation to its secondarily acquired function of support, and as it grew in size the contents of the vacuole formed the spicule sheath. 3. The ancestral form of spicule in the Calcarea was a simple monaxon, placed tangentially and completely embedded in the body-wall, lying between two adjacent pores. 4. From this ancestral spicule the forms of spicule now occurring in the Calcarea arose as follows: (a) the primitive monaxon acquired a distal portion projecting from the surface, as in the existing primary monaxons; (b) groups consisting each of three primitive monaxons became united by their contiguous ends to form a single triradiate system; (c) to some of the triradiate systems thus formed a fourth ray was added, secreted by the pore-cell, giving rise to the quadriradiate system ; (d) some of the triradiate systems, by loss of one ray and placing of the other two in a straight line, or by loss of two rays, perhaps became modified into secondary monaxon spicules. 5. The power of secreting a monaxon sclerite was primitively possessed by every cell of the dermal layer, and this condition appears to be retained in Leucosolenia. In Clathrina, on the other hand, all the skeletogenous cells migrate inwards from the dermal epithelium, and form a connective-tissue layer distinct in function from the contractile, undifferentiated dermal epithelium. In Leucosolenia also the actinoblasts of the triradiate systems form a deeper layer, but the dermal epithelium secretes primary monaxons--at least in the young form--and is non-contractile. 6. The forms of the spicules are the result of adaptation to the requirements of the sponge as a whole, produced by the action of natural selection upon variation in every direction.

Revision of Diaphanoptera species and new diagnosis of Diaphanopteridae (Palaeoptera: Diaphanopterodea)

2003 ◽  
Vol 77 (5) ◽  
pp. 1016-1020 ◽  
Author(s):  
O. Béthoux ◽  
A. Nel
Keyword(s):  
Type Species ◽  
The Body ◽  
The Family ◽  
Long Time ◽  
New Diagnosis

The Order Diaphanopterodea Handlirsch, 1919, is a small Paleozoic order of winged insects. For a long time, most of its species have been assigned to the order Megasecoptera. The position of the wings held backward along the abdomen at rest (Handlirsch, 1919, p. 575) is currently used to discriminate Diaphanopterodea from Megasecoptera (Carpenter, 1992). Although these Palaeoptera are frequently preserved with wings connected to the body, the wings resting position is not really suitable for ordinal diagnosis: isolated wings cannot be assigned, and taphonomic bias can render interpretations of wing disposal difficult. Here we redescribe Diaphanoptera munieri Brongniart, 1893, type-species of the Diaphanopteridae, and Diaphanoptera vetusta Brongniart, 1893. New diagnostic venation characters are established, some of which were already used for several others representatives of the order (Kukalová-Peck, 1974; Kukalová-Peck and Sinichenkova, 1992). The implications in the composition of the family and its relationships within the order are discussed.

scholarly journals XVIII. On the direction assumed by plants

1848 ◽  
Vol 138 ◽  
pp. 253-275
Keyword(s):  
Solid Body ◽  
The Body ◽  
The Other ◽  
External Object ◽  
Metallic Wire ◽  
Slight Tendency ◽  
The Family ◽  
The Mean ◽  
Perennial Herbs

The plants with tendrils are very numerous. According to Mr. Palm there are about five hundred, divided into seventeen families. Of these, one hundred and sixty have a ligneous stem, eighty-three are perennial herbs, and one hundred and seventeen are annuals. My experiments on the mode of curling-up of these organs were made on the tendrils of the Tamus comunis , a plant of the family of the Asparageæ. The tendrils of this plant seem to be a thread-like degeneration of the footstalk of a leaf, whose place they occupy on the stem of the plant. They are at first straight, and are implanted perpendicularly on the stem, so as to form almost a right angle with it; the extreme end of the tendril only has a slight tendency to bend towards the stem. When the tendril of the Tamus is touched by any solid body whatever on a point of its surface not too far from the extremity, it contracts itself from the outside inwards, forming at first a hook and then a curl, so as to embrace the body closely if that body be circular; if angular, the knot is only tight on the angles, and bulges out on the surfaces. When a first knot is tied, the end of the tendril continues to roll itself up in a coil, though not in contact with the body in that part, and the coil slides over the external object, coming nearer and nearer to it so as to embrace it several times: in the mean while, the other end of the tendril continues also to contract itself. In this way as many as seven or eight knots are formed. I have frequently seen three tied before my eyes within the space of a quarter of an hour on a metallic wire, small branches of wood, a pencil, my finger, &c. The contact of any solid body whatever is sufficient to produce this effect; so much so, that although the tendril is evidently destined by nature to support the creeper to which it belongs, by means of the urrounding plants, yet if it chances to meet a part of the very same plant of Tamus of which it is itself a portion, the contact causes it immediately to roll itself up around that portion.

scholarly journals Women's principle and the issue of universal guilt in the novel 'Petruša i Miluša' by Petar Sarić

2020 ◽  
Vol 50 (4) ◽  
pp. 41-56
Author(s):  
Marija Jeftimijević-Mihajlović
Keyword(s):  
Human Nature ◽  
The Body ◽  
The Other ◽  
Creative Work ◽  
The Novel ◽  
Human Soul ◽  
Self Renewal ◽  
Artistic Creation ◽  
The Family ◽  
Philosophical Assumption

The main characteristic of the novel Petruša i Miluša by Petar Sarić is an elaborate narrative scheme in the form of two voices, mother's and daughter's, two stories that flow and intertwine, and build a third-a story about a story. With this novel and its specific structure, Sarić, on one hand, continued the formal refinement that begun in his previous novels. On the other hand-on the issue of basic poetic-philosophical assumption connected to the question of personal and general (metaphysical) human guilt-he went further concerning both his creative work and the entire Serbian prose with similar thematic preoccupations. The Dionysian principle is represented by the imperatives of the body, the laws of blood, and Petruša's instinctive reaction, through her unrestrained nature that, at the same time, strives for self-renewal and self-destruction. It is a form of the female principle-creative and destructive at the same time, dark, chthonic as opposed to Miluša's Apollonian orientation, worshiping of light, and her mental illumination. Petruša i Miluša is not a model of a family novel (although it can be assumed). Still, in Sarić's novel, the family is just a focus into which the courses of overall existence converge and in which things are condensed and reflected by their true dimensions. This fact is not at all surprising bearing in mind his previous novels (Sutra stiže Gospodar, and especially Dečak iz Lastve), Sarić has already proved himself as a writer who searches for the deepest secrets of human nature, introducing a reader to the dark realm of the human soul, which is shaped according to his artistic creation and creative intuition.

The Minerals that Make Rocks and Soils

2018 ◽  
Author(s):  
Alex Maltman
Keyword(s):  
Human Body ◽  
Synthetic Polymer ◽  
The Other ◽  
X Rays ◽  
Rapid Progress ◽  
City Life ◽  
Siliceous Rocks ◽  
The Family ◽  
Long Time

This chapter is about the minerals based on silicon and oxygen, the silicates, the ones that make siliceous rocks. And because this means most rocks, apart from limestone and the other calcareous materials, they are often referred to as the “rock- forming minerals.” Let’s be clear at the outset that with these siliceous rocks we’re talking about silicate compounds, which involve the element silicon and a subgroup of silica minerals, which we’ll come to at the end of the chapter. None of this has anything to do with silicone, the synthetic polymer of multifarious uses. The principles discussed here are the same as those developed in the previous chapter, but the silicates present special challenges. Indeed, for a long time they were very tricky things to understand at all. The early geologists had at their disposal new ways of chemically analyzing minerals, and they applied them with gusto. They made impressively rapid progress, but they were baffled by the silicates. Their analyses showed that these minerals were dominated by silicon and oxygen but beyond that, well, they seemed too numerous, wildly varied, and inconsistent. It turned out to be well into the twentieth century before there was a breakthrough in understanding these perplexing compounds. The breakthrough took place when it dawned that X- rays could be used to study the structure of crystals—any crystals: geological, metallurgical, biological, and so on. Today, over twenty Nobel prizes have been awarded for work in this field, most recently in 2012. It’s even relevant to wine itself, through elucidating the structure of enzymes, proteins, and the like. (Incidentally, the use of X-rays to analyze crystals is quite different from its use in producing the familiar X-ray pictures of the human body.) In July 1912, the Bragg family rented a house, Whin Brow, at Cloughton, high above England’s Yorkshire coast. The father of the family, William, was a Professor of Physics at Leeds, and his 22-year-old son, Lawrence, was a precocious physics student at Cambridge. With an impending war, they were eager to escape the grimness of city life for a while, but even so, William took some work with him.

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