Search

Arctic terrestrial invertebrate biodiversity is generally poorly known, but the archipelago of Svalbard has one of the most up-to-date inventories of its terrestrial and freshwater faunas of any Arctic region, offering a baseline for long term monitoring of invertebrate communities in space and time. Since the most recent review of the Svalbard invertebrate fauna was produced in 2014, knowledge of this fauna has developed and this inventory is here critically revised and updated. Our aims are (1) to critically review the inventory based on current taxonomic knowledge, (2) publish the complete species inventory, including cross-referencing to the relevant publications, in an open access data archive (GBIF), and (3) highlight the particular advantages that working in Svalbard may bring for scientists working on terrestrial, freshwater, and cryospheric environments. The inventory contains a total 1091 valid species names or interim names. A gap analysis in the Barcode of Life Data Systems reveals that 50% of the species currently documented from Svalbard lack COI (Cytochrome c oxidase subunit 1) barcode reference sequences in this database. Gaps in our knowledge of the Svalbard fauna and how these may be resolved are discussed.

Plant–visitor food webs provide important insights into species interactions, and more information about their seasonal dynamics is vital to understanding the resilience of species to external pressures. Studies of Arctic networks can also improve our understanding of species responses to the pressures of climate change. This study provides the first description of a plant – insect visitor network in Svalbard, a High Arctic archipelago already experiencing the consequences of climate change. A subset of the network was collected from experimental plots where the snow melt date was delayed with snow fences. The deep snow plots delayed flowering and we expected this to disrupt plant–visitor interactions compared with ambient snow conditions. However, the composition of flowers and insect visitors were similar between regimes, and the network tracked patterns of overall flowering phenology. Nevertheless, the deep snow significantly reduced the average overlap between flower availability and insect activity, reducing the probability of an interaction. We suggest that at a landscape scale, Arctic pollinators will benefit from patchy changes to snow melt that maintain heterogeneity in the timing of flowering but changes that increase homogeneity in snowmelt across the landscape may negatively impact some species.

Let $R$ be a general ring. Duality pairs of $R$-modules were introduced by Holm-Jørgensen. Most examples satisfy further properties making them what we call semi-complete duality pairs in this paper. We attach a relative theory of Gorenstein homological algebra to any given semi-complete duality pair $\mathfrak{D} = (\mathcal{L},\mathcal{A})$. This generalizes the homological theory of the AC-Gorenstein modules defined by Bravo–Gillespie–Hovey, and we apply this to other semi-complete duality pairs. The main application is that the Ding injective modules are the right side of a complete (perfect) cotorsion pair, over any ring. Completeness of the Gorenstein flat cotorsion pair over any ring arises from the same duality pair.

This essay investigates Gadamer's hermeneutic theory and its application to theatre. Attention to Gadamer's views of theatre and performative interpretation provides a foundation to theorize a more sustainable canon. Classics that constitute a sustainable canon operate within a tradition through a community of interpretation that continually returns to interpret them anew. This structure also describes the theatrical repertoire. Several of Gadamer's central themes find easy analogues on stage: play, the history of effect (Wirkungsgeschichte), the participation of an audience in the fusion of horizons, and art's making present continuity the past. Gadamer provides a framework for understanding the work of interpretation of a dramatic text as a shared participatory event. In particular, Gadamer's hermeneutic theory can make sense of the how performance history makes discoveries that "sticks" to a script, particularly as when and how it enters and influences the canon. Gadamer's hermeneutics help to interpret how innovative performance choices and stage spectacle are part of a play's meaning; these interpretive interventions in drama's reception history are significant and not simply ornamentation to some "truth of the play" accessed only via the reenactment of the original compositional context. Occasional reparative interpretations of the canon, in turn, help to sustain the community.

A number of scholars have viewed obscenity in Djuna Barnes’s writing as primarily a question of eluding institutional and societal constraints. Her novel Nightwood (1936) was partially bowdlerized at editorial stage to avoid censorship on account of its male homosexual content. But obscenity also lies elsewhere in the novel, in the figuring of the author’s probably incestuous childhood liaison with her grandmother. It is a relationship which haunts the narrative, constituting a form of collusion with, and witness to the past and one with which the reader becomes unwittingly complicit.

Grayson Perry CBE, winner of the 2003 Turner Prize, is one of Britain’s most prominent contemporary multi-media artists and cultural commentators. Married to Philippa and a father to daughter Flo, Perry is also an “out” practising cross-dresser, famed for his female alter ego Claire. This article attempts to assess the role of transvestism in Perry’s work and gauge its provocative potential in the light of the artist’s own increasingly established position within the cultural mainstream. Concentrating particularly on his ceramic art and the artist’s public appearances in drag, it will be argued that cross-dressing remains central to Perry’s aesthetic and that the blurring of gender binaries offers one of the keys to understanding Perry’s ambiguous and incongruous status as at once deeply subversive and yet conventional and homely: “perversion to match the curtains” in his own words.

Après l’amour, Agnès Vannouvong’s first novel, gained critical attention when it was published in 2013 as much for its literary qualities as for the erotic nature of its prose. An exploration of female love and doubly so because the novel treats love between women, Après l’amouris a text haunted by the inter-textual presence of Marguerite Duras, Monique Wittig and Violette Leduc and which tells the tale of a young Parisian lesbian on the rebound at the end of a long relationship. Taking as its starting point formulations on the erotic by Marguerite Duras and Audrey Lorde, this article proposes to discuss the relationship between desire, the erotic and artistic creationat work in Vannouvong’s text. Itwill consider what it means to write a Don Juan-esque lesbian narrative, set in a capital city (over) synonymous with the romantic andthe sensual –an eroticized topography par excellence-at a time when the very codes of amorous encounters are experiencing a radical transformation, shifting from the physical desire and sexual attraction underpinning nineteenth and twentieth century conceptions of romantic love to the disembodied textual interaction of the Internet. Are the “true feelings”of the erotic to be opposed the simulacrum of pornography as Lorde suggests? Are we now living in a time that is quite literally “after love”, where we are condemned to look back with nostalgia on the age of authentic emotions, just as the narrator in the novel looks back with longing and regret on her past relationship with Paola? Is there not always an element of fiction, of illusion, of fabrication in every amorous relationship? How may this phenomenonbe said to inform the process of literary creation?

This article explores issues of commitment in relation to the early writings of woman modernist Mina Loy (1882-1966). It will be argued that it is not simply by way of her diverse aesthetic output, but also through the very instability of her poetic voice, that Loy troubles established narratives of modernist commitment, and complicates contemporary first-wave feminist debates, at once affirming and challenging the theories of her peers, and placing, in her own singular fashion, the “woman’s cause” at the heart of her artistic practice.

Nightwood (1936), American modernist Djuna Barnes’ most famous novel, is notorious as much for its subject matter as for the unreadability of its prose. However, if both gender and genre are undoubtedly “troubled” in this masterpiece of sexual-textual impropriety, the two are surprisingly rarely apprehended conjointly. This article argues for a positive re-evaluation of the role of the camp in Nightwood as the novel’s key aesthetic expression of deviant sexuality.

Auteur important bien qu’atypique de la Renaissance de Harlem et premier anthropologue afro-américain à avoir étudié sa propre culture, Zora Neale Hurston est, à de nombreux titres, un écrivain d’exception. Contrairement à d’autres, dont Robert Wright et Alain Locke, Hurston ne renie nullement le legs culturel que représente le folklore noir qu’elle apprécie selon ses propres critères, folklore qui influencera tant la forme que le fond de son art. Anthropologue de formation, Hurston appréhende néanmoins la culture noire américaine du sud non pas comme un vestige du passé qu’il conviendrait de conserver précieusement intact, mais comme une partie intégrante du vécu actuel. À travers les stratégies discursives orales vernaculaires qu’elle adopte et adapte de la tradition folklorique afro-américaine, Hurston, en pionnière, ouvre une voie et donne une voix aux écrivains Noirs à venir.

This longitudinal study examines the moderation effects of parent-child closeness on residential mobility and two important adolescent outcomes. Children’s behavior problems and academic achievement test scores were compared across four survey waves of the National Longitudinal Survey of Youth (2000, 2002, 2004, and 2006) and matched to data from their mothers' reports from the National Longitudinal Survey of Youth 1979. The results suggest that controlling for other dimensions of social capital (i.e., child-community and parent-community), the negative behavioral effects of moving are buffered by the reported level of emotional closeness to one’s parent. That is, the closer a child reports being to his/her parent, the fewer behavior problems this child will experience following relocation. Furthermore, the negative academic effects of moving are moderated by intergenerational solidarity and conditioned by sex. This indicates that the reported level of parent-child closeness (vis-à-vis residential mobility) is significantly altered by sex for achievement outcomes.

This paper examines the war theme in Russian film since the collapse of the Soviet Union, with special reference to the ongoing conflict in the Caucasus. It will explore the tension and seeming contradiction between the military machine as faceless bureaucracy, and the ordinary soldier, seen as the honest and true face of Mother Russia. Through an analysis of both TV and feature films, it will also explore the evolution of attitudes towards the 'new' Putin-era reality, where business and capitalism are condemned as helping the 'enemy', at the expense of the Motherland. Films to be discussed include Chest' imeiu, Gospoda ofitsery, Blokpost, Marsh-brosok, Voina.

In Nurses in War: Voices from Iraq and Afghanistan, Elizabeth Scannell-Desch and Mary Ellen Doherty take a journey through the lived experiences of 37 United States military nurses who served in Iraq or Afghanistan during the war years 2003 through 2010.

A photogeologic and physical modeling study indicates that Hebes Chasma, Mars, formed by collapse of the megaregolith. Local heating facilitated drainage of ∼105 km³ of brines and entrained particulates through fractures in the chasma floor and into a regional aquifer. A megaregolith rich in salts and water is implied by massive, low-gradient allochthonous flows that terminate in deep pits and troughs, by emergent diapirs, and by arching of Hebes Mensa. These structures are consistent with plastic and viscous deformation but inconsistent with collapse of basalt flows and/or tephra. Spectral measurements confirm that hydrated sulfate salts are spatially associated with allochthonous flows from depth and light-toned deposits. Collapse features and flows are present in many other chasmata in Valles Marineris, suggesting that widespread salt tectonics and dissolution may have shaped the region. [ABSTRACT FROM AUTHOR]