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Pru Nus Contains Many Species and Cultivars, Pru Nus Including Both Fruits and Woody Ornamentals
;J. N l\J d.000 A~ :J-6 '. AGRICULTURAL EXTENSION SERVICE UNIVERSITY OF MINNESOTA • The genus Pru nus contains many species and cultivars, Pru nus including both fruits and woody ornamentals. The arboretum's Prunus maacki (Amur Cherry). This small tree has bright, emphasis is on the ornamental plants. brownish-yellow bark that flakes off in papery strips. It is par Prunus americana (American Plum). This small tree furnishes ticularly attractive in winter when the stems contrast with the fruits prized for making preserves and is also an ornamental. snow. The flowers and fruits are produced in drooping racemes In early May, the trees are covered with a "snowball" bloom similar to those of our native chokecherry. This plant is ex of white flowers. If these blooms escape the spring frosts, tremely hardy and well worth growing. there will be a crop of colorful fruits in the fall. The trees Prunus maritima (Beach Plum). This species is native to the sucker freely, and unless controlled, a thicket results. The A coastal plains from Maine to Virginia. It's a sprawling shrub merican Plum is excellent for conservation purposes, and the reaching a height of about 6 feet. It blooms early with small thickets are favorite refuges for birds and wildlife. white flowers. Our plants have shown varying degrees of die Prunus amygdalus (Almond). Several cultivars of almonds back and have been removed for this reason. including 'Halls' and 'Princess'-have been tested. Although Prunus 'Minnesota Purple.' This cultivar was named by the the plants survived and even flowered, each winter's dieback University of Minnesota in 1920. -
Conservation Plant Release Brochure for Catskill Dwarf Sand Cherry
A Conservation Plant Released by the Natural Resources Conservation Service Big Flats Plant Materials Center, Big Flats, New York Conservation Uses ‘Catskill’ Catskill is mainly used in shoreline and streambank stabilization practices and riparian buffer plantings, where Dwarf Sand Cherry low vegetation is preferred. Its growth habit makes it adapted to areas with ice floe problems. Prunus pumila var. depressa L. Due to its prostrate growth, it may become shaded out over time by taller vegetation. The fruits produced by Catskill are valuable for wildlife and is a very attractive plant and is used in ornamental landscaping. Area of Adaptation and Use Catskill grows well on gravelly or sandy soils along streams but has performed well on silt loam and calcareous soils. It will tolerate periodic flooding only for a short period. Its massive root system allows it to tolerate drought conditions. It is found from Ontario, Canada to the New York- Pennsylvania border and is adapted to USDA hardiness zones 3b to 6b. ‘Catskill' dwarf sand cherry planted among rip rap, in New York. ‘Catskill’ dwarf sand cherry (Prunus pumila var. depressa Establishment and Management for Conservation (L.)) was released in 1997, by the USDA Natural Plantings Resources Conservation Service (NRCS), Big Flats Plant Establishment: Planting 1-0 nursery bare root stock of Materials Center and the Pennsylvania Game Commission Catskill is the preferred method of establishment. for its prostrate growth habit and immense root system. Planting should be in the spring, prior to June 1st, or in the fall after October 10th. The stock should be dormant at Description the time of planting. -
Wild Plums Cherry Plums Sand Cherries
wild plums cherry plums sand cherries Wild plums, sand cherries, and cherry plums have ripening. Fruit varies from 1 to 1 ½ inch in diameter, the distinct plum characteristics of sour skins, sweet and fruits with soft, sweet flesh tend to be larger. flesh that sticks tightly to the pit, and pits that are flatter than they are round. Plants vary from shrubs to small trees. Wild plums (Prunus americana) are native to much of the U.S. North America is host to a variety of distinct plum species, but the only species widely planted in Minnesota is P. americana. Wild plums are typically large shrubs or small trees that sucker profusely, often sending out root suckers that sprout 20 or more feet from the mother plant. The fruit flesh is yellow, while the skin color varies from yellow to red, with the most common color being a red blush. Like most wild plants that are propagated from seeds, fruit quality varies tremendously. The best quality fruit has thick, sour skins, with sweet flesh that clings tightly to the pit. Some trees produce fruit with the texture of a golf ball that does not soften during Figure 41. Edible wild plums perennial fruit for northern climates 83 Sand cherries are small, native shrubs which Cherry plum is kind of a catch-all term for a number produce a small fruit that is closer to plums than of small fruited plums that belong to several related cherries. In some literature, all sand cherries are put species. Most produce red or purple fruit. -
Inspirations from Europe's Leading Architects
SHADES OF WHITE Inspirations from Europe’s leading architects. DEAR BAUMIT FRIENDS AND PARTNERS, It has been almost 10 years since However, white on a facade not only has an aesthetic reason, We were inspired Baumit created Europe’s largest but also a very tangible one: climate change. Temperatures facade colour system, Baumit Life, are rising, our cities are getting hotter and hotter. The albedo by the idea with 888 unique colour shades. effect or the reflective power of the colour white can effectively Even though the trend-barometer counteract overheating in certain regions. We want to make has taken a turn in a more purist more use of this effect. of richness and variety direction, there remain a multitu- de of possibilities. In this book, renowned architects from our 25 Baumit countries of one colour tone answer questions such as “Why do architects wear black and In this book, and with our latest build white?” Their surprising answers and many insights into Baumit colour-coup, we take a the international world of architecture can be found on the when we created look at the colour that is the sum following pages. of all colours of the rainbow: the colour white. The Inuit tribe uses the Baumit colour series a variety of different names for white, depending on the colour Enjoy browsing and perusing! and texture. We were inspired by this idea of richness and variety “12 Shades of White”. of one colour tone when we created the Baumit colour series Sincerely, “Shades of White”. It is dedicated above all to our design specia- lists, the architects, for whom white has always been a popular colour choice. -
Botanical Name Common Name
Approved Approved & as a eligible to Not eligible to Approved as Frontage fulfill other fulfill other Type of plant a Street Tree Tree standards standards Heritage Tree Tree Heritage Species Botanical Name Common name Native Abelia x grandiflora Glossy Abelia Shrub, Deciduous No No No Yes White Forsytha; Korean Abeliophyllum distichum Shrub, Deciduous No No No Yes Abelialeaf Acanthropanax Fiveleaf Aralia Shrub, Deciduous No No No Yes sieboldianus Acer ginnala Amur Maple Shrub, Deciduous No No No Yes Aesculus parviflora Bottlebrush Buckeye Shrub, Deciduous No No No Yes Aesculus pavia Red Buckeye Shrub, Deciduous No No Yes Yes Alnus incana ssp. rugosa Speckled Alder Shrub, Deciduous Yes No No Yes Alnus serrulata Hazel Alder Shrub, Deciduous Yes No No Yes Amelanchier humilis Low Serviceberry Shrub, Deciduous Yes No No Yes Amelanchier stolonifera Running Serviceberry Shrub, Deciduous Yes No No Yes False Indigo Bush; Amorpha fruticosa Desert False Indigo; Shrub, Deciduous Yes No No No Not eligible Bastard Indigo Aronia arbutifolia Red Chokeberry Shrub, Deciduous Yes No No Yes Aronia melanocarpa Black Chokeberry Shrub, Deciduous Yes No No Yes Aronia prunifolia Purple Chokeberry Shrub, Deciduous Yes No No Yes Groundsel-Bush; Eastern Baccharis halimifolia Shrub, Deciduous No No Yes Yes Baccharis Summer Cypress; Bassia scoparia Shrub, Deciduous No No No Yes Burning-Bush Berberis canadensis American Barberry Shrub, Deciduous Yes No No Yes Common Barberry; Berberis vulgaris Shrub, Deciduous No No No No Not eligible European Barberry Betula pumila -
The Devil's Colors
Open Research Online The Open University’s repository of research publications and other research outputs The Devil’s Colors: A Comparative Study of French and Nigerian Folktales Journal Item How to cite: Ugochukwu, Francoise (2007). The Devil’s Colors: A Comparative Study of French and Nigerian Folktales. Oral Tradition, 21(2) pp. 250–268. For guidance on citations see FAQs. c 2007 Center for Studies in Oral Tradition Version: Accepted Manuscript Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.1353/ort.2007.0005 http://journal.oraltradition.org/issues/21ii Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Oral Tradition, 21/2 (2006): 250-268 The Devil’s Colors: A Comparative Study of French and Nigerian Folktales Françoise Ugochukwu Introduction In the concluding chapter of her book on race in African oral literature, Veronika Görög-Karady (1976:245) remarks that “the main difficulty is to find the precise meaning of color oppositions, valorization or depreciation in African cultures.” This study, mainly based on five separate published collections by Joisten (1965, 1971, 1977, 1996) and the author (1992), will compare French and Nigerian folktales, focusing on French Dauphiné and Nigerian Igboland,1 in order to consider the role color plays in encounters with supernatural characters, revealing a complex network of correspondences that serve as a tool to communicate color-coded values. -
Native Pollinator Plants by Season of Bloom
Native Pollinator Plants by Season of Bloom Extended list of forage and host plants for bees, butterflies and moths Very early spring SHRUBS PERENNIALS American hazelnut, Corylus americana, Bloodroot, Sanguinaria Canadensis C. cornuta Sand/moss phlox, Phlox bifida & P. subulata American honeysuckle, Lonicera canadensis Pussy willow, Salix discolor Shadbush, Amerlanchier canadensis, A. laevis Bloodroot, © Lisa Looke Early spring SHRUBS PERENNIALS Bayberry, Morella caroliniensis Blue cohosh, Caulophyllum thalictroides Flowering big-bracted dogwood, Benthamidia Dutchman’s breeches, Dicentra cucullaria florida Crested Iris, Iris cristata* Hobblebush, Viburnum lanatanoides Golden groundsel, Packera aurea Red eldeberry, Sambucus pubens Spicebush, Lindera benzoin Marsh marigold, Caltha palustrus Sweet fern, Comptonia peregrina Pussytoes, Antennaria spp. Sweetgale, Myrica gale Rue anemone, Thalictrum thalictroides Wild plums Violets, Viola adunca, V. cuccularia Beach plum, Prunus maritima Virginia bluebells, Mertensia virginica* Canada plum, Prunus nigra Marsh marigold, © Lisa Looke Sand plum, Prunus pumila Mid-spring SHRUBS PERENNIALS (continued) Bearberry, Arctostaphylos uva-ursi Canada wild ginger, Asarum canadense Black huckleberry, Gaylussacia baccata Common golden Alexanders, Zizia aurea Blueberry, Vaccinium spp. Early meadow-rue, Thalictrum dioicum Eastern shooting star, Dodecatheon meadia* Chokeberry, Aronia arbutifolia & Aronia Foam flower, Tiarella cordifolia melanocarpa Heart-leaved golden Alexanders, Zizia aptera Common snowberry, Symphoricarpos albus Jacob’s ladder, Polemonium reptans* Fragrant sumac, Rhus aromatica* King Solomon’s-seal, Polygonatum biflorum Mountain maple, Acer spicatum var. commutaturn Nannyberry, Viburnum lentago Large-leaved pussytoes, Antennaria Red buckeye, Aesculus pavia* plantaginifolia Nodding onion, Alium cernuum* Spotted crane’s-bill, © Lisa Looke Redbud, Cersis canadensis* Striped maple, Acer pennsylvanicum Red baneberry, Actaea rubra Red columbine, Aquilegia canadensis Solomon’s plume, Maianthemum racemosum PERENNIALS (syn. -
Shrubs of the Chicago Region
A Selection of Native Shrubs and Noteworthy Non-Native Shrubs 1 WEB VERSION Shrubs of the Chicago Region Volunteer Stewardship Network – Chicago Wilderness Photos by: © Paul Rothrock (Taylor University, IN), © John & Jane Balaban ([email protected]; North Branch Restoration Project), © Kenneth Dritz, © Sue Auerbach, © Melanie Gunn, © Sharon Shattuck, and © William Burger (Field Museum). Produced by: Jennie Kluse © vPlants.org and Sharon Shattuck, with assistance from Ken Klick (Lake County Forest Preserve), Paul Rothrock, Sue Auerbach, John & Jane Balaban, and Laurel Ross. © Environment, Culture and Conservation, The Field Museum, Chicago, IL 60605 USA. [http://www.fmnh.org/temperateguides/]. Chicago Wilderness Guide #5 version 1 (06/2008) EVERGREEN SHRUBS: GROUP 1. LEAVES ARE NEEDLES or SCALES. 1 Juniperus horizontalis TRAILING JUNIPER: 2 Juniperus communis COMMON JUNIPER: Plants have a creeping habit; some leaves are needles but most are Erect shrub or tree (up to 3 m tall); needles whorled on stem; scales with a whitish coat; fruit a bluish-whitish berry-like cone; fruit a bluish or black berry-like cone; grows only in dunes/bluffs male cones on separate plants; grows in sandy soils. bordering Lake Michigan. DECIDUOUS SHRUBS: GROUP 2. LEAVES COMPOUND (more than one leaflet per stalk). STEMS ARMED. 3 Rosa setigera ILLINOIS ROSE: 4 Rosa palustris SWAMP ROSE: Mature plant with long-arching stems; sparse prickles; leaflets Upright shrub; stems very thorny; leaflets 5-7; sepals fall from usually 3, but sometimes 5; styles (female pollen tube) fused into mature fruit; fruit smooth, red berry-like hips; grows in wet and a column; stipules narrow to tip. open ditches, bogs, and swamps. -
The Promise of Whiteness: Fifty Shades of Grey As White Racial Archive
Issue 8 January 2016 www.intensitiescultmedia.com The Promise of Whiteness: Fifty Shades of Grey as White Racial Archive Moon Charania Spelman College Abstract This paper looks closely at how whiteness—a key demonstrative site of power in Sam Taylor-Johnson’s egregious Fifty Shades of Grey (2015)—scripts a repertoire of behaviours on sexual, gender, racial, and class lines. Positioning Fifty Shades of Grey in the post 9/11 globalised media machine, I argue that this interna- tionally bestselling erotic phenomenon is haunted by the master narrative of white racism and heterosexual compulsion, where both are reconstituted as desirable in growing social climate of gay cosmopolitanism and anti-racist awareness. Wrought through a lexicon white superiority, Fifty Shades offers us a way of thinking about how dominant fe/male subject(s) employ whiteness as a crucial practice of producing social subordina- tion, and how a close reading of this film underscores the private and public pleasures of white subjectivity, and the inherent stability of white affluent subjectivity, despite its excesses—a position disallowed to queer and colored subjects. Analyzing various narrative moments in the film, I show how Christian Grey, despite his eroticization of violence, is nonetheless secured by distinctive individuality most closely associated with white bodies and the privileges of the white body politic. Grey’s irreducible and extradiagetic white pres- ence demand further thinking about how Fifty Shades is fundamentally about the pleasures (and promises) of whiteness. I argue that the ultimate duplicity of Fifty Shades of Grey is that it seduces viewers through a promise of explicit sex and wealth, even though the film’s true offering is much more simple: the promise of whiteness. -
Choose Paint Colors and Schemes
Choose Paint Colors and Schemes When you’re decorating your home, choosing the right paint colors is the most important decision you’ll make. As fun as choosing colors can be, this part of the planning can be overwhelming. Thousands of combinations are possible, but by having a basic understanding of color you can create a scheme you love. Basic Color Terms The Color Wheel The color wheel identifies color families and how they relate to each other. Primary Colors All colors, with the exception of white, come from primary colors.. Blue, yellow and red are the primary colors; combinations of these three colors produce secondary colors. Secondary Colors Mix equal amounts of two primary colors to create secondary colors. The results are violet (red and blue), green (blue and yellow) and orange (red and yellow). Tertiary Colors Mix one primary color with larger amounts of another primary color to create tertiary colors. For example, mix one part blue with two parts red to red-violet. Other Color Terms • The hue of a color is the basic color. For example, blue is the hue in light blue and dark blue. • Tone is the result of adding white and black (gray) to a color. Tone makes colors more pleasing to look at instead of pure pigment. • The value of a color describes the amount of white or black in the color. The value ranges from light to dark on a gray scale. • The saturation of a color refers to its strength or weakness in different light. Think about it in terms of bright or dull. -
Common and Scientific Names of Ornamental Crops
This is a section from the 2012 DISEASE CONTROL RECOMMENDATIONS FOR ORNAMENTAL CROPS Publication E036 The full manual, containing recommendations specific to New Jersey, can be found on the Rutgers NJAES website in the publications section: njaes.rutgers.edu/pubs/publication.asp?pid=E036 Note: The label is a legally-binding contract between the user and the manufacturer. The user must fol- low all rates and restrictions as per label directions. The use of any pesticide inconsistent with the label directions is a violation of Federal law. Mention or display of a trademark, proprietary product, or firm in text or figures does not constitute an endorsement by Rutgers Cooperative Extension and does not imply approval to the exclusion of other suitable products or firms. © 2012 Rutgers, The State University of New Jersey. All rights reserved. Revised: June 2012 Cooperating Agencies: Rutgers, The State University of New Jersey, U.S. Department of Agriculture, and County Boards of Chosen Freeholders, Rutgers Cooperative Exten- sion, a unit of the New Jersey Agricultural Experiment Station, is an equal opportunity program provider and employer. 2012 DISEASE CONTROL RECOMMENDATIONS FOR ORNAMENTAL CROPS Section III Common and Scientifi c Names of Ornamental Crops Note: Host plants are listed on pesticide labels by common or scientifi c name. Below is a list of plants included on the label of one or more pesticide products. Hosts denoted by an “x” are included in Section I, Disease Recommendations by Crop. Common name Other common names Scientifi c name x Abelia Abelia spp. Abutilon Velvetleaf, Chinese Lantern, Mallow, Abutilon spp. Flowering Maple Acacia Thorntree Acacia spp. -
4 Colour Words in English and Italian
Connotative meaning in English and Italian Colour-Word Metaphors Gill Philip, Bologna ([email protected]) Abstract Colour words are loaded with attributive, connotative meanings, many of which are realised in conventional linguistic expressions such as to feel blue, to be in the pink, and to see red. The use of such phrases on an everyday basis reinforces the currency of the connotative meanings which they assume in particular cultural and linguistic settings, and the phrases themselves are often cited as evidence of the existence of colours’ connotative meanings. But how do the colour words in conventional linguistic expressions relate to the multitude of symbolic meanings that colours (in general) are said to represent? Based on data extracted from general reference corpora as well as traditional reference works, this article examines the use of colour-word metaphors in English and Italian. It pays particular attention to the ways in which colour words take on connotative meanings, how the meanings are fixed linguistically, and similarities and differences across the two languages under examination. Farbbezeichnungen enthalten viele attributive und konnotative Bedeutungen, wobei viele von ihnen in umgangssprachlichen Ausdrücken vorkommen, wie z.B. to feel blue, to be in the pink und to see red. Die Verwendung derartiger Ausdrücke im alltäglichen Umgang trägt zur weiteren Verbreitung der konnotativen Bedeutungen innerhalb eines bestimmten kulturellen und sprachlichen Umfeldes bei, und die Ausdrücke selber werden oft als Beweis für den offensichtlichen konnotativen Aspekt der Farbbegriffe angeführt. In welchem Verhältnis stehen aber die konventionellen Ausdrücke zur großen Anzahl symbolischer Bedeutungen, die doch Farben (im Allgemeinen) darstellen sollen? Ausgehend von Resultaten allgemeiner reference corpora wie auch herkömmlicher Studien wird hier der Umgang mit Farbbezeichnungsmetaphern (idiomatische Ausdrücke) im Englischen und Italienischen untersucht.