St. Ignatius Collegian, Vol. 4 (1904-1905) Students of St

Total Page:16

File Type:pdf, Size:1020Kb

St. Ignatius Collegian, Vol. 4 (1904-1905) Students of St Loyola University Chicago Loyola eCommons St. Ignatius Collegian University Archives & Special Collections 1905 St. Ignatius Collegian, Vol. 4 (1904-1905) Students of St. Ignatius College Recommended Citation Students of St. Ignatius College, "St. Ignatius Collegian, Vol. 4 (1904-1905)" (1905). St. Ignatius Collegian. Book 2. http://ecommons.luc.edu/st_ignatius_collegian/2 This Article is brought to you for free and open access by the University Archives & Special Collections at Loyola eCommons. It has been accepted for inclusion in St. Ignatius Collegian by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. m '•c\<e:?^m^^^>; NON ^'^'ir ^ikm %;MiU»>^ >v. ; t. Jgnatius Collegkn Vol. IV Chicago, 111., Nov., 1904 No. 1 Ci)e (tontetnplation of Autumn. BOUNTEOUS nature has given to mortals a soulful love for A what is beautiful. The faculty exists in every human being, whether civilized or savage; but the degree of its develop- ment in any man may be said to determine the culture, in fact, the very civilization of the individual in question. It is born in every- one ; but in some, it is destined like the seed of the Scriptural para- ble, to die for want of nourishment. In others, it reaches, not per- fect maturity—for such an outcome is beyond the dwarfed capa- bility of humanity—but a sufficient degree of development to render its possessors genial and broad-minded men—a bulwark of morality and a credit to society in general. For the exercise of this faculty with which we have been so graciously endowed, there are, in nature, myriads of causal objects and occasions ; but among all of them, there can be found none more prolific of the beautiful than is the golden Autumn. The beauties of this season, it is true, may be screened from the view of the sordid man of the world ; but to the man of sentiment they speak in accents mysterious. The former may journey, day after day, through some forest or over some verdant meadow, amid scenes of natural beauty far surpassing the loftiest creations of the most fanciful dream. Yet to him nature will call in vain for the slightest mark of appreciation because the gift bestowed on him was a seed dropped among the thistles of selfishness, which throttled it in its infancy. But, let a man whose mind is free from the bondage of self- satisfaction behold the same scene of natural beauty. How different is the spectacle presented. He treads on a carpet of leaves, in which 2 THE ST. IGNATIUS COL,LEGIAN. his mere fleeting glance detects a combination of tints indicative of art superhuman. Let but a flower kissed by the roaming breeze nod its tiny head. It is an act that bids his dormant wits awaken. Let but the querulous note of a songster break the stillness ; or the babbling of a brook strike upon his ear ; it is an imperial clarion that summons forth his fancy, that sends his spirit soaring to imagi- native heights utterly beyond the reach of the man in the outer world. Perhaps the leaves slowly dropping from a weeping-willow are the tears which summer's recent death is coaxing forth; while the giants round about him bend in grief as some sequestered voice intones a requiem. His soul, tuned to vibrate in harmony with the mystic whisperings of nature, seeks, like a captive slave, to burst asunder the fetters that bind it to its earthly habitation. Ah ! gladly indeed may we walk in the train of the poet to ren- der a just homage to this creature of creatures. "To him who in the love of nature holds Communion with her visible forms, she speaks A various language ; for his gayer hours She has a voice of gladness, and a smile And eloquence of beautv: and she glides Into his darker musings with a mild And healing sympathy, that steals away '] " > ' j')' Their sharpness ere he is aware." ' > Such a man the world says is a dreamer, a simpleton who feeds upon the airy offspring of a feverish imagination. But the world has ever laughed at what surpasses its narrow comprehension, and its laughter is as idle as the fitful autumn zephyrs, which toy with the fallen leaves. He is a poet, a priest of nature, a true worshiper of God. His thoughts, stored within the sanctuary of a noble, self- sacrificing heart, rise, like purest incense, to the Creator whose radi- ant smile he sees reflected m the little woodland bud. Yes. The world may jeer, the evolutionist may vaunt his superior intelligence and waste his worthless life in striving to extri- cate himself from the meshes of his own infantile theories. But the Christian idealist, the silent apostle, leads a life useful alike to him- self and to humanity ; and, realizing the truth and beauty of his own belief, has for the cynic only a pitying smile, or perhaps an occasional sigh—the wish of an unselfish heart for the unattainable. J. F. Rice, '05. THE ST. IGNATIUS COIrl^EGIAN. Ci)t ^kplarfe's ^ong. OME bards would sing of Cupid's sting, s Of Orpheus' charming lays, While Sonne the strife of mortal life In lyric song would praise, Alas! my heart, nor Cupid's dart Will praise, nor Grecian muse; My lyric soul will, to extol, A simpler subject choose. Ere shadows gray announce the day. Ere Phoebus scans the hills, Intent I list, as through the mist, Unseen the skylark trills. The silvery strain in rich refrain O' erflows the vaulted skies. Its pious mirth awakes the earth That wrapt in slumber lies. I love the swell of the evening bell. The ever-murmuring rill. The wanton ways of the wind that plays With the rose or daffodil; But oh, how gay the skylark's lay! How soft its music floats! My heart would fain the sweetness drain That fills the soulful notes. John G. Mielcarek, '06. THE ST. IGNATIUS COLIvEGIAN. a 3Bream ip a ila?? ^tutient. THE yellow flames piled up one over the other in the grate and threw a lurid glow around the room. The flickering shad- ows chased each other over the walls, resting for a moment on some little picture or queer ornament, and vanishing again as the fire blazed up and cast its light fuller into the darkness. The green wood on the hearth sputtered and cracked, as if it were trying tO' tell the story of its native forest and to picture the resounding blows of the woodman's ax as he ventured further into the darkness in search of wood. I had drawn a cosy chair close up to the blaze and stretched myself out at full length upon it, hoisted my feet to an exalted position on the table top and settled down for a good night's enjoyment. For a moment I lay gazing into the very depths of the fire, its heat scorching my face, and watched the fantastic shapes taken by the wood as it burned slowly to a mass of glowing embers. Here and there stood, alone and untouched, a tiny twig bearing two or three withered leaves, and proudly defying the advancing flames to touch it. But (alas for foolish pride!) the mighty log beneath would lurch like a storm-bound steamer, and carry with it the defiant twig to the flames. Deep in the center of the hearth burned a stout oak log, the flames dancing merrily upon it. Behind showed a broad gleam of fire in strange, fantastic colors, green and blue and deep scarlet and golden yellow, all jumbled together in one con- fusing mass. As I lay there watching this, the flames took on an almost liv- ing touch and mounting higher, seemed about to leap from the hearth. In the fancy of the moment I pushed my chair back a few inches to wait for developments. When I looked again toward the grate the scene had suddenly changed, and I saw before me through the fire a pleasant wood, the trees gaily decked in their proud scarlet and yellow of autumn and swaying gently in the soft evening breeze. The blue sky showed through the tree-tops and the golden sun sinking in the distance cast its long level rays beneath the branches, opening bright vistas of glory into the dim depths of the forest. In the center of the THE ST. IGNATIUS COLLEGIAN. 5 scene beside a fallen trunk and scattered among the leaves were a number of books alone and forgotten. The mould of many days was upon them and I began to speculate about their owner, whether he had strolled away and was lost in the forest or had met with some worse fate in this lonely spot, when horror!—there among the rest I dis- cerned the tattered brown cover of my own odious Yenni, the paper cover of the detested Caesar, and full upon me came the realization of the sickening truth—all mine. I would have forgotten the beauty of the forest in my disgust, but a louder soughing of the wind at- tracted my attention. I could hear in the distance the rush of a storm which in a minute swept across the scene in fury. I was so awed by the sudden change that I did not at first observe the queer action of a little whirlwind which had seized in its embrace the books and their bed of many-colored leaves and, without bearing them away, was spinning them in its vortex fast and faster until they seemed to lose their motion and to merge into a single form.
Recommended publications
  • The Distribution of Obsidian in the Eastern Mediterranean As Indication of Early Seafaring Practices in the Area a Thesis B
    The Distribution Of Obsidian In The Eastern Mediterranean As Indication Of Early Seafaring Practices In The Area A Thesis By Niki Chartzoulaki Maritime Archaeology Programme University of Southern Denmark MASTER OF ARTS November 2013 1 Στον Γιώργο 2 Acknowledgments This paper represents the official completion of a circle, I hope successfully, definitely constructively. The writing of a Master Thesis turned out that there is not an easy task at all. Right from the beginning with the effort to find the appropriate topic for your thesis until the completion stage and the time of delivery, you got to manage with multiple issues regarding the integrated presentation of your topic while all the time and until the last minute you are constantly wondering if you handled correctly and whether you should have done this or not to do it the other. So, I hope this Master this to fulfill the requirements of the topic as best as possible. I am grateful to my Supervisor Professor, Thijs Maarleveld who directed me and advised me during the writing of this Master Thesis. His help, his support and his invaluable insight throughout the entire process were valuable parameters for the completion of this paper. I would like to thank my Professor from the Aristotle University of Thessaloniki, Nikolaos Efstratiou who help me to find this topic and for his general help. Also the Professor of University of Crete, Katerina Kopaka, who she willingly provide me with all of her publications –and those that were not yet have been published- regarding her research in the island of Gavdos.
    [Show full text]
  • Frogs Around the Pond: Some Images of the Mediterranean Sea In
    FROGS AROUND THE POND: SOME IMAGES OF THE MEDITERRANEAN SEA IN GREEK AND ROMAN CULTURE by SARAH JEAN CALDER TRAUT Under the Direction of Naomi Norman ABSTRACT This thesis describes some of the ways that Greek and Roman culture attempted to define the Mediterranean Sea. It surveys selected Greek and Roman authors who used the image of the Mediterranean Sea to talk about power and wealth. INDEX WORDS: Mediterranean Sea, Mediterranean Basin, Greek and Roman Culture, Mare Nostrum, Isidorus, Sallust, Julius Caesar, Livy, Ab Urbe Condita, Pomponius Mela, Pliny the Elder, Juvenal, Old Oligarch, Pseudo- Xenophon, Constitution of the Athenians, Thucydides, History, Cicero, De Provinciis Consularibus, Augustus, Res Gestae, Plutarch, Quaestiones Conviviales, Hesiod, Works and Days, Petronius, Satyricon, Lucian, The Ship or The Wishes. FROGS AROUND THE POND: SOME IMAGES OF THE MEDITERRANEAN SEA IN GREEK AND ROMAN CULTURE by SARAH JEAN CALDER TRAUT A.B., The University of Georgia, 2001 A Thesis Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2004 ©2004 Sarah Jean Calder Traut All Rights Reserved. FROGS AROUND THE POND: SOME IMAGES OF THE MEDITERRANEAN SEA IN GREEK AND ROMAN CULTURE by SARAH JEAN CALDER TRAUT Major Professor: Naomi Norman Committee: Robert Curtis Keith Dix Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2004 iv ACKNOWLEDGMENTS I would like to acknowledge the guidance that Dr. Naomi Norman has given me throughout my undergraduate and graduate schooling. Without her support, I should never have completed my thesis or my undergraduate degree.
    [Show full text]
  • The Eastern Mail (Vol. 10, No. 10): September 18, 1856
    Colby College Digital Commons @ Colby The Eastern Mail (Waterville, Maine) Waterville Materials 9-18-1856 The Eastern Mail (Vol. 10, No. 10): September 18, 1856 Ephraim Maxham Daniel Ripley Wing Follow this and additional works at: https://digitalcommons.colby.edu/eastern_mail Part of the Agriculture Commons, American Popular Culture Commons, Journalism Studies Commons, and the United States History Commons Recommended Citation Maxham, Ephraim and Wing, Daniel Ripley, "The Eastern Mail (Vol. 10, No. 10): September 18, 1856" (1856). The Eastern Mail (Waterville, Maine). 477. https://digitalcommons.colby.edu/eastern_mail/477 This Newspaper is brought to you for free and open access by the Waterville Materials at Digital Commons @ Colby. It has been accepted for inclusion in The Eastern Mail (Waterville, Maine) by an authorized administrator of Digital Commons @ Colby. T itttgcdlattL). peaceable Insirttmenlalilics gudrflntied by tha Const lution nnd tho laws of the land. In onf judgment, therefore, this, afld Ihi* almost ex. THE MY-STIO BELL. cldsively, Is the question which the hundreds 61 thousands of honest voters shotlld, in (he TBK OP AKDBESIW. present crisis, answer by their ballots, viz Toward err.ning, in the narrow streets of a How can the free principles and the fm msti* iargtt town, just as the sun was sinking, and the iiiiions—the true IJeraocrncy of the Nbrtli— elouds used to glitter Uke gold between the nut the geugrnpliicnl, sectional Nol'lh, btll the cbimflieti, a singular sound, like that of a church North iliflt t-cpt-csents the national AiM^oan bell, was often heard—sometimes by one, ilome- iih-a—be best sustained and extended t Clear­ times by another; but it only lasted a minute, ly that idea is in perj], Thcreis ho danger of for there was such a rumbling of carts, and’ a dissolution of the Union, biit there is dawger such a din of voicdKt thht slighter noises were I l.at liberty—without which the form hf • fft- drowned.
    [Show full text]
  • Case Study #5: the Myrtoon Sea/ Peloponnese - Crete
    Addressing MSP Implementation in Case Study Areas Case Study #5: The Myrtoon Sea/ Peloponnese - Crete Passage Deliverable C.1.3.8. Co-funded by the1 European Maritime and Fisheries Fund of the European Union. Agreement EASME/EMFF/2015/1.2.1.3/01/S12.742087 - SUPREME ACKNOWLEDGEMENT The work described in this report was supported by the European Maritime and Fisheries Fund of the European Union- through the Grant Agreement EASME/EMFF/2015/1.2.1.3/01/S12.742087 - SUPREME, corresponding to the Call for proposal EASME/EMFF/2015/1.2.1.3 for Projects on Maritime Spatial Planning (MSP). DISCLAIMERS This document reflects only the authors’ views and not those of the European Union. This work may rely on data from sources external to the SUPREME project Consortium. Members of the Consortium do not accept liability for loss or damage suffered by any third party as a result of errors or inaccuracies in such data. The user thereof uses the information at its sole risk and neither the European Union nor any member of the SUPREME Consortium, are liable for any use that may be made of the information The designations employed and the presentation of material in the present document do not imply the expression of any opinion on the part of UN Environment/MAP Barcelona Convention Secretariat concerning the legal status of any country, territory, area, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The depiction and use of boundaries, geographic names and related data shown on maps included in the present document are not warranted to be error free nor do they imply official endorsement or acceptance by UN Environment/ MAP Barcelona Convention Secretariat.
    [Show full text]
  • Eight Views of the Xiao and Xiang
    1 College of Arts at the University of Canterbury Art History and Theory in the School of Humanities ARTH 690 Masters Thesis Title of Thesis: The Eight Views: from its origin in the Xiao and Xiang rivers to Hiroshige. Jennifer Baker Senior Supervisor: Dr. Richard Bullen (University of Canterbury). Co-Supervisor: Dr. Rachel Payne (University of Canterbury). Thesis Start Registration Date: 01 March 2009. Thesis Completion Date: 28 February 2010. Word Count: 30, 889. 2 Abstract This thesis focuses upon the artistic and poetic subject of the Eight Views of the Xiao and Xiang, from its origin in the Xiao-Xiang region in the Hunan province of China throughout its dispersal in East Asian countries such as Korea and Japan. Certain aesthetics and iconography were retained from the early examples, throughout the Eight Views’ transformation from the eleventh to the nineteenth century. The subject‟s close associations with poetry, atmospheric phenomena and the context of exile were reflected in the imagery of the painting and the accompanying verses. This thesis will discuss the historic, geographic and poetic origins of the Eight Views, along with a thorough investigation into the artistic styles which various East Asian artists employed in their own interpretations of the series. Furthermore, the dispersal and diaspora of the subject throughout East Asia are also investigated in this thesis. The work of Japanese artist Andô Hiroshige will serve as the concluding apogee. The Eight Views of the Xiao and Xiang is an important East Asian artistic subject in both poetry and painting and contains many pervasive East Asian aesthetics.
    [Show full text]
  • Mursil and Myrtilos Author(S): HR Hall Source
    Mursil and Myrtilos Author(s): H. R. Hall Source: The Journal of Hellenic Studies, Vol. 29 (1909), pp. 19-22 Published by: Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/624638 Accessed: 11-12-2015 23:23 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society for the Promotion of Hellenic Studies and Cambridge University Press are collaborating with JSTOR to digitize, preserve and extend access to The Journal of Hellenic Studies. http://www.jstor.org This content downloaded from 67.66.218.73 on Fri, 11 Dec 2015 23:23:01 UTC All use subject to JSTOR Terms and Conditions MIURSIL AND MYRTILOS. SEVEN years ago I wrote: 'to claim the Pelopids as " Hittites " is really to appeal too much to the imagination as an aid to the writing of history.' 1 But it is dangerous to be too unimaginative. The name of Oinomaos' treacherous charioteer, whom Pelops afterwards cast into the Myrtoan sea, and to whom as the Pelops thereafter rapd.'twro, made offering at his grave and cenotaph,2 was Myrtilos. The same word, in the form Myrsilos, was not uncommon as a personal name in Asia Minor.
    [Show full text]
  • Aznavour, « Non, Je N'ai Rien Oublié »
    Facebook : La culture ne s'hérite pas elle se conquiert Facebook : La culture ne s'hérite pas elle se conquiert Facebook : La culture ne s'hérite pas elle se conquiert www.editionsarchipel.com Si vous souhaitez recevoir notre catalogue et être tenu au courant de nos publications, envoyez vos nom et adresse, en citant ce livre, aux Éditions de l’Archipel, 34, rue des Bourdonnais 75001 Paris. Et, pour le Canada, à Édipresse Inc., 945, avenue Beaumont, Montréal, Québec, H3N 1W3. 978-2-809-80764-6 Copyright © L’Archipel, 2011. Facebook : La culture ne s'hérite pas elle se conquiert Sommaire Page de titre Page de Copyright Dédicace PRÉAMBULE 1 - « UN MILIEU DE CHANTEURS ET D’ARTISTES… » 2 - PARIS MISÈRE 3 - ROCHE ET AZNAVOUR 4 - VERS LE NOUVEAU MONDE 5 - « ME VOILÀ SEUL » : RETOUR EN FRANCE 6 - TOURNÉE MAROCAINE : DIX-SEPT RAPPELS ! 7 - « LE CRUCIFIÉ DU TRAVERSIN » 8 - CARRIÈRE INTERNATIONALE 9 - GEORGES GARVARENTZ : UNE FONTAINE À MÉLODIES 10 - CHEZ LES YÉ-YÉ 11 - PAUL MAURIAT, UN GRAND « COUTURIER MUSICAL » 12 - « JE VOUS PARLE D’UN TEMPS… » 13 - « AU NOM DE LA JEUNESSE… » 14 - « COMME ILS DISENT » 15 - « ILS SONT TOMBÉS » 16 - « POUR TOI, ARMÉNIE » 17 - LE ROI DES DUOS 18 - TOI ET MOI 19 - LYNDA LEMAY 20 - « THE LAST CHANTEUR » 21 - « AZNAVOUR 2000 » Facebook : La culture ne s'hérite pas elle se conquiert 22 - « BON ANNIVERSAIRE, CHARLES ! » 23 - CUBA 24 - LE VIEUX SAGE ET LE JEUNE RAPPEUR 25 - THE CLAYTON-HAMILTON JAZZ ORCHESTRA 26 - « L’HOMME EST UN SOLITAIRE QUI A BESOIN DES AUTRES » DISCOGRAPHIE BIBLIOGRAPHIE Facebook : La culture ne s'hérite pas elle se conquiert À Colette, pour ses encouragements et son soutien.
    [Show full text]
  • Charles Aznavour, Empereur De La Chanson Française
    Charles Aznavour, empereur de la chanson française Par GNCD JJR 65 Un chanteur à succès est heureux de nos jours avec un catalogue de 30 ou 50 titres. Charles Aznavour, le plus grand chanteur français vivant, dispose d’un catalogue de plus de 1000 titres, dont la moitié écrite par lui-même. Ce seul chiffre illustre de manière écrasante la présence phénoménale de ce chanteur depuis plus d’un demi-siècle, que ce soit en France ou dans le monde. Et ces titres sont repris internationalement par les plus grands : Ray Charles, Fred Astaire, Bing Crosby, Liza Minnelli, Bobby Mac Ferrin, Manu Dibango, et j’en passe. Et ce ne sont que les seuls titres musicaux, car les autres titres sont innombrables : Commandeur de la Légion d’Honneur, Ambassadeur permanent de l’Unesco en Arménie, Prix de la Société Américaine des Auteurs-Compositeurs, Ambassadeur d’Arménie en Suisse, Médaille Vermeille de la Ville de Paris, Héros National de l’Arménie, Lion d’Or du Festival de Venise, la liste est longue, arrêtons-nous là. Et n’oublions pas une carrière d’acteur, en parallèle. Et si Charles Trénet, un autre grand de la chanson française fut initialement l’idole de Charles Aznavour, cela s’explique très naturellement : tous deux sont des partisans farouches de la chanson française classique et de qualité, dont les textes comme les airs sont vraiment ciselés comme des bijoux : Aznavour a toujours revendiqué hautement son amour du beau français. Au début du succès, dans les années 1950 Qui de nos jours pourrait penser en se promenant rue la Huchette, rue des bistrots pour touristes, à 300 mètres de Notre-Dame de Paris, que c’est là qu’ a un temps grandi le petit Charles Aznavourian, fils d’un réfugié arménien ? Son père , Micha Aznavourian, un chanteur baryton (les gènes, ce n’est pas rien !) réfugié en France suite aux conséquences de la 1 ère guerre mondiale, y a en effet ouvert un restaurant pour refaire sa vie.
    [Show full text]
  • « Entre La Mémoire Et L'oubli » : La Chanson
    Document generated on 09/28/2021 11:26 p.m. Cap-aux-Diamants La revue d'histoire du Québec « Entre la mémoire et l’oubli » La chanson Yves Laberge Au seuil de la Révolution tranquille : les années 1950 Number 84, Winter 2006 URI: https://id.erudit.org/iderudit/7033ac See table of contents Publisher(s) Les Éditions Cap-aux-Diamants inc. ISSN 0829-7983 (print) 1923-0923 (digital) Explore this journal Cite this article Laberge, Y. (2006). « Entre la mémoire et l’oubli » : la chanson. Cap-aux-Diamants, (84), 28–33. Tous droits réservés © Les Éditions Cap-aux-Diamants inc., 2005 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ «ENTRE LA MEMOIRE ET L'OUBLI» IA CHANSON PAR YVES LABERGE «Entrez donc ben hardiment temps. Les premières émissions de télévision Mon mari est au Rapide blanc semblaient éminemment modernes pour Y a des hommes de rien qui rentrent les auditoires des années 1950, tandis qu'aujourd'hui, beaucoup d'observateurs re­ et qui rentrent garderont les images télévisuelles d'autrefois Y a des hommes de rien qui rentrent, en déplorant le faible spectre sonore et les pis ça me fait rien» images en noir et blanc.
    [Show full text]
  • Strong Population Genetic Structure and Contrasting Demographic Histories for the Small-Spotted Catshark (Scyliorhinus Canicula) in the Mediterranean Sea
    Heredity (2015) 114, 333–343 & 2015 Macmillan Publishers Limited All rights reserved 0018-067X/15 www.nature.com/hdy ORIGINAL ARTICLE Strong population genetic structure and contrasting demographic histories for the small-spotted catshark (Scyliorhinus canicula) in the Mediterranean Sea V Kousteni1, P Kasapidis2, G Kotoulas2 and P Megalofonou1 Coastal and demersal chondrichthyans, such as the small-spotted catshark, are expected to exhibit genetic differentiation in areas of complex geomorphology like the Mediterranean Basin because of their limited dispersal ability. To test this hypothesis, we used a fragment of the mitochondrial cytochrome c oxidase subunit I gene and 12 nuclear microsatellite loci in order to investigate the genetic structure and historical demography of this species, and to identify potential barriers to gene flow. Samples were collected from the Balearic Islands, the Algerian Basin, the Ionian Sea, the Corinthian Gulf and various locations across the Aegean Sea. Additional sequences from the Atlantic and the Levantine Basin retrieved from GenBank were included in the mitochondrial DNA analysis. Both mitochondrial and nuclear microsatellite DNA data revealed a strong genetic subdivision, mainly between the western and eastern Mediterranean, whereas the Levantine Basin shared haplotypes with both areas. The geographic isolation of the Mediterranean basins seems to enforce the population genetic differentiation of the species, with the deep sea acting as a strong barrier to its dispersal. Contrasting historical demographic patterns were also observed in different parts of the species' distribution, most notably a population growth trend in the western Mediterranean/ Atlantic area and a slight decreasing one in the Aegean Sea. The different effects of the Pleistocene glacial periods on the habitat availability may explain the contrasting demographic patterns observed.
    [Show full text]
  • NON-CONVENTIONAL CRISES and CRITICAL INFRASTRUCTURE KATRINA Report-Back Mission New Orleans, Gulfport
    Risk Management Division NON-CONVENTIONAL CRISES AND CRITICAL INFRASTRUCTURE KATRINA Report-back Mission New Orleans, Gulfport (Mississippi), February 19-25, 2006 Washington, DC, March 13-15 2006 CRUCIAL FACTS – FURTHER CONSIDERATIONS Xavier Guihou - Patrick Lagadec - Erwan Lagadec Original: French – March, 2006 Mission members Xavier Guihou (XAG Conseil), Patrick Lagadec (Ecole Polytechnique) Daniel Madet (EDF), Jean-Pierre Roche (Aéroports de Paris) Erwan Lagadec (Harvard University) 2 Contents Introduction by Pierre Béroux Acknowledgements Foreword Introduction I – Katrina: a non-conventional phenomenon 1. The hurricane, a familiar event 2. Katrina: exceeding multiple thresholds 3. Critical infrastructure: massive destruction, domino effect 4. A backdrop of instability II – Initial strategic lessons 1. Off-scale surprise 2. Off-scale complexity 3. Speed in a globalized context 4. Texture 5. The unthinkable 6. Critical infrastructure: A turning point? III – Initial operational lessons 1. The personal shock 2. Leadership 3. Anticipating major catastrophes in contingency planning Emerging from crisis: the long term 3 Pierre Béroux, Senior Vice President, Corporate Risk Management EDF currently is – and increasingly will be – a key player in new, destabilizing, multi- factor emergencies, of which our activities will not be the root cause (natural catastrophes, pandemics, crises in society, new forms of terrorism, etc.). Our capacity to combine anticipation and “out-of-the-box” thinking with more traditional operational handling of crises,
    [Show full text]
  • Labyrinthine Depictions and Tempting Colors: the Synaesthetic Dances of Loïe Fuller As
    Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Caroline J. Kappel November 2007 2 © 2007 Caroline J. Kappel All Rights Reserved 3 This dissertation titled Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography by CAROLINE J. KAPPEL has been approved for the Interdisciplinary Arts and the College of Fine Arts by William F. Condee Professor of Interdisciplinary Arts Charles A. McWeeny Dean, College of Fine Arts 4 ABSTRACT KAPPEL, CAROLINE J., Ph.D., November 2007, Interdisciplinary Arts Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography (246 pp.) Director of Dissertation: William F. Condee This study explores Loïe Fuller’s use of synaesthesia to bring together various sensations so as to create a dreamlike effect in her choreography, while at the same time presenting a visual representation of symbolist ideals. On the music-hall stage she created popular ideas that had otherwise been restricted to small experimental theaters. In the visual arts, she became a constant public image of poster art as well as paintings, sculptures, and prints. She also dramatically presented the visualization of avant-garde color theories, while simultaneously representing symbolist ideals of the literary world. By tracing her explorations with the other arts in the context of various artistic, scientific, and movement theories, Fuller’s work can serve as a model for interdisciplinary studies in the fine arts.
    [Show full text]