Soil copper in relation to cereal crops

In field trials on soils of known copper status, plots of oats and "barley were given foliar and seedbed copper treatments, and in factorial pot experiments, oats under various conditions of water supply and illumination were also grown on deficient and treated soil. The following conclusions were made from the results of observations and experiments. In fields on a few farms in South East Scotland, copper deficiency is lowering cereal yields and sometimes causing withertip. The soils in these fields are in the Eckford or Hobkirk Series, and have an E.D.T.A. extractable copper level of about 0.5 p.p.m. ^Ithertip is seen most frequently when the preceding winter is dry, but there appears to be no correlation between its occurrence and weather conditions during the growing season. Oat plants, nevertheless, generally absorb less copper from sandy soil at about 80$water capacity than from soil at 40$, and the uptake in young plants may be decreased when illumination is reduced. On deficient soils, similar increases in grain yield appear to be caused by foliar treatments of 5 and 10 lb. per acre copper oxychloride, although even 0.8 lb. is sufficient to cure withertip. Field seedbed oopper dressings are less effective at raising grain production than foliar treatments, and cause no response in straw yield. Under greenhouse conditions, on the other hand, copper treatment of deficient soil nay increase "both grain and straw yields, l?o evidence was found of copper toxicity in the field, "but a temporary reduction in the yield of young plants in pots occurred when sandy soil contained about 8 p.p.ra. applied copper The concentration of copper in "barley plants is generally higher than that in oats, although there are varietal differences in oats, "barley and wheat. The concentration is also higher in young plants than in those at maturity, and is influenced by moisture and light conditions. In the field, foliar treatments and moderate applications of copper to the seedbed have little effect on the copper level in mature plants, hut a heavy soil dressing in pots may raise the concentration in the "rain. Copper deficient oat plants contain a larger concentration of moisture than copper treated plants. Iron absorption may be reduced in young oat plants containing a high level of copper, and small copper dressings on a deficient soil may cause an increase in uptake of manganese. E.B.T.A. extraction of field soils gives a guide to the availability of copper near deficiency levels, and generally recovers 20 to 30$of foliar applications and about 50$ of soil dressings for up to two years. The applied copper remains readily available to plants. The sampling date, however, influences the result of an E.D.T.A. extraction of a soil, particularly after copper treatment. The comparatively high concentration of copper in urban rain water makes copper deficiency unlikely in or near built up areas

The Really Big Trade-Off: Home Ownership and the Welfare State in tne New World and the Old

This paper focuses on the role of private home ownership as an alternative means of accomplishing the horizontal, life cycle redistribution that is one of the primary functions of the welfare state. The analysis uses cross-national evidence to examine the proposition that there has been an inverse relationship between the level of home ownership and the degree of welfare state provision in the advanced nations during the post-war period. The paper also utilizes a comparative approach to demonstrate that widespread home ownership may reduce the need for generous income maintenance for the aged and may redress the overall extent of inequality amongst that population. On the basis of these findings, it is suggested that extreme contrasts between the outcomes of European welfare state leaders and supposedly more laggardly New World countries may need to be somewhat modified

Castles as Prisons

This is the final version. Available from the Castle Studies Grou

Stylistic palimpsests: Computational stylistic perspectives on precursory authorship in Aphra Behn’s drama

Computational stylistics has developed various methods for investigating and attributing authorship of collaborative literary texts. This article investigates ‘precursory authorship’ (Love, 2002): that is, the authorial traces of a source text that inform—to a greater or lesser degree—a subsequent literary output, in order to establish its relevance for our approach to and understanding of the linguistic properties of literary style. Precursory authorship and derivative adaptations are common features of early modern English drama, and the study focusses on two case studies relating to the plays of Restoration playwright, Aphra Behn (c. 1640–89). Using a combination of quantitative methods (Rolling Delta (RD), principal components analysis (PCA), Delta, and Hierarchical Cluster Analysis), the investigation highlights the presence of precursory authorial style in Behn’s The Rover and an anonymous work associated with Behn, The Counterfeit Bridegroom. The results suggest that precursory authorial style is identifiable in both cases, not only through a similarity with the source text but, to a lesser degree, other texts by the precursory author as well. The anonymous play yields complex and non-confirmatory evidence for Behn’s authorship. Methodologically, RD is most sensitive to precursory collaboration. Collectively, the findings highlight the importance of stylistic factors when describing and interpreting literary linguistic quantitative data: precursory authorial style is another facet that intersects with properties such as time period and genre. The article urges a more critical and theoretically informed view of authorially aligned linguistic style

Popular Drama, the Literary Field and Intertextuality – Robert W. Buchanan's Adaptations for the Victorian Theatre

Handel S. Populäres Drama, literarisches Feld und Intertextualität – Robert W. Buchanans Adaptionen für das viktorianische Theater. Bielefeld: Universität Bielefeld; 2013.This dissertation analyses Robert W. Buchanan’s (1841-1901) theatrical adaptations for the London commercial stage. It uses two theoretical approaches: Intertextual theory for detailed textual analysis and comparison, and Pierre Bourdieu’s (1930-2002) sociology of culture that takes into account social aspects of literature. This includes society’s various influences on the definitions of “literature”, “literary success” and “literary quality”, e.g. the author’s habitus, his reputation and the expectations raised by it, as well as his social and financial position and background. After outlining the late Victorian theatrical field, Buchanan’s habitus and his position(s) therein, this thesis offers six in-depth studies of specific adaptations, with a special focus on the author’s motivation, the changes and modifications of the texts, their presentation on stage and their reception. All six plays are unpublished and can be accessed as manuscripts in the Lord Chamberlain’s Plays of the British Library. By analysing the textual and social aspects of Buchanan’s adaptations, this dissertation draws a comprehensive picture of London’s theatrical landscape in the late nineteenth century and of a neglected author. Bourdieu’s approach illuminates especially the subtle nuances and omissions that make Buchanan’s plays unique despite their apparent conventionality.Die vorliegende Dissertation untersucht Robert W. Buchanans (1841-1901) Adaptionen für das kommerzielle Londoner Theater und verbindet dabei zwei gegensätzliche Ansätze: Die Intertextualitätstheorie als Grundlage für detaillierte Textvergleiche und Pierre Bourdieus (1930-2002) kultursoziologische Feldtheorie, die die Untersuchung der gesellschaftlichen Dimension von Literatur ermöglicht. Zu Letzterer gehören vor allem textexterne Einflüsse auf “Literatur”, “literarischen Erfolg” oder auch “literarische Qualität”, z.B. der Habitus eines Autors, sein Ruf und die damit einhergehenden Erwartungen, seine finanzielle und soziale Stellung und Herkunft. Die Arbeit gibt einen Überblick über das Londoner Theaterfeld zu Buchanans Zeit, seinen Habitus und die von ihm besetzte(n) Position(en). Es folgen sechs Einzelstudien konkreter Adaptionen, die sich besonders Buchanans Motivation, den vorgenommenen Änderungen, den Darbietungsbedingungen und der Rezeption widmen. Die besprochenen Theaterstücke stammen aus dem Zensurarchiv der British Library in London und sind bisher unveröffentlicht. Durch die konsequente Anwendung von Bourdieus historisierendem Ansatz wird ein umfassendes Bild der spätviktorianischen Theaterlandschaft und eines nahezu vergessenen Autors gezeichnet. Der Brückenschlag zwischen textinterner und -externer Analyse beleuchtet gerade die leisen Zwischentöne und Auslassungen in Buchanans Stücken, die diese trotz aller oberflächlichen Konventionalität einzigartig machen

A Critical Study of the Dramas of Four Major Romantic Poets

Since little critical attention has been given to the dramas of this period, it would seem that further examination of them would be of value. The purpose of this study, therefore, is to investigate the dramas of the major Romantic poets in order to provide a new critical perspective on their plays specifically and Romantic drama generally. From this it is hoped useful conclusions can be drawn. The study will be limited to the plays of Samuel Taylor Coleridge, Percy Bysshe Shelley, William Wordsworth, and George Gordon, Lord Byron. John Keats has been omitted from this group because his only drama was written in conjunction with Armitage Brown, a minor writer. The dramas chosen for this investigation are those which either have been produced on the stage or ware submitted for production. If the author submitted more than one play, the play which the critics consider marks the summit of dramatic achievement of the author has been selected. Included in this study are The Borderers by Wordsworth, Remorse by Coleridge, The Cenci by Shelley, and Cain by Byron. The dramas are presented for discussion according to the chronological order in which they were written. The study will include an examination of the background against which the tragedies were written - the state of the contemporary drama, the stage, the plays and the audiences. Those factors which may have affected the work - the author\u27s thoughts, the facts of composition, and elements of Romanticism - will also be considered. In addition, both contemporary and modern criticism will be included. (The criticism beginning with that of George Bernard Shaw in 1886 will be classified as modern.) These criticisms will form the bases for evaluations of the plays

The prose Brut : a parallel edition of Glasgow Hunterian MSS. T.3.12 and V.5.13, with introduction and notes

No abstract availabl

Catholic-Protestant Controversy and the Shakespearean Stage: The Play of Polemic

Shakespeare’s career in the theatre coincides with the ascendancy of Catholic-Protestant polemic, a body of writing that exerted a deep and pervasive influence on literate life in early modern England. Eroding a secularizing bias within the academy, the much heralded turn to religion in the discipline has already covered ample ground in repositioning Shakespeare in relation to the religious cultures of his age. But if such criticism is no longer the preserve of parti pris commentators, Shakespeare’s plays have yet to be fully explored through the particular breed of antagonistic writing that emerged during the Reformation and eventually contributed to the period’s self-styling as the “scribbling age.” Placing drama within this neglected field of enquiry, I reveal the importance the modes and preoccupations of such controversial writing had for the evolving shape and content of Shakespeare’s art. The four plays considered here illuminate the subtlety and sophistication with which Catholic-Protestant polemic permeates the theatre; but they also demonstrate that theatre could in turn permeate polemic, hijacking and radically altering its concerns or critiquing its values and assumptions as a practice. King John, 1 Henry IV, Hamlet, and Henry VIII are all marked by cultures of religious scribbling, but in strikingly different ways. By charting changes to these configurations across such a chronology, we can grasp how the plays loosely move from a tentative, experimental approach to polemic to a greater assuredness in its repudiation, developments with important implications for piecing together Shakespeare’s development as a reader and writer.AHR