The Female of \u3ci\u3eGraphoderus Manitobensis\u3c/i\u3e With Notes on Identification of Female \u3ci\u3eGraphoderus\u3c/i\u3e (Coleoptera: Dytiscidae)

Ten male and II female Graphoderus manitobensis were collected in April and May, 1980 and 1981 from a pond 16 kIn west of Madison, WI. Females can be distinguished from female G. fascicollis (Harris) by their much narrower metastemal wings and more pronounced conugated sculpturing on the pronotum. The SCUlpturing and markings on the pronorum. width of the metastemal wings, and projections at the base of the ovipositer are used to identify females of G. manitobensis and three closely related species

Introducing Behavioral Wedges and Nudging Into the Production Process to Reduce CO2 : Frontløberne and the First Attempt to Create a CO2 Neutral Production in Denmark

In January 2020, two actors in Denmark started an association, Bæredygtig Scenekunst NU (BS NU), dedicated to making theatre environmentally sustainable. Six weeks later, the country closed down due to COVID-19, and theatres closed. A few weeks later, Jacob Teglgaard from BS NU and Anne Gry Henningsen, Artistic Director of Mærkværk agreed that the play Frontløberne would be BS NU’s pilot project and proof of concept to test the policies and procedures BS NU hoped to eventually institute throughout the performing arts industry in Denmark. BS NU introduced behavioral wedges in the forms of an Environmental Policy, an Environmental Action Plan, and monitoring into the production process with the goal of nudging behavior to reduce emissions. In light of these behavioral wedges, this article will examine BS NU and Mærkværk’s journey of sustainability, the steps taken to create a sustainable production, elaborate the successes and failures of the process, and, most importantly, create a baseline CO2 figure for the production. Furthermore, it will discuss whether the behavioral wedges and nudging have led to shifting mindsets and long term behavioral changes that reduce CO2 emissions in theatrical production processes at Mærkværk

The Grand Tour of Europe: The Impact of Artistic Travels on Nineteenth century Danish Scenography

This article investigates the artistic Grand Tour of the nineteenth-century Danish theatre painter C.F. Christensen made between the spring of 1838 and the fall of 1839, and how it influenced his later scenographic work at the Royal Danish Theatre. Using a variety of archival sources, his Grand Tour is reconstructed. His travels through Germany, Bohemia, Moravia, Switzerland, France, Italy, and the Tyrol exposed him to some of the greatest art and most innovative theatre Europe had to offer. Through the sketches done on his trip, it is possible to see the seeds of inspiration that took root in his scenography upon his return to Copenhagen. Scenography for two August Bournonville ballets that Christensen created after his return will be analyzed: The Festival in Albano and Acts 2 and 3 of Napoli

“Happy Ending” Counseling

Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/89524/1/j.2164-6171.1963.tb00196.x.pd

Drawing in the margins : identity and subjectivity in contemporary autobiographical comics

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département d'études anglaises]Mon projet de thèse démontre comment le genre de la bande dessinée peut être mobilisé de façon à déstabiliser les idéologies identitaires dominantes dans un contexte autobiographique. À partir de théories contemporaines de récits de vie et de leurs emphase sur la construction du sujet au travers du processus autobiographique, j’explore les façons par lesquelles les propriétés formelles de la bande dessinée permettent aux artistes féminines et minoritaires d’affirmer leurs subjectivités et de s’opposer aux idéaux hégémoniques reliés à la représentation du genre, du traumatisme, de la sexualité, de l’ethnicité, et du handicap, en s’auto-incarnant à même la page de bande dessinée. Par une analyse visuelle formelle, ma thèse prouve que les esthétiques hyper-personnelles du dessin à la main découlant d’une forme ancrée dans l’instabilité générique et le (re)mixage continu des codes verbaux et visuels permettent aux artistes de déstabiliser les régimes de représentation conventionnels dans une danse complexe d’appropriation et de resignification qui demeure toujours ouverte à la création de nouveaux sens. Suite à l’introduction, mon second chapitre explique la résistance de Julie Doucet par rapport aux plaisirs visuels découlant de la contemplation des femmes dans la bande dessinée par son utilisation du concept originairement misogyne de la matérialité féminine grotesque comme principe génératif à partir duquel elle articule une critique de la forme et du contenu des représentations normatives et restrictives du corps féminin. Le troisième chapitre considère la capacité de la bande dessinée à représenter le traumatisme, et se penche sur les efforts de Phoebe Gloeckner visant à faire face aux abus sexuels de son enfance par l’entremise d’un retour récursif sur des souvenirs visuels fondamentaux. Le chapitre suivant maintient que la nature sérielle de la bande dessinée, sa multimodalité et son association à la culture zine, fournissent à Ariel Schrag les outils nécessaires pour expérimenter sur les codes visuels et verbaux de façon à décrire et à affirmer le sens identitaire en flux de l’adolescent queer dans sa quadrilogie expérimentale Künstlerroman. Le cinquième chapitre suggère que l’artiste de provenance Libanaise Toufic El Rassi utilise la forme visuelle pour dénoncer les mécanismes générateurs de préjugés anti-Arabes, et qu’il affirme son identité grâce au pouvoir de rhétorique temporaire que lui procure l’incarnation d’un stéréotype connu. Mon dernier chapitre démontre comment Al Davison emploie la bande dessinée pour mettre en scène des rencontres d’observations dynamiques avec le spectateur implicite pouvant potentiellement aider l’auteur à éviter le regard objectivant généralement associé à la perception du handicap.This dissertation argues that the comics form can be mobilized to destabilize dominant notions of identity in an autobiographical context. Drawing on current theories of life writing that stress the construction of the self through the autobiographical process, it explores how the specific formal properties of comics provide opportunities for women and minority artists to assert subjectivity and contend with hegemonic ideas concerning the representation of gender, trauma, sexuality, ethnicity, and disability through the embodiment of the self on the comics page. Through formal visual analysis, the dissertation shows how the highly personal and hand-drawn aesthetics of a form that thrives on generic instability and the continual (re)mixing of verbal and visual codes allows artists to destabilize conventional representational schemes in a complex dance of appropriation and resignification that is always open to the creation of new meanings. Following the introduction, Chapter 2 shows how Julie Doucet resists the visual pleasure associated with looking at women in comics by using the originally misogynistic concept of grotesque female materiality as a generative principle from where she articulates a critique in both form and content of normative and restricting representations of the female body. Chapter 3 examines the comics form’s ability to depict trauma, and focuses on Phoebe Gloeckner’s attempts to come to terms with childhood sexual abuse through a recursive return to key visual memories. Chapter 4 argues that the form’s serial nature, multimodality, and association with zine culture provides Ariel Schrag with the tools to experiment with visual and verbal codes in order to delineate and assert a sense of the in-flux and queer teenage self in an experimental four-volume Künstlerroman. Chapter 5 argues that Lebanese-born artist Toufic El Rassi uses the visual form to expose the mechanism behind the production of anti-Arab prejudice, and that he asserts personal identity through the temporary rhetorical power afforded by the inhabitation of a known stereotype. Chapter 6 shows how Al Davison employs the comics form to stage dynamic staring encounters with the implied observer that have the potential to help the author elude the objectifying gaze commonly associated with looking at disability

SNAP-8 post shutdown gamma radiation approximations

Detector responses were calculated for normalized sources in the Perkins and King energy group structure for a SNAP 8 power system on a NASA space station. Gamma decay rates were then calculated by using an expanded, updated list of isotopic decay data, and from these, actual detector responses were found for the SNAP 8 system. The results indicate that energy-dependent calculations must be made to determine decay gamma dose rates for actual reactor configurations. A simplified method for making these calculations has been devised

Abortion in Perspective

The abortion controversy is assuming national proportions. The Association for the Study of Abortion, a nationwide organization dedicated to a liberalization of the law, has enlisted a cadre of speakers to educate the public to reform. The Association seems to be politically as well as pedagogically oriented. One of its spokesmen recently hailed an abortion liberalization bill, introduced at the 1966 session of the New York State Legislature, as a rallying point for reform forces in the state. \u27 The abortion debate is already in vigorous progress in several states, including Pennsylvania and New York, but these states are not unique. Before long, the entire country will be involved

Foreword: Assisted Reproductive Technology and the Law

This foreword introduces Issue 2: Assisted Reproductive Technology and the Law of the 35th Volume of the William Mitchell Law Review. It begins by outlining the author\u27s personal experience with ART, and contrasts her reasoning for using ART with the traditional need for ART. Finally, it lists some of the many legal questions yet to be conclusively answered