On four species of Copepoda new to Chesapeake Bay, with a description of a new variety of Paracalanus crassirostris Dahl

At this time, four additional species, unreported by Wilson [1932], can be added to the list of those species to be found within the limits of the bay. These are Acartia tonsa Dana, Cyclops vernalis Fischer, Diaptomus spatulocrenatus Pearse, and Paracalanus crassirostris Dahl var. nudus nov. The specimens from which identifications were made were collected by means of Clarke-Bumpus nets, in use on the motor ship "Mahatru.

A study of the crab pot as a fishing gear

The crab pot as a fishing gear was introduced in Maryland waters, following some years of greatly expanded use in Virginia, during the 1939 season, and was widely used during 1940. The 1941 session of the Maryland Legislature, however, illegalized the crab pot. Since that time the device has been given up almost entirely by Maryland fishermen, its attempted use in a commercial way having persisted in diminishing numbers in only one region of the state

Experimental economics: Methods, problems and promise

The purpose of this paper is to discuss the growing importance of experimentation in economic analysis. We present a variety of economic issues that have been explored with laboratory techniques. We also address some common objections to experimentation, as well as some of the principal lessons that have been learned.

They (Don't) Care About Education: A Counternarrative on Black Male Students' Responses to Inequitable Schooling

Focus group interviews and systematic content analysis of 304 essays written by black male undergraduates refute the dominant message that black men do not care about education. On the contrary, these students aspire to earn doctoral degrees in education despite acute understanding that the education system is stacked against them. The analysis asks what compels that dedication

Experimental Economics

This is the first comprehensive treatment of laboratory experiments designed to evaluate economic propositions under carefully controlled conditions. While it acknowledges that laboratory experiments are no panacea, it argues cogently for their effectiveness in selected situations. Covering methodological and procedural issues as well as theory, Experimental Economics is not only a textbook but also a useful introduction to laboratory methods for professional economists. The emphasis is on organizing and evaluating existing results. The book can be used as an anchoring device for a course at either the graduate or advanced undergraduate level. Applications include financial market experiments, oligopoly price competition, auctions, bargaining, provision of public goods, experimental games, and decision making under uncertainty. The book also contains instructions for a variety of laboratory experiments.laboratory experiments, financial markets, price competition, auctions, bargaining, games, decision making, uncertainty

Luigi Vagnetti (ed.): 2000 anni di Vitruvio. Luigi Vagnetti: Prospettiva

The review, here reprinted in a full text version, discusses two books by Luigi Vagnetti published in 1978 and 1979. The first book, 2000 anni di Vitruvio, constitutes a complete bibliography of editions of Vitruvius’ treatise on architecture, with commentary and analysis. The second book, Prospettiva, is also a bibliographical work, listing and discussing perspective treatises and studies of perspective. The review considers the tradition of illustrations to editions of Vitruvius’ text and the relationship between perspective and architecture

Framing audience prefigurations of The Hobbit: An Unexpected Journey: The roles of fandom, politics and idealised intertexts

Audiences for blockbuster event-film sequels and adaptations often formulate highly developed expectations, motivations, understandings and opinions well before the films are released. A range of intertextual and paratextual influences inform these audience prefigurations, and are believed to frame subsequent audience engagement and response. In our study of prefigurative engagements with Peter Jackson’s 2012 film, The Hobbit: An Unexpected Journey, we used Q methodology to identify five distinct subjective orientations within the film’s global audience. As this paper illustrates, each group privileges a different set of extratextual referents – notably J.R.R. Tolkien’s original novels, Peter Jackson’s The Lord of The Rings film trilogy, highly localised political debates relating to the film’s production, and the previous associations of the film’s various stars. These interpretive frames, we suggest, competed for ascendancy within public and private discourse in the lead up to The Hobbit’s international debut, effectively fragmenting and indeed polarising the film’s prospective global audience

Prints as sources. Ridolfo Sirigatti's marble Venus in an engraving after Stradanus. A print engraved by Hieronymus Wierix: "Amoris, en quanta vis", Venus by Ridolfo Sirigatti drawn by Johannes Stradanus (Antwerpen: Philips Galle, 1585/1590 circa)(FONTES 59)

FONTES 59 examines the potential of prints as source documents for the history and theory of art. When Julius Schlosser defined "kunsthistorische Quellenkunde" in terms of the literature of art, printed images were left behind, unless they happened to belong to printed books. Most prints are composed of both images and words, and the words are often numerous. The distinction between sheets printed separately and distributed in isolation or in loosely defined sets or series ("Bildgraphik") and images printed in books ("Buckgraphik") appears a purely artificial one. Both books and prints are printed, and both are characterised by a similar mediality in which multiplication and diffusion rendered them both active and powerful forces in fostering considerations and discussions about art, that is the historical reflection upon art and works of art, which was always broader than the printed word alone. Following a consideration of the range of subject matter conveyed by prints that is relevant to the historiography of art, a neglected engraving by Hieronymus Wierix is examined as a case study for the question at hand. Wierix’s engraving after a drawing by Johannes Stradanus was published in Antwerp by Philips Galle, probably shortly before 1590. It depicts an over-lifesize marble statue of Venus and Cupid in a niche. The accompanying inscriptions provide a moralising frame for the image, and a lengthy inscription at the foot of the statue reveals that the "patron" of the print, Ridolfo Sirigatti, was also the author of the Venus. Sirigatti was one of the four interlocutors in the dialogue of Raffaello Borghini’s "Il Riposo" (Firenze 1584), a book in which Sirigatti’s now lost statue of Venus is described. Although Sirigatti is known to have been a sculptor, his hitherto identified works are very few, and the image of his Venus expands the number of his known works. The inscription at the bottom of the print contains a revealing self-characterisation of the artist which is in part determined by the topoi of the historical literature of art. Sirigatti presents himself in terms of his nobility and the nobility of the arts, of his rôles as a Cavalier of the Order of St. Stephen and as a member of the Florentine Accademia del Disegno, and of his claim to be self-taught, an autodidact, who follows nature but who has not learned from a master, a self-created artist