Comparison of Western Corn Rootworm (Diabrotica virgifera virgifera LeConte) Adult Captures on Pheromone-baited and Visual Traps During Population Build up

Since first detected (Ba∞a, 1993), the western corn rootworm has become one of the main pests of maize in Central Europe. CSALOMON® pheromone traps (sticky panel-LEM, cloak-PAL, etc., Plant Protection Institute, Hungarian Academy of Sciences, Budapest, Hungary) are recommended mainly for detection of western corn rootworm (WCR) (Tóth et al., 2003). In the USA at economic WCR population levels, for field risk assessment, visual yellow sticky (Multigard, Pherocon AM) traps are used. In a region where WCR population has been present only for few years yet and the population increase proceeds, both trap types may be suitable. In order to estimate the correlation between the captures of visual and CSALOMON® pheromone traps, experiments were conducted for three years (1998-2000) to find out whether a useful correlation exists between captures on these two traps. Moderately strong and strong (minimum R=0,77; maximum R=0,87) correlation was found between captures on Multigard and CSALOMON® pheromone traps. At this population level no correlation was found between capture on Multigard traps and next year's adult emergence

From reel to ideal: the Blue Lamp and the popular cultural construction of the English ‘bobby’

Using the Ealing Studios film The Blue Lamp (1950) this article considers the shifting portrayal of the English police officer within the popular cultural imagination and how this has impacted upon attitudes to the police and their place within notions of ‘Englishness’. Drawing on a range of primary and secondary sources, I extend Clive Emsley’s (1992) seminal work on ‘the indulgent tradition’ of the English police by analysing how, in the immediate post-war period, a convergence of circumstances enabled The Blue Lamp to break with previous popular cultural representations. The article offers a series of insights into the deep cultural and interpretive work that had to be undertaken by Ealing Studios to produce PC George Dixon, the iconic image of the English ‘bobby on the beat’. It also suggests that despite this ‘Ealingization’ of the English ‘bobby’, for box office reasons audiences were also offered the metropolitan spectacle, glamour and turmoil of the chaotic life of the violent young ‘cop killer’ played by Dirk Bogarde