Growth stimulation and vegetative development of Solanum lycopersicum L. treated with organic wastes

Soil infertility has been an overriding threat in tomato production, and this has brought to spotlight less expensive ways of increasing soil fertility for crop propagation. This study investigated the influence of organic wastes like poultry manure, eggshells and plantain peels on the establishment and growth of tomato. Garden soil, poultry manure, eggshells and plantain peels were mixed in the ratio of 1000 g : 100g : 25 g : 15g, respectively. Tomato seedlings sown in garden soil and poultry manure (T1) had the highest number of leaves, leaf area, leaf width and leaf length (20.20±2.67 cm, 6.50±1.70 cm, 2.28±0.39 cm and 3.66±0.48 cm, respectively) when compared with the other treatments. The seedlings sown in garden soil and egg shell (T2) had the highest influence on shoot length (11.00 ± 0.70 cm) when compared with the other treatments. Soil amendment with poultry manure in the ratio of 1000 g: 100 g showed the highest influence in all growth parameters of the plant. Thus, poultry manure could be an alternative to inorganic fertilizers which are of high cost or be amended with inorganic fertilizers as a source of nutrient for the seedling establishment and growth of tomato

The Anatomy of Memory Politics: A Formalist Analysis of Tate Britain’s ‘Artist and Empire’ and the Struggle over Britain’s Imperial Past

In this paper, I propose a new approach for understanding the meaning of memory politics, which draws upon the archetypal literary criticism of Northrop Frye. I suggest that the four archetypes elaborated by Frye—comedy, romance, tragedy, and satire—can be used as a heuristic device for interpreting the contested historical narratives that are associated with the politics of memory. I illustrate this approach through a case-study of Artists and Empire: Facing Britain’s Imperial Past, an exhibition held at Tate Britain in 2016, amidst increasing contestation over the meaning of the British Empire. In sum, I find that the exhibit narrated Britain’s imperial past as a comedy, in which a key theme was the progressive cultural mixing of the British and the people they colonized. To conclude, I discuss the implications of such a narrative for constructing an inclusive, postcolonial British identity. As an alternative, I draw on Aristotle to suggest that a tragic narrative would have been more propitious