Journal articles on the topic '1874-1925'

In this paper I place the type species Eublepharis ruficincta Felder et Felder, 1874 presently assigned to the genus Leuthneria Dalla Torre, 1925 to the genus Melittia Hübner, 1819 [“1816”]. The adults and the male genitalia Melittia ruficincta (Felder et Felder, 1874) comb. rev. are described and illustrated. The taxonomy of the genera Eublepharis Felder et Felder, 1874 and Leuthneria Dalla Torre, 1925 is discussed. Both genera are synonymized under the genus Melittia Hübner, 1819 [“1816”]. New distribution records from Ethiopia and Kenya for Melittia ruficincta are presented.

En este artículo el autor presenta los nueve bancos que se establecieron en Cartagena durante el período de surgimiento, auge y decline de los bancos regionales privados en Colombia (1872- 925). Con base en las cuentas de un balance semestral de tres de los bancos más importantes, se ilustran las operaciones que realizaron. Además, se muestra como estos establecimientos fueron dominados por las familias de importantes comerciantes cartageneros dedicados al comercio exterior, especialmente a la exportación de ganado hacia Centro América y el Caribe.

Впервые на русском языке предлагается биографический очерк о немецком композиторе Герхарде фон Койслере (1874–1949), основанный на архивно-рукописных и малоизвестных печатных источниках. Детальный анализ его сочинений для оркестра— «Левантийской фантазии» (1909), двух симфоний (1925 и 1928), «Торжественной прелюдии» (1934), симфонической фантазии «Австралия» (1935)— позволил выявить стилистические общности и различия образцов данного жанра в наследии композитора. For the first time, a biographical essay in Russian about the German composer Gerhard von Keußler (1874– 1949) has been compiled on the basis of poorly known printed sources and preserved manuscripts. Detailed analysis of his works for orchestra, including Morgenländische Phantasie (1909), two symphonies (1925, 1928), Praeludium solemne (1934) and Symphonic Fantasy Australia (1935), made it possible to identify their stylistic communities and differences.

The species of Stictobura Crotch (1874) (Coccinellidae: Sticholotidinae) are revised. Stictobura gibbula (Weise, 1908) indeed belongs to Sticholotis Crotch (1874) under which it was originally described (stat. rev.) and is removed from Stictobura. Stictobura buruensis Korschefsky (1944) is transferred to Sticholotis (new combination). Lectotypes are designated for Sticholotis (Apterolotis) andrewesi Weise (1908), Sticholotis (Apterolotis) gibbula Weise (1908), Stictobura semipolita Sicard (1911), and Stictobura rubroguttata Sicard (1925). The species of Stictobura are keyed and notes on biology are provided wherever available. Sticholotis magnostriata sp. n., which is externally similar to the species of Stictobura, is described from India (Assam).

Edmund Anscombe (1874-1948) was an advocate of concrete as a building material, especially in relation to housing. This paper examines Anscombe's promotion of concrete, with specific reference to his patented OK blocks in the 1920s, a time when he is better known for his work on the University of Otago campus, the 1925 New Zealand and South Seas Exhibition, and his move from Dunedin to Wellington in 1928.

Este ensayo resume un proyecto biográfico de la vida de un gay hondureño, Armando Méndez Fuentes (1925-2003). Méndez Fuentes, escritor y poeta inédito, vivió un exilio cultural en Nueva York desde 1953. Inicialmente se dedico a investigar la vida de Froylan Turcios (1874-1943), otrora aliado del General Augusto Sandino, y uno de los mas importantes escritores de Honduras del siglo XX. La vida y obra de Méndez Fuentes es un texto para analizar y narrar aspectos de la historiografía sexual centroamericana que aun permanecen inéditos, especialmente la historiografia de las masculinidades en el siglo XX.

AbstractA prevailing image of the British trade-union movement is that it was insular and slow-moving. The Anglo-Russian Advisory Council of the mid-1920s is an episode apparently difficult to reconcile with this view. In the absence to date of any fully adequate explanation of its gestation, this article approaches the issue biographically, through the TUC's first full-time secretary, Fred Bramley (1874–1925). Themes emerging strongly from Bramley's longer history as a labour activist are, first, a pronouncedly latitudinarian conception of the Labour movement and, second, a forthright labour internationalism deeply rooted in Bramley's trade-union experience. In combining these commitments in the form of an inclusive trade-union internationalism, Bramley in 1924–1925 had the indispensable support of the TUC chairman, A.A. Purcell who, like him, was a former organizer in the small but militantly internationalist Furnishing Trades’ Association. With Bramley's early death and Purcell's marginalization, the Anglo-Russian Committee was to remain a largely anomalous episode in the interwar history of the TUC.

Dolerus (Equidolerus) subfasciatus F. Smith 1874 is a valid species. Dolerus subfasciatus auct. is shown to include threedistinct species: the Nearctic D. (Equidolerus.) neoaprilis MacGillivray, 1908, spec. rev. and two Palaearctic species,D. (E.) pseudoanticus Malaise, 1931, spec. rev. and D. (E.) rhodogaster Zhelochovtsev, 1935, stat. nov. Distributionrecords and imaginal diagnostic characters of the species are provided, and the male of D. (E.) subfasciatus is described.Lectotypes are designated for Dolerus picinus Marlatt, 1898, D. picinus rhodogaster Zhelochovtsev, 1935,D. pseudoanticus Malaise, 1931, and D. yokohamensis Rohwer, 1925. Dolerus lucidus Freymuth, 1870 and D. purusJakowlew, 1891 are associated with the subgenus Equidolerus and D. glabratus Wei, 2002 is transferred from Equidolerus to Dolerus s. str.Kew words: Sawflies, lectotype, nomenclature

A new species, Cercyon (Clinocercyon) hanseni sp. nov., is described from Jiangxi and Guizhou Provinces, China. Based on a study of type material, the following synonymies are proposed for the species occurring in China: Cercyon signifer Hebauer, 2002 is synonymized with C. (s. str.) berlovi Shatrovskiy, 1999, Cercyon guangxiensis Wu et Pu, 1995 with Cercyon (s. str.) quisquilius (Linnaeus, 1761), Cercyon nigrostriatus Wu et Pu, 1995 with Cercyon (Clinocercyon) lineolatus (Motschulsky, 1863), Cercyon vicinaloides dʼOrchymont, 1925, and Cercyon tropisternus Wu et Pu, 1995 with Cercyon (Paracycreon) laminatus Sharp, 1873, and Cercyon linearis Wu et Pu, 1995 with Cercyon (Paracycreon) subsolanus Balfour-Browne, 1939. A lectotype is designated for Cercyon vicinalis var. vicinaloides dʼOrchymont, 1925. Three Palaearctic species are recorded from China for the first time: Cercyon (s. str.) ovillus Motschulsky, 1860, Cercyon (s. str.) olibrus Sharp, 1874 and Cercyon (s. str.) unipunctatus (Linnaeus, 1758). Additional faunistic data from China are provided for Cercyon berlovi and Cercyon nigriceps (Marsham, 1802). Cercyon amplelevatus Jia, 1995 is transferred to the genus Armostus Sharp, 1890. A checklist of all Cercyon species recorded from China is presented, along with a tentative identification key.

This is the first comprehensive taxonomic review of the family Lycaeidae. This study is based primarily on the extensive collections of the Natural History Museum, Denmark (NHMD, formerly ZMUC) and the US National Museum of Natural History, Smithsonian Institution, Washington DC, USA (USNM), and on additional material from the South African Museum (SAM) and in the South Australian Museum (SAMA). The two currently recognized genera in the family, Lycaea Dana, 1852 and Simorhynchotus Stebbing, 1888, are maintained with the latter still regarded monotypic with S. antennarius (Claus, 1871). Characters used to distinguish species in the past are re-evaluated in order to determine their validity. There are 15 nominal species of Lycaea in the literature, excluding Pseudolycaea pachypoda Claus, 1879 and Metalycaea globosa Stephensen, 1925. Pseudolycaea Claus, 1879 is regarded a synonym of Lycaea, as confirmed by this study, and M. globosa is a junior synonym of L. serrata Claus, 1879, as demonstrated by an examination of the type material. Of the remaining nominal species many have been synonymized with L. pulex Marion, 1874 in the past, often based on erroneous literature references. Thus, the taxonomic status of all nominal species was redetermined by the examination of type material or from the original literature reference if type material could not be found. In conclusion, ten species of Lycaea are recognized as valid, including three described as new. Lycaea bovallii Chevreux, 1900 is determined to be a valid species with the following as junior synonyms, L. gracilis Spandl, 1924, L. bajensis Shoemaker, 1925 and L. bovallioides Stephensen, 1925. It seems to be widely distributed and relatively common in the tropical regions of all the world’s oceans, including the Mediterranean Sea. The other species recognized as valid are L. lilia Volkov, 1982; L. nasuta Claus, 1879; L. pachypoda (Claus, 1879); L. pulex Marion, 1874 (L. robusta Claus, 1879, L. similis Claus, 1879 and L. pauli Stebbing, 1888 regarded junior synonyms); L. serrata Claus, 1879 and L. vincentii Stebbing, 1888 (Amphipronoe longicornuta Giles, 1888 a junior synonym). In addition, three species are described as new to science; L. intermedia sp. nov., L. proserrata sp. nov. and L. osbornae sp. nov. All were found in the tropical regions of the Atlantic, Pacific and Indian Oceans; the former two are relatively common and widespread. All species are described and illustrated and a key is provided to facilitate their identification.

Neste artigo objetiva-se analisar os intertextos no conto Das Glück, de Wilhelm Rotermund, publicado no Kalender für die Deutschen in Brasilien para o ano de 1882, como elementos estruturantes da narrativa e como formas de mobilização de sentidos para os leitores. Para tanto, parte-se da noção de transtextualidade e intertextualidade de Gérard Genette (1982) e Laurent Jenny (1979). Wilhelm Rotermund (1843-1925), natural de Stemmen/Hannover, doutor em teologia pela Universidade de Jena, emigrou para o Brasil em 1874 para atuar como pastor na Comunidade Evangélica de São Leopoldo/RS. Nessa localidade, Rotermund também foi livreiro, jornalista, escritor e organizador do Kalender für die Deutschen in Brasilien, almanaque que circulou de 1881 a 1918 e de 1920 a 1941, no qual publicou seus contos.

This article discusses the construction of a Jewish aristocratic identity through art collecting and patronage, in parallel with other “aristocratic” activities and lifestyles. The focus is a particular Galican family ennobled by Franz Joseph I in 1881. The family’s ambitions and achievements are known from a memoir by Artur Lilien-Brzozdowiecki (1890, Lviv-1958, London), who was a great-great-grandson of the community head Rachmiel von Mises (1800-1891), a distant cousin of the artist Moses Ephraim Lilien (1874-1925), and a grandson of the banker Ignacy Lilien, who financed Moses Ephraim’s education. The article considers the self-construction of the family members as art connoisseurs and artists. These included the banker, industrialist, artist, and art collector Maurycy Nierenstein (1840-1917); painter Helene von Mises (1883-1942); architect Marya Lilien (1900-1998); and economist, lawyer, army officer, and collector Artur Lilien-Brzozdowiecki.

This article is a remote teaching activity within de PET-Geology Group (UFPA) and presents a summary of Carlotta Joaquina Maury’s academic professional career and their scientific contribution to the pioneering studies of the Pirabas Formation. Carlotta Joaquina Maury (1874-1938), who was recognized as the first woman to work with paleontology in Brazil. Despite all adversities she was a consulting paleontologist and stratigrapher to Royal Dutch Shell’s Venezuela Division and one of the official paleontologists the Geological and Mineralogical Service of Brazil. In 1925, she published “Tertiary Fossils from Brazil with Description News Cretacean Forms” where she described numerous species of mollusks from the northeastern coast of Brazil, performing the stratigraphic correlation of these faunas with similar faunas of the Caribbean and Gulf of Mexico. Carlotta Joaquina Maury was fellow of the Geological Society of America, American Geographical Society and of the Brazilian Academy of Sciences. An admirable woman ahead of her time. Keywords: Paleontologist, Scientific women, Pirabas Formation.

Edmund Anscombe (1874-1948) was an important New Zealand architect, well known for his design of the 1925 New Zealand and South Seas International Exhibition (Logan Park, Dunedin) and the 1940 New Zealand Centennial Exhibition (Rongotai, Wellington), as well as for his art deco buildings in Hawkes Bay (especially Hastings), and in Wellington.This article explores Anscombe’s contribution to New Zealand’s early twentieth-century church design by presenting new archival research and examining his distinctive use of secular imagery, notably the architectures of the house and schoolhouse. The article locates these designs simultaneously within traditions of Nonconformist architecture and within a Victorian interest in the home as productively informing a spiritual understanding of church building. While some architectural examples of this thinking were apparent in late nineteenth-century America, there are no other known examples in New Zealand. Anscombe’s use of this secular and domestic imagery in his church design enabled fashionable and theologically-informed architectures to co-exist.

Only 12 years after Paris, the first Pasteur Institute in Serbia and the Balkans was founded in Nis, in 1900. Its contribution to preventive medicine of Serbia was enormous, primarily in production of vaccine against variola and rabies. After the liberation in 1919, the Pasteur Institute was re-established and it continued its scientific work under the management of Gerasim Alivizatos, a Greek who had come to help Serbian people. He is the author of the so-called mixed method in rabies prophylaxis, in which he combined dilution of live vaccine with concentrated ether treated vaccine. He published his work on this method in the journal Deutschen Medicinische Wochenschrift in 1922. After 1928, the only active Pasteur Institute in the whole Kingdom of Serbs, Croats and Slovenes was the Pasteur Institute in Novi Sad, which has remained the central anti-rabies institution to the present day. Its first director, Dr. Adolf Hempt, born in Novi Sad in 1874, was the author of the world famous vaccine against rabies, which was named after him and was in use from 1925 to 1989. He was the first in the world to have made a completely inactive, i.e. dead vaccine, which was much safer for use, so many European countries such as Austria, Czechoslovakia, Germany, Hungary gradually accepted it under the name of Hempt, and from the Novi Sad Institute it was exported to some African countries as well. Dr Hempt published his first work on the new vaccine in the magazine Annales de l'Institut Pasteur in 1925 in French, and he also published a monograph in German by Bering Institute in 1938, nowadays ranked as a monograph of international importance.

A taxonomic review of the genera Agelosus Sharp, 1889, Apostenolinus Bernhauer, 1934 and Apecholinus Bernhauer, 1933 is presented, including taxonomic history of the genera, their descriptions and keys to the species where applicable. Each species is described and illustrated, and all available bionomic and distributional data are presented. Agelosus caerulescens sp.n. (Yunnan), A. distigma sp.n. (China: Zhejiang), A. haeckeli sp.n. (Nepal), A. longicornis sp.n. (Japan: Shikoku), A. nigricollis sp.n. (China: Beijing Municipality, Hubei, Sichuan; North Korea), and A. schillhammeri sp.n. (China: Hubei) are described as new.Xanthocypus J. Müller, 1925 is removed from synonymy with Ocypus Leach, 1819 and moved as a resurrected synonym to Agelosus Sharp, 1889 (stat.res.)Ocypus fraternus Fairmaire, 1891, Agelosus ohkurai Hayashi, 1973, Ocypus aglaosemanticus He & Zhou, 2017, Ocypus liui He & Zhou, 2017 and Ocypus pterosemanticus He & Zhou, 2017 are transferred from Agelosus to Apecholinus Bernhauer, 1933 (comb.nov.), and Agelosus ohkurai and Agelosus pterosematicus are placed in synonymy with Apecholinus fraternus (syn.nov.).Staphylinus auroguttatus Cameron, 1932, Staphylinus bimaculatus Cameron, 1932 and Ocypus cameroni Smetana & Davies, 2000 (replacement name for bimaculatus Cameron, 1932) are transferred from Ocypus to Agelosus (comb.nov.) and placed in synonymy with Agelosus sikkimensis Bernhauer, 1920 (syn.nov.).Agelosus brevipennis Naomi, 1983, described as subspecies of Agelosus carinatus (Sharp, 1874), is placed in synonymy with Agelosus carinatus (syn.nov.).Agelosus chinensis J. Li, 1992 is transferred from Agelosus to Apecholinus Bernhauer, 1933 (comb.nov.) and placed in synonymy with Apecholinus fraternus (syn.nov.).Agelosus fushunicus J. Li, 2015 is placed in synonymy with Ocypus coreanus J. Müller, 1925 (syn.nov.).Agelosus unicolor masaoi Hyashi, 1991 is elevated to species rank (stat.nov,).Lectotype is designated for Ocypus weisei Harold, 1877.

This publication is the third part of an ongoing revision of Australian species of the genus Lepanus (Coleoptera: Scarabaeidae: Scarabaeinae) and revises three species groups. Keys to species within the L. ustulatus, L. storeyi, and L. nitidus species groups are provided and eight new species are described. Within the L. ustulatus species group, L. ustulatus (Lansberge, 1874) and L. globulus (Macleay, 1887) are redescribed and three new species are described: Lepanus cameroni new species from Cape York Peninsula, far north Queensland; Lepanus cardwellensis new species from the Australian Wet Tropics, northern Queensland; and Lepanus lemannae new species from the Australian Wet Tropics to the Central Mackay Coast, Queensland. Within the L. storeyi species group, L. storeyi Weir & Monteith, 2010 is redescribed and two new species are described: Lepanus meierae new species from southeastern Queensland to Wollongong, New South Wales and Lepanus williamsi new species from eastern New South Wales. Within the L. nitidus species group, L. nitidus Matthews 1974 and L. dichrous Gillet, 1925 are redescribed and three new species are described: Lepanus vangerweni new species, Lepanus carbinensis new species, and Lepanus kulki new species from the Australian Wet Tropics, northern Queensland. Following these descriptions, a total of 50 Lepanus species are now described from Australia.

The writer, poet and dramatist Sergei Tret'iakov was a central figure of the early Soviet literary and artistic avant-garde. Born in 1892 in Kuldiga, a town in what is now Latvia and was then the Governorate of Courland, one of the three Baltic provinces of the Russian empire, he was educated in prerevolutionary Riga and Moscow. Fluent also in Latvian and German, he started out as a poet in Russian and came under the influence of futurism when living in Vladivostok in 1919. During the Russian Civil War, Tret'iakov spent several months in Harbin, Tianjin, and Beijing in 1920 and 1921, and he returned to China as a teacher of Russian at Peking University between 1924 and 1925. The mid-1920s were also his most productive period as a writer for the theatre. Back in the Soviet Union, he went on to write experimental documentary prose, reportage and film scenarios while making radical statements in literary theory. He collaborated closely with the poet Vladimir Mayakovsky (1893–1930), the cinema director Sergei Eisenstein (1898–1948) and the theatre director Vsevolod Meyerhold (1874–1940), and as a translator and critic he brought the plays and poetry of Bertolt Brecht (1898–1956) to Soviet readers.

Abstract In the article, a little-studied question of the critical interpretation of the theological position of the representative of German protestant tradition Otto Pfleiderer (1839–1908) in the eastern orthodox theology, especially in the work of Kharkiv Professor Timofej Butkevič (1854–1925), is presented. At first, the main periods of a clerical and creative career of Butkevič, including his studying at the Kharkiv Clerical Seminary (1869–1875) and the Moscow Clerical Academy (1875–1879), are considered. Then the features of the theological publications and the teaching of Butkevič at Kharkiv University are pointed out. His important works were two monographs: The evil, its essence and origin (1897) and Religion, its essence and origin (1902–1904) in two books. The positions of well-known German theologians such as Karl August von Hase (1800–1890), David Friedrich Strauß (1808–1874), Karl Theodor Keim (1825–1878), Karl Philipp Bernhard Weiss (1827–1918), and others were here analyzed. But Butkevič’s critical interpretation of the theological viewpoint of Otto Pfleiderer in his two volumes work Die Religion, ihr Wesen und ihre Geschichte (1869) and in his Geschichte der Religionsphilosophie von Spinoza bis auf die Gegenwart (1883) occupies a central place in this analysis. In turn, Butkevič’s important achievement was the popularization of the ideas of Otto Pfleiderer in Russia and Ukraine, in particular, because of his translation of extracts from Pfleiderer’s works.

The problems of genre typology of two editions of the play "Der Turm" (1925, 1927) by the famous Austrian poet and playwright Hugo Laurenz August Hofmann von Hofmannsthal (1874-1929) are studied for the first time. The first edition of the “Der Turm” embodies the author's "Austrian idea", which is a concept of a "conservative revolution" and is aimed at establishing a monarchical order in society. The first play, based on Baroque drama "Life Is a Dream" (1634) by Pedro Calderón de la Barca asserts the power of the "spiritual" principle of Prince Sigismund in resolving the conflict caused by astrological predictions, and develops without Prince's willful participation. He becomes a just ruler, and then gives power to the Child king (from the Bible). In the third edition, the picture of the world changes dramatically. The events of impending Nazism in Germany and Austria changed Hofmannsthal's utopian ideas. The new edition completely changes the motivation of the characters' actions: Prince Sigismund becomes an active participant in the events, and the real power is possessed by the soldier Olivier, who organises the murder of the king and Prince. The author creates a tragic development of the conflict and condemns the sole dictatorship. A sharp reversal from the recognition of the supremacy of the monarch to the image of the victim of dictatorial arbitrariness changed the dialogue of consent of the first edition to the imperative picture of the world of the third edition.

This article covers the biography of Hryhoriy Melnyk (1893–1938 (1939) (?)) – a native of Lavrivka in Podillya – a military and religious figure, teacher, enlightener, priest, conductor, member of the Ukrainian Military Club named after Hetman Pavlo Polubotko, member of the All-Ukrainian Church Council (Kyiv), Ukrainian Garrison Council in Odessa, All-Ukrainian Church Council, Chaplain (Panotets) 4th Kyiv Cavalry Regiment of the UPR Army, cornet (lieutenant, ensign) of the UPR Army; former ensign of the Russian army. Hryhoriy Melnyk was forced to flee to Poland After the Church Council in 1921. For 9 months the priest served in 9 parishes in Pinsk region and later went to Czechoslovaczczyna through the Kalisz camp. According to some data, he studied at the Ukrainian Higher Pedagogical Institute named after M. Drahomanov in Prague, after others – at the Podebrady Academy of Economics. In Podebrady, Hryhoriy Melnyk was the head of the autocephalous parish named after Saints Cyril and Methodius from 1925 to 1938. The Podebrady parish was autocephalous therefore was subordinated to Archbishop Savatius and the Patriarch of Constantinople. The parish was not built on an empty site. Professor Vasyl Bidnov (1874–1935) established the Church Brotherhood named after Saints Cyril and Methodius as early as the beginning of 1924. Fraternity numbered up to 300 people, 100 of whom were teachers at the Academy of Economics (among them Ivan Shovgeniv, Otton Eichelman, Olexander Lototsky, Borys Martos, Yuri Rusov, Modest Levitsky, Mykhailo Yeremiyiv, Vasily Ivanis, Sergi Borodaevsky, Ivan Omelyanovych-Pavlenko; 182 students). With the beginning of the Second World War, Father Hryhoriy went to Zakarpattia to Korolev over the Tysa (now urban-type settlement in the Berehiv district of the Zakarpattia region of Ukraine). He worked at the Sevlyuska Teachers’ Seminary in Korolevo. According to unconfirmed reports, he died in battle with the Hungarians.

An annotated list, including information on type species, distribution, and number of species, is provided for all of the non-flea-beetle galerucine genera known to occur in the New World (tribes Galerucini, Metacyclini, and Luperini). A diagnostic key to the genera is provided. Habitus illustrations are provided for most genera. The following new genera are proposed: Amplioluperus gen. nov., Cornuventer gen. nov., Geethaluperus gen. nov., Megarhabda gen. nov., Mexiluperus gen. nov., Monoaster gen. nov., Pyesexora gen. nov., Texiluperus gen. nov., Trachyelytron gen. nov. and Yingabruxia gen. nov. The following new taxonomic placements are proposed: Microbrotica Jacoby, 1887 is transferred from the tribe Metacyclini to the section Diabroticites Chapuis, 1875 (tribe Luperini, subtribe Diabroticina Chapuis, 1875); Pteleon Jacoby, 1888 is transferred from the section Exosomites Wilcox, 1973 (tribe Luperini, subtribe Luperina Gistel, 1848) to the section Scelidites Chapuis, 1875 (subtribe Luperina). The following new combinations are proposed: Luperodes histrio Horn, 1895, Luperus maculicollis LeConte, 1884, and Scelolyperus cyanellus Horn, 1895 are transferred from Pseudoluperus Beller & Hatch, 1932 to Amplioluperus; Luperodes tuberculatus Blake, 1942 is transferred from Pseudoluperus to Cornuventer; Luperus flavofemoratus Jacoby, 1888 is transferred from Pseudoluperus to Geethaluperus; Trirhabda obscurovittata Jacoby, 1886 is transferred from Trirhabda LeConte, 1865 to Megarhabda; Cneorane nigripes Allard, 1889 is transferred from Scelida Chapuis, 1875 to Metacycla Baly, 1861; Luperodes wickhami Horn, 1893 and Luperus dissimilis Jacoby, 1888 are transferred from Pseudoluperus to Mexiluperus; Scelolyperus tenuimarginatus Bowditch, 1925, is transferred from Scelida to Mimastra Baly, 1865 and is synonymized with Mimastra semimarginata Jacoby, 1886 syn. nov.; Pseudoluperus fulgidus Wilcox, 1965 and Pseudoluperus linus Wilcox, 1965 are transferred from Pseudoluperus to Monoaster; Crioceris detrita detrita Fabricius, 1801, Malacosoma detrita laevicollis Jacoby, 1887, Pyesia detrita meridionalis Bechyné, 1958, Pyesia elytropleuralis elytropleuralis Bechyné, 1958, and Pyesia elytropleuralis subalutacea Bechyné, 1958 are transferred from Pyesia Clark, 1865 to Pyesexora; Luperodes spretus Horn, 1893 and Luperodes texanus Horn, 1893 are transferred from Pseudoluperus to Texiluperus; Chthoneis smaragdipennis Jacoby, 1888 is transferred from Platymorpha Jacoby, 1888 to Trachyelytron; Luperus albomarginatus Jacoby, 1888 is transferred from Pseudoluperus to Trichobrotica Bechyné, 1956; and Galleruca sordida LeConte, 1858, Monoxia apicalis Blake, 1939, Monoxia batisia Blatchley, 1917, and Monoxia brisleyi Blake, 1939 are transferred from Monoxia LeConte, 1865 to Yingabruxia; all comb. nov. Pseudoluperus decipiens (Horn, 1893), originally described in Scelolyperus Crotch, 1874, is reduced to a junior synonym of Pseudoluperus longulus (LeConte, 1857), syn. nov. Trachyscelida dichroma Viswajyothi & Clark is proposed as a nom. nov. for Racenisa bicolor Bechyné, 1958 (not Agelastica bicolor LeConte, 1884), as both species are currently placed in the genus Trachyscelida Horn, 1893.

Peter the Great Bay (PGB) was not known to Europeans for a long time. The first European ship reached PGB in 1852. She was the French corvette Capricieuse commanded by captain G. de Rocquemaurel who was sent by his government for exploring the western coast of the Japan Sea; actually he had described the Posyet Bay only. Later the British HMS Winchester and Barracuda visited PGB in August, 1856. They discovered the Golden Horn Bay, them as Port May, and gave names to many other geographical locations. Large Russian expedition of 7 vessels was sent to Primorye coast under the leadership of N.N. Muravyov-Amursky, the Governor-General of Eastern Siberia, in the summer of 1859. They described thoroughly the entire PGB and changed many (not all) foreign geographical names to Russian ones. Scientific researches in the Japan Sea were started soon by L.I. Schrenk, who summarized the results of Russian observations in two books published in 1869 and 1874. Great success in understanding of oceanographic regime was the work of S.O. Makarov «The «Vitiaz» and the Pacific Ocean» (1894). S. Ogura created in 1927 the general chart of currents in the Japan Sea on the base of Japanese observations in 1900–1911 that was more detailed and comprehensive than the first chart of L.I. Shrenk. Moreover, S. Ogura plotted the water temperature and salinity distribution over the whole Japan Sea for February and August. Oceanographic studies in PGB were made in 1920s by K.A. Gomoyunov, the first professional oceanographer who lived constantly in the Russian Far East; he began from the Amur Bay survey in the summer of 1925. The USSR Hydrographic Office conducted the oceanographic survey in PGB and the Tatar Strait in 1926–1928, with measuring of temperature, salinity, dissolved oxygen content, pH, and water transparency, with the deepest measurements at the depth of 3500 m. In 1932, the Pacific Res. Inst. of Fisheries in Vladivostok together with the State Hydrographic Institute in Leningrad organized the large-scale Pacific expedition that covered all Far-Eastern Seas. In the framework of this expedition, the 5 cruises of RV Rossinante to the Japan Sea headed by N.I. Tarasov explored PGB, too, that allowed to analyze seasonal variations of temperature, salinity, oxygen content, and currents. Oceanographic researches in the Japan Sea became more active in the times of WWII, 4 small research vessels made observations at Primorye coast every month from April to October under general supervision of A.M. Batalin; in total, more than 100 exits to the sea were recorded in 1941–1946. The data collected in those years was the basis for the big atlas of the Japan Sea created under the leadership of A.I. Rumyantsev and published in 1951.

<p><strong>Abstract.</strong> By 1800, national surveys had become a priority for regimes around Europe, keen to centralise government and secure territories during a period of significant political upheaval. Military requirements were paramount but the representation of relief remained woefully inadequate. Commanders, not content with simple rough impressions of relief, demanded effective representations from which absolute altitudes and gradients could be derived. However, innovative methods of relief depiction were unlikely to be spearheaded by new national mapping institutions, already committed to long-term mapping programmes. Conversely, for those independent cartographers and model makers, unfettered by the constraints that characterised national institutions, the pursuit of the optimum depiction of relief became a preoccupation verging on obsession. Inspired by early map and model makers, Swiss, German and Austrian cartographers embarked on a phase of developing more artistic, naturalistic means to create an illusion of the third dimension on the two-dimensional face of the map. Chromolithography had made possible the replacement of hachures by shading tones and the production of multicolour printed maps. As a result, a wide variety of maps appeared during the second half of the 19th century with hypsometric tints generating images of naturalistic and symbolic landscapes. Alternative and often competing methods of assigning colour in sequence were developed most notably in central Europe. This culminated in the publication of <i>Schatthenplastik</i> and <i>Farbenplastik</i> in 1898 in Vienna by Karl Peucker (1859&amp;ndash;1940) a work that injected new life and debate into the pursuit of an optimum colour sequence for layered relief maps that would last well into the next century.</p><p>This paper aims to assess the role of model making in initiating and fuelling a period of experimentation and development of relief portrayal. The increasing fascination with the natural wonders of the world combined with the growth of Alpine tourism kick started a period of private enterprise in which the production of relief models became a highly valued activity. Starting with the remarkable model of the Relief of Central Switzerland by Franz Ludwig Pfyffer von Wyher (1716&amp;ndash;1802), through the exploits of Joachim Eugen Müller (1752&amp;ndash;1833) (Figure 1) to the later models crafted by Xaver Imfeld (1853&amp;ndash;1909), Simon Simon (1857&amp;ndash;1925) and Fridolin Becker (1854&amp;ndash;1922), this period witnessed a level of artistry and craftsmanship that has arguably never been surpassed.</p><p>Opportunity is taken to assess the accuracy of one of the key models produced by Joachim Eugen Müller. This clearly demonstrates that early model making achieved standards of accuracy that were extraordinary for the time. Of course, such feats were not the preserve of European model makers. For example, readers of reports and newspaper articles from expeditions to the interior of the United States had thrilled at the photographs, drawings, sketches and maps of Niagara Falls, Yosemite Valley and the Grand Canyon. No sooner had John Wesley Powell completed his expedition to the Grand Canyon in 1874 and published a detailed report, than its true magnificence was brought to public attention through a model of the Grand Canyon constructed by Edwin Howell in 1875 (McCalmont, 2015).</p><p>The nineteenth century was characterized by great endeavour and craftsmanship that fashioned some of the most remarkable and visually stunning maps ever published. This paper pulls together the various strands of this complex story into a coherent narrative and assesses the role of model makers in underpinning this ‘golden age’.</p>

This two-day field trip provides an overview of the geologic history of the North Park–Middle Park area and its past and recent drilling activity. Stops highlight basin formation and the consequences of geologic configuration on oil and gas plays and development. The trip focuses on work from ongoing U.S. Geological Survey research in this area (currently part of the Cenozoic Landscape Evolution of the Southern Rocky Mountains Project funded by the National Cooperative Geologic Mapping Program). Surface mapping is integrated with perspective from petroleum exploration within the basin. The starting point is the west flank of the Denver Basin to compare and contrast the latest Cretaceous through Eocene basin fill on both flanks of the Front Range. The next stop continues on the south end of the North Park–Middle Park area, about 60 miles [95km] west from the first stop. A general clockwise loop is described by following U.S. Highway 40 from Frasier via Granby and Kremmling to Muddy Pass after which CO Highway 14 is followed to Walden for an overnight stay. On the second day after a loop north of Walden, the Continental Divide is crossed at Willow Creek Pass for a return to Granby via Highway 125. The single structural basin that underlies both physiographic depressions of North Park and Middle Park originated during the latest Cretaceous to Eocene Laramide orogeny (Tweto, 1957, 1975; Dickinson et al., 1988). It largely filled with Paleocene to Eocene sediments and is bordered on the east by the Front Range, on the west by the Park Range and Gore Range, on the north by Independence Mountain and to the south by the Williams Fork and Vasquez Mountains (Figure 1). This larger Paleocene-Eocene structural basin is continuous underneath the Continental Divide, which dissects the basin in two approximately equal physiographic depressions, the ‘Parks.’ Therefore Cole et al. (2010) proposed the name ‘Colorado Headwaters Basin’ or ‘CHB,’ rather than North Park–Middle Park basin (Tweto 1957), to eliminate any confusion between the underlying larger Paleocene-Eocene basin and the two younger depressions that developed after the middle Oligocene. The name was derived from the headwaters of the Colorado, North Platte, Laramie, Cache La Poudre, and Big Thompson Rivers which are all within or near the study area. In this field guide, we will use the name Colorado Headwaters Basin (CHB) over North Park–Middle Park basin. Several workers have described the geology in the basin starting with reports from Marvine who was part of the Hayden Survey and wrote about Middle Park in 1874, Hague and Emmons reported on North Park as part of the King Survey in 1877, Cross on Middle Park (1892), and Beekly surveyed the coal resources of North Park in 1915. Further reconnaissance geologic mapping was performed by Hail (1965 and 1968) and Kinney (1970) in the North Park area and by Izett (1968, 1975), and Izett and Barclay (1973) in Middle Park. Most research has focused on coal resources (Madden, 1977; Stands, 1992; Roberts and Rossi, 1999), and oil and gas potential (1957, all papers in the RMAG guidebook to North Park; subsurface structural geologic analysis of both Middle Park and North Park (the CHB) by oil and gas geologist Wellborn (1977a)). A more comprehensive overview of all previous geologic research in the basin can be found in Cole et al. (2010). Oil and gas exploration started in 1925 when Continental Oil's Sherman A-1 was drilled in the McCallum field in the northeast part of the CHB. It produced mostly CO2 from the Dakota Sandstone and was dubbed the ‘Snow cone’ well. Later wells were more successful finding oil and/or gas, and exploration and production in the area is ongoing, most notably in the unconventional Niobrara play in the Coalmont-Hebron area.

Abstract This article focuses on the image of the past in two translations produced in the contexts of the Arab Nahḍah and of the Italian Risorgimento. The first translation is the Italian rendering of ʿOmar ibn al-Fāriḍ’s mystical poems, published in 1872 by Pietro Valerga (1821-1903). The second is the Arabic translation of the Iliad, published in 1902 by Sulaymān al-Bustānī (1856-1925). Both translators refer to the past as a translation strategy: Pietro Valerga reads Ibn al-Fāriḍ through the verses of Petrarch and, in his work’s introduction, emphasizes the transmission of medieval Arab poetry to Italy; Sulaymān al-Bustānī reconstructs the world of the Iliad through Arabic poetic tradition and compares Greece to the ǧāhiliyyah (pre-Islamic age). The article sheds light on the potential of translation as a space of re-imagination of the past and invites us to read the works as two distinct, yet akin, attempts to express original interpretations of Italian and Arabic literary histories based on syncretism and cross-cultural translatability.

Interference of esotericism and politics became apparent especially in the 19th century when the early socialists expected the coming of the Age of Spirit, and narratives about secret wisdom being kept in mysterious sacred places became all the more popular. Thus, the idea of the Age of Enlightenment underwent transformation: the world will be saved not by ordinary knowledge but by some special secret wisdom. In this context, Helena Blavatsky (1831–1891) developed the doctrine of Theosophy the ideas of which were overtaken by the next-generation theosophists including also the Russian painter Nicholas Roerich (1874–1947) and his spouse Helena Roerich (1879–1955) who developed a new form of Theosophy. The aim of this article is to analyse the interference between Theosophy and politics paying special attention to its historical roots, which, in the context of Roerich groups, are to be sought in the political activities of Nicholas Roerich, the founder of the movement. The following materials have been used in the analysis: first, writings of the founders of Agni Yoga or Teaching of Living Ethics; second, the latest studies in the history of Theosophy made in the available archives after the collapse of the soviet regime; third, materials obtained from the interviews of a field research (2006–2008). The author has made use of an interdisciplinary approach combining anthropological methods with the method of systematic analysis. The historical roots of the political activity of contemporary theosophists stretch into the political aspirations of Nicholas Roerich, the founder of Agni Yoga or Teaching of Living Ethics. Opening of the USSR secret archives and publication of several formerly inaccessible diaries and letters of theosophists offer an opportunity to study the “spiritual geopolitics” of the Roerichs. Setting off to his Central Asian expeditions (1925–1928; 1934–1935), Nicholas Roerich strived to implement the Great Plan, i.e. to found a New State that would stretch from Tibet to South Siberia comprising the territories governed by China, Mongolia, Tibet and the USSR. The new state was conceived as the kingdom of Shambhala on the earth, and in order to form this state, Nicholas Roerich aspired to acquire the support of various political systems. During the Tzarist Empire, the political world outlook of Nicholas Roerich was markedly monarchic. After the Bolshevik coup in Russia, the artist accepted the offer to work under the wing of the new power, but after his emigration to the West Roerich published extremely sharp articles against the Bolsheviks. In 1922, the Roerichs started to support Lenin considering him the messenger of Shambhala. Roerich’s efforts to acquire Bolshevik support culminated in 1926 when the Roerichs arrived in Moscow bringing a message by Mahatmas to the soviet government, a small case with earth for the Lenin Mausoleum from Burhan-Bulat and paintings in which Buddha Maitreya bore strong resemblance to Lenin. The plan of founding the Union of Eastern Republics, with Bolshevik support, failed, since about the year 1930 the soviet authorities changed their position concerning the politics of the Far East. Having ascertained that the Bolsheviks would not provide the anticipated support for the Great Plan, the Roerichs started to seek for contacts in the USA which provided funding for his second expedition (1934–1935). The Roerichs succeeded even in making correspondence (1934–1936) with President Roosevelt who paid much larger attention to Eastern states especially China than other presidents did. Their correspondence ceased when the Security Service of the USA grew suspicious about Roerich’s pro-Japanese disposition. Nicholas Roerich has sought for support to his political ambitions by all political regimes. In 1934, the Russian artist tried to ascertain whether German national socialists would support his efforts in Asia. It may seem that the plans of founding the Union of Oriental Republics have passed away along with Roerich; yet in 1991 his son Svyatoslav Roerich (1904–1993) pointed out once again that the Altai is a very important centre of the great future and Zvenigorod is still a great reality and a magnificent dream. Interference between esotericism and politics is observed also among Latvian theosophists: the soviet regime successfully made use of Roerich’s adherents propagating the communist ideology in the independent Republic of Latvia. In the 1920s and 1930s, the embassy of the USSR in Riga maintained close contacts with Roerich’s adherents in Latvia and made a strong pressure on the Latvian government not to ban the Roerich’s Museum Friend Society who actively propagated the success of soviet culture and economy. On 17 June 1940, the soviet army occupied the Republic of Latvia, and Haralds Lūkins, the son of the founder of the Roerich’s Museum Friend Society, was elected to the first government of the soviet Latvia. Nevertheless, involvement of theosophists in politics was unsuccessful, since after the official annexation of Latvia into the USSR, on 5 August 1940, all societies including the Roerich’s Museum Friend Society were closed. Since the members of the movement continued to meet regularly, in 1949, Haralds Lūkins was arrested as leader of an illegal organization. After the Second World War, theosophists were subjected to political repressions. Arrests of Roerich’s followers (1948–1951) badly impaired the movement. After rehabilitation in 1954, the repressed persons gradually returned from exile and kept on their illegal meetings in small groups. To regain their rights to act openly, Roerich’s followers started to praise Nicholas Roerich as a supporter of the soviet power. With the collapse of the soviet regime, Roerich’s followers in Latvia became legal in 1988 when the Latvian Roerich Society was restored which soon split up according to geopolitical orientation; therefore, presently in Latvia, there are the following organisations: Latvian Roerich Society, Latvian Department of the International Centre of the Roerichs, and Aivars Garda group or the Latvian National Front. A. Garda fused nationalistic ideas with Theosophy offering a special social reorganization – repatriation of the soviet-time immigrants and a social structure of Latvia that would be formed by at least 75% ethnic Latvians. Activity of A. Garda group, which is being criticized by other groups of theosophists, is a continuation of the interference between theosophical and political ideas practised by the Roerichs. Generally it is to be admitted that after the crush of the soviet regime, in theosophist groups, unclear political orientation between the rightists and leftists is observed, characterised by fairly radical ideas.

The genus Olios Walckenaer, 1837 is revised, a generic diagnosis is given and an identification key to eight species groups is provided. Olios in its revised sense includes 87 species and is distributed in Africa, southern Europe and Asia. Three species groups are revised in this first part, an identification key to species for each group is provided, five new species are described and all included species are illustrated. The Olios argelasius-group includes O. argelasius Walckenaer, 1806, O. canariensis (Lucas, 1838), O. pictus (Simon, 1885), O. fasciculatus Simon, 1880 and O. kunzi spec. nov. (male, female; Namibia, Zambia, South Africa); it is distributed in the Mediterranean region, northern Africa including Canary Islands, in the Middle East, South Sudan, East Africa, and southern Africa. The Olios coenobitus-group includes O. angolensis spec. nov. (male; Angola), O. coenobitus Fage, 1926, O. denticulus spec. nov. (male; Java), O. erraticus Fage, 1926, O. gambiensis spec. nov. (male, female; Gambia), O. milleti (Pocock, 1901b), O. mordax (O. Pickard-Cambridge, 1899) and O. pusillus Simon, 1880; it is distributed in Africa (Gambia, Angola, Tanzania, Madagascar) and Asia (India, Sri Lanka, Indonesia: Java). The Olios auricomis-group includes only O. auricomis (Simon, 1880), distributed in Africa south of 10°N. Other species groups are introduced briefly and will be revised in forthcoming revisions. The Olios correvoni-group includes currently O. claviger (Pocock, 1901a), O. correvoni Lessert, 1921, O. correvoni choupangensis Lessert, 1936, O. darlingi (Pocock, 1901a), O. faesi Lessert, 1933, O. freyi Lessert, 1929, O. kassenjicola Strand, 1916b, O. kruegeri (Simon, 1897a), O. quadrispilotus (Simon, 1880) comb. nov., O. lucieni comb. nov. nom. nov., O. sjostedti Lessert, 1921 and O. triarmatus Lessert, 1936; it is distributed in Africa (Zimbabwe, Tanzania incl. Zanzibar, Angola, Congo, Central Africa, South Africa, Botswana; O. darlingi was recorded from Zimbabwe and Botswana and not from South Africa). The Olios rossettii-group includes: O. baulnyi (Simon, 1874), O. bhattacharjeei (Saha & Raychaudhuri, 2007), O. brachycephalus Lawrence, 1938, O. floweri Lessert, 1921, O. jaldaparaensis Saha & Raychaudhuri, 2007, O. japonicus Jäger & Ono, 2000, O. kolosvaryi (Caporiacco, 1947b) comb. nov., O. longipes (Simon, 1884b), O. lutescens (Thorell, 1894), O. mahabangkawitus Barrion & Litsinger, 1995, O. obesulus (Pocock, 1901b), O. rossettii (Leardi, 1901), O. rotundiceps (Pocock, 1901b), O. sericeus (Kroneberg, 1875), O. sherwoodi Lessert, 1929, O. suavis (O. Pickard-Cambridge, 1876), O. tarandus (Simon, 1897d), O. tener (Thorell, 1891) and O. tiantongensis (Zhang & Kim, 1996); it is distributed in the Mediterranean region, in Africa (especially eastern half) and Asia (Middle East and Central Asia to Japan, Philippines and Java). The Olios nentwigi-group includes O. diao Jäger, 2012, O. digitatus Sun, Li & Zhang, 2011, O. jaenicke Jäger, 2012, O. muang Jäger, 2012, O. nanningensis (Hu & Ru, 1988), O. nentwigi spec. nov. (male, female; Indonesia: Krakatau), O. perezi Barrion & Litsinger, 1995, O. scalptor Jäger & Ono, 2001 and O. suung Jäger, 2012; it is distributed in Asia (Thailand, Laos, Vietnam, Cambodia, China, Taiwan, Indonesia, Philippines), Papua New Guinea and Mariana Islands. Olios diao is newly recorded from Cambodia and Champasak Province in Laos. The Olios stimulator-group includes O. admiratus (Pocock, 1901b), O. hampsoni (Pocock, 1901b), O. lamarcki (Latreille, 1806) and O. stimulator Simon, 1897c; it is distributed in Africa (Madagascar, Seychelles), Middle East and South Asia (United Arab Emirates, Iraq, Afghanistan, Pakistan, India, Maldives, Sri Lanka). The Olios hirtus-group includes O. bungarensis Strand, 1913b, O. debalae (Biswas & Roy, 2005), O. ferox (Thorell, 1892), O. hirtus (Karsch, 1879a), O. igraya (Barrion & Litsinger, 1995) comb. nov., O. menghaiensis (Wang & Zhang, 1990), O. nigrifrons (Simon, 1897b), O. punctipes Simon, 1884a, O. punctipes sordidatus (Thorell, 1895), O. pyrozonis (Pocock, 1901b), O. sungaya (Barrion & Litsinger, 1995) comb. nov., O. taprobanicus Strand, 1913b and O. tikaderi Kundu et al., 1999; it is distributed in South, East and Southeast Asia (Sri Lanka, India, Nepal, Bangladesh, Myanmar, China, Laos, Thailand, Cambodia, Vietnam, Malaysia, Indonesia, Philippines). Nineteen synonyms are recognised: Nisueta Simon, 1880, Nonianus Simon, 1885, both = Olios syn. nov.; O. spenceri Pocock, 1896, O. werneri (Simon, 1906a), O. albertius Strand, 1913a, O. banananus Strand, 1916a, O. aristophanei Lessert, 1936, all = O. fasciculatus; O. subpusillus Strand, 1907c = O. pusillus; O. schonlandi (Pocock, 1900b), O. rufilatus Pocock, 1900c, O. chiracanthiformis Strand, 1906, O. ituricus Strand, 1913a, O. isongonis Strand, 1915, O. flavescens Caporiacco, 1941 comb. nov., O. pacifer Lessert, 1921, all = O. auricomis; Olios sanguinifrons (Simon, 1906b) = O. rossettii Leardi, 1901; O. phipsoni (Pocock, 1899), Sparassus iranii (Pocock, 1901b), both = O. stimulator; O. fuligineus (Pocock, 1901b) = O. hampsoni. Nine species are transferred to Olios: O. gaujoni (Simon, 1897b) comb. nov., O. pictus comb. nov., O. unilateralis (Strand, 1908b) comb. nov. (all three from Nonianus), O. affinis (Strand, 1906) comb. nov., O. flavescens Caporiacco, 1941 comb. nov., O. quadrispilotus comb. nov., O. similis (Berland, 1922) comb. nov. (all four from Nisueta), O. sungaya (Barrion & Litsinger, 1995) comb. nov., O. igraya (Barrion & Litsinger, 1995) comb. nov. (both from Isopeda L. Koch 1875). Olios lucieni nom. nov. comb. nov. is proposed for Nisueta similis Berland, 1922, which becomes a secondary homonym. The male of O. quadrispilotus comb. nov. is described for the first time. Sixteen species are currently without affiliation to one of the eight species groups: O. acolastus (Thorell, 1890), O. alluaudi Simon, 1887a, O. batesi (Pocock, 1900c), O. bhavnagarensis Sethi & Tikader, 1988, O. croseiceps (Pocock, 1898b), O. durlaviae Biswas & Raychaudhuri, 2005, O. gentilis (Karsch, 1879b), O. gravelyi Sethi & Tikader, 1988, O. greeni (Pocock, 1901b), O. inaequipes (Simon 1890), O. punjabensis Dyal, 1935, O. ruwenzoricus Strand, 1913a, O. senilis Simon, 1880, O. somalicus Caporiacco, 1940, O. wroughtoni (Simon, 1897c) and O. zulu Simon, 1880. Five of these species are illustrated in order to allow identification of the opposite (male) sex and to settle their systematic placement. Thirty-seven species are considered nomina dubia, mostly because they were described from immatures, three of them are illustrated: O. abnormis (Blackwall, 1866), O. affinis (Strand, 1906) comb. nov., O. africanus (Karsch, 1878), O. amanensis Strand, 1907a, O. annandalei (Simon, 1901), O. bivittatus Roewer, 1951, O. ceylonicus (Leardi, 1902), O. conspersipes (Thorell, 1899), Palystes derasus (C.L. Koch, 1845) comb. nov., O. detritus (C.L. Koch, 1845), O. digitalis Eydoux & Souleyet, 1842, O. exterritorialis Strand, 1907b, O. flavovittatus (Caporiacco, 1935), O. fugax (O. Pickard-Cambridge, 1885), O. guineibius Strand, 1911c, O. guttipes (Simon, 1897a), O. kiranae Sethi & Tikader, 1988, O. longespinus Caporiacco, 1947b, O. maculinotatus Strand, 1909, O. morbillosus (MacLeay, 1827), O. occidentalis (Karsch, 1879b), O. ornatus (Thorell, 1877), O. pagurus Walckenaer, 1837, O. patagiatus (Simon, 1897b), O. praecinctus (L. Koch, 1865), O. provocator Walckenaer, 1837, O. quesitio Moradmand, 2013, O. quinquelineatus Taczanowski, 1872, O. sexpunctatus Caporiacco, 1947a, Heteropoda similaris (Rainbow, 1898) comb. rev., O. socotranus (Pocock, 1903), O. striatus (Blackwall, 1867), O. timidus (O. Pickard-Cambridge, 1885), Remmius variatus (Thorell, 1899) comb. nov., O. vittifemur Strand, 1916b, O. wolfi Strand, 1911a and O. zebra (Thorell, 1881). Eighty-nine species are misplaced in Olios but cannot be affiliated to any of the known genera. They belong to the subfamilies Deleninae Hogg, 1903, Sparassinae Bertkau, 1872 and Palystinae Simon, 1897a, nineteen of them are illustrated: O. acostae Schenkel, 1953, O. actaeon (Pocock, 1898c), O. artemis Hogg, 1915, O. atomarius Simon, 1880, O. attractus Petrunkevitch, 1911, O. auranticus Mello-Leitão, 1918, O. benitensis (Pocock, 1900c), O. berlandi Roewer, 1951, O. biarmatus Lessert, 1925, O. canalae Berland, 1924, O. caprinus Mello-Leitão, 1918, O. chelifer Lawrence, 1937, O. chubbi Lessert, 1923, O. clarus (Keyserling, 1880), O. coccineiventris (Simon, 1880), O. corallinus Schmidt, 1971, O. crassus Banks, 1909, O. debilipes Mello-Leitão, 1945, O. discolorichelis Caporiacco, 1947a, O. erroneus O. Pickard-Cambridge, 1890, O. extensus Berland, 1924, O. fasciiventris Simon, 1880 , O. feldmanni Strand, 1915, O. fimbriatus Chrysanthus, 1965, O. flavens Nicolet, 1849, O. fonticola (Pocock, 1902), O. formosus Banks, 1929, O. francoisi (Simon, 1898a), O. fulvithorax Berland, 1924, O. galapagoensis Banks, 1902, O. gaujoni (Simon, 1897b) comb. nov., O. giganteus Keyserling, 1884, O. hoplites Caporiacco, 1941, O. humboldtianus Berland, 1924, O. insignifer Chrysanthus, 1965, O. insulanus (Thorell, 1881), O. keyserlingi (Simon, 1880), O. lacticolor Lawrence, 1952, O. lepidus Vellard, 1924, O. longipedatus Roewer, 1951, O. machadoi Lawrence, 1952, O. macroepigynus Soares, 1944, O. maculatus Blackwall, 1862, O. marshalli (Pocock, 1898a), O. mathani (Simon, 1880), O. minensis Mello-Leitão, 1917, O. monticola Berland, 1924, O. mutabilis Mello-Leitão, 1917, O. mygalinus Doleschall, 1857, O. mygalinus cinctipes Merian, 1911, O. mygalinus nirgripalpis Merian, 1911, O. neocaledonicus Berland, 1924, O. nigristernis (Simon, 1880), O. nigriventris Taczanowski, 1872, O. oberzelleri Kritscher, 1966, O. obscurus (Keyserling, 1880), O. obtusus F.O. Pickard-Cambridge, 1900, O. orchiticus Mello-Leitão, 1930, O. oubatchensis Berland, 1924, O. paraensis (Keyserling, 1880), O. pellucidus (Keyserling, 1880), O. peruvianus Roewer, 1951, O. pictitarsis Simon, 1880, O. plumipes Mello-Leitão, 1937, O. princeps Hogg, 1914, O. pulchripes (Thorell, 1899), O. puniceus (Simon, 1880), O. roeweri Caporiacco, 1955a, O. rubripes Taczanowski, 1872, O. rubriventris (Thorell, 1881), O. rufus Keyserling, 1880, O. sanctivincenti (Simon, 1898b), O. similis (O. Pickard-Cambridge, 1890), O. simoni (O. Pickard-Cambridge, 1890), O. skwarrae Roewer, 1933, O. spinipalpis (Pocock, 1901a), O. stictopus (Pocock, 1898a), O. strandi Kolosváry, 1934, O. subadultus Mello-Leitão, 1930, O. sulphuratus (Thorell, 1899), O. sylvaticus (Blackwall, 1862), O. tamerlani Roewer, 1951, O. tigrinus (Keyserling, 1880), O. trifurcatus (Pocock, 1900c), O. trinitatis Strand, 1916a, O. velox (Simon, 1880), O. ventrosus Nicolet, 1849, O. vitiosus Vellard, 1924 and O. yucatanus Chamberlin, 1925. Seventeen taxa are transferred from Olios to other genera within Sparassidae, eight of them are illustrated: Adcatomus luteus (Keyserling, 1880) comb. nov., Eusparassus flavidus (O. Pickard-Cambridge, 1885) comb. nov., Palystes derasus (C.L. Koch, 1845) comb. nov., Heteropoda similaris (Rainbow, 1898) comb. rev., Remmius variatus (Thorell, 1899) comb. nov., Nolavia audax (Banks, 1909) comb. nov., Nolavia antiguensis (Keyserling, 1880) comb. nov., Nolavia antiguensis columbiensis (Schmidt, 1971) comb. nov., Nolavia fuhrmanni (Strand, 1914) comb. nov., Nolavia helva (Keyserling, 1880) comb. nov., Nolavia stylifer (F.O. Pickard-Cambridge, 1900) comb. nov., Nolavia valenciae (Strand, 1916a) comb. nov., Nungara cayana (Taczanowski, 1872) comb. nov., Polybetes bombilius (F.O. Pickard-Cambridge, 1899) comb. nov., Polybetes fasciatus (Keyserling, 1880) comb. nov., Polybetes hyeroglyphicus (Mello-Leitão, 1918) comb. nov. and Prychia paalonga (Barrion & Litsinger, 1995) comb. nov. One species is transferred from Olios to the family Clubionidae Wagner, 1887: Clubiona paenuliformis (Strand, 1916a) comb. nov.

This study analyzes the visualization of census data in the U.S. Statistical Atlases from 1874 to 1925. I examine how visual strategies were used to construct an American identity by contrasting the “native” population with the “other”—new immigrants and African Americans, which were visualized as undesirable counterparts. By defining the “other,” the Atlases created a pan ethnic identity of the “native white” population, established a racial hierarchy, and hardened the division between old and new immigrants. The study develops a rhetorical framework for understanding how data design is used to marginalize racially and ethnically minority groups.

Abstract Cafius gigas Lea, 1929 (Coleoptera: Staphylinidae) was a large rove beetle endemic to Lord Howe Island (LHI) resembling Cafius and the LHI flightless endemic Hesperus dolichoderes (Lea, 1925). Like several other LHI endemics, C. gigas became extinct due to human-introduced rats. It is a legacy species valuable for understanding the LHI biota in terms of evolutionary biology and historical biogeography. Whether C. gigas was a member of Cafius Curtis, 1829, restricted to oceanic shores and prone to trans-oceanic dispersal, or related to H. dolichoderes, would have different implications. We subjected C. gigas to a total-evidence phylogenetic analyses of morphological and molecular data using model-based and parsimony methods. As a result, it is transferred to Hesperus Fauvel, 1874 with the new combination Hesperus gigas (Lea, 1929) comb. nov. Our analysis indicates that the montane leaf litter inhabitant H. gigas evolved neither in situ nor from a seashore Cafius-ancestor, or from an ancestor shared by two other LHI endemic congeners, Hesperus pacificus Olliff, 1887 and H. dolichoderes. It also suggests that all three Hesperus species that currently occur on LHI could have evolved on various seamounts at various times before reaching LHI.

The early documented marine microalgae from the Philippines were done between 1853–1925. A total of 801 taxa were identified and distributed into three phyla, i.e. the Cyanobacteria, the Rhodophyta, and the Bacillariophyta. About 99% of these taxa belong to the Bacillariophyta. Of the 797 total diatom taxa identified by early scientists, there are only 281 species that are accepted as current valid names based on AlgaeBase and DiatomBase. These accepted diatom taxa belong to 63 genera. The three genera with the greatest number of species in decreasing order are Amphora (46), Biddulphia (29), and Campylodiscus (16). Out of the 797 diatom species, 190 species have the Philippines as the type locality and these specimens are deposited in the United States (US) – specifically, at the Farlow Herbarium and in the US National Museum in Washington, DC and in London, England at the Diatom section of the British Museum of Natural History. All these algal materials were part of the collection of four different naval scientific exploring expeditions that visited the Philippines in 1842–1910 – namely, the US Exploring (Wilkes) Expedition (1842), the HMS Challenger (1874–1875), the Italian Cruiser Vettor Pisani (1884), and the USS Albatross (1907–1910). The greatest number of microalgae collected was 743 by USS Albatross, followed in decreasing order by HMS Challenger (57), US Exploring Expedition (17), and Vettor Pisani (1). These early collections of marine microalgae provided invaluable contributions in laying the groundwork for the development of Philippine phycology.

At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offered whilst they were abroad and, at the same time, a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London would have a significant impact on male Australian artists, as it offered a space where they were integrated into the English art world, which enhanced their experience whilst abroad.Artists were seldom members of Australia’s early gentlemen’s clubs, however, in the late nineteenth century Melbourne, artists formed less formal social groupings with exotic names such as the Prehistoric Order of Cannibals, the Buonarotti Club, and the Ishmael Club (Mead). Melbourne artists congregated in these clubs until the Melbourne Savage Club, modelled on the London Savage Club (1857)—a club whose membership was restricted to practitioners in the performing and visual arts—opened its doors in 1894.The Melbourne Savage Club had its origins in the Metropolitan Music Club, established in the late 1880s by a group of professional and amateur musicians and music lovers. The club initially admitted musicians and people from the dramatic professions free-of-charge, however, author Randolph Bedford (1868–1941) and artist Alf Vincent (1874–1915) were not content to be treated on a different basis to the musicians and actors, and two months after Vincent joined the club, at a Special General Meeting, the club resolved to vary Rule 6, “to admit landscape or portrait painters and sculptors without entrance fee” (Melbourne Savage Club). At another Special General Meeting, a year later, the rule was altered to admit “recognised members of the musical, dramatic and artistic professions and sculptors without payment of entrance fee” (Melbourne Savage Club).This resulted in an immediate influx of prominent Victorian male artists (Williams) and the Melbourne Savage Club became their place of choice to gather and enjoy the fellowship the club offered and to share ideas in a convivial atmosphere. When the opportunity arose for them to travel to London in the early twentieth century, they met in London’s famous art clubs. Membership of the Melbourne Savage Club not only conferred rights to visit reciprocal clubs whilst in London, but also facilitated introductions to potential patrons. The London clubs were the venue of choice for visiting artists to meet their fellow artist expatriates and to share experiences and, importantly, to meet with their British counterparts, exhibit their works, and establish valuable contacts.The London Savage Club attracted many Australian expatriates. Not only is it the grandfather of London’s bohemian clubs but also it was the model for arts clubs the world over. Founded in 1857, the qualification for admission was (and still is) to be, “a working man in literature or art, and a good fellow” (Halliday vii). If a candidate met these requirements, he would be cordially received “come whence he may.” This was embodied in the club’s first rules which required applicants for membership to be from a restricted range of pursuits relating to the arts thought to be commensurate with its bohemian ideals, namely art, literature, drama, or music.The second London arts club that attracted expatriate Australian artists was the New English Arts Club, founded in 1886 by young English artists returning from studying art in Paris. Members of The New English Arts Club were influenced by the Impressionist style as opposed to the academic art shown at the Royal Academy. As a meeting place for Australia’s expatriate artists, the New English Arts Club had a particular influence, as it exposed them to significant early Modern artist members such as John Singer Sargent (1856–1925), Walter Sickert (1860–1942), William Orpen (1878–1931) and Augustus John (1878–1961) (Corbett and Perry; Thornton; Melbourne Savage Club).The third, and arguably the most popular with the expatriate Australian artists’ club, was the Chelsea Arts Club, a bohemian club formed in 1891 by local working artists looking for a place to go to “meet, talk, eat and drink” (Cross).Apart from the American-born founding member, James McNeill Whistler (1834–1903), amongst the biggest Chelsea names at the time of the influx of travelling young Australian artists were modernists Sir William Orpen, Augustus John, and John Sargent. The opportunity to mix with these leading British contemporary artists was irresistible to these antipodean artists (55).When Melbourne artist, Miles Evergood (1871–1939) arrived in London from America in 1910, he had been an active exhibiting member of the Salmagundi Club, a New York artists’ club. Almost immediately he joined the New English Arts Club and the Chelsea Arts Club. Hammer tells of him associating with “writer Israel Zangwill, sculptor Jacob Epstein, and anti-academic artists including Walter Sickert, Augustus John, John Lavery, John Singer Sargent and C.R.W. Nevison, who challenged art values in Britain at the beginning of the century” (Hammer 41).Arthur Streeton (1867–1943) used the Chelsea Arts Club as his postal address, as did many expatriate artists. The Melbourne Savage Club archives contain letters and greetings, with news from abroad, written from artist members back to their “Brother Savages” (Various).In late 1902, Streeton wrote to fellow artist and Savage Club member Tom Roberts (1856–1931) from London:I belong to the Chelsea Arts Club now, & meet the artists – MacKennel says it’s about the most artistic club (speaking in the real sense) in England. … They all seem to be here – McKennal, Longstaff, Mahony, Fullwood, Norman, Minns, Fox, Plataganet Tudor St. George Tucker, Quinn, Coates, Bunny, Alston, K, Sonny Pole, other minor lights and your old friend and admirer Smike – within 100 yards of here – there must be 30 different studios. (Streeton 94)Whilst some of the artists whom Streeton mentioned were studying at either the Royal Academy or the Slade School, it was the clubs like the Chelsea Arts Club where they were most likely to encounter fellow Australian artists. Tom Roberts was obviously attentive to Streeton’s enthusiastic account and, when he returned to London the following year to work on his commission for The Big Picture of the 1901 opening of the first Commonwealth Parliament, he soon joined. Roberts, through his expansive personality, became particularly active in London’s Australian expatriate artistic community and later became Vice-President of the Chelsea Arts Club. Along with Streeton and Roberts, other visiting Melbourne Savage Club artists joined the Chelsea Arts Club. They included, John Longstaff (1861–1941), James Quinn (1869–1951), George Coates (1869–1930), and Will Dyson (1880–1938), along with Sydney artists Henry Fullwood (1863–1930), George Lambert (1873–1930), and Will Ashton (1881–1963) (Croll 95). Smith describes the exodus to London and Paris: “It was the Chelsea Arts Club that the Heidelberg School established its last and least distinguished camp” (Smith, Smith and Heathcote 152).Streeton, who retained his Chelsea Arts Club membership when he returned for a while to Australia, wrote to Roberts in 1907, “I miss Chelsea & the Club-boys” (Streeton 107). In relation to Frederick McCubbin’s pending visit he wrote: “Prof McCubbin left here a week ago by German ‘Prinz Heinrich.’ … You’ll introduce him at the Chelsea Club and I hope they make him an Hon. Member, etc” (Streeton et al. 85). McCubbin wrote, after an evening at the Chelsea Arts Club, following a visit to the Royal Academy: “Tonight, I am dining with Australian artists in Soho, and shall be there to greet my old friends. How glad I am! Longstaff will be there, and Frank Stuart, Roberts, Fullwood, Pontin, Coates, Quinn, and Tucker’s brother, and many others from all around” (MacDonald, McCubbin and McCubbin 75). Impressed by the work of Turner he wrote to his wife Annie, following avisit to the Tate Gallery:I went yesterday with Fullwood and G. Coates and Tom Roberts for a ramble … to the Tate Gallery – a beautiful freestone building facing the river through a portico into the gallery where the lately found turners are exhibited – these are not like the greater number of pictures in the National Gallery – they represent his different periods, but are mostly in his latest style, when he had realised the quality of light (McCubbin).Clearly Turner’s paintings had a profound impression on him. In the same letter he wrote:they are mostly unfinished but they are divine – such dreams of colour – a dozen of them are like pearls … mist and cloud and sea and land, drenched in light … They glow with tender brilliancy that radiates from these canvases – how he loved the dazzling brilliancy of morning or evening – these gems with their opal colour – you feel how he gloried in these tender visions of light and air. He worked from darkness into light.The Chelsea Arts Club also served as a venue for artists to entertain and host distinguished visitors from home. These guests included; Melbourne Savage Club artist member Alf Vincent (Joske 112), National Gallery of Victoria (NGV) Trustee and popular patron of the arts, Professor Baldwin Spencer (1860–1929), Professor Frederick S. Delmer (1864–1931) and conductor George Marshall-Hall (1862–1915) (Mulvaney and Calaby 329; Streeton 111).Artist Miles Evergood arrived in London in 1910, and visited the Chelsea Arts Club. He mentions expatriate Australian artists gathering at the Club, including Will Dyson, Fred Leist (1873–1945), David Davies (1864–1939), Will Ashton (1881–1963), and Henry Fullwood (Hammer 41).Most of the Melbourne Savage Club artist members were active in the London Savage Club. On one occasion, in November 1908, Roberts, with fellow artist MacKennal in the Chair, attended the Australian Artists’ Dinner held there. This event attracted twenty-five expatriate Australian artists, all residing in London at the time (McQueen 532).These London arts clubs had a significant influence on the expatriate Australian artists for they became the “glue” that held them together whilst abroad. Although some artists travelled abroad specifically to take up places at the Royal Academy School or the Slade School, only a minority of artists arriving in London from Australia and other British colonies were offered positions at these prestigious schools. Many artists travelled to “try their luck.” The arts clubs of London, whilst similarly discerning in their membership criteria, generally offered a visiting “brother-of-the-brush” a warm welcome as a professional courtesy. They featured the familiar rollicking all-male “Smoke Nights” a feature of the Melbourne Savage Club. With a greater “artist” membership than the clubs in Australia, expatriate artists were not only able to catch up with their friends from Australia, but also they could associate with England’s finest and most progressive artists in a familiar congenial environment. The clubs were a “home away from home” and described by Underhill as, “an artistic Earl’s Court” (Underhill 99). Most importantly, the clubs were a centre for discourse, arguably even more so than were the teaching academies. Britain’s leading modernist artists were members of the Chelsea Arts Club and the New English Arts Club and mixed freely with the visiting Australian artists.Many Australian artists, such as Miles Evergood and George Bell (1878–1966), held anti-academic views similar to English club members and embraced the new artistic trends, which they would bring back to Australia. Streeton had no illusions about the relative worth of the famed institutions and the exhibitions held by clubs such as the New English. Writing to Roberts before he joins him in London, he describes the Royal Academy as having, “an inartistic atmosphere” and claims he “hasn’t the least desire to go again” (Streeton 77). His preference lay with a concurrent “International Exhibition”, which featured works by Rodin, Whistler, Condor, Degas, and others who were setting the pace rather than merely continuing the academic traditions.Architect Hardy Wilson (1881–1955) served as secretary of The Chelsea Arts Club. When he returned to Australia he brought back with him a number of British works by Streeton and Lambert for an exhibition at the Guild Hall Melbourne (Underhill 92). Artists and Bohemians, a history of the Chelsea Arts Club, makes special reference of its world-wide contacts and singles out many of its prominent Australian members for specific mention including; Sir John William (Will) Ashton OBE, later Director of the Art Gallery of New South Wales, and Will Dyson, whose illustrious career as an Australian war artist was described in some detail. Dyson’s popularity led to his later appointment as Chairman of the Chelsea Arts Club where he initiated an ambitious rebuilding program, improving staff accommodation, refurbishing the members’ areas, and adding five bedrooms for visiting members (Bross 87-90).Whilst the influence of travel abroad on Australian artists has been noted, the importance of the London Clubs has not been fully explored. These clubs offered artists a space where they felt “at home” and a familiar environment whilst they were abroad. The clubs functioned as a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London had a significant impact on male Australian artists as it offered a space where they were integrated into the English art world which enhanced their experience whilst abroad and influenced the direction of their art.ReferencesCorbett, David Peters, and Lara Perry, eds. English Art, 1860–1914: Modern Artists and Identity. Manchester: Manchester University Press, 2000.Croll, Robert Henderson. Tom Roberts: Father of Australian Landscape Painting. Melbourne: Robertson & Mullens, 1935.Cross, Tom. 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London: New English Art Club, Curwen Press 1935.Underhill, Nancy D.H. Making Australian Art 1916–49: Sydney Ure Smith Patron and Publisher. South Melbourne: Oxford University Press, 1991.Various. Melbourne Savage Club Correspondence Book: 1902–1916. Melbourne: Melbourne Savage Club.Williams, Graeme Henry. "A Socio-Cultural Reading: The Melbourne Savage Club through Its Collections." Masters of Arts thesis. Melbourne: Deakin University, 2013.