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Journal articles on the topic 'Cleopatra I'

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Author: Grafiati

Published: 10 December 2022

Last updated: 30 January 2023

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1

Said, Sali. "The Question of Culpability in Shakespeare’s Antony and Cleopatra." Critical Survey 34, no. 4 (December 1, 2022): 1–16. http://dx.doi.org/10.3167/cs.2022.340402.

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‘Is Antony or we in fault for this?’ Cleopatra asks Enobarbus, who is responsible for the loss at the Battle of Actium. Critics who find Cleopatra guilty take her supposed involvement in decision-making about the battlefield and escape from Actium as evidence of her culpability. Taking into consideration Antony’s strong belief in Fate, this article proposes that Antony tacitly exculpates Cleopatra for his vanquishment in Actium and that Cleopatra’s ‘flight’ is actually a tactical retreat rather than an action performed out of fear. This article also focuses on Cleopatra’s relationship with her servants, which has received almost no critical attention. Drawing on the politeness and the speech act theories, I demonstrate how democratic, humble and grateful Cleopatra is in her treatment of her attendants.

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2

Park, Jennifer. "Discandying Cleopatra: Preserving Cleopatra’s Infinite Variety in Shakespeare’s Antony and Cleopatra." Studies in Philology 113, no. 3 (2016): 595–633. http://dx.doi.org/10.1353/sip.2016.0023.

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3

Alamri, Dawla S. "Shakespeare’s and Shawqi’s Cleopatra: Portrayals of a Woman’s Moral Dilemma." International Journal of Linguistics, Literature and Translation 5, no. 4 (April 5, 2022): 76–85. http://dx.doi.org/10.32996/ijllt.2022.5.4.10.

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This paper offers a comparative reading of Cleopatra, the most famous Egyptian queen in history, as portrayed by William Shakespeare in Antony and Cleopatra (1606) and Ahamad Shawqi in Mas’ra’ Cleopatra, (Death of Cleopatra) (1927). It aims at analyzing both portrayals from developmental psychological and feminist perspectives demonstrated particularly in Carol Gilligan’s theories. Gilligan explored the development of women’s morality and ethics of care in her influential book In a Different Voice (1982) and other subsequent publications. The aim is to investigate how Shakespeare and Shawqi portray her as a female protagonist, her manner of thinking, and her system of values. Cleopatra’s dilemma as a woman in her different roles as a queen, political leader, wife, mother, and lover is examined in the light of these theories of ethics of care/ justice and the power im/balance between the sexes. The methodology used in this study integrates Gilligan’s perspectives of women’s concepts of the self, morality, and how women handle issues of conflict and moral choices. The study reveals how both dramatists successfully portray Cleopatra’s moral reasoning with its different dynamics, struggling with her conflicts, choices, and decisions to find her own moral voice and self.

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4

Pearce, Sarah. "THE CLEOPATRAS AND THE JEWS." Transactions of the Royal Historical Society 27 (November 1, 2017): 29–64. http://dx.doi.org/10.1017/s0080440117000032.

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ABSTRACTThis paper explores a variety of evidence for relations between Cleopatra VII, the last Ptolemaic ruler of Egypt, and her Jewish subjects. In the first part of the paper, the focus is on the profoundly negative portrait of the queen in the works of Josephus, with particular attention to Cleopatra's alleged antipathy to Alexandrian Jews in Josephus's Against Apion. Analysis of Josephus's evidence confirms, I argue, that his case against the queen does not stand up. The second part of the paper offers a detailed consideration of other evidence, epigraphic and literary, which, I suggest, confirms a picture of the queen as continuing the policy of her predecessors with regard to the Jews of the Ptolemaic kingdom, by participating in the long-established practice of extending royal support and protection to Jewish proseuchai (places of prayer). While the evidence does not permit definitive conclusions, it suggests that Cleopatra looked to particular Jewish groups – as to others – within Egypt for support and in this, followed a path taken by Cleopatra II and Cleopatra III. Finally, a few details in Plutarch's Life of Antony may also suggest the queen's political and personal alliances with individual Jews, in Egypt and Judea.

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5

Burstein, Stanley, and E. E. Rice. "Cleopatra." History Teacher 34, no. 1 (November 2000): 135. http://dx.doi.org/10.2307/3054391.

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6

Kleij, Sonja. "Cleopatra." Shakespeare Bulletin 38, no. 2 (2020): 267–70. http://dx.doi.org/10.1353/shb.2020.0025.

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7

Bertman, Stephen, and Harold Bloom. "Cleopatra." Classical World 86, no. 2 (1992): 166. http://dx.doi.org/10.2307/4351291.

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8

Shakespeare, William, and Paul Murgatroyd. "Cleopatra." Mouseion: Journal of the Classical Association of Canada 9, no. 1 (2009): 71. http://dx.doi.org/10.1353/mou.2010.0005.

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9

Tsoucalas, Gregory, Antonis A. Kousoulis, Effie Poulakou-Rebelakou, Marianna Karamanou, Maria Papagrigoriou-Theodoridou, and George Androutsos. "Queen Cleopatra and the other ‘Cleopatras’: their medical legacy." Journal of Medical Biography 22, no. 2 (September 16, 2013): 115–21. http://dx.doi.org/10.1177/0967772013480602.

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10

Jess, Tyehimba. "Dying Cleopatra." Callaloo 36, no. 3 (2013): 540. http://dx.doi.org/10.1353/cal.2013.0179.

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11

RICHARDS, BERNARD. "FATAL CLEOPATRA." Essays in Criticism XXXV, no. 4 (1985): 357–64. http://dx.doi.org/10.1093/eic/xxxv.4.357.

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12

SYDENHAM, COLIN. "PUNCTUATING CLEOPATRA." Classical Quarterly 60, no. 2 (November 19, 2010): 652–56. http://dx.doi.org/10.1017/s0009838810000303.

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13

Hamer, Mary. "Cleopatra: Housewife." Textual Practice 2, no. 2 (June 1988): 159–79. http://dx.doi.org/10.1080/09502368808582030.

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14

Tracy, Lewis. "Cleopatra Transformed: Dostoevskij's Grušen'ka as a Modern-Day Cleopatra." Russian Literature 48, no. 3 (October 2000): 289–99. http://dx.doi.org/10.1016/s0304-3479(00)80070-8.

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15

Coker, Amy. "How filthy was Cleopatra?" Journal of Historical Pragmatics 20, no. 2 (December 10, 2019): 186–203. http://dx.doi.org/10.1075/jhp.00028.cok.

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Abstract Starting from a sexual pun in Greek reputedly made by Cleopatra in 31 bce on the word τορύνη (torunē) (‘ladle’), this paper argues that the linguist can successfully take up the “evaluator’s role” (Kádár and Culpeper 2010: 18) in ascertaining the dysphemistic value of words in historical corpora. Typically offensive words constitute a special category of impolite verbal behaviours, and it is argued that a reflection of the historical schemata which guided the use of dysphemistic words by speakers can be detected in patterns of use in extant texts, and used as a guide for their identification. The paper highlights the need for greater openness as to which “denotata” produce offensive words, and more cross-linguistic work on dysphemism. It discusses the problems of interpretation of historical metaphors, and it ends with a detailed discussion of the evidence for the dysphemistic value of the word on which Cleopatra’s pun hinges.

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16

Amertawingrum, Indiyah Prana, Ngumarno Ngumarno, and Sri Budiyono. "The Representation of Islamic Values in The Novel "The Fading of Cleopatra’s Charm" by Habibburrahman El Shirazy." EDUTEC : Journal of Education And Technology 4, no. 4 (June 1, 2021): 572–84. http://dx.doi.org/10.29062/edu.v4i4.207.

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This study aims: (1) to find Islamic values contained in the novel "Pudarnya Pesona Cleopatra" by Habibburrahman El Shirazy; and (2) describe the form of representation of Islamic values contained in the novel "The Faded of Cleopatra’s Enchantment" by Habibburrahman El Shirazy. This study used descriptive qualitative method. The data are in the form of words and phrases contained in the "The Faded of Cleopatra’s Enchantment" by Habibburrahman El Shirazy which reveals information about Islamic values that come from the Al Qur’an and Hadith. Based on the results of the analysis that has been done, it can be concluded that the Islamic values contained in the novel 'Faded Pesona Cleopatra' include the values of Akidah, Sharia, and morals. These values are represented in the story in the form of faith in Allah; Faith in the Bible (Al Qur’an) for the value of faith. Sharia values are represented in the form of sunnah fasting; propose (khitbah); wedding; while moral values are represented in the form of personal morals, namely the nature of patience; as well as character in the family which includes obedience and filial piety to parents; pious and obedient to her husband; as well as connecting kinship/friendship ties.

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17

Smith, Molly E., and Michael Neill. "Antony and Cleopatra." Sixteenth Century Journal 27, no. 1 (1996): 246. http://dx.doi.org/10.2307/2544336.

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18

Gaines, Barry, John Wilders, T. W. Craik, and Jonathan Bate. "Antony and Cleopatra." Shakespeare Quarterly 50, no. 2 (1999): 206. http://dx.doi.org/10.2307/2902187.

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19

Heyman, Barbara B., and Samuel Barber. "Antony and Cleopatra." American Music 4, no. 3 (1986): 360. http://dx.doi.org/10.2307/3051624.

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20

King, Annie Papreck. "SHAKESPEARE'S SHAVIAN CLEOPATRA." Shaw 27 (January 1, 2007): 165–74. http://dx.doi.org/10.2307/40681825.

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21

Liedke, Heidi. "Antony and Cleopatra." Shakespeare Bulletin 39, no. 1 (2021): 151–55. http://dx.doi.org/10.1353/shb.2021.0004.

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22

King, Annie Papreck. "SHAKESPEARE'S SHAVIAN CLEOPATRA." Shaw 27 (January 1, 2007): 165–74. http://dx.doi.org/10.5325/shaw.27.2007.0165.

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23

Littman, Robert J., Jay Silverstein, Dora Goldsmith, Sean Coughlin, and Hamedy Mashaly. "Eau de Cleopatra." Near Eastern Archaeology 84, no. 3 (September 1, 2021): 216–29. http://dx.doi.org/10.1086/715345.

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24

KangSeokJu. "Dido and Cleopatra." Journal of Classic and English Renaissance Literature 23, no. 1 (June 2014): 57–84. http://dx.doi.org/10.17259/jcerl.2014.23.1.57.

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25

Parker, R. B., Richard Madelaine, and William Shakespeare. "Antony and Cleopatra." Yearbook of English Studies 32 (2002): 281. http://dx.doi.org/10.2307/3509077.

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26

McGuinness, Frank. "Cleopatra of Evesham." Irish University Review 45, no. 1 (May 2015): 7–8. http://dx.doi.org/10.3366/iur.2015.0145.

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27

Alexander, Meena. "What Cleopatra Sees." Callaloo 36, no. 1 (2013): 31–32. http://dx.doi.org/10.1353/cal.2013.0055.

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28

Walker, Susan. "Cleopatra in Pompeii?" Papers of the British School at Rome 76 (November 2008): 35–46. http://dx.doi.org/10.1017/s0068246200000404.

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All'inizio del 2007 mentre stavo rivedendo il contesto di rinvenimento di due placche di vetro cammeo trovate nell'ampio oecus (stanza 62) della Casa di Marcus Fabius Rufus dell'Insula Occidentalis di Pompeii, ho avuto l'opportunità di esaminare una pittura parietale di notevole interesse. In questo contributo la pittura viene descritta e inserita nel contesto dello sviluppo della casa. Per quanto riguarda il soggetto rappresentato, suggerisco che la figura principale non rappresenti la dea Venere in persona, quanto Cleopatra VII d'Egitto nelle vesti di Venus Genetrix. La pittura fu quasi eertamente ispirata dalla dedica che Cesare effettuò nel settembre del 46 a.C. del tempio a Venus Genetrix nel suo foro a Roma, dove secondo Appiano e (più problematico) Dione Cassio, Cesare dedicó una statua dorata alla regina egiziana.

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29

Baring, Maurice. "Cleopatra at Rome." Chesterton Review 40, no. 1 (2014): 37–43. http://dx.doi.org/10.5840/chesterton2014401/26.

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30

Waterman, Sarah. "Antony and Cleopatra." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (November 2020): 203–6. http://dx.doi.org/10.1177/0184767820946175af.

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31

Geiger, Joseph. "Cleopatra the Physician." Zutot 1, no. 1 (2001): 28–32. http://dx.doi.org/10.1163/187502101788691015.

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32

Aumiller, Jochen. "CLEOPATRA lässt hoffen." MMW - Fortschritte der Medizin 155, no. 15 (September 2013): 61. http://dx.doi.org/10.1007/s15006-013-2116-1.

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33

Kostuch, Lucyna. "Kleopatra i eros w Żywocie Antoniusza. O nadinterpretacji dzieła Plutarcha." Argument: Biannual Philosophical Journal 7, no. 2 (December 1, 2017): 259–70. http://dx.doi.org/10.24917/20841043.7.2.5.

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Cleopatra and Eros in Plutarch’s Antonius. On overinterpretation of Plutarch’s work Historians, writers and artists who wanted to pay homage to Cleopatra once again, referred to and still refer to Plutarch’s Life of Antony, first and foremost. It can seem that this main, if not the only ancient work, being quite a compact story about the Egyptian queen, has been ultimately interpreted in numerous review editions and biographies of Cleopatra. However, Plutarch’s Cleopatra has not been analysed as a separate work — excerpts from Life of Antony have always been combined with other sources in order to obtain a single picture. And in belles-lettres, the work of this ancient moralist have been exploited for centuries in such a way that it is no longer Plutarch’s property. Literary works from different epochs, in the form of interpretations, with Shakespeare’s Antony and Cleopatra at the head of the list, have distorted the ancient moralist’s message. It turns out that when we reject Shakespeare’s prism that we usually use when examining Plutarch’s Cleopatra and we start to analyse Antony’s biography only in the context of other works written by the moralist of Chaeronea, considering them to be a peculiar comment on Life of Antony, we are able to see a completely different picture to the one we are used to. Divine powers, present on the pages of the ancient work and implicating gods and people in love and desire do not have access to the queen. However, everything suggests that in the case of “the romance of all time” we can see in the moralist’s work something he did not write at all. We refer to Life of Antony and we envisage the character of Cleopatra described by Shakespeare and his successors.

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34

Schwentzel, Christian-Georges. "Cleopatra: A Sphinx Revisited." Phoenix 66, no. 3-4 (2012): 461–63. http://dx.doi.org/10.1353/phx.2012.0029.

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35

Gandrow, Kristen. "Antony and Cleopatra (review)." Theatre Journal 52, no. 1 (2000): 123–25. http://dx.doi.org/10.1353/tj.2000.0007.

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36

Davis, Timothy C. "Shakespeare's Antony and Cleopatra." Explicator 48, no. 3 (April 1990): 176–78. http://dx.doi.org/10.1080/00144940.1990.9933978.

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37

Blythe, David-Everett. "Shakespeare’s Antony and Cleopatra." Explicator 49, no. 2 (January 1991): 77–79. http://dx.doi.org/10.1080/00144940.1991.11484011.

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38

Mosher, John. "Cleopatra: Beyond the Myth." History: Reviews of New Books 31, no. 3 (January 2003): 128. http://dx.doi.org/10.1080/03612759.2003.10527619.

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39

Collins, Michael J. "Antony and Cleopatra (review)." Shakespeare Bulletin 24, no. 4 (2006): 112–15. http://dx.doi.org/10.1353/shb.2006.0065.

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40

Burgdorf, Walter H. C., and Leonard J. Hoenig. "Cleopatra, Queen of Dermatology." JAMA Dermatology 151, no. 2 (February 1, 2015): 236. http://dx.doi.org/10.1001/jamadermatol.2014.2239.

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41

García-Sánchez, Francisco, and J. P. Syvertsen. "Salinity Tolerance of Cleopatra Mandarin and Carrizo Citrange Citrus Rootstock Seedlings Is Affected by CO2 Enrichment during Growth." Journal of the American Society for Horticultural Science 131, no. 1 (January 2006): 24–31. http://dx.doi.org/10.21273/jashs.131.1.24.

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Three-month-old citrus rootstock seedlings of the Cl- excluder Cleopatra mandarin (Citrus reticulata Blanco) and the Cl- accumulator Carrizo citrange [C. sinensis (L.) Osb. × Poncirus trifoliata L.] were fertilized with nutrient solution with or without additional 50 mm NaCl and grown at either ambient CO2 (360 μL·L-1) or elevated CO2 (700 μL·L-1) in similar controlled environment greenhouses for 8 weeks. Elevated CO2 increased plant growth, shoot/root ratio, leaf dry weight per area, net assimilation of CO2, chlorophyll, and water-use efficiency but decreased transpiration rate. Elevated CO2 decreased leaf Ca2+ and N concentration in non-salinized Cleopatra. Salinity increased leaf Cl- and Na+ in both genotypes. Carrizo had higher concentrations of Cl-but lower Na+ in leaves than Cleopatra. Salinity decreased plant growth, shoot/root ratio, net gas exchange, water use, and root Ca+2 but increased root N in both genotypes regardless of CO2 level. Neither salinity nor elevated CO2 affected leaf chlorophyll fluorescence (Fv/Fm). Carrizo had higher Fv/Fm, leaf gas exchange, chlorophyll, N, and Ca2+ than Cleopatra. Salinity-induced decreases in leaf osmotic potential increased leaf turgor especially at elevated CO2. The increase in leaf growth at elevated CO2 was greater in salinized than in nonsalinized Carrizo but was similar in Cleopatra seedlings regardless of salt treatment. In addition, salinity decreased water-use efficiency more at elevated CO2 than at ambient CO2 in Cleopatra but not in Carrizo. Elevated CO2 also decreased leaf Cl- and Na+ in Carrizo but tended to increase both ions in Cleopatra leaves. Based on leaf growth, water-use efficiency and salt ion accumulation, elevated CO2 increased salinity tolerance in the relatively salt-sensitive Carrizo more than in the salt-tolerant Cleopatra. In salinized seedlings of both genotypes, Cl- and Na+ concentration changes in response to eCO2 in leaves vs. roots were generally in opposite directions. Thus, the modifications of citrus seedling responses to salinity by the higher growth and lower transpiration at elevated CO2 were not only species dependent, but also involved whole plant growth and allocations of Na+ and Cl-.

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42

TREADWELL, NINA. "‘Now I come to you, ladies, after so much time’: Cleopatra, Maria d'Aragona and an intermedio for the Duchess of Alba." Cambridge Opera Journal 22, no. 1 (March 2010): 33–63. http://dx.doi.org/10.1017/s0954586711000024.

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AbstractDuring March 1588, Maria d'Aragona, the Marchesa of Vasto, sponsored a set of four intermedi at her palazzo in Chiaia, Naples. The centrepiece of the entertainment was the intermedio entitled ‘Queen Cleopatra on her Ship’. This article explores d'Aragona's role as sponsor of the entertainment, particularly in relation to her interest in the historical figure of Cleopatra. Drawing on sources that informed perceptions of the Egyptian queen during the early- to mid-Cinquecento, it will be shown that within a performance context governed by a strong-willed female patron, the often negatively depicted Cleopatra could be cast as a positive role model, particularly for d'Aragona-related noblewomen who themselves had experienced strong female mentorship and enjoyed the relative autonomy of widowhood. D'Aragona's decision to cast the Neapolitan virtuosa Eufemia Jozola as Cleopatra reinforced the female-orientated nature of the intermedio, and sheds new light on mid-Cinquecento Neapolitan performance practice.

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43

Bar, Yoel, Akiva Apelbaum, Uzi Kafkafi, and Raphael Goren. "Polyamines in Chloride-stressed Citrus Plants: Alleviation of Stress by Nitrate Supplementation via Irrigation Water." Journal of the American Society for Horticultural Science 121, no. 3 (May 1996): 507–13. http://dx.doi.org/10.21273/jashs.121.3.507.

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A study was conducted to elucidate the effects of chloride in the irrigation water on growth and development of two citrus rootstocks. `Cleopatra' mandarin (Citrus reshni Hort. ex Tan) is salt tolerant and `Troyer' citrange (Poncirus Citrus sinensis) is salt sensitive. Increasing chloride from 2 to 48 mm in the irrigation water resulted in increased leaf chloride levels, more severe damage of the leaves, and reduced branch growth. High chloride in the irrigation water also caused increased putrescine (PUT) and decreased spermine (SPM) contents of the leaves. These effects were slight in `Cleopatra' but highly apparent in `Troyer'. The symptoms caused by high chloride were associated with high PUT and low SPM levels in the leaves. PUT may be involved in the development of chloride toxic symptoms, and SPM may protect or have no effect on chloride plant injury. The leaf polyamine profiles of `Troyer' and `Cleopatra' under nonstress chloride conditions were different. In `Troyer' leaves, PUT level was 9-fold higher than in `Cleopatra'; in `Cleopatra' leaves, SPM level was 25-fold higher than in `Troyer'. Nitrate supplement to saline water reduced chloride accumulation in the leaves and reduced the increase in PUT. The possible connection between ethylene production and PUT and SPM levels in the leaves of stressed plants is discussed.

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44

Stritmatter, Roger, and Shelly Maycock. "A Kingdom for a Mirth." Critical Survey 34, no. 4 (December 1, 2022): 42–66. http://dx.doi.org/10.3167/cs.2022.340404.

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This article offers a reading of the famously problematic scene 5.2 of Antony and Cleopatra, in which Cleopatra prepares to meet her death by the bite of the ‘worm’ (5.2.233–290). In this scene, and this scene alone, the Egyptian asp is called by the Anglo-Saxon term ‘worm’ nine times. Repetition, suggests Frankie Rubinstein, may in Shakespeare be a sign of a pun. Samuel Johnson characterised the homophonic resonance of punning as ‘Shakespeare’s Fatal Cleopatra’, but Rubinstein insists that for Shakespeare ‘“reason, propriety, and truth” were not sacrificed by the Shakespearean “quibble” but emerge from it’. In Antony and Cleopatra, punning is one key linguistic expression of the play’s entwinement with the principles of alchemical transmutation and preference for ‘becoming’ in the ancient dichotomy between being and becoming. As Richard Whalen first proposed in 1991, the ninefold iteration of ‘worm’ in the scene may be a pun on an Aristocratic French name, since the word ‘worm’ in French is Ver.

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45

Chaparro-Zambrano, Hans Nicolas, Heberth Augusto Velásquez-Ramírez, and Javier Orlando Ordúz-Rodríguez. "Evaluation of ‘Arrayana’ tangerine (Citrus reticulata Blanco) grafted onto different rootstocks in tropical lowlands of Colombian Orinoquia, 2005-2011 (second cycle)." Agronomía Colombiana 35, no. 1 (January 1, 2017): 29–34. http://dx.doi.org/10.15446/agron.colomb.v35n1.60082.

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'Arrayana' tangerine (Citrus reticulta Blanco) is the most cultivated variety in Meta piedmont; it is mainly grafted onto the 'Cleopatra' tangerine rootstock (Citrus reshni hort. ex Tanaka). Plants grafted onto this rootstock have a late production entrance, produce big plants and their yield is affected by the rainfall patterns that occur during the dry season. Five rootstocks were evaluated to identify the one with the best productive performance for 'Arrayana' tangerine. The experiment was established in 1997. The report of the first five harvest was published in 2006. This report shows the results of six additional pickings. The rootstocks with the highest yields were citrumelo 'Swingle' (CPB 4475) and Sunki x English (SxE), without statistical differences, followed by Sunki x Jacobson (SxJ) (no statistical differences with SxE), 'Cleopatra' and 'Volkamer'. The lowest yield was obtained from 'Carrizo'. Citrumelo 'Swingle', SxE, SxJ and 'Volkamer' obtained plants of 'Arrayana' tangerine with less height and volume than 'Cleopatra'; the best productive efficiency was obtained by SxJ followed by citrumelo 'Swingle', SxE (no statistical differences) markedly higher than 'Cleopatra' and 'Carrizo'. Citrumelo 'Swingle' produced 2,438 kg/plant in 11 pickings overpassing SxE by 1,776.6 kg of fruit per plant, 'Volkamer' (1,572.99 kg/plant) and SxJ (1,498.95 kg/ plant). Citrumelo 'Swingle' outyielded 'Cleopatra' by more than 1 t per tree in cumulative yield of 11 pickings. All rootstocks showed good fruit quality for domestic market.

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46

Pérez-Jiménez, Margarita, and Olaya Pérez-Tornero. "Short-Term Waterlogging in Citrus Rootstocks." Plants 10, no. 12 (December 15, 2021): 2772. http://dx.doi.org/10.3390/plants10122772.

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Changes in climate are provoking flooding events that cause waterlogging in the fields. Citrus are mainly cultivated in areas with a high susceptibility to climate change. Therefore, it is vital to explore their responses to these events to anticipate future challenges by means of genetic improvement of the commercial rootstocks. In this experiment, three popular commercial rootstocks, namely ‘Cleopatra’ (C. reshni Hort. Ex Tanaka), C. macrophylla, and ‘Forner Alcaide no. 5′ (Citrus reshni Hort. Ex Tanaka × Poncirus trifoliata), were evaluated after being submitted to short-term waterlogging and a period of recovery of 7 days in each case. Photosynthesis rate and stomatal conductance decreased in ‘Cleopatra’, while in the other two genotypes they were maintained (C. macrophylla) or restored after recovery (‘Forner Alcaide no. 5′’). Relative water content and chlorophylls also decreased in ‘Cleopatra’. This indicates a deeper effect of flooding in ‘Cleopatra’, which suffered changes during flooding that were also sustained during the recovery phase. This did not occur in the other two rootstocks, since they showed signs of recovery for those parameters that decreased during waterlogging.

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Cruz-Miralles, Joaquín, Marc Cabedo-López, Michela Guzzo, Victoria Ibáñez-Gual, Víctor Flors, and Josep A. Jaques. "Plant-feeding may explain why the generalist predator Euseius stipulatus does better on less defended citrus plants but Tetranychus-specialists Neoseiulus californicus and Phytoseiulus persimilis do not." Experimental and Applied Acarology 83, no. 2 (January 22, 2021): 167–82. http://dx.doi.org/10.1007/s10493-020-00588-x.

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AbstractThe generalist predator Euseius stipulatus (Athias-Henriot) and the Tetranychidae-specialist predators Neoseiulus californicus (McGregor) and Phytoseiulus persimilis Athias-Henriot play a key role in the regulation of Tetranychus urticae Koch in Spanish citrus orchards. Previous studies have shown that sour orange (Citrus aurantium L.) and Cleopatra mandarin (Citrus reshni hort. ex Tan.) display extreme resistance and susceptibility to T. urticae, respectively. When offered a choice between these two genotypes infested by T. urticae, E. stipulatus preferred Cleopatra mandarin, whereas the specialists did not show any preference. The present study was undertaken to check whether these preferences could be related to the feeding of E. stipulatus on the host plant and/or to differences in prey feeding on the two plants. Our results demonstrate that E. stipulatus is a zoophytophagous mite, which can engage in direct plant feeding in sour orange and Cleopatra mandarin, whereas neither N. californicus nor P. persimilis do so. Whereas Cleopatra mandarin provided a higher-quality prey/feeding substrate for E. stipulatus, which may be related to its phytophagy, no differences were observed for the two specialists. As higher constitutive and faster inducible defense against T. urticae in sour orange relative to Cleopatra mandarin plants result in sour orange supporting lower T. urticae densities and plant damage, our results demonstrate that pest regulation by specialist natural enemies may be more effective when prey feed on better defended plants.

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Moradi, Hossein. "Melancholy in John Dryden’s All for Love." European Journal of Humanities and Social Sciences 2, no. 6 (December 5, 2022): 83–89. http://dx.doi.org/10.24018/ejsocial.2022.2.6.341.

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Antony, the mourner, sticks to his bondage to others by entering the bondage of love of Cleopatra. This makes the difficulty in acting independently. Antony shows most persuasively that he is seeking a life secure in the arms of Cleopatra. In Freud’s narcissism, secure life is achieved through the process of self-regard. This is a pathology. However, I argue that Antony does not incorporate Cleopatra into himself but loses her to demand a possibility, a mood, or an orientation toward the world. His feeling is changed into a mood that copes with the problems caused by the libidinous involvement with the object in Freud. He changes his feeling into a countenance towards the world, rather than a pathology. This is what Walter Benjamin calls melancholy.

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Louzada, Eliezer S., Jude W. Grosseti, Frederick G. Gmitter, Beatriz Nielsen, J. L. Chandler, Xiu Xin Deng, and Nicasio Tusa. "Eight New Somatic Hybrid Citrus Rootstocks with Potential for Improved Disease Resistance." HortScience 27, no. 9 (September 1992): 1033–36. http://dx.doi.org/10.21273/hortsci.27.9.1033.

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Protoplast culture following polyethylene glycol-induced fusion resulted in the regeneration of vigorous tetraploid somatic hybrid plants from eight complementary parental rootstock combinations: Citrus reticulata Blanco (Cleopatra mandarin) + C. aurantium L. (sour orange), C. reticulata (Cleopatra mandarin) + C. jambhiri Lush (rough lemon), C. reticulata (Cleopatra mandarin) + C. volkameriana Ten. & Pasq. (Volkamer lemon), C. reticulata (Cleopatra mandarin) + C. limonia Osb. (Rang-pur), C. sinensis (L.) Osb. (Hamlin sweet orange) + C. limonia (Rangpur), C. aurantium (sour orange) + C. volkameriana (Volkamer lemon) zygotic seedling, C. auruntium hybrid (Smooth Flat Seville) + C. jambhiri (rough lemon), and C. sinensis (Valencia sweet orange) + Carrizo citrange [C. paradisi Macf. × Poncirus trifoliata (L.) Raf.]. Diploid plants were regenerated from nonfused callus-derived protoplasts of Valencia sweet orange and Smooth Flat Seville and from nonfused leaf protoplasts of sour orange, Rangpur, rough lemon, and Volkamer lemon. Regenerated plants were classified according to leaf morphology, chromosome number, and leaf isozyme profiles. All somatic hybrid plants were tetraploid (2n = 4× = 36). One autotetraploid plant of the Volkamer lemon zygotic was recovered, apparently resulting from a homokaryotic fusion. These eight new citrus somatic hybrids have been propagated and entered into field trials.

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Draycott, Jane. "DYNASTIC POLITICS, DEFEAT, DECADENCE AND DINING: CLEOPATRA SELENE ON THE SO-CALLED ‘AFRICA’ DISH FROM THE VILLA DELLA PISANELLA AT BOSCOREALE." Papers of the British School at Rome 80 (September 24, 2012): 45–64. http://dx.doi.org/10.1017/s0068246212000049.

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This article examines the so-called ‘Africa’ dish, part of a treasure trove of silver table-ware discovered in a cistern at the Villa della Pisanella, avilla rusticadestroyed in the eruption of Vesuvius inad79. It proposes a new interpretation of the dish's iconography and argues that the woman in the centre of the emblema is Cleopatra Selene, while the attributes surrounding her reference her parents Cleopatra VII and Marcus Antonius, her brothers Alexander Helios and Ptolemy Philadelphus, her husband Juba II of Mauretania, and their mythological ancestor the demi-god Heracles. Thus the emblema serves as a meditation on the fates of Antony and Cleopatra VII, descendants of Heracles who chose the path of vice, a choice that resulted in their defeat by Octavian at the Battle of Actium. Octavian's virtue, victory and clemency, combined with his guardianship of their children, ensured the subsequent promotion of their daughter Cleopatra Selene as a key figure in his dynastic and political strategy, through her marriage to Juba II and the couple's appointment as client rulers of Mauretania. Also supposedly descended from Heracles, Juba II and Cleopatra Selene chose to follow in their illustrious ancestor's footsteps along the path of virtue. In common with other pieces from the treasure trove, the ‘Africa’ dish alludes to recent historical events and personages, utilizes death as a means of promoting the enjoyment of life, and incorporates popular elements of Greek mythology, all the while offering banqueters an erudite puzzle to solve during the course of their banquet.

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