Littérature scientifique sur le sujet « Months – Juvenile fiction »

In this study, the predation behaviour of male and female predatory nematode, Fictor composticola, was studied on five prey nematode species, Aphelenchus avenae, Aphelenchoides swarupi, Ditylenchus myceliophagus, Bursilla sp. and Panagrolaimus sp., found in the white button mushroom compost. The period of the study is of six months. The data recorded on number of encounters, part of the body of prey attacked, stage of the prey attacked, duration of feeding etc. The strike rate and prey susceptibility were calculated. The average number of encounters on all the five preys done by female F. composticola was 3.0 and that of the male was 6.0. Male F. composticola had more number of encounters on the prey nematode species than the females. Both the sexes preferred juvenile stages over adults as prey. The most attacked part by both females and males predator, was the posterior part of the prey body. In 80% of cases, female predators fed on the first encountered prey while males attacked the first encountered prey in 30% of cases only. The strike rate of female F. composticola was more (78.6%) than the male (48.2%). Mycophagous nematodes were more susceptible to predator’s attack than the microbivorous nematodes. The strike rate of the predator on different prey nematode species was found more on mycophagous nematodes than on microbivorous nematodes and minimum on Panagrolaimus sp. The average feeding duration of female F. composticola was 8 min and 31 sec and in the case of males it was 4 min and 11 sec.

This essay explores Charlotte Brontë’s 1849 novel Shirley as a literary endeavour to recreate the sibling dynamic of the Brontës’ childhoods, and the psychological effect of being the ‘surviving’ sibling of a formally collaborative unit. In their adolescent years, the Brontës famously forged fictional kingdoms together, known collectively as “The Glass Town Saga”. Throughout adulthood, each Brontë continuously returned to these stories, oftentimes due to nostalgia and occasionally for creative reinvention. However, by the summer of 1849, their familial collaboration was at an end. Charlotte was the last sibling standing, having lost all her co-authors in the space of nine months. In despair, as a form of catharsis, she turned to her writing and this essay will focus on how protagonist Caroline Helstone became an elegy for both Branwell and Anne Brontë. Mere weeks before Charlotte began volume 1 of Shirley, Branwell was determined to return to a heroine created in his childhood, also named “Caroline (1836)”. This juvenilia piece explores themes of waning sibling connections, death and heartbreak – issues which tormented Branwell and Charlotte throughout his prolonged final illness. Yet Caroline Helstone’s ethereal femininity and infantilization mirrors Anne Brontë’s reputation as the ‘obedient’ sibling, as well as the views expressed in her semi-autobiographical novels Agnes Grey (1847) and The Tenant of Wildfell Hall (1848).

This essay explores Charlotte Brontë’s 1849 novel Shirley as a literary endeavour to recreate the sibling dynamic of the Brontës’ childhoods, and the psychological effect of being the ‘surviving’ sibling of a formally collaborative unit. In their adolescent years, the Brontës famously forged fictional kingdoms together, known collectively as “The Glass Town Saga”. Throughout adulthood, each Brontë continuously returned to these stories, oftentimes due to nostalgia and occasionally for creative reinvention. However, by the summer of 1849, their familial collaboration was at an end. Charlotte was the last sibling standing, having lost all her co-authors in the space of nine months. In despair, as a form of catharsis, she turned to her writing and this essay will focus on how protagonist Caroline Helstone became an elegy for both Branwell and Anne Brontë. Mere weeks before Charlotte began volume 1 of Shirley, Branwell was determined to return to a heroine created in his childhood, also named “Caroline (1836)”. This juvenilia piece explores themes of waning sibling connections, death and heartbreak – issues which tormented Branwell and Charlotte throughout his prolonged final illness. Yet Caroline Helstone’s ethereal femininity and infantilization mirrors Anne Brontë’s reputation as the ‘obedient’ sibling, as well as the views expressed in her semi-autobiographical novels Agnes Grey (1847) and The Tenant of Wildfell Hall (1848).