Literatura científica selecionada sobre o tema "Catalogues, 1924"

The university in Vilna (Lithuanian: Vilnius), now Vilniaus universitetas, founded in 1579 by Stefan Batory (Stephen Báthory), King of Poland and Grand Duke of Lithuania, was a centre of Polish botany in 1780-1832 and 1919-1939. The Botanic Garden established by Jean-Emmanuel Gilibert (1741–1814) in 1781 (or, actually, from 1782) survived the loss of independence by Poland (1795), and a later closure of the University (1832), and it continued to function until 1842, when it was shut down by Russian authorities. After Poland had regained independence and the University was reopened as the Stefan Batory University (SBU), its Botanic Garden was established on a new location (1919, active since 1920). It survived as a Polish institution until 1939. After the Second World War, as a result of changed borders, it found itself in the Soviet Union, and from 1990 – in the Republic of Lithuania. A multidisciplinary research project has been recently launched with the aim to create a publication on the history of science at the Stefan Batory University. The botanical part of the project includes, among others, drafting the history of the Botanic Garden. Obtaining electronic copies of archival documents, e.g. annual reports written by the directors, enabled a more thorough analysis of the Garden’s history. Piotr Wiśniewski (1884–1971), a plant physiologist, nominated as Professor in the Department of General Botany on 1 June 1920, was the organiser and the first director of the Garden. He resigned from his post in October 1923, due to financial problems of the Garden. From October 1923 to April 1924, the management was run by the acting director, Edward Bekier (1883–1945), Professor in the Department of Physical Chemistry, Dean of the Faculty of Mathematics and Natural Sciences. For 13 subsequent years, i.e. from 1 May 1924 to 30 April 1937, the directorship of the Garden was held by Józef Trzebiński (1867–1941), a mycologist and one of the pioneers of phytopathology in Poland, Head of the Department of Botany II (Agricultural Botany), renamed in 1926 as the Department of Plant Taxonomy, and in 1937 – the Department of Taxonomy and Geography of Plants. From May 1937 to 1939, his successor as director was Franciszek Ksawery Skupieński (1888–1962), a researcher of slime moulds. Great credit for the development of the Garden is due to the Inspector, i.e. Chief Gardener, Konstanty Prószyński (Proszyński) (1859–1936) working there from 1919, through his official nomination in 1920, until his death. He was an amateur-naturalist, a former landowner, who had lost his property. Apart from the work on establishing and maintaining the Garden’s collection, as well as readying seeds for exchange, he published one mycological paper, and prepared a manuscript on fungi, illustrated by himself, containing descriptions of the new species. Unfortunately, this work was not published for lack of funds, and the prepared material was scattered. Some other illustrations of flowering plants drawn by Prószyński survived. There were some obstacles to the further development of the institution, namely substantially inadequate funds as well as too few members of the personnel (1–3 gardeners, and 1–3 seasonal workers). The area of the Garden, covering approx. 2 hectares was situated on the left bank of the Neris river (Polish: Wilia). It was located on sandy soils of a floodplain, and thus liable to flooding. These were the reasons for the decision taken in June 1939 to move the Garden to a new site but the outbreak of the Second World War stood in the way. Despite these disadvantageous conditions, the management succeeded in setting up sections of plants analogous to these established in other botanical gardens in Poland and throughout the world, i.e. general taxonomy (1922), native flora (1922), psammophilous plants (1922), cultivated plants (1924/1925), plant ecology (1927/1928), alpinarium (1927–1929), high-bog plants (1927–1929), and, additionally – in the 1920s – the arboretum, as well as sections of aquatic and bog plants. A glasshouse was erected in 1926–1929 to provide room for plants of warm and tropical zones. The groups representing the various types of vegetation illustrated the progress in ecology and phytosociology in the science of the period (e.g. in the ecology section, the Raunkiaer’s life forms were presented). The number of species grown increased over time, from 1,347 in 1923/1924 to approx. 2,800 in 1936/1937. Difficult weather conditions – the severe winter of 1928 as well as the snowless winter and the dry summer of 1933/34 contributed to the reduction of the collections. The ground collections, destroyed by flood in spring of 1931, were restored in subsequent years. Initially, the source of plant material was the wild plant species collected during field trips. Many specimens were also obtained from other botanical gardens, such as Warsaw and Cracow (Kraków). Beginning from 1923, printed catalogues of seeds offered for exchange were published (cf. the list on p. ... ). Owing to that, the Garden began to participate in the national and international plant exchange networks. From its inception, the collection of the Garden was used for teaching purposes, primarily to the students of the University, as well as for the botanical education of schoolchildren and the general public, particularly of the residents of Vilna. Scientific experiments on phytopathology were conducted on the Garden’s plots. After Vilna was incorporated into Lithuania in October 1939, the Lithuanian authorities shut down the Stefan Batory University, thus ending the history of the Polish Botanic Garden. Its area is now one of the sections of the Vilnius University Botanic Garden (“Vingis” section – Vilniaus universiteto botanikos sodas). In 1964, its area was extended to 7.35 hectares. In 1974, after establishing the new Botanic Garden in Kairenai to the east of Vilnius, the old Garden lost its significance. Nevertheless, it still serves the students and townspeople of Vilnius, and its collections of flowering plants are often used to decorate and grace the university halls during celebrations.

The elateriform family Callirhipidae Emden, 1924 is catalogued. The family contains 14 genus-group taxa, of which 10 are currently considered as valid and four as synonyms. The family contains 214 available species-group names, of which 175 represent currently valid species and subspecies, and 39 are synonyms. For each taxon, all references known to the author are listed. For species-group taxa, type locality, type material, current status and known distribution are given. Lists of unavailable names and taxa excluded from the family Callirhipidae are presented. A systematic checklist of the family is appended. The following new synonyms are proposed: Simianus Blanchard, 1853 = Simianellus Emden, 1924 syn. nov.; Callirhipis javanica Laporte de Castelnau, 1834 = Callirhipis impressicollis Fairmaire, 1887 syn. nov. = Callirhipis armitagei Pic, 1916 syn. nov. = Callirhipis angustata Pic, 1943 syn. nov.; Callirhipis lineata Waterhouse, 1877 = Callirhipis ruficollis Pic, 1943 syn. nov.; Callirhipis separata Gemminger, 1869 = Simianellus bicolor costatus Emden, 1932 syn. nov.; Callirhipis sirambea Pic, 1921 = Callirhipis (Helleriola) henrikseni Emden, 1934 syn. nov.; Callirhipis suturalis Waterhouse, 1877 = Callirhipis scutellata Fairmaire, 1887 syn. nov. = Callirhipis aureoscutata Pic, 1938 syn. nov.; Callirhipis tonkinea Pic, 1907 = Callirhipis tonkinea var. diversa Pic, 1926 syn. nov.; Celadonia hoodii (Saunders, 1834) = Callirhipis laportei var. notaticollis Pic, 1912 syn. nov.; Ennometes cribratus (Waterhouse, 1877) = Simianus cribripennis Fairmaire, 1893 syn. nov.; Ennometes impressiceps Pic, 1922 = Ennometes ruficornis Pic, 1943 syn. nov.; Simianus terminatus Fairmaire, 1887 = Simianus pyrochroides Pic, 1921 syn. nov. = Simianus pyrochroides var. lateniger Pic, 1925 syn. nov. Callirhipis hoodii Saunders, 1834 is designated as the type species of the genus Celadonia Laporte de Castelnau, 1840. Revised and new statuses are here proposed for the following taxa: Callirhipis (Cal- lirhipis) impressa Montrouzier, 1857 stat. revalid.; Callirhipis (Callirhipis) samoensis Pic, 1921 stat. revalid.; Ennometes cerrutii (Pic, 1927) stat. revalid.; Ennometes ruficeps Pic, 1926 stat. nov. from Ennometes rouyeri var. ruficeps; Celadonia bocourti Pic, 1927 stat. nov. from Simianides laportei var. Bocourti; Simianus diversicornis Pic, 1925 stat. nov. from Simianus pyrochroides var. diversicornis; Simianus reductus Pic, 1925 stat. nov. from Simianus pyrochroides var. reductus. The new replacement name Callirhipis (Parennometes) pici Hájek, nom. nov. is proposed for Callirhipis costata Pic, 1927, preoccupied by C. costata Waterhouse, 1877. The following new combinations are established: Callirhipis (Ennometidium) impressiceps (Pic, 1922) comb. nov. from Ennometes; Callirhipis (Ennometidium) obscura (Pic, 1927) comb. nov. from Ennometes; Callirhipis (Parennometes) carolinensis Blair, 1940 comb. nov. from Callirhipis s. str.; Callirhipis (subgenus ?) pauloplicatus (Pic, 1943) comb. nov. from Simianus; Celadonia bicolor (Laporte de Castelnau, 1834) comb. nov. from Callirhipis; Celadonia gounellei (Pic, 1916) comb. nov. from Callirhipis; Celadonia hoodii (Saunders, 1834) comb. nov. from Callirhipis; Celadonia laportei nigroimpressa (Pic, 1950) comb. nov. from Callirhipis; Celadonia luteonotata (Pic, 1907) comb. nov. from Callirhipis; Celadonia scapularis (Laporte de Castelnau, 1834) comb. nov. from Callirhipis; Ennometes incertus (Emden, 1936) comb. nov. from Callirhipis (Parennometes); Ennometes onoi (Blair, 1940) comb. nov. from Callirhipis (Parennom- etes); Ennometes tarsalis (Emden, 1932) comb. nov. from Simianellus; Simianus basalis (Emden, 1924) comb. nov. from Simianellus; Simianus bicolor (Fairmaire, 1893) comb. nov. from Homoeorhipis; Simianus bituberculatus (Schultze, 1915) comb. nov. from Simianellus; Simianus bituberculatus dilatatus (Emden, 1932) comb. nov. from Simianellus; Simianus confusus (Emden, 1932) comb. nov. from Simianellus; Simianus croceosellatus (Fairmaire, 1887) comb. nov. from Homoeorhipis; Simianus cyaneicollis (Waterhouse, 1877) comb. nov. from Simianellus; Simianus globicollis (Emden, 1924) comb. nov. from Simianellus; Simianus incisus (Emden, 1924) comb. nov. from Simianellus; Simianus laetus (Waterhouse, 1877) comb. nov. from Simianellus; Simianus latepunctatus (Pic, 1943) comb. nov. from Ennometes; Simianus maculaticeps (Pic, 1921) comb. nov. from Homoeorhipis; Simianus malaccanus (Pic, 1916) comb. nov. from Simianellus; Simianus melanocephalus (Emden, 1924) comb. nov. from Simianellus; Simianus mesomelaenus (Fairmaire, 1887) comb. nov. from Homoeorhipis; Simianus nigripennis (Emden, 1932) comb. nov. from Simianellus; Simianus nigriventralis (Schultze, 1915) comb. nov. from Simianel-lus; Simianus obscurus (Emden, 1924) comb. nov. from Simianellus; Simianus obscurus sikkimensis (Emden, 1932) comb. nov. from Simianellus; Simianus palawanicus (Emden, 1932) comb. nov. from Simianellus; Simianus pascoei (Waterhouse, 1895) comb. nov. from Callirhipis; Simianus ruber (Pic, 1929) comb. nov. from Horatocera; Simianus separatus (Gemminger, 1869) comb. nov. from Callirhipis; Simianus thoracicus (Emden, 1924) comb. nov. from Simianellus; Simianus ustus (Fairmaire, 1887) comb. nov. from Homoeorhipis. Lectotypes are designated for the following taxa: Callirhipis angustata Pic, 1943; Callirhipis armitagei Pic, 1916; Callirhipis aureoscutata Pic, 1938; Callirrhipis cribrata Waterhouse, 1877; Callirhipis hoodii Saunders, 1834; Callirhipis (Helleriola) henrikseni Emden, 1934; Callirhipis javanica Laporte de Castelnau, 1834; Callirhipis lineata Waterhouse, 1877; Callirhipis orientalis Laporte de Castelnau, 1834; Callirhipis ruficollis Pic, 1943; Callirrhipis sirambeus Pic, 1921; Callirhipis suturalis Waterhouse, 1877; Callirhipis tonkinea Pic, 1907; Callirhipis tonkinea var. diversa Pic, 1926; Ennometes impressiceps Pic, 1922; Ennometes ruficornis Pic, 1943; Simianus pyrochroides Pic, 1921 and Simianus pyrochroides var. lateniger Pic, 1925.

The philatelic medium is an extensive repository of the portraits of doctors of many nations. Using an electronic matching system to identify links between the lists of alumni and faculties register of Johns Hopkins Hospital in Baltimore and that of three stamp catalogues, 14 notable persons have been identified in the philatelic record. The Johns Hopkins Hospital was established in Baltimore in 1889 and instituted the revolutionary concept of combining patient care with research and teaching. Its founder Johns Hopkins (1795–1873) and 13 among alumni and faculties have been portrayed on postage stamps and first day covers of USA, Canada, Antigua, Barbuda, Palau, Maldives, Canada and Sweden. Five of them – du Vigneaud (1901–78), Smith (b. 1931), Nathans (1928–99), Hubel (b. 1926) and Wiesel (b. 1924) – were awarded the Nobel Prize for Medicine or Physiology. By means of the philatelic medium, portraits of Hopkins scientists and doctors, including Sir William Osler (1849–1919) and Dr Virgina Apgar (1909–74), are distributed in their many tens of thousands on envelopes sent not only to recipients in the USA but to the wider world.

Penthe Newman, 1838 includes nine species distributed in China, the Himalayas, Japan, the Oriental Region and North America (Nikitsky, 1998; Young & Pollock, 2002) and is the type genus of the tetratomid subfamily Penthinae Lacordaire, 1859. Like many other obscure members of Tenebrionoidea, Penthe has had an unsettled family placement until recently. Most early authors placed the genus in Tenebrionidae (e.g. Newman, 1838; Melsheimer, 1853). Then, there was a period during which it was most often placed in Melandryidae, either in Melandryini (e.g. LeConte & Horn, 1883), Penthini (Woodruff, 1920), or Tetratomini (e.g. Csiki, 1924). Finally, based on both larval and adult characters, Penthe was placed in Tetratomidae (e.g. Crowson, 1955; Lawrence, 1982; Nikitsky, 1998). Adults and larvae feed on various fungi associated with rotting wood, e.g. Polyporus, Piptoporus, and Fomitopsis (Lawrence, 1991). As mentioned below, the name Penthe has been used uniformly in the various catalogues, checklists and treatments of North American Coleoptera since Newman’s original description in 1838.

A list of available taxonomic names in Curculionidae: Scolytinae and Platypodinae in familyand genus-groups is given, together with some remarks on unavailable nominal taxa. Comments are provided on their status and nomenclature, and additions and corrections to extant catalogues given, as a first step for their inclusion in the electronic catalogue ‘WTaxa’. Available names, not recognised as such in current published catalogues, are: Mecopelminae Thompson, 1992; Trypodendrina Nunberg, 1954; Archaeoscolytus Butovitsch, 1929; Camptocerus Dejean, 1821; Coccotrypes Eichhoff, 1878 (April); Coptogaster Illiger, 1804; Cosmoderes Eichhoff, 1878 (April); Cryptoxyleborus Wood & Bright, 1992; Cylindra Illiger, 1802; Dendrochilus Schedl, 1963; Dendrocranulus Schedl, 1938; Doliopygus Browne, 1962; Doliopygus Schedl, 1972; Erioschidias Wood, 1960; Ernopocerus Wood, 1954; Idophelus Rye, 1877; Lepicerus Eichhoff, 1878 (April); Lepidocerus Rye, 1880; Miocryphalus Schedl, 1963; Ozopemon Hagedorn, 1910; Phloeoditica Schedl, 1963; Pinetoscolytus Butovitsch, 1929; Pycnarthrum Eichhoff, 1878 (April); Pygmaeoscolytus Butovitsch, 1929; Scolytogenes Eichhoff, 1878 (April); Spinuloscolytus Butovitsch, 1929; Stephanopodius Schedl, 1963; Stylotentus Schedl, 1963; Thamnophthorus Blackman, 1942; Trachyostus Browne, 1962; Treptoplatypus Schedl, 1972; Triarmocerus Eichhoff, 1878 (April); Trypodendrum Agassiz, 1846; Tubuloscolytus Butovitsch, 1929; Xelyborus Schedl, 1939. Unavailable names, not recognised as such in the current published catalogues, are: Chaetophloeini Schedl, 1966; Eidophelinae Murayama, 1954; Mecopelmini Wood, 1966; Strombophorini Schedl, 1960; Tomicidae Shuckard, 1840; Trypodendrinae Trédl, 1907; Acryphalus Tsai & Li, 1963; Adryocoetes Schedl, 1952; Asetus Nunberg, 1958; Carphoborites Schedl, 1947; Charphoborites Schedl, 1947; Cryptoxyleborus Schedl, 1937; Cylindrotomicus Eggers, 1936; Damicerus Dejean, 1835; Damicerus Dejean, 1836; Dendrochilus Schedl, 1957; Dendrocranulus Schedl, 1937; Doliopygus Schedl, 1939; Erioschidias Schedl, 1938; Ernopocerus Balachowsky, 1949; Gnathotrichoides Blackman, 1931; Ipites Karpiński, 1962; Isophthorus Schedl, 1938; Jugocryphalus Tsai & Li, 1963; Landolphianus Schedl, 1950; Mesopygus Nunberg, 1966; Micraciops Schedl, 1953; Miocryphalus Schedl, 1939; Mixopygus Nunberg, 1966; Neohyorrhynchus Schedl, 1962; Neophloeotribus Eggers, 1943; Neopityophthorus Schedl, 1938; Neoxyleborus Wood, 1982; Phloeoditica Schedl, 1962; Platypinus Schedl, 1939; Platyscapulus Schedl, 1957; Platyscapus Schedl, 1939; Pygodolius Nunberg, 1966; Scutopygus Nunberg, 1966; Stephanopodius Schedl, 1941; Stylotentus Schedl, 1939; Taphrostenoxis Schedl, 1965; Tesseroplatypus Schedl, 1935; Thamnophthorus Schedl, 1938; Thylurcos Schedl, 1939; Trachyostus Schedl, 1939; Treptoplatus Schedl, 1939. The name Tesseroceri Blandford, 1896, incorrectly given as “Tesserocerini genuini” in current catalogues, is unavailable as basionym for the family-group name, since it was proposed as a genusgroup name. Resurrected names from synonymy are: Hexacolini Eichhoff, 1878 from synonymy under Ctenophorini Chapuis, 1869 (invalid name because its type genus is a homonym) and given precedence over Problechilidae Eichhoff, 1878 under Art. 24.2; Hylurgini Gistel, 1848 from virtual synonymy under Tomicini C.G. Thomson, 1859 (unavailable name); Afromicracis Schedl, 1959 from synonymy under Miocryphalus Schedl, 1939 (an unavailable name) to valid genus; Costaroplatus Nunberg, 1963 from synonymy under Platyscapulus Schedl, 1957 (an unavailable name) to valid genus; Cumatotomicus Ferrari, 1867 from synonymy under Ips DeGeer, 1775 to valid subgenus of the same; Hapalogenius Hagedorn, 1912 from synonymy under Rhopalopselion Hagedorn, 1909 to valid genus; Pseudips Cognato, 2000, from synonymy under Orthotomicus Ferrari, 1867 to valid genus. New synonyms are: Hexacolini Eichhoff, 1878 (= Erineophilides Hopkins, 1920, syn. nov.); Hypoborini Nuesslin, 1911 (= Chaetophloeini Schedl, 1966, unavailable name, syn. nov.); Scolytini Latreille, 1804 (= Minulini Reitter, 1913, syn. nov.); Afromicracis Schedl, 1959 (= Miocryphalus Schedl, 1963, syn. nov.); Aphanarthrum Wollaston, 1854 (= Coleobothrus Enderlein, 1929, syn. nov.); Coccotrypes Eichhoff, 1878 (April) (= Coccotrypes Eichhoff, 1878 (December), syn. nov.); Cosmoderes Eichhoff, 1878 (April) (= Cosmoderes Eichhoff, 1878 (December), syn. nov.); Cumatotomicus Ferrari, 1867 (=Emarips Cognato, 2001, syn. nov.); Doliopygus Browne, 1962 (=Doliopygus Schedl, 1972, syn. nov.); Eidophelus Eichhoff, 1875 (= Idophelus Rye, 1877, syn. nov.); Hapalogenius Hagedorn, 1912 (= Hylesinopsis Eggers, 1920, syn. nov.); Phloeoborus Erichson, 1836 (= Phloeotrypes Agassiz, 1846, syn. nov.); Pycnarthrum Eichhoff, 1878 (April) (= Pycnarthrum Eichhoff, 1878 (December), syn. nov.); Scolytogenes Eichhoff, 1878 (April) (= Scolytogenes Eichhoff, 1878 (December) = Lepicerus Eichhoff, 1878 (December) = Lepidocerus Rye, 1880, synn. nov.); Trypodendron Stephens, 1830 (=Xylotrophus Gistel, 1848 = Trypodendrum Gistel, 1856, synn. nov.); Xylechinus Chapuis, 1869 (= Chilodendron Schedl, 1953, syn. nov.); Cosmoderes monilicollis Eichhoff, 1878 (April) (= Cosmoderes monilicollis Eichhoff, 1878 (December), syn. nov.); Hylastes pumilus Mannerheim, 1843 (= Dolurgus pumilus Eichhoff, 1868, syn. nov.); Hypoborus hispidus Ferrari, 1867 (= Pycnarthrum gracile Eichhoff, 1878 (April) syn. nov.); Miocryphalus agnatus Schedl, 1939 (= Miocryphalus agnatus Schedl, 1942, syn. nov.); Miocryphalus congonus Schedl, 1939 (= Miocryphalus congonus Eggers, 1940, syn. nov.); Lepicerus aspericollis Eichhoff, 1878 (April) = Lepicerus aspericollis Eichhoff, 1878 (December), syn. nov.); Spathicranuloides moikui Schedl, 1972 (June) (= Spathicranuloides moikui Schedl, 1972 (December), syn. nov.); Triarmocerus cryphalo-ides Eichhoff, 1878 (April) (= Triarmocerus cryphaloides Eichhoff, 1878 (December), syn. nov.); Scolytogenes darvini Eichhoff, 1878 (April) (= Scolytogenes darwinii Eichhoff, 1878 (December), syn. nov.). New type species designations are: Bostrichus dactyliperda Fabricius, 1801 for Coccotrypes Eichhoff, 1878 (April); Triarmocerus cryphaloides Eichhoff, 1878 (April) for Triarmocerus Eichhoff, 1878 (April); Ozopemon regius Hagedorn, 1908 for Ozopemon Hagedorn, 1910 (non 1908); Dermestes typographus Linnaeus, 1758 for Bostrichus Fabricius, 1775 (non Geoffroy, 1762). New combinations are: Afromicracis agnata (Schedl, 1939), A. attenuata (Eggers, 1935), A. ciliatipennis (Schedl, 1979), A. congona (Schedl, 1939), A. dubia (Schedl, 1950), A. elongata (Schedl, 1965), A. grobleri (Schedl, 1961), A. klainedoxae (Schedl, 1957), A. longa (Nunberg, 1964), A. natalensis (Eggers, 1936), A. nigrina (Schedl, 1957), A. nitida (Schedl, 1965), A. pennata (Schedl, 1953) and A. punctipennis (Schedl, 1965) all from Miocryphalus; Costaroplatus abditulus (Wood, 1966), C. abditus (Schedl, 1936), C. carinulatus (Chapuis, 1865), C. clunalis (Wood, 1966), C. cluniculus (Wood, 1966), C. clunis (Wood, 1966), C. costellatus (Schedl, 1933), C. frontalis (Blandford, 1896), C. imitatrix (Schedl, 1972), C. manus (Schedl, 1936), C. occipitis (Wood, 1966), C. pulchellus (Chapuis, 1865), C. pulcher (Chapuis, 1865), C. pusillimus (Chapuis, 1865), C. subabditus (Schedl, 1935), C. turgifrons (Schedl, 1935) and C. umbrosus (Schedl, 1936) all from Platyscapulus; Hapalogenius africanus (Eggers, 1933), H. alluaudi (Lepesme, 1942), H. angolanus (Wood, 1988), H. angolensis (Schedl, 1959), H. arabiae (Schedl, 1975), H. atakorae (Schedl, 1951), H. ater (Nunberg, 1967), H. baphiae (Schedl, 1954), H. brincki (Schedl, 1957), H. confusus (Eggers, 1935), H. decellei (Nunberg, 1969), H. dimorphus (Schedl, 1937), H. dubius (Eggers, 1920), H. emarginatus (Nunberg, 1973), H. endroedyi (Schedl, 1967), H. fasciatus (Hagedorn, 1909), H. ficus (Schedl, 1954), H. fuscipennis (Chapuis, 1869), H. granulatus (Lepesme, 1942), H. hirsutus (Schedl, 1957), H. hispidus (Eggers, 1924), H. horridus (Eggers, 1924), H. joveri (Schedl, 1950), H. kenyae (Wood, 1986), H. oblongus (Eggers, 1935), H. orientalis (Eggers, 1943), H. pauliani (Lepesme, 1942), H. punctatus (Eggers, 1932), H. quadrituberculatus (Schedl, 1957), H. rhodesianus (Eggers, 1933), H. saudiarabiae (Schedl, 1971), H. seriatus (Eggers, 1940), H. squamosus (Eggers, 1936), H. striatus (Schedl, 1957), H. sulcatus Eggers, 1944), H. togonus (Eggers, 1919), H. ugandae (Wood, 1986) and H. variegatus (Eggers, 1936), all from Hylesinopsis. New ranks are: Diapodina Strohmeyer, 1914, downgraded from tribe of Tesserocerinae to subtribe of Tesserocerini; Tesserocerina Strohmeyer, 1914, downgraded from tribe of Tesserocerinae to subtribe of Tesserocerini. New placements are: Coptonotini Chapuis, 1869 from tribe of Coptonotinae to tribe of Scolytinae; Mecopelmini Thompson, 1992, from tribe of Coptonotinae to tribe of Platypodinae; Schedlariini Wood & Bright, 1992, from tribe of Coptonotinae to tribe of Platypodinae; Spathicranuloides Schedl, 1972, from Platypodinae s.l. to Tesserocerina; Toxophthorus Wood, 1962 from Scolytinae incertae sedis to Dryocoetini. Confirmed placements are: Onychiini Chapuis, 1869 to tribe of Cossoninae (including single genus Onychius Chapuis, 1869); Sciatrophus Sampson, 1914 in Cossoninae incertae sedis; Cryphalites Cockerell, 1917 in Zopheridae Colydiinae. Corrected spellings are: Micracidini LeConte, 1876 for Micracini; Phrixosomatini Wood, 1978 for Phrixosomini. Gender agreements are corrected for species of several genera.

Статья посвящена неизвестному рисунку Василия Ивановича Сурикова, обнаруженному в коллекции Красноярского краевого краеведческого музея. Несколько лет назад на негативах с видами выставки «Уголок В.И. Сурикова» 1916 и 1924 годов удалось рассмотреть неизвестный ранее рисунок, информация о котором отсутствует в каталогах работ художника. В 2019 году утерянный рисунок великого русского живописца обнаружен в фондах Красноярского краевого краеведческого музея. Работа В.И. Сурикова была неправильно атрибутирована, находилась среди графических произведений красноярского художника Дмитрия Иннокентьевича Каратанова и именно под авторством последнего был записана в учетные книги музея. The article is devoted to an unknown drawing by Vasily Ivanovich Surikov, found in the collection of the Krasnoyarsk Regional Museum of Local Lore. A few years ago, it became possible to see a previously unknown drawing by Surikov on the negatives with views of the exhibition “The corner of V.I. Surikov” in 1916 and 1924. Information about this drawing was absent in the catalogues of the artist's works. In 2019, the location of the lost drawing was established. Lost drawing by V.I. Surikov was incorrectly attributed and was among the graphic works of the Krasnoyarsk artist Dmitry Innokentyevich Karatanov.

The dichotomous keys to 106 species from 62 genera of Ennominae (Lepidoptera: Geometridae) of the Baikal region (Irkutskaya Oblast and Buryatia, Russia) is given. The annotated catalogue including synonyms, the details of examined specimens, data on distribution and hostplants with references is provided. Distribution of Macaria artesiaria ([Denis et Schiffermüller], 1775) in the Baikal region is confirmed. One species is newly combined with genus Hypoxystis Prout, 1915: H. reticulata (Sterneck, 1928) comb. nov. The genus name Scardostrenia Sterneck, 1928 is established to be a synonym of Hypoxystis Prout, 1915 syn. n. Some taxonomic aspects of Charissa turfosaria (Wehrli, 1922), Hypoxystis reticulata (Sterneck, 1928), Synopsia strictaria Lederer, 1853 and Autotrichia heterogynoides (Wehrli, 1927) are discussed. New westernmost boundary of the range of Abraxas karafutonis Matsumura, 1925 is established.

This paper investigates the history, color photos, and illustrations of the paper notes printed by the Military Consumption Society under the Caucasian Shooting Division for the first time in early 1924. Considering that there has not been sufficient research on this area and the uniqueness of the materials, the authors obtained new scientific findings by providing detailed notaphilic information. In the initial section, the paper presents the history of the First Iron Shooting Regiment named after 26 Baku Commissars and the Third Caucasian Shooting Regiment, pertaining to the Azerbaijan Shooting Division, as well as discusses the role of the Military Consumption Society in providing financial support to the staff members of the division. It also includes photos of personalities distinguished by their activities and services. In the following sections of the paper, the issuers, denominations, characteristics, and various aspects of the main factual material of the research are covered. Materials added to these sections are the crest stamp of the First Iron Shooting Regiment Model Unit on loan checks printed in early 1924, additional stamps, and illustrations of the check of the Third Caucasian Shooting Regiment under the Azerbaijan Shooting Division. The paper catalogues, which has never been done before, the banknotes belonging to the Military Consumption Society of the Azerbaijan Shooting Division. Paper money tokens consumed by the Military Consumption Society of the Azerbaijan Shooting Division in 1924 are rare and unique facts. In modern collection circulation, such materials and copies are few, and those in complete condition are rare (especially checks of the Third Caucasian Shooting Regiment). They were in circulation for a short period of time, and at a later stage, they were taken out of use and completely destroyed.

Véra Molnar est née à Budapest (Hongrie) en 1924. Elle a suivi l'enseignement de l'Ecole des Beaux-Arts de Budapest jusqu'à l'obtention en 1947 d'un diplôme de professeur d'histoire de l'art et d'esthétique. Cette même année, elle émigre en France (avec François Molnar qui deviendra son compagnon de vie et de création) et s'installe définitivement à Paris. Notre étude porte sur les trente premières années de son oeuvre durant lesquelles l'artiste n'expose ni ne vend ses tableaux, développant les modalités d'un type de recherches plastiques expérimentales et radicales, appartenant à la famille de l'"art construit" et plus précisément qualifiable d'abstractiongéométrique systématique. Notre travail a consisté à mettre au jour le plus grand nombre possible d'oeuvres de cette période, à les cataloguer, à les hiérarchiser selon un découpage chronologique et des choix formels cohérents puis à analyser les modalités de fonctionnement des systèmes mis en place par l'artiste. Nous avons établi une typologie répondant à trois grands axes constructifs, selon : les lois universlles de la composition et les lois mathématiques, l'invention et l'utilisation de la "machine imaginaire", le recours dès 1968 à l'outil informatique. Enfin, en introduisnat ces oeuvres à rebours dans le fil de l'histoire de l'art nous avons mené un travail théorique de recontextualisation ayant pour objectif d'évaluer les recherches de Véra Molnar vis-à-vis des mouvements artistiques dits "conceptuel" et "minimaliste"
Vera Molnar was born in Budapest (Hungary) in 1924. She pursued studies at the Budapest Fine Arts School, where she obtained her diploma in 1947 as an Art History and Aesthetics Professor. During the same year, she migrated to France, along with François Molnar, who would later become her partner in life as well as in creation. They both sttled down in Paris and made it home. Our study seeks to explore Vera Molnar's works in the first years of her creation, during wich time none of them had been sold or put on exhibition. It is during this period that the artist developped modalities of a type of experimental and radical plastic research belonging to the so-called realm of "constructed Art", which can be described even more precisely as "systematic geometrical abstraction" Our investigation consisted in disclosing a large cross-section of Vera Molnar's works during this thirty-year period, in cataloging them, in establishing a hierarchy among them based on chronological divisions ans coherent formal choices, and thereafter in analyzing the modalities of the systems' functioning worked out by the artist. We established a typology responding to three main constructive axes : the universal laws of composition and mathematical laws, the invention and use of the "imaginary machine", the use of tje computer , as early as 1968. Finally, by introducing these works "backward", so to say, in art history, we carried out a theoritical work of re-contextualization aimed at evaluating and situating Vera Molnar' research within the context of artistic movements known as "conceptual" or "minimalist"

Alexis Preller is op 6 September 1911 in Pretoria gebore, waar hy ook op 13 Desember 1975 oorlede is. Hy was die jongste van vyf kinders van Olivia Maria Sandenberg en Mauritz Herman Otto Preller, ‘n neef van die bekende Afrikaner-historikus en -taalstryder Gustav Preller. Tydens sy skooljare aan die Pretoria Boys High School het Preller aktief belanggestel in die toneel- en skryfkuns. Na die voltooiing van sy skoolopleiding was hy werksaam in die stadsraad van Pretoria. Gedurende 1932 raak hy bevriend met Norman Eaton, wat hom aangemoedig het om na Groot Brittanje te gaan en hom as kunsskilder te bekwaam. In 1933 het hy uit die betrekking wat hy by die Pretoriase Stadsraad beklee het, bedank en die jaar daarop na Groot Brittanje vertrek waar hy met J. H. Pierneef kennis gemaak het. Tydens sy verblyf in Groot Brittanje het hy sy kunsopleiding ontvang aan die Westminster School of Art onder Mark Gertler. Na sy terugkeer na Pretoria in 1935 het hy sy eerste eenmanstentoonstelling gehou. Sy werke het uit die staanspoor getoon dat kleur ‘n belangrike element in sy werk sou wees. Aanvanklik was hy sterk beinvloed deur Van Gogh en Gauguin. In 1937 vertrek hy na die suide van Frankryk waar hy tuisgegaan het in Monte Carlo. Met sy terugkeer in 1938 het hy by die Nuwe Groep aangesluit en deelgeneem aan hul eerste tentoonstelling. Daarna het hy en Truter na Swaziland gereis. In 1939 onderneem hy ‘n reis na die destydse Belgiese Kongo (Zaire) wat 'n sterk stimulerende uitwerking op sy kuns gehad het. Hy keer terug met talle idees en veral die ‘urn-kop’ (ritueel misvormde kop van Kongo-kinders) het onmiddellik en telkens daarna in sy werk na vore gekom. Tydens die Tweede Wereldoorlog (1939 - 45) het Preller in 1940 by die Suid-Afrikaanse Mediese Korps aangeslui t. Hy is die volgende jaar na Noord-Afrika en meer spesifiek na Egipte waar hy in die 14de Veldambulanseenheid diens gedoen het. In 1942 word hy krygsgevangene geneem en na Italie gestuur. Na onderhandelings met die Rooi Kruis word hy in 1943 gerepatrieer na Suid-Afrika. Met sy terugkeer na sy vaderland in 1944 het hy ‘n tentoonstelling van sy werke in Johannesburg gehou. Hierin het nuwe idees na vore gekom en het Afrika-visioene en oorlogsindrukke saamgevloei op sy skilderdoeke. In dieselfde jaar laat bou hy sy eerste ateljee ‘Ygdrasil’ na die ontwerp van Norman Eaton. Tydens ‘n volgende besoek aan Europa in 1946 het hy twee maande lank die versamelings in die groot kunsmuseums in Londen en Parys bestudeer en in die Louvre die klassieke Griekse beeldhoustukke bestudeer. In die volgende jaar het Preller sy ateljee verkoop en na die Seychelle vertrek. Na sy besoek aan die Seychelle het Preller twee tentoonstellings in Johannesburg en Pretoria gehou waarop skulp- en vismotiewe maar ook Christuskoppe in sy werk voorgekom het. Deur middel van sy gebruik van kleur en die invloed van die inheemse kuns in sy werk, het hy Suid-Afrika bewus gemaak daarvan dat ‘n Europese benadering nie summier op die Suid Afrikaanse toneel oorgedra kan word nie.
Alexis Preller was born in Pretoria on 6 September 1911 where he died on 13 December 1975. He was the youngest of the five children of Olivia Maria Sandenberg and Mauritz Herman Otto Preller, a cousin of the well known Afrikaner historian and activist for Afrikaans, Gustav Preller. During his school years at the Pretoria Boys' High School, Preller was actively interested in the art of writing and drama. After completing his school education he worked for the City Council of Pretoria. In 1932 he made friends with Norman Eaton who encouraged him to go to Great Britain in order to study art and train as an artist. In 1933 he resigned the position he had held in the City Council of Pretoria and in the following year he left for Great Britain where he met J.H. Pierneef. During his stay in Great Britain he attended the westminster School of Art under Mark Gertler. On his return to Pretoria in 1935 he held his first one man exhibition. From the start it was obvious from his works that colour would be an important element in his work. Initially he was strongly influenced by Van Gogh and Gauguin. In 1937 he left for France where he stayed in Monte Carlo. On his return to South Africa in 1938 he joined the New Group and participated in their first exhibition. After this he and Truter travelled to Swaziland. In 1939 he travelled to the then Belgian Congo (Zaire) which had a most stimulating effect on his art. He returned with numerous ideas, especially the "urn head" (ritual misshapen head of Congo children) which occurred in his work immediately and over and over again in his ensuing work. During the Second World War (1939- 1945) Preller joined the war effort by enlisting in the South African Medical Corps in 1940. In 1941 he was sent to Egypt where he served in the 14th Field Ambulance unit. In 1942 he was taken prisoner of war and sent to Italy. After negotiations with the Red Cross he was repatriated to South Africa in 1943. On his return to his fatherland in 1944, he held an exhibition of his work in Johannesburg. In these paintings fresh ideas were presented. Africa-visions and war impressions converged on his canvasses. In the same year his first studio, Ygdrasil, was built according to designs drawn up by Norman Eaton. On his next visit to Europe in 1946 he spent two months studying the collections of the large art museums in London and Paris. In the Louvre he studied classical Greek sculpture. In 1947 Preller sold his studio and left for the Seychelles. On his return from the Seychelles Preller held exhibitions in Pretoria and Johannesburg in which shell and fish motives as well as Christ heads appeared. Through his use of colour and with the influence of indigenous art in his work, he brought an awareness to South Africa that an European approach cannot be summarily transposed to the South African scene.
Dissertation (MA)--University of Pretoria, 1986.
Visual Arts
MA
Unrestricted

Ce catalogue décrit, illustre, " historise " et commente chaque oeuvre dans le contexte de la production de l'artiste et de celle de ses contemporains. Les notices, l'introduction, les notices complémentaires et la chronologie situent l'oeuvre en regard de ses sources et du voisinage de ses contemporains. Le chapitre sur la fortune critique et l'annexe "sources" apportant un complément d'information sur sa réception. Cette thèse montre la contribution de Marcel Barbeau à l'Automatisme, un mouvement expressionniste abstrait québécois, pionnier de l'abstraction au Canada au milieu des années quarante. Artiste en constante mutation, Barbeau fut aussi associé à̧ des tendances très diverses de même qu'à des productions poétiques phoniques, musicales et chorégraphiques. L'étude rend compte de ces relations passagères en montrant la prégnance des origines expressionnistes de l'artiste et de ses références surréalistes, dada et extra disciplinaires sur son oeuvre, pour en dégager l'originalité
This comprehensive catalogue describes, illustrate, historicizes and comment each work, showing its relationship with the artist's own production and those of his contemporaries. The main commentary, the introduction, the complementary notes and the chronology situate the artist's oeuvre with regards to its sources abs relationship to contemporary works. The chapter on the critiques as well as the annexes. Sources bring complementary information regarding their reception. This thesis shows Barbeau's contribution to Automatism, a Quebec abstract expressionist movement. Barbeau was a pioneer of abstraction in Canada in the mid-forties. With this ever-changing style, Barbeau produced a crossbred work, related to very diversified movements as well as to productions in phonic poetry, music and dance. This study takes into account these transient encounters, showing the permanency of surrealistic, Dadaist and transdisciplinary references within his work

Leon lhermitte, dessinateur, pastelliste, peintre et graveur francais, nait a mont-saint-pere en 1844 et meurt en 1925. Eleve de lecoq de boisbaudran, continuateur par certains cotes de l'ecole de barbizon, de corot et breton, il expose de 1864 a 1889 au salon des artistes francais des sujets religieux et paysans. Ce dernier theme devient predominant apres son succes de la paye des moissonneurs et la mort de bastien-lepage. Entraine par son ami cazin, il devient des 1890 membre de la societe nationale des beaux arts, qui organise des expositions annuelles auxquelles il participera jusqu'a sa mort. Connu tout d'abord par ses fusains, signale comme un des maitres du blanc et noir, lhermitte abandonne cette technique a laquelle il substitue, apres 1886, le pastel, tres en vogue a la fin du xixeme siecle. Sa vie est entouree d'honneurs, de distinctions, de commandes officielles. Tres celebres de son vivant, car son art repose sur l'adhesion du jury du salon et du public, lhermitte profite du succes du realisme et des themes campagnards developpes principalement par millet et de l'image que les gouvernements successifs veulent donner du paysan, symbole de travail et de morale familiale. Il est un des representants de la peinture officielle de la iiieme republique qui, par son anecdotisme et son souci de tout decrire, permet d'avoir une connaissance de la vie materielle et de nombreux aspects de la vie quotidienne et rustique avant l'industrialisation de la france rurale. Lhermitte participe a ce grand courant naturaliste des annees 1880 que l'on retrouve a cette epoque dans bon nombre de pays europeens. Si sa production picturale manque de qualite, ses fusains et certains de ses pastels sont a redecouvrir pour leur qualite esthetique
Leon lhermitte, french painter, pastellist, draughtsman and printmaker, was born in mont-saint-pere in 1844 and died in paris in 1925. A student of lecoq de boisbaudran, he perpetuated certain aspects of the barbizon school, of corot, and of breton. From 1864 to 1889 he exhibited religious subjects and depictions of peasant life at the salon des artistes francais. His representations of peasant life became predominant after the success of his la paye des moissonneurs, and following the death of bastien-lepage. Supported by his friend cazin, he became a member of the societe nationale des beaux-arts in 1890 and participated in its annual exhibitions until his death. Known at the beginning of his career for his charcoal drawings and hailed as one of the masters of the exhibition "blanc et noir", lhermitte abandoned this medium in 1886 for pastel, very much in vogue at the end of the 19th century. Throughout his career, the artist received numerous honors, distinctions, and official commissions. Celebrated during his lifetime because his art was supported by the salon jury and by the public, lhermitte took advantage of the success of realism and the rural themes developed principally by millet, and from the image that successive governments wanted to give to the peasant, symbol of work and family values. He was one of the representatives of the official art of the third republique, which by its anecdotal qualities and attention to detail provides a knowledge of the material existence and daily rustic life of rural france before the era of industrialization. Lhermitte participated in the grand current of naturalism of the 1880s that predominated in numerous european countries during the period. If his pictorial production lacks quality in certain respects, his charcoals and certain of his pastels can be appreciated anew for their aesthetic quality

.../
Traditional french painter georges mathieu is the french father of lyrical abstraction. Born in 1921, he enjoyed great fame in the years 1950-1980 and continued his many activities until his death in 2012. this is the adventure of this painter, alternately revered and controversial, for which we must conduct chronological study of the painted work. the establishment of the comprehensive catalog raisonné serves as a prerequisite for aesthetic analysis of his work. The media image of the painter and the character is very well known, but it is sketchy and hides her bulimia artistic productions, energy-time-space-speed, his vehemence in performance, his defense of traditional arts and crafts french and commitment to rehabilitate and safeguard techniques and ancestral know-how as part of a heritage policy. In the euphoric context of post-war and liberation, georges mathieu, after a degree in philosophy and english, decided to become a painter without initial training in fine arts. He chose the pictorial record of the non-figurative art, his gestures and signs. he explains this choice by a desire to break with mediocrity, to stave off a degrading materiality, and recover freedom usurped. mathieu has mastered multiple facets of art: writer, layout artist, sculptor, architect. This painter, among a constellation of artists, gallerists, critics, has become a spokesman vehement non geometric abstraction around artists such as soulages, wols and hartung. After i graduated in 1996 at the national school of fine arts in hanoi, traditional lacquer option, i followed for five years an academic teaching visual arts (in french tradition since my country is a former french colony) and a master of development, still in the plastic arts. In 2005 i joined the national education as a teacher at the school of fine arts in ho chi minh city (former saigon), open city that seemed to me to western influences of modern art or contemporary. I moved to france in 2008 and i decided to direct my thesis to a problematic centered on the non-figurative painting, so abstract, but not geometric, lyrical inspiration, informal or expressionist postwar. Georges Mathieu benefiting, to date, no catalog raisonné, i decided to call the thesis '' georges mathieu, catalog and study of his work. '' In 1947, mathieu aged 25, joined paris. he met famous painters wols, hartung, soulages, hantaï, atlan, zao wou-ki, vieira da silva, manessier, poliakoff and others. if Mathieu is the inventor of lyrical abstraction is also because qu'angliciste, who will make known american painters such as pollock, tobey, de kooning. director of public relations and quarterly editor united states lines paris review on behalf of a shipping company. it writes articles with the contribution of intellectuals and illustrious artists such as john cage, pierre boulez, frank lloyd wright, claude levis-strauss lupasco, roland barthes, carl jung. meanwhile, Mathieu continued to paint, and sells very early his first paintings. outside the partisan approach, 60 years after his first picture, two years after his death, we have enough distance to see the extent of his repertoire and his pictorial innovations. besides painting, mathieu enthusiasm for graphic arts, decorative and craft art. in this extension there is a growing interest for the development of a bold cultural policy, notably through his writings. Today we know less Georges Mathieu, while each held in the 1970s a piece of 10 francs in his hand, and saw the logo 2. Antenna is time to rehabilitate the painter and give him place in the pantheon of painters abstraction. [...]

.../
Traditional french painter georges mathieu is the french father of lyrical abstraction. Born in 1921, he enjoyed great fame in the years 1950-1980 and continued his many activities until his death in 2012. this is the adventure of this painter, alternately revered and controversial, for which we must conduct chronological study of the painted work. the establishment of the comprehensive catalog raisonné serves as a prerequisite for aesthetic analysis of his work. The media image of the painter and the character is very well known, but it is sketchy and hides her bulimia artistic productions, energy-time-space-speed, his vehemence in performance, his defense of traditional arts and crafts french and commitment to rehabilitate and safeguard techniques and ancestral know-how as part of a heritage policy. In the euphoric context of post-war and liberation, georges mathieu, after a degree in philosophy and english, decided to become a painter without initial training in fine arts. He chose the pictorial record of the non-figurative art, his gestures and signs. he explains this choice by a desire to break with mediocrity, to stave off a degrading materiality, and recover freedom usurped. mathieu has mastered multiple facets of art: writer, layout artist, sculptor, architect. This painter, among a constellation of artists, gallerists, critics, has become a spokesman vehement non geometric abstraction around artists such as soulages, wols and hartung. After i graduated in 1996 at the national school of fine arts in hanoi, traditional lacquer option, i followed for five years an academic teaching visual arts (in french tradition since my country is a former french colony) and a master of development, still in the plastic arts. In 2005 i joined the national education as a teacher at the school of fine arts in ho chi minh city (former saigon), open city that seemed to me to western influences of modern art or contemporary. I moved to france in 2008 and i decided to direct my thesis to a problematic centered on the non-figurative painting, so abstract, but not geometric, lyrical inspiration, informal or expressionist postwar. Georges Mathieu benefiting, to date, no catalog raisonné, i decided to call the thesis '' georges mathieu, catalog and study of his work. '' In 1947, mathieu aged 25, joined paris. he met famous painters wols, hartung, soulages, hantaï, atlan, zao wou-ki, vieira da silva, manessier, poliakoff and others. if Mathieu is the inventor of lyrical abstraction is also because qu'angliciste, who will make known american painters such as pollock, tobey, de kooning. director of public relations and quarterly editor united states lines paris review on behalf of a shipping company. it writes articles with the contribution of intellectuals and illustrious artists such as john cage, pierre boulez, frank lloyd wright, claude levis-strauss lupasco, roland barthes, carl jung. meanwhile, Mathieu continued to paint, and sells very early his first paintings. outside the partisan approach, 60 years after his first picture, two years after his death, we have enough distance to see the extent of his repertoire and his pictorial innovations. besides painting, mathieu enthusiasm for graphic arts, decorative and craft art. in this extension there is a growing interest for the development of a bold cultural policy, notably through his writings. Today we know less Georges Mathieu, while each held in the 1970s a piece of 10 francs in his hand, and saw the logo 2. Antenna is time to rehabilitate the painter and give him place in the pantheon of painters abstraction. [...]

Using archived documentation, reporting in particular on the decisions made by the Association at the Plenary Assembly and in the Librarians’ Assemblies, the contribution retraces the various training procedures involving libraries and the staff responsible. From 1994 to 2023, decisive steps have been taken: from the paper file and the Vatican regulations to MARC 21, to RDA and the realisation of the Parsifal platform, to the shared catalogue. This process was made possible by continued cooperation and decisions made together; these decisions led to tangible training projects for librarians and, in particular, to specific courses planned for cataloguers.

Abstract INTERPRET is an intelligent product catalogue which allows a customer to select online exactly his component being supported by the knowledge provided by the supplier. Additionally, the customer can insert both the actual geometry into his own design as well as dispositive data file into his administrative data processing system. Main focus of INTERPRET is the electronic handling of different business processes on heterogeneous computer systems (the so-called telecommerce). The Internet serves here as a communication platform to the design of the desired worldwide virtual production system (Kroll, 1994). The availability of this low-priced solution for each enterprise facilitates the fast and flexible design of virtual production communities (Davodow, Malone, 1993).

Based on two printed volumes Musik und Musiker am Mittelrhein (1974, 1981), the online encyclopaedia MMM2 (published in 2018) continues the original idea of a biographical and bibliographical documentation of musicians and musical sources in the middle rhine region. Exploring local music history often means to venture off the beaten track of well-known names and institutions. While perhaps not considered a worthwhile undertaking by some, the 570 articles on musicians, composers, publishers etc. that can currently be found in MMM2 are proof of networks that have hitherto been unknown or disregarded. Filling the gaps in our knowledge of musical life and culture in this area also enables us to improve data such as catalogue entries and name authority files in the RISM database.

Abstract A prototype knowledge-based system of sequence design for cross wedge rolling (CWR) is described. This is a part of a complete system developed for cross wedge rolling process. Parts are catalogued with a hybrid solid rotational part classification and coding system utilizing the principles of group technology, together with metal-flow features. The proper knowledge representation of the rolled part and wedge tool configurations is incorporated into an expert system. Given a part code and its geometric data via the text input, the rolling sequence and wedge tool configurations are automatically determined by the system. Wedge tool feature patterns are embedded into the knowledge representation to match a corresponding rolled part. Examples demonstrated in this paper show that this system has been applied to modelling sequence designs and these designs have assisted the modelling die design activities for the CWR process.

Abstract This paper describes the roles of features and abstraction mechanisms in the mechanical design process, mechanical designs, and product models of mechanical designs. It also describes the relationship between functions and features in mechanical design. It is our experience that many research efforts exist in the areas of design and product modeling and, further, that these efforts must be cataloged and compared. To this end, this paper culminates with the presentation of a multi-dimensional abstraction space which provides a unique framework for (a) comparing mechanical engineering design research efforts, (b) relating conceptual objects used in the life cycle of mechanical products, and (c) defining a product modeling space.

Grand Canyon-Parashant National Monument (PARA) in northwestern Arizona has significant paleontological resources, which are recognized in the establishing presidential proclamation. Because of the challenges of working in this remote area, there has been little documentation of these resources over the years. PARA also has an unusual management situation which complicates resource management. The majority of PARA is administered by the Bureau of Land Management (BLM; this land is described here as PARA-BLM), while about 20% of the monument is administered by the National Park Service (NPS; this land is described here as PARA-NPS) in conjunction with Lake Mead National Recreation Area (LAKE). Parcels of state and private land are scattered throughout the monument. Reports of fossils within what is now PARA go back to at least 1914. Geologic and paleontologic reports have been sporadic over the past century. Much of what was known of the paleontology before the 2020 field inventory was documented by geologists focused on nearby Grand Canyon National Park (GRCA) and LAKE, or by students working on graduate projects; in either case, paleontology was a secondary topic of interest. The historical record of fossil discoveries in PARA is dominated by Edwin McKee, who reported fossils from localities in PARA-NPS and PARA-BLM as part of larger regional projects published from the 1930s to the 1980s. The U.S. Geological Survey (USGS) has mapped the geology of PARA in a series of publications since the early 1980s. Unpublished reports by researchers from regional institutions have documented paleontological resources in Quaternary caves and rock shelters. From September to December 2020, a field inventory was conducted to better understand the scope and distribution of paleontological resources at PARA. Thirty-eight localities distributed across the monument and throughout its numerous geologic units were documented extensively, including more than 420 GPS points and 1,300 photos, and a small number of fossil specimens were collected and catalogued under 38 numbers. In addition, interviews were conducted with staff to document the status of paleontology at PARA, and potential directions for future management, research, protection, and interpretation. In geologic terms, PARA is located on the boundary of the Colorado Plateau and the Basin and Range provinces. Before the uplift of the Colorado Plateau near the end of the Cretaceous 66 million years ago, this area was much lower in elevation and subject to flooding by shallow continental seas. This led to prolonged episodes of marine deposition as well as complex stratigraphic intervals of alternating terrestrial and marine strata. Most of the rock formations that are exposed in the monument belong to the Paleozoic part of the Grand Canyon section, deposited between approximately 510 and 270 million years ago in mostly shallow marine settings. These rocks have abundant fossils of marine invertebrates such as sponges, corals, bryozoans, brachiopods, bivalves, gastropods, crinoids, and echinoids. The Cambrian–Devonian portion of the Grand Canyon Paleozoic section is represented in only a few areas of PARA. The bulk of the Paleozoic rocks at PARA are Mississippian to Permian in age, approximately 360 to 270 million years old, and belong to the Redwall Limestone through the Kaibab Formation. While the Grand Canyon section has only small remnants of younger Mesozoic rocks, several Mesozoic formations are exposed within PARA, mostly ranging in age from the Early Triassic to the Early Jurassic (approximately 252 to 175 million years ago), as well as some middle Cretaceous rocks deposited approximately 100 million years ago. Mesozoic fossils in PARA include marine fossils in the Moenkopi Formation and petrified wood and invertebrate trace fossils in the Chinle Formation and undivided Moenave and Kayenta Formations.