Proefschrift--Amerikaanse geschiedenis--Rijksuniversiteit te Leiden, 1995. / Bibliogr. p. 254-266. Index.

Diss.--Universität Mainz, 2000. / Bibliogr. p. 249-252.

Carapace length, as the best measure of N. marionis body size, is precisely defined. It is shown that N. marionis is a partially protandric hermaphrodite. N. marionis appear to hatch just before April each year, with a little hatching persisting until May. The vast majority of juveniles develop into males. The majority of males transmutate into females in their third year. By April/May the transmutation is probably complete. Reproduction can occur before all male secondary characteristics have been lost. A small minority of individuals develop directly into females without passing through a male phase. At least some of these females can be initially recognized after they have developed mature ovaries by the presence of appendices internae on their first pleopods, a male copulatory structure which all juvenile N. marionis possess. Too few gravid females were recovered to make any statement on whether spawning can occur before this structure is lost. Such females may lose their first pleopod appendices internae in one moult, possibly just before spawning, which may be in late April/early May. Such individuals seem to mature into ovigerous females at a slightly smaller carapace length than do the majority of females which have had a male-phase past. A few females which have passed through a male phase seem to begin developing ovaries at about this small carapace length as well. Once the appendices internae have been lost there appears to be no way of identifying any given female's past life-history. It would seem that during the first year of life N. marionis survive in undetected localities, moult into juveniles, and then settle amongst the benthos from the plankton. Diurnal vertical migration then occurs up to an unknown larger size. It is not known whether the larvae are initially planktonic or not. It is possible that settling of small N. marionis onto the benthos only begins after November. Whether the appendices masculinae of some males only begin growing after they have settled Abstract XIX onto the benthos is unknown, but for the majority at least this begins whilst they are planktonic juveniles. Individuals older than five years are undetectable using samples of the sizes analyzed in this thesis, but they may well persist until quite an advanced age. Niche separation between smaller and larger N. marionis individuals may occur. Diel vertical migration may occur to some extent amongst large N. marionis. Itinerant euphausiids may contribute substantially to the maintenance of top predator populations at the archipelago, either through direct predation by those predators or via predation by N. marionis, which in turn are consumed by those predators. N. marionis itself is an opportunistic feeder, although the majority of its prey seem to be suspension feeders, both benthic and pelagic. In multisample situations, ageing of N. marionis cohorts is made less subjective if one utilizes the phenomenon of synchronized sexual inversion. The von Bertalanffy growth parameters for N. marionis are tentatively identified as k = 0.2353/year, L_ = 12.69mm, to = -0.2828 years and WW_ = 2.03g. The programme FiSAT is discussed, having been found to be extremely useful, but having also been found to have certain faults. Various hypotheses are proposed and are put forward as suggestions for future studies.

While the terrestrial ecosystem of the Prince Edward Island Group has been subject to intensive research, the marine ecosystem has to a large extent been neglected. This together with the possible existence of an "island effect" at these islands, as was first proposed after the visit to these islands of the French vessel Marion Dufresne, led to the initiation of a programme to determine the distribution of standing stocks and the productivity of phytoplankton and zooplankton in the neritic seas of these islands. To do this and before a detailed biological survey could be attempted, it was first necessary to define the physical and chemical properties of the circuminsular waters. This dissertation discusses the results of several surveys to these islands in the light of a possible "island effect" and comments upon processes likely to influence such an effect

Edward Albee's concern with the illusions people use to escape the external facts of their lives has prompted the emphasis on games in his plays. His use of such games, as well as the word "game" itself, presupposes an interest in game-playing concepts which has become increasingly obvious over the past ten years. Such concepts emphasize both the necessity of illusions in constructing and dealing with life and the necessity for awareness of such illusions if they are to be creatively managed. Albee extends these ideas in his plays both through the characters' game-playing and the structure of the plays themselves. By drawing attention to the dramatic illusion, Albee utilizes the play as a game and illustrates the significance that an awareness of illusion can achieve. At the same time, he extends the characters' game-playing into the dramatic structure, demonstrating his tacit understanding of the relationship between form and content in a work of art. Chapter One outlines the game-playing concepts that are the backbone of Albee's plays and discusses the ways by which Albee extends these concepts into the play-form itself. Basic to the audience's awareness of the dramatic illusion is its intermittent alienation from it. Such alienation is facilitated by Albee's deliberate confusion of theatrical conventions which prevents the audience from relegating his plays to any definite dramatic tradition. Chapter Two examines four of Albee's one-act plays: The Sandbox, The American Dream, The Death of Bessie Smith, and The Zoo Story. In The Sandbox and The American Dream, the characters' game-playing receives its most exaggerated treatment: correspondingly, these plays represent Albee's most obvious use of the play as a game. In The Death of Bessie Smith, the manipulation of the theatrical experience is not as important as the development of the Nurse as the first of Albee's neurotic females. The Nurse's inability to use games to escape successfully from her frustration with life provides the play with its dramatic centre and makes an important point about game-playing: awareness of games and illusion must at times be overcome if games are to provide real management of life. This theme is further developed in The Zoo Story in which Jerry's attack on Peter's illusions about life serve to illustrate his own inability to communicate. In Chapter Three, the games George and Martha play with themselves and their guests in Who's Afraid of Virginia Woolf? are analyzed as a means of comprehending more fully Albee's prerequisites for individual and social survival. The criticism of the "American Scene" that Albee begins in The Sandbox and The American Dream is here more fully developed, the family continuing as his basic metaphor for contemporary American society. The play represents Albee's most complex use of the play as a game, the set and dialogue providing a naturalistic foil for the "interruptive" techniques borrowed from other dramatic traditions. Finally, Chapter Four deals with A Delicate Balance, Albee's most recent full-length, play, excluding his adaptations. Although game-playing is not as marked in this play as in the earlier ones, it still is central to the characters' illusions about family and friendship and to the play's overall structure. Moreover, the "balance" that Agnes maintains between awareness of her illusions and abandonment to them suggests a resolution to the problems surrounding game-playing that Albee probes in his earlier work. Such a resolution demands an awareness of illusion and a management of games so that they may best serve the game-player. / Arts, Faculty of / English, Department of / Graduate

The work of Edward Dahlberg has not greatly been studied. One book about him exists, another one or two (that I am aware of) are in preparation. Too few book reviews, the other criticisms of his efforts, are interred in the pages of various literary periodicals which date back to 1930. In presenting his own appreciation of Dahlberg, Jonathan Williams writes, "God knows, I do not have the prodigious knowledge of classic literatures clearly necessary." Nor do I. Before I commenced this essay I was bidden to "cover the ground". This year, Mr. Dahlberg published a book which I received in the mail after I had completed my work. Of course, no critic with a soul, or a grain of sense, feels that his work is ever done, or that he has done is definitive. Whoever does feel this contributes mightily to the plague of cultural lockjaw which mortally endangers the free expression of all honest men everywhere. This present work is tentative, necessarily. I offer here for it few excuses but rather an intent to expand and (hopefully) improve it, later. I presume that in his search for his identity — he might say, in his hunt for what to write and for how to write it — Edward Dahlberg has had near him always the advice tendered by Sir Philip Sidney's muse: "Fool...look in they heart and write." Dahlberg's earliest works were autobiographical novels, written in what he much later referred to as the "abominable tongue" (BD, p. iv), the proletarian rudeness made fashionable after World War One and especially in the 1930's, too often truant from learning and a slave to its own moment. Following the autobiographical sketch Dahlberg has placed in a letter to Robert M. Hutchins (BOOT, p. 22), we see that what was to hand (or to ear) for these apprentice books did not suffice to inform our author who he must be. Josephine Herbst has written, [Bottom Dogs’] limitations set hardened boundaries beyond which Dahlberg was fated to pass or to lose his integral vision in the meaningless violence of typical American fiction. But more like a European writer than any American, he was willing to go down to rot, if need be, in order that he might come up again in a rebirth more central to his vision of an imaginative beyond. (ED, p. vi) Do These Bones Live was published in 1941, after Dahlberg had been silent seven years. (This volume was twice revised — first in England in 1947 where it was called Sing O Barren: and again in New York in 1960, under the title Can These Bones Live.) His style had changed utterly during that time. His concerns had become more universal than personal and perhaps for that, more immediate; his cadences were richer, the better to focus upon what had had come to realize must hold his attention — his Origins. These he came to understand culturally, the Old World heritage the New World had too easily sloughed away. The more Dahlberg searched for himself among the records of the long past, the more resonant with them — as in The Flea Of Sodom (1950) — his style became. What could be more simple? "Le style est l'homme même.” Origins of Americans, whose feet should touch this incontinent, are as much “savage" as "civil". Novelist of himself, as Ortega says man is, Edward Dahlberg proceeded to discover in The Sorrows Of Priapus and The Carnal Myth both the epical annals of the Europeans who revealed the New World to the Old and also the legends of the Indians, they who were first to contact their white "discoverers", who first shook them with the brute fact of terra incognita. Except for the very obvious change in styles between his first four novels and Can These Bones Live, I have found it appropriate to treat all of Edward Dahlberg's work as one great book. (This has meant eschewing dates of publication in the process of quite an odd sort of cross-reference; the ideas in Truth Is More Sacred had likely been brewing in Dahlberg's mind for thirty years — it is an unavoidable historical accident that they saw daylight in 1961. Said the Russian poet Fet: I know not what I myself shall sing, But only my song is ripening.) "A novelist is always writing the same book; for he is born to make the perfect poem or novel." (LA, p. 17) My assumption explains?, why this essay is not entirely lineal — quotations from one book illuminate dark questions posed by another. Timidly, I might also say that some of Dahlberg's books are in part less essential to his development than others (I hesitate to say categorically,"his progress," for Dahlberg has consolidated or rather fructified his ideas and opinions; he has rarely changed them). The most important works are Can These Bones Live, The Flea Of Sodom, The Sorrows Of Priapus, The Carnal Myth, and Because I Was Flesh. But this is total conjecture and beyond a few phrases of explanation, my assertions would get lost and frozen in a semantic blizzard. What is cause and effect? Dahlberg's two books of essays (Alms For Oblivion, The Leafless American), some of the poems in Cipango*s Hinder Door, his critical exchange with Sir Herbert Read (Truth Is More Sacred), and his aphorisms — Reasons Of The Heart — certainly could not have been done apart from the other books listed earlier. However, Dahlberg's mythography is more central to him — and this, I repeat, is naught but the most elemental and dangerous hunch — in that it provides a base of self-knowledge that facilitates that secondary activity which is a more conventional and recognizable literary and social criticism. After years of study and many hazardous forays into the jungle of the public print, Dahlberg returned to himself (and to his mother), prepared at last with his adjunctive assurance about that part of him which uttered habitually the wisdom of the millenia in the periods of the seventeenth century, to tell the story of his own person. As always, it was an inevitable act. "...I have come to that time in my life when it is absolutely important to compose a good memoir although it is also a negligible thing if I should fail." (Because I Was Flesh, p. 4) My composition has a plan. Think of a man in a whirlpool: the centre of it is himself yet he is surrounded by a vortex of alien matter which closes upon him steadily. He must free his body from the workings of the funnel, must thrash his way up and out of its constrictions. Yet his contact with it is the only means he has to disengage himself from its whorls, which work counter to all his efforts. Does it not greatly behoove him to learn its processes, to understand its duplicities as quickly as possible, so as to overcome (or try to overcome) its attempts ever to suck him down? I have arranged in chapters my account of the work of Edward Dahlberg and this has been its scheme: an Introduction about the impossibility of critcism; Chapter One — some words of a kind concerning an epistemological problem and its solution, the process of metaphor; Chapter Two — literary criticism (those authors and attitudes to whom Dahlberg first travelled to find himself, and also those past whom he had to fight his way); Chapter Three — socio-political criticism; Chapter Four — the diligent search for the myths of peoples of the Old World and the New; Chapter Five — the memoir of the body; a Conclusion, in which (among other matters) alternate ways of approaching the subject are suggested. In fine, the "whole body and intelligence" described at the start of Chapter Two is tracked throughout and is treed by Chapter Five. The knowledge of self is inextricable, at last, from the knowledge of others. The tale of that process/proposition in terms of the life and art of Edward Dahlberg is the burden and (if indeed there is any) the progression of my essay. I mentioned in my tiny description of the first chapter of this essay that it concerned an epistemological problem — indeed, my entire composition, because of the nature of its subject (and because of what I hope is my sympathy for that subject) is concerned with an epistemological problem. Which way does the cyclone/anti-cyclone revolve? How does man make his what is all a-round him? How does man know himself best; by heart, by head? Must he seek to move or to cease whirling, so that he may learn? What leavens him, merely that which fetches him? Does he do what he desires? What is movement, choice, stillness, action? How does he know? Everything comes in twos, good and evil, pleasure and asceticism, life and dying. Hermes is the god of eloquence, and this winged courier brings the right words to the mouth of the poet, and he also tells him when he is to die. There is no writing, or life, or teaching that is good that is not also heavily impregnated with death. (CM, pp. 21-22) The vorticist is Edward Dahlberg, the struggling and anguished Western man, indestructible Laocoon by virtue/vice of his own skin, senses, organs, blood, and bones (and those of the quivering World around him), fervently desiring tranquillity and ever chary of (it as?) the Void. / Arts, Faculty of / English, Department of / Graduate

No description available.

King Edward I of England's castle building program in Wales from 1282 to 1295 provides a unique event that can be studied in further detail. Edward's castle building program turns the conquest of Wales into an early example of what future English colonization would become. By examining the building of Conwy and Caernarvon in Wales and the accompanying social programs we are better able to understand how the English viewed conquest and colonization. The conquest spent approximately £35,000 on the building of the castles of Conwy and Caernarvon, a colossal sum for the time. The reallocation of resources from England into Wales provide important similarities to later colonial endeavors, especially in the large application of manpower to build successful colonies. Another similarity becomes the split between the use of local raw resources such as the stone and timber combined with the need for manufactured goods brought from England. The social changes also had a major impact. The construction of Edward's castles Conwy and Caernarvon replaced iconic locations of Welsh power. The accompanying Statute of Wales (1284) changed the Welsh legal landscape and forced the English legal system on the Welsh. By replacing Welsh locations of power and instituting legal reform England made it possible for its colonists to safely enter northern Wales and take control of the region.

No description available.

Zugl.: München, Univ., Diss., 2006.