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1	Life History Studies of Two Digenetic Trematodes, Bolbophorus Damnificus and an Unknown Clinostomoid Species, that Infect Channel Catfish Ictalurus Punctatus Doffitt, Cynthia Michelle 09 December 2011 (has links) The commercial production of channel catfish (Ictalurus punctatus) is major industry in Mississippi. Infections of channel catfish with the digenetic trematode Bolbophorus damnificus have often been associated with heavy economic losses in the industry. To efficiently control transmission of this trematode, the avian hosts need to be identified. In the first study, two American white pelicans, two double-crested cormorants, two great blue herons, and two great egrets were fed channel catfish infected with B. damnificus metacercariae. The presence of Bolbophorus damnificus ova in pelican feces at three days post infection (dpi) indicated the pelicans had patent infections. Mature B. damnificus were recovered from the intestines of both pelicans at 21 dpi. No B. damnificus infections were observed in the other bird species. In a second study, 33 American white pelicans, 34 double-crested cormorants, 35 great blue herons, and 32 great egrets were collected in the Mississippi Delta. The prevalence of B. damnificus in the American white pelican was 93.9%, with an average of 158 B. damnificus found per bird (range 0-681). Bolbophorus damnificus was not found in any of the other bird species. The results of these two studies confirm that the AWPE is the only proven natural host for B. damnificus. In a third study, two previously undescribed cercariae were found infecting rams-horn snails in commercial catfish ponds. In challenge studies, channel catfish were exposed to both cercariae types. Only one type of cercariae (type I) was infective to channel catfish. The first evidence of type I metacercariae was seen histologically at 14 dpi and grossly at 21 dpi. Development continued until 120 dpi, when both gross examination and histology suggested that the metacercariae were mature. The type I metacercariae appeared to cause little host damage. Molecular analysis of the 18S rRNA gene region indicated that the type I cercariae and metacercariae may be a species of Clinostomum. The data generated in these three studies provides additional information that can be used in the development of efficacious management schemes to control digenetic trematodes infecting commercial catfish. Ardea alba Ardea herodias Bolbophorus damnificus Clinostomum cercariae Digenea Ictalurus punctatus metacercariae Pelecanus erythrorhynchos Phalacrocorax auritus piscivorous birds trematode
2	Salomé danse-t-elle ? Enquête sur les représentations littéraires et chorégraphiques d'un mythe féminin aux XIXe et XXe siècles / Does Salome dance? Investigating literary and choreographic representations of a feminine myth in the 19th and the 20th century Dariane, Cynthia 02 December 2013 (has links) Depuis toujours, Salomé hante les esprits et se profile dans les créations artistiques. Elle évolue selon les siècles, changeant selon l’humeur des artistes, assouvissant leur désir créateur. Cependant, ce sont les artistes symbolistes et décadents qui vont donner à la danseuse biblique son véritable essor et l’imposer comme une véritable figure archétypale, avec la danse au cœur de cette recréation. L’art de Terpsichore s’empare également de Salomé et les techniques scéniques et chorégraphiques permettent l’affirmation de nouvelles idées sociales, de courants de danse novateurs ainsi que le développement de nouveaux savoir-faire artistiques à travers la figure de la fille d’Hérodiade. Notre travail va porter non pas sur Salomé dans l’absolu, mais sur sa danse en tant que telle, et plus particulièrement sur la façon dont elle est retranscrite dans les textes et sur scène. Il s’agira donc de se demander, à travers la figure de la danseuse, quelles sont les connivences entre les deux langages, celui du corps, des gestes, et celui des mots. En quoi Salomé arrive-t-elle à conjuguer influence artistique et révolution socioculturelle ? / Salomé has always been haunting our minds and sneaking into artistic creations. She evolves through the centuries, changing with artists' state of mind and meeting their creative desire. However, symbolist and decadent artists are those who gave the biblical dancer her real take-off, imposed her as a true archetypal figure, with dance at the heart of the recreation. Terpsichore's art also takes hold of Salome and stage and chorography techniques enable the assertion of new social ideas, innovative dance trends and the development of new artistic know-hows through the myth of Herodias. This work tackles not Salome in absolute, but rather her dance, and more specifically the way it is expressed in writings and on stage. We shall see, through the figure of the dancer, what complicity bond the two languages, that of the body and the moves, and that of the words. How does Salome mix artistic influence and social and cultural revolution? Salomé Hérodias Littérature Danse Danseuse Chorégraphie Symbolistes Décadents Féminisme Flaubert Wilde Mallarmé Graham Allen Rubinstein Terspichore Salome Herodias Literature Dance Dancer Choreography Symbolists Decadents Feminism Flaubert Wilde Mallarmé Graham Allen Rubinstein Terpsichore

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Life History Studies of Two Digenetic Trematodes, Bolbophorus Damnificus and an Unknown Clinostomoid Species, that Infect Channel Catfish Ictalurus Punctatus

Salomé danse-t-elle ? Enquête sur les représentations littéraires et chorégraphiques d'un mythe féminin aux XIXe et XXe siècles / Does Salome dance? Investigating literary and choreographic representations of a feminine myth in the 19th and the 20th century