African Queen Research Articles

An African Queen at the Philadelphia Centennial Exposition 1876

Abstract Mary Edmonia Lewis (ca. 1843–after 1909) was America's first professional sculptor of African and Native American descent. She staked a claim at the highest level of neoclassical art. This usually meant competing against men who vehemently opposed women competing in a “man's” profession. Lewis found the fortitude to take up the challenge and, along with several other women (all white), demonstrated the capacity to produce extraordinary marble sculptures. Lewis's burden was twofold. In addition to her gender, her race presented unique obstacles, especially to those who subscribed to the belief that those with a “drop of African blood” were rendered less intelligent and creatively inept. Her crowning achievement was The Death of Cleopatra (1876) that was exhibited at the Philadelphia Centennial Exhibition of 1876 to great acclaim. This paper offers critical insights into the creation of that great work.

DVD Chronicle: The Red Badge of Courage , and: Apocalypse Now , and: Apocalypse Now Redux , and: Hearts of Darkness—A Filmmaker's Apocalypse , and: Fitzcarraldo , and: Burden of Dreams , and: Unknown Chaplin , and: The Circus , and: Fanny and Alexander , and: The Making of Fanny and Alexander , and: Gods and Monsters , and: Bride

Reviewed by: DVD Chronicle: The Red Badge of Courage, and: Apocalypse Now, and: Apocalypse Now Redux, and: Hearts of Darkness—A Filmmaker's Apocalypse, and: Fitzcarraldo, and: Burden of Dreams, and: Unknown Chaplin, and: The Circus, and: Fanny and Alexander, and: The Making of Fanny and Alexander, and: Gods and Monsters, and: Bride of Frankenstein, and: Frankenstein, The Legacy Collection Jefferson Hunter (bio) DVD Chronicle: The Red Badge of Courage, directed by John Huston (Warner Home Video, 2003); Apocalypse Now, directed by Francis Ford Coppola; "The Complete Dossier" edition, including Apocalypse Now Redux (Paramount, 2006); Hearts of Darkness—A Filmmaker's Apocalypse, directed by Fax Bahr (Paramount, 2007); Fitzcarraldo, directed by Werner Herzog (Starz/Anchor Bay, 1999); Burden of Dreams, directed by Les Blank (Criterion, 2005); Unknown Chaplin, directed by Kevin Brownlow and David Gill (A & E Home Video, 2005); The Circus, directed by Charles Chaplin (Warner Home Video, 2004); Fanny and Alexander, directed by Ingmar Bergman; Five-Disc Criterion boxed set, including The Making of Fanny and Alexander (2004); Gods and Monsters, directed by Bill Condon (Lions Gate, 2003); Bride of Frankenstein, directed by James Whale (Universal, 1999); also available in Frankenstein, The Legacy Collection (Universal, 2004). Midway between two undoubted John Huston masterpieces, The Asphalt Jungle and The African Queen, came the director's adaptation of Stephen Crane, The Red Badge of Courage (1951). The film was famous in its day for the casting of Audie Murphy, the most decorated American combat hero of World War II, in the role of Crane's Youth. In performance, Murphy seems fragile and tentative, more boy than infantryman, and believable enough when he runs away from battle, rendered by Huston in great photogenic clouds of smoke; perhaps somewhat less believable when he recovers himself, heroically charging the Rebel lines. He is in fact a little out-acted by Bill Mauldin, the Stars and Stripes cartoonist, seen here in the first of his two screen roles; and by a handful of Hollywood character actors whom MGM was able to draw on for the grizzled-veteran parts, the Civil War analogues to Willie and Joe, Mauldin's weary dogfaces. The prolonged death of the Tall Soldier, played by one of those character actors, John Dierkes, and played with a minimum of sentiment and a maximum of strangeness, is by itself reason enough to watch The Red Badge of Courage. The Tall Soldier dies on a hillside covered with wild oats and live oaks—patently not a tidewater Virginia landscape, but a California one, indeed a San Fernando Valley one; most location shooting took place there, on Huston's own ranch. This is a fact revealed in Lillian Ross's book Picture (1952), an almost day-by-day account of how The Red Badge of Courage was made, and still another reason to watch it; going back [End Page 295] and forth between the film and Ross's reportage amounts to a tutorial on 1950s movie production. A New Yorker journalist skilled at cold-eyed portrayals of oversize male egos, as in her famous profile of Ernest Hemingway, Ross in Picture turns that eye on Louis B. Mayer, whom she captures in his cream-colored studio office, enthusiastically if not very grammatically ("Between you and I and the lamppost") denigrating The Red Badge of Courage for lacking heart. Dore Schary, then in a power struggle with Mayer for control of MGM, took over the film after Huston departed for Africa, and from Schary came some of its veneration of Crane as a Great Writer—a solemn narrating voiceover, an opening with pages of the famous classic being turned before our eyes. Touches of "heart," I suppose, or perhaps of "class," but they matter less than the film's fidelity to the American vernacular heard in cornpone accents ("I hope there won't be no more fightin' till a week from Monday!") and its slyly ironic portrayal of military posturing; a Union general goes down the line rallying the boys by issuing exactly the same faux-hearty encouragement to each ragged group he meets. Nowadays a film's how-we-made-it story is likely to be told cinematically, in featurettes on DVDs or stand...

Interspecific Lily Hybrids with the Ability to Flower Precociously and to Produce Multiple Flower Stalks from Lilium formosanum

Lilium formosanum Wallace has remarkable traits such as ‘precocious flowering’ ability, i.e., it reaches anthesis within 12 months from seed germination, with multiple shooting of flower stalks. To verify the possibility of the usefulness of these traits in lily breeding, nine combinations of interspecific crosses (L. formosanum as the seed parent; L. auratum, L. speciosum, L. regale, ‘Lollypop’, ‘Pink Tiger’, ‘Zaza’, ‘Le Reve’, ‘Marco Polo’, and ‘African Queen’ as pollen parents) were carried out with cut-style pollination and ovary-slice culture. Germination was observed in all nine interspecific crosses and 53 hybrids were obtained. Thirty (56.6%) of the 53 hybrids and two self-pollinated progenies of L. formosanum reached anthesis within 24 months from germination through ovary-slice culture. Multiple shooting of flower stalks was recognized in 11 (36.7%) of those flowered hybrids. Four hybrids, the pollen parents of which were Asiatic hybrid lilies with colored flowers, expressed ‘precocious flowering’ ability, multiple shooting of flower stalks, and entirely colored flowers simultaneously. These results suggest the possibility of breeding new types of cultivars with triple favorable traits from the cross between L. formosanum and Asiatic hybrid lilies with colored flowers.

The butterfly Danaus chrysippus (L.) in East Africa comprises polyphyletic, sympatric lineages that are, despite behavioural isolation, driven to hybridization by female-biased sex ratios

Mitochondrial and nuclear DNA information was analysed among four subspecies of the African Queen butterfly, Danaus (Anosia) chrysippus sensu lato (s.l.), along with four other Danaus species drawn from all three subgenera (D. (Danaus) plexippus, D. (Salatura) genutia, D. (A.) gilippus, D. (A.) eresimus) and two outgroup species from the same tribe, Tirumala septentrionis and Amauris niavius. A mitochondrial phylogeny derived from the 12S rRNA (347 bp) and COI (537 bp) loci indicates two very distinct haplotypes for subspecies D. (A.) c. dorippus, dorippus-1 and dorippus-2. Interestingly, dorippus-1, on the one hand, and all other D. (A.) chrysippus haplotypes, on the other, are the most distantly related clades within the genus and have different most recent ancestors from different subgenera, though sharing the common ancestor of the monophyletic genus. A phylogeny based on the EF1-α nuclear locus (400 bp) shows that the two well-separated mitochondrial lineages of dorippus are identical for this gene and reciprocally monophyletic to the other D. (A.) chrysippus lineages. Thus, nuclear and cytoplasmic phylogenies are not only discordant, but also suggest that both D. (A.) chrysippus s.l. and subspecies dorippus are polyphyletic. Paradoxically, four African subspecies, chrysippus-orange, chrysippus-brown, alcippus and dorippus, though substantially vicariant, hybridize extensively in East Africa wherever the ranges of two or more of them overlap. Linkage disequilibrium, and hence sexual isolation, in sympatry between colour (nuclear) genes and unlinked mitochondrial (cytoplasmic) loci is consistent across populations and therefore indicates the operation of positive natural selection. Together with data from previous experimental and field work, our results suggest that extensive hybridization occurs among once allopatric or parapatric lineages, that are now nascent species. We deduce that hybridism among lineages in sympatry is currently enforced, in the face of assortative mate choice, by a bacterial symbiont, Spiroplasma, a male-killer that forces females in female-biased populations to pair with heterotypic males. In discussion we emphasize that neither D. (A.) chrysippus s.l. as presently circumscribed, nor its component clades, conform to any established concept of species. © 2005 The Linnean Society of London.

Creating Their Own Image: A History of African-American Women Artists: African Queen

Creating Their Own Image: A History of African-American Women Artists: African Queen

The African Queen? Republicanism and Defensive Decolonization in British Tropical Africa, 1958-64

The African Queen? Republicanism and Defensive Decolonization in British Tropical Africa, 1958-64

Evidence From Mitochondrial Dna Supports Earlier Records of African Queen Butterflies (Danaus chrysippus) Migrating In East Africa

ABSTRACT Anecdotal evidence has long suggested that the African queen butterfly, Danaus chrysippus (L.), is migratory. More recently, records of rapid and seasonal changes in the frequencies of different colour pattern morphs in Tanzania, Ghana, and Kenya have provided further evidence. This paper demonstrates similarly rapid changes in the frequencies of different mitochondrial haplotypes in Nairobi, Kenya over a two-week period. These changes are correlated with changes in the frequencies of homozygous and hybrid colour forms, and are consistent with colour pattern/haplotype associations that have been observed on a continental scale. We conclude that they can only be explained by migration and that mtDNA analysis can be usefully and generally applied in studies of migratory movement.

The Work of Love-At Work on Board The African Queen

The Work of Love-At Work on Board The African Queen

Topographies of Defeat

TOPOGRAPHIES OF DEFEAT: MASCULINITY AND DESOLATION IN FAT CITY AND JUNIOR BONNER Success stories, per se, are not really of much interest to me (John Huston) In 1972, two of Hollywood's most independent filmmakers -- John Huston and Sam Peckinpah -- directed two pensive, deceptively inconspicuous movies which probed the existential malaise afflicting a particular form of American masculinity. Fat City(1) -- Huston's first American film in more than a decade -- was released to much critical acclaim, and reviewers came to rank it alongside his best previous efforts like The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt Jungle (1950) and The African Queen (1951).(2) Commercially, however, it was a modest failure.(3) With Junior Bonner, Peckinpah thoroughly defied the anticipations of critics and spectators who expected (and craved?) another cinematic blood orgy like the one in The...

Ethylene and postharvest performance of potted kalanchoë

The postharvest life of different cultivars of kalanchoë plants (Kalanchoë blossfeldiana Poelln.) varied widely. The display life of plants of ‘Nadia’ was much longer than that of plants of ‘Debbie’ (10 weeks compared with 7 weeks). During display life, senescing flowers were replaced by opening buds and the difference in display life was primarily a function of differences in life of the individual flowers in the inflorescences (approximately 45 and 20 days, respectively, for ‘Nadia’ and ‘Debbie’). Approximately 8 h after the start of exposure to ethylene, kalanchoë flowers started to inroll, reaching a minimum diameter after exposure for 24 h. The effects of ethylene were somewhat reversed by returning the plants to air within the first 24 h of exposure. Thereafter the flowers wilted and senesced irreversibly. Ethylene sensitivity varied widely among cultivars; while flowers of ‘Alexandra’ lost 57% of their diameter in response to 1 μl l−1 ethylene treatment, flowers of ‘Debbie’ lost only 2%. Flowers of the new ‘African Queen’ series were particularly sensitive to ethylene. There was no clear relationship between ethylene sensitivity and postharvest life in the absence of ethylene; although ‘Nadia’ had the longest display life of all tested cultivars, ‘Nadia’ flowers showed a 35% diameter reduction in response to treatment with 1 μl l−1 ethylene for 24 h. Treatment with 1-methylcyclopropene (1-MCP) had no effect on the normal life of kalanchoë plants, although 1-MCP has been shown to prevent the response of kalanchoë flowers to ethylene.

Gradients in Susceptibility and Resistance Mechanisms of Buddleia L. Taxa to the Two-spotted Spider Mite (Tetranychus urticae Koch)

Buddleia taxa were assessed for two-spotted spider mite (Tetranychus urticae Koch) resistance using a leaf disk bioassay, a novel shell vial bioassay and a field trial. Leaf pubescence and chemistry were examined for their role in two-spotted spider mite resistance. Results from bioassays and field sampling identified highly resistant taxa including B. fallowiana Balif. `Alba' and B. davidii × B. fallowiana Franch. `Cornwall Blue' as well as susceptible taxa including B. davidii Franch. `African Queen' and B. lindleyana Fort. ex Lindl. `Gloster'. The shell vial bioassay was an accurate predictor of field resistance to spider mite. Leaf pubescence was quantified by calculating the collective length of trichome branches per square millimeter of leaf surface area [effective branch length (EBL)]. EBL values ranged from 39 to 162 mm·mm-2 of leaf surface area among Buddleia taxa. Resistance was positively correlated with increased pubescence. Removal of pubescence by peeling resulted in increased oviposition of two-spotted spider mites. Exposing female two-spotted spider mites to a methylene chloride extract of B. davidii × B. fallowiana `Cornwall Blue' using a modified shell vial bioassay resulted in reduced oviposition and a methylene chloride extract of B. davidii `African Queen' resulted in no difference in oviposition when compared with a control. While pubescence is the best indicator of resistance to the two-spotted spider mite in Buddleia taxa, it is possible that defensive compounds are involved.

First In Their Field: Women And Australian Anthropology

Women, men and anthropology Marie de Lepervanche Miss Mary, ethnography and the inheritance of concern: Mary Ellen Murray-Prior Isabel McBryde Daisy Bates: legend and reality Isobel White Jane Ada Fletcher and the little brown piccaninnies of Tasmania Miranda Morris The snake, the serpent and the rainbow: Ursula McConnel and Aboriginal Australians Anne O'Gorman The beauty, simplicity and honour of truth: Olive Pink in the 1940s Julie Marcus From Sydney schoolgirl to African Queen Mother: tracing the career of Phyllis Mary Kaberry Christine Cheater Letters from the field

"The African Queen" and John Huston's Filmmaking

Trapped in the stifling maze of a tropical delta, Charlie Allnutt (Humphrey Bogart) and Rose Sayre (Katharine Hepburn) confront the end of their attempt to run the Ulanga River, reach the lake into which it flows, and sink the Louisa, a German battleship that controls access to Central Africa at the beginning of World War I. More important from the point of view of the audience, they also face the end of their lives and their brief time together as lovers. We're finished, Charlie declares. know it, answers Rose. A few moments later, the sequence ends when a downward-looking camera cranes up and pans from the boat to reveal the goal of their journey, the lake, no more than fifty yards away. From the perspective of the protagonists, however, it is out of sight and out of reach; the camera's revelation thus appears to the viewer as sadly ironic rather than hopeful. The exhausted voyagers lie down on the deck of the boat and the shot fades out. But in John Huston's films water is more likely to be associated with life than death. Although nature is not uniformly regenerative in The African Queen (1951), its water imagery is symbolically congruent with that of most other Huston films. The next shot fades in on gathering clouds. Thunder rumbles. A shower patters on lilies, then swells into a deluge that seems to drench all Africa. It pours on the river and the jungle, on flamingos, ducks, giraffes, hippos, lions, and a herd of startled antelope. The river becomes a foaming cataract carrying whole trees. Like an aquatic deus ex machina, it lifts the grounded boat across the mud and reeds onto the nearby lake. This heavenly boost allows the intrepid travelers both to sink the Louisa and, still more improbably, to marry. The film thereby concludes with the wildly unlikely success of its two main actions. These sequences of despair and renewed hope exemplify much of what I wish to discuss about The African Queen: its concentration of Hustonian shots, themes, and dialogue; the Hustonian rhythms of its editing and action; and its construction as a fantastic adventure, the kind of traditional narrative known as romance. The last is atypical of Huston's body of work. Indeed, as an adventure and love story, The African Queen is almost uniquely uncomplicated among its director's films. (I ask the reader to accept the possibility-frequently deniedthat Huston may usefully be looked at through an auteurist lens; the rest of this

Multiple Africanized Bee Stings in a Child

African honey bees, Apis mellifera scutellata (formerly adsonii) were imported to Brazil in 1956 to introduce a strain of bees with increased honey production which were more suited for the tropical climate.1,2 A year later, 26 African queen bees and their accompanying colonies accidentally escaped.1,2 The African queen bees soon began mating with established European bee races resulting in the hybrid Africanized honey bees.2 Like the pure African bees, the Africanized bees are more defensive with a greater tendency to sting than European bees.3 They respond quickly to the slightest disturbance of their nest and can send out many thousands of bees.

Slippered Feet aboard "The African Queen"

Milner Ball's essay, and all of his work, ring with hope; that is, both with his clear-sighted, scholar's interest in finding and telling truth, and with optimism that comes of his belief that chaos has been overcome.1 His thought is an inspiration; and his lyrical prose is, for all of its somber truth, a joy to read. In spirit he brings to his work, I suggest that Hebraic religious tradition contains a richer theological basis for claim that is a medium (or, perhaps more modestly, a conversation) than he seems to allow for;2 and I suggest that there is perhaps more hope to be found in human relationships in a lawyer's professional life than there is in institutional forms provided by governmentmore in office than in administrative apparatus that Professor Ball prefers to invoke for examples of medium.3 With those suggestions out of way, I want to argue that Professor Ball's characterization of property ownership as the apparatus of bulwark law is premature. I want to suggest that bulwark-like

Bermans & Nathans, Costume and the Entertainment World

(1981). Bermans & Nathans, Costume and the Entertainment World. Costume: Vol. 15, No. 1, pp. 60-66.

Larval mortality and population regulation in the butterfly Danaus chrysippus in Ghana

An ecological study was made of a population of caterpillars of the African queen butterfly (Danaus chrysippus) feeding on three species of asclepiad plants at Nungua, Ghana, over a nine month period in 1972-73. The principal sources of mortality of caterpillars are probably the parasitic hymenopterans Apanteles chrysippi and Charops sp. There is an inverse correlation between the population of caterpillars and incidence of parasitization. This, and other evidence, suggests that the two parasites are important in limiting the population of Danaus chrysippus below the level imposed by the available food supply. Early instar caterpillars are probably palatable to birds but later instars may be edible or emetic depending on the toxicity of their food plant. It is suggested that the early instar caterpillars are cryptic whilst late instars are cryptic from a distance but conspicuous from nearby, and these may be aposematic or mimetic according to the nature of the food plant. Caterpillars parasitized by Apanteles are paler and hence more cryptic than normal caterpillars. There is also a green, cryptic morph present in the population at low frequency. It is suggested that there is a correlation between colour of caterpillars and the principal source of mortality: i.e., cryptic caterpillars are palatable to birds, suffer heavy predation but a low incidence of parasitization, whilst conspicuous caterpillars are unpalatable to many birds, suffer little predation but have a high incidence of parasitization.

Profile of an Afrikaner

THE SECURITY POLICE in Johannesburg have announced the capture of the former leading South African advocate and Queen's Counsel, Abram Fischer, who has been in hiding since January of this year. Abram Fischer was recently removed from the Roll of Advocates on the grounds of misconduct; he had estreated bail of ?5,000 and disappeared while on trial with 13 other men and women on charges under the Suppression of Communism Act. All except one of the 13 have since been sentenced to various terms of imprisonment.