Golden Stream Research Articles

Reflection of cross-cultural conflicts in perception of the Yakut literary works by the foreign students

The article focuses on the perception of Yakut literary texts by students – representatives of different nations and countries. The authors have chosen three classical works of famous Yakut writers as subjects of the research - V.S. Yakovlev-Dalan “Glukhoi Viluy / Tulaaiakh ogho” (‘The Remote Viluy River”), a drama of A.I. Sofronov-Alampa «Taptal» («Любовь»)”Love” and a story of N.G. Zolotarev (Nikolay Yakutskiy) «Kemusteekh yuryuie» («Золотой ручей») ”Golden Stream”. It is stated that acquaintance with other cultures through literary works can be one of the most effective ways of intercultural communication as it helps better understanding of cultural diversities. Such cultural conflicts as murder (killing a kin), women’s rights and the loss of historical lands of the local people with the coming of the representatives of other cultures are described and analyzed. The research predictably revealed the differences in the perception of the respondents as their answers have been discussable and variable, especially among the representatives of the eastern and the western worlds though their attitude in common are the same for all human beings. Those concepts which were culturally arguable provoked serious thought process. As a result of the research it can be stated that cross-cultural conflicts can have not only a destructive function but also a constructive one as well.

A Most Copious Digression: An Erasmian Analysis of the Rhetoric of Virginia Woolf's Comments on Letters in Jacob's Room

A Most Copious Digression:An Erasmian Analysis of the Rhetoric of Virginia Woolf's Comments on Letters in Jacob's Room Phillip Arrington (bio) Scholars and historians of rhetoric have variously characterized Desiderius Erasmus's De Utraque Verborum ac Rerum Copia (On Copia of Words and Ideas). Originally published in 1512 and intended for students at John Colet's newly opened St. Paul's School (King and Rix 2005, 2), De copia has been lauded as "the most widely used textbook in England," "reaching a far wider readership than many of [Erasmus's] other publications" (Sowards 1958, 123; Taylor 1972, 16, 3); as "the standard work on rhetorical dilation," although Erasmus himself "was not a professional rhetorician" (Conley 1990, 120); and as a major "contribution" to the general study of "style," even advocating the cultivation of style for its own sake (Kennedy 1980, 206)—an intent Erasmus himself openly denied in a letter to one of his friends (Sloane 1991, 115, nn. 3–4).1 Recent scholars, however, have tried to stress Erasmus's dual interest in both stylistic and inventive copia (Sloane 1991; Arrington 2008, 186–87) and the "Protean" theory of "language and literature" underlying what only appears to be a "rhetorical treatise," since the work's form "exceeds the limits of [Erasmus's] overt intentions," given the author's own "commentary" on [End Page 543] the "subject matter" itself (Cummings 2014, 183).2 While admitting his De copia may be too "clever" (quoted in Sloane 1991, 117, n. 19), Erasmus nevertheless revised it up until the end of his life and valued it enough to place it "first in his catalogue of published works" (Jardine 1993, 144). But does Erasmus's Protean theory "exceed" the author's intentions in other ways? Could it also offer what scholars have so far neglected to recognize, a useful method for demonstrating how and whether any text achieves copia? Precisely because Erasmus understood that language (verba) was as "Protean" as knowledge and thought (res), he might not be unhappy that any critic should ask if a writer's text evinces that "golden stream … overflowing" in both stylistic and intellectual variety (2005, 11). As I have argued elsewhere, "Erasmus's Copia is not about style at all … but about verbal, textual, and even ideational mutability … a transformational grammar long before anyone had heard of … Noam Chomsky … a 'generative' rhetoric long before anyone had heard of Francis Christenson" (Arrington 2008, 179–80). One way to support this assertion would be to select a text quite different from those written in Erasmus's own time, and quite different from those he hoped Colet's students might compose, a text from an already acclaimed author whose writing perhaps many would not even think of as "rhetorical." To do this, I've selected a short section on letter writing from Virginia Woolf's 1923 novel, Jacob's Room. My aim is to show that the rhetorical impact this section arises from Woolf's tightly integrated stylistic and inventive copia. If my demonstration is convincing, Erasmus's Protean copia may have far more analytical potential than scholars and historians have recognized or yet tried to explore. ERASMUS'S THEORY OF COPIA AS A METHOD OF RHETORICAL ANALYSIS This view of Erasmus's famous work, I realize, clearly departs from most scholarly characterizations. The De copia's acknowledged transnational reach and popularity may have been symptomatic of "the cult of eloquence" which "had been growing in significance since the time of Petrarch and Boccaccio" (Rix 1946, 603; Sowards 1958, 125). The physical condition of used copies of the book would indicate far greater interest in the first seventy pages, focused on a copious style, than on the copia of invention in the later pages (Baldwin 1944, 25). But the De copia's real importance, R. R. Bolgar suggests (1954, 273–75), [End Page 544] may lie in providing an inside look into how humanism re-shaped the writing "process" that Spenser, Sidney, Shakespeare, and others learned in school, because, for Erasmus, copia is both a "literal and figurative expression for writing itself" (Cummings 2014, 185), and this meaning cannot be fully appreciated if the second half of Erasmus...

A Note on the Adoption of the Byzantine Models in Medieval Bulgaria (9th–10th Centuries). The Case with the Chrysorrhoas Collection

The paper aims at examining the first Slavic collection of homilies of John Chrysostom, called Zlatostruy (i.e. Chrysorrhoas or Golden Stream). The peculiarities of its content, compilation strategy and impact on the medieval Bulgarian literature, revealed in previous studies, allow us to extract features that are related to the flourishing of the 10th century Bulgarian literary tradition and the successful adoption of Byzantine models.

DRAM-Based Error Detection Method to Reduce the Post-Silicon Debug Time for Multiple Identical Cores

In the post-silicon debug of multicore designs, the debug time has increased significantly because the number of cores undergoing debug has increased; however the resources available to debug the design are limited. This paper proposes a new DRAM-based error detection method to overcome this challenge. The proposed method requires only three debug sessions even if multiple cores are present. The first debug session is used to detect the error intervals of each core using golden signatures. The second session is used to detect the error clock cycles in each core using a golden data stream. Instead of storing all of the golden data, the golden data stream is generated by selecting error-free debug data for each interval which are guaranteed by the first session. Finally, the error data in all cores are only captured during the third session. The experimental results on various debug cases show significant reductions in total debug time and the amount of DRAM usage compared to previous methods.

Nineteenth-Century Illustration and the Digital: Studies in Word and Image by Julia Thomas

Reviewed by: Nineteenth-Century Illustration and the Digital: Studies in Word and Image by Julia Thomas Alison Hedley (bio) Nineteenth-Century Illustration and the Digital: Studies in Word and Image by Julia Thomas; pp. 121. Palgrave Macmillan, 2017. $54.99 cloth. Nineteenth-century Illustration and the Digital: Studies in Word and Image is an excellent primer for anyone interested in the subject matter indicated by its title: illustration studies, particularly of the nineteenth-century, and the digital archives that are expanding the research horizons of this field. Drawing on a comprehensive range of critical scholarship and digital projects, Julia Thomas uses the concise Palgrave Pivot format to nimbly encapsulate the central topics that preoccupy Victorian illustration studies at the present moment while anticipating future directions of the field. Victorian periodical scholars have long argued that illustrations are neither ephemeral nor subordinate to letterpress. Over the past two decades, case studies presented by, among others, Brian Maidment, Lorraine Janzen Kooistra, Peter Sinnema, Lisa Surridge and Elizabeth Leighton, and Thomas herself have demonstrated that illustrations offered distinctive interpretive affordances to readers of Victorian print. As evidenced by recent work such as Kooistra's "Charting Rocks in the Golden Stream" and Paul Fyfe's "Ways of Seeing Victorian Periodicals," the analysis of nineteenth-century illustration [End Page 314] is increasingly informed by digital media criticism on visuality, graphics, and design as argument (see, for example, Johanna Drucker's influential Graphesis: Visual Forms of Knowledge Production). Although illustration studies draws on cross-disciplinary criticism of the visual, its theoretical framework and praxis are necessarily unique. As Thomas notes in her first chapter, "Frontispiece," the objective of illustration studies is to analyze "how illustrations signify, how they make their meanings and how these meanings are embedded in the historical moment of their production and reception" (6). Investigating these questions requires attention to the contextual and material specificity of illustrations as encountered in historical print and as remediated in digital environments, and Thomas draws on her experience as primary investigator and director of the Illustration Archive and the Database of Mid-Victorian Illustration to model such attention in her execution. Throughout the book, Thomas returns to the central theoretical questions of illustration studies: how we conceptualize illustration; how we understand the relationship between illustrations and letterpress (and, in so doing, engage with the assumption, held by the Victorians but also by many twenty-first century scholars, that images play merely a supporting role alongside text); and how we understand the relationships between illustrations that were produced and circulated within the highly pictorial print culture of the Victorian period. Thomas reveals that the answers to those questions are contingent on medium: the print form in which an illustration first circulated; the digital file that remediates the print image; and the print or digital archive in which we search for and study collections of illustrations. It is the latter that this book focuses on in most depth. Thomas stresses that the archive is interpretive; through its structure and its options for user interaction, it models assumptions about what an illustration is and how it signifies. The book's thematic chapters explore facets of the interpretive work mobilized by the archive: illustration visibility in our cultural records ("(In)visibility"), searchability in digital environments ("Searchability"), and crowd-sourced metadata development ("Crowdsourcing"). Thomas identifies the theoretical and practical challenges of digitally archiving print images and surveys how different projects, including the Illustration Archive and the Database of Mid-Victorian Illustration, have addressed them. Particularly in the chapters on searchability and crowdsourcing, Thomas offers advice on digital archive creation, and particularly metadata, that any novice keen on creating an image repository would do well to heed. Having equipped readers with theoretical and practical tools, the book concludes by gesturing to the digital future of illustration studies. In "Tailpiece," Thomas emphasizes that digital archives are "uniquely positioned" to reveal the complex interactions among images and texts and "to enable new and nuanced analyses of how illustrations signify" (101). Access to large illustration corpora is a major asset of the digital archive. The scale of analysis enabled by digital technology affords a new vantage point from which [End Page 315] to study the...

Charting Rocks in the Golden Stream: Or, Why Textual Ornaments Matter to Victorian Periodicals Studies

This paper argues that textual ornaments are constitutive features of Victorian periodicals and should inform both our critical examination of their architecture and our current remediation of their contents. In making this argument, I apply recent architectural theory on the digital Gothic to the Victorian periodical page. Like the ornaments of Gothic architecture, the ornaments of Victorian periodicals are basic to their journalistic structures of design and use—in effect, their program and codes. This essay claims the digital as a useful framework for understanding the fundamentally Gothic architecture of Victorian illustrated periodicals.

Three Poems

Three Poems Sarah Gordon (bio) Threshold The open door beckonsa way out or a way in when all else seemsnarrowly walled and white The open door is a framefor a painting, precisely measured, carefully cut,handmade, man-made with power to close offas a rope or an eye cordons off or includes everythingpertinent to the scene A clean aesthetic, simplyoffering what it offers seeing what it seesand allows you to see the river, the road,the long line of trees behind which the soldiersstare, then languish [End Page 584] You see them theretheir arms weary with holding the gunswithholding their fire You see them in the lightand think of them at night, your soft gownblowing against you as you sketch yourselfinto Life, entering its scarred and beautiful bodyits wide and open eye Shades The old aunts are still standingin turn, backs to the fireplace,skirts lifted to warm their veiny legs. Out on the front lawn, the crowscall to some distant power, plantingtheir crows’ feet in the grassy crows’ paradise, green and wormy.The father is a boy still, slinginghis rifle, a toy still, over his soft shoulder and heading into the woodswhere he’ll remain for years on end,forever seeking the slippery vagabondage [End Page 585] of freedom, fine fall afternoonscrisping into chill, the winter just ahead.The mother is ever herself, at home and alone, pots boiling overbut retrieved in time, her blue eyesbrimming a melancholy she can’t serve up. Just overhead in the dining room: clouds.Just overheard, the old bickering,with its raised brows, burning words. Someone abruptly pushes back a chair,rising from the table, a tearful tenwho won’t forget, ever, her heart carving a question markat the end of every breath. Tactile Matters Roundness is all. Smooth surfaces,the fat ball you wrap your hand around, that sleeps in your open palmuntil you decide what to do with it, cars that curve and satisfy, lowto the ground, slick as river rocks ahead on the road, which quietlypublishes its next move so that you turn the vehicleas you turn the page [End Page 586] or the potter’s wheel, embracingthe wet clay, shaping it your way. The wild-haired Einstein told ushow space is curved, like a canopy, how the apple doesn’t drop straightdown, but rather rolls down the slope toward the spinning earth, a freefall that takes our breath away. What he didn’t say was howcurves can please, how the whorl of the shell and the full-term bellymesmerize, how we trace the arc with our fingers, to be a part of it,as the soprano’s voice follows the golden stream easily upcurrentand home again, resting in the sweet familiar, while we, the clumsy, off-key children,climb the sides of the ropey hammock, giggling and trying to hold on,to stay right-side-up, the getting in and getting outour scariest maneuvers. [End Page 587] Sarah Gordon Sarah Gordon’s poetry has appeared in a number of publications, including the Georgia Review, Shenandoah, Southern Poetry Review, Confrontation, Arts & Letters, and Christianity and Literature. Her collection, Distances, appeared from Brito & Lair in 1999. She is founding editor of the Flannery O’Connor Review and author of Flannery O’Connor: The Obedient Imagination (UGA Press, 2000) and A Literary Guide to Flannery O’Connor’s Georgia (UGA Press, 2008). Copyright © 2016 Sarah Gordon

Bibliographic Databases and “The Golden Stream”: Constructing the Periodical Poetry Index

Bibliographic Databases and “The Golden Stream”: Constructing the Periodical Poetry Index

Introduction to the Special Issue: Victorian Networks and the Periodical Press

Introduction to the Special Issue: Victorian Networks and the Periodical Press Alexis Easley (bio) When selecting the theme for the 2009 RSVP Conference at the University of St. Thomas, we were immediately struck by the self-reflexive meanings of “Victorian networks and the periodical press.” After all, it was during 2009 that one of the most significant collaborative ventures in the field of Victorian media studies—the Dictionary of Nineteenth-Century Journalism—was first published in print and digital forms. This project, edited by Laurel Brake and Marysa Demoor, not only networked researchers in the field of media history but uncovered unexpected links between periodicals, writers, publishers, illustrators, and editors. Another important networking initiative that year was the digitization of back issues of VPR, 1979–2003, which were made available for the first time on the JSTOR database. It was also in 2009 that RSVP created a Facebook page, thus staking claim to virtual terrain in the world of social networking. Meanwhile, major digitization efforts, such as those led by Gale, Pro-Quest, and Google Books, were well underway and were the subject of a special panel at the 2009 conference organized by Patrick Leary, “Fishing the Golden Stream: Adventures in Online Research on the Victorian Press.” At the conference, RSVP also awarded the first Gale Dissertation Research Prize, which recognizes excellence in the use of digital resources for scholarship in Victorian studies. More efforts to embrace digital technologies and networking were soon in progress. In 2010, members of RSVP contributed essays to the Illustrated London News Historical Archive, and this year, members are working collaboratively with John Drew’s Dickens Journals Online project in preparation for the Dickens bicentenary in 2012. If, as Jerome McGann suggested in 2005, the Victorian studies community must embrace networked digital technologies in order to assume [End Page 111] a position of relevance in the postmodern academy,1 then certainly the members of RSVP have risen to this challenge. Of course, RSVP has always demonstrated a commitment to social and scholarly networking. The organization owes its very existence to the network of relationships that arose from the first and greatest of all Victorian studies collaborative projects, the Wellesley Index to Victorian Periodicals. In the years that followed, RSVP became well known for its collegial company of scholars as well as its numerous scholarly publications, including edited anthologies and the quarterly publication of Victorian Periodicals Review. Such collaborative projects create and enhance a network of relationships, thereby promoting what network theorists call a location of “high connectivity” between individuals.2 The 2009 conference was no exception to this tradition of collegial exchange. The quality of panel presentations and conversations was superb, thanks in part to the work of an outstanding program committee: Sally Mitchell, Molly Youngkin, and Deborah Mutch. Those who attended the 2009 conference were struck by the rich and suggestive ways that the concept of “Victorian networks” was interpreted within the context of the newspaper and periodical press. Given the high quality of scholarship presented at the conference, it seemed fitting to publish a special issue of VPR focused on the conference theme. As editor of the special issue, I was impressed with the number of superb submissions I received. The five essays selected for the special issue demonstrate how the concept of “networking” can illuminate our understanding of Victorian print culture. As Laurel Brake points out in the opening essay, “‘Time’s Turbulence’: Mapping Journalism Networks,” such investigations have been enabled by the development of digital resources, which provide us with opportunities to uncover networks of affiliation among the wide variety of contributors to the Victorian print industry. Brake’s essay highlights important developments in network theory, particularly the work of Friedrich Kittler, and suggests how this scholarship may inform future research in our field. The geographical reference in Brake’s title reminds us that Victorian networks were informed by spatial considerations—the physical locations of individuals, clubs, editorial offices, and other sites of literary exchange. Of course, access to such networking locations was often constrained by gender and economic status. Joanne Shattock, in her essay, “Professional Networking, Masculine and Feminine,” not only provides insight into the crucial role of clubs and...

Time, Periodicals, and Literary Studies

In late 1971, Michael Wolff, discussing the need for a directory of Victorian periodicals, charted the golden stream of periodicals and argued for the ways periodical literature could be useful for social and cultural studies of the period.1 At roughly the same period, ambitious archival projects, most notably the Wellesley Index and the Waterloo, sought, in their different ways, to reveal the breadth and depth of periodicals across the century. These two projects helped to define the parameters of research for a generation of students and scholars who began to analyze in closer detail the 45 titles in Wellesley, with studies of editors, contributors, individual titles, and single contributions, and to delve further into the multitude of material uncovered by the Waterloo team. One of the difficulties in studying periodicals has always been the problem of access, even in accessing the relatively limited range of titles covered in Wellesley, compared to the vast field

?Charting the Golden Stream?: Recent Work on Victorian Periodicals

“Charting the Golden Stream”:Recent Work on Victorian Periodicals Kay Boardman (bio) Encounters in the Victorian Press: Editors, Authors, Readers, edited by Laurel Brake and Julie F. Codell; pp. xiv + 268. London: Palgrave, 2005. £47.00, $75.00. Science in the Nineteenth-Century Periodical: Reading the Magazine of Nature, by Geoffrey Cantor, Gowan Dawson, Graeme Gooday, Richard Noakes, Sally Shuttleworth, and Jonathan R. Topham; pp. xi + 329. Cambridge: Cambridge UP, 2004. £48.00, $85.00. Gender and the Victorian Periodical, by Hilary Fraser, Stephanie Green, and Judith Johnston; pp. xiv + 255. Cambridge: Cambridge UP, 2003. £48.00, $85.00. The London Journal, 1845–83: Periodicals, Production and Gender, by Andrew King; pp. xiii + 272. Aldershot: Ashgate, 2004. £52.50, $99.95. Macmillan's Magazine, 1859–1907: No Flippancy or Abuse Allowed, by George J. Worth; pp. xviii + 186. Aldershot: Ashgate, 2003. £50.00, $99.95. As the Victorians themselves were acutely aware, the periodical press was a key component of the Victorian mass media: as a public forum, discursive agent, and mediator of a hybrid and ephemeral nature. Periodicals were commodities situated in and responsive to a shifting market in a number of complex ways. As a result, the periodical was an eminently active medium, dynamic both then and now. Such dynamism makes the scholarly study of periodicals challenging but also hugely rewarding. The study of Victorian periodicals as a subgenre of Victorian studies is a relatively recent phenomenon. In the past few years scholars from several disciplines have produced fascinating work on the interdisciplinary [End Page 505] nature of the periodical itself. Such work belongs to a tradition of periodical scholarship that emerged in the 1950s. Studies by Richard Altick, Louis James, and Margaret Dalziel were pioneering in the area of mass culture in general and the periodical in particular. Although these studies do not engage exclusively with periodicals, they began to uncover this vibrant and complex field and raise key questions about market, address, and readership. Michael Wolff's contributions in the 1960s also cannot be underestimated: the launch of a research society (Research Society for Victorian Periodicals) and a journal (Victorian Periodicals Newsletter, now Victorian Periodicals Review) were significant for the field, and his essay "Charting the Golden Stream" (1967) provided a useful methodological model. This scholarship alerted readers to the obstacles in accessing the vast array of material. Titles numbered in the tens of thousands, and attempts by Victorian publishers to market and remarket specific titles can complicate the tracking of less commercially viable texts. Fortunately, following the work of these early scholars, resources such as The Wellesley Index to Victorian Periodicals (1966–89), The Waterloo Directory of English Newspapers and Periodicals (1997), Poole's Index to Periodical Literature, 1802–1906 (1963), and the listing of newspaper and periodicals in the third volume of The New Cambridge Bibliography of English Literature (1969) have simplified the scholar's task of locating and classifying nineteenth-century periodical material. Likewise, overviews of the development of the press such as Alvin Sullivan's British Literary Magazines (1983–86) and J. Don Vann and Rosemary Van Arsdel's Victorian Periodicals and Victorian Society (1978–89) have further helped to map out this broad and diverse area. These resources, together with the growth of interdisciplinary publication venues, have all brought the study of the periodical from the margins to a much more central position in Victorian studies. To be sure, scholarly approaches to the periodical have changed over these past few decades, often in tune with other disciplinary changes and especially in relation to the theory wars of the 1980s and early 1990s. At the moment, empirical studies that focus on aspects of material culture—such as histories of specific titles, statistics on circulation and cost, and detailed information on editors and contributors—live comfortably alongside more theoretically inclined works that focus on the text as a signifying practice contributing to charged power relations. A survey of the field as it stands now suggests [End Page 506] that the advent of theory has moved the debate toward something more complex and diverse, very much like the periodical itself. Anthologies that suggest both ways of representing and reading periodicals (Beetham and Boardman) have...

"Charting the Golden Stream": Recent Work on Victorian Periodicals

"Charting the Golden Stream": Recent Work on Victorian Periodicals

Popular Science in the Victorian Periodical

Although the Victorian age 'portrayed itself through its journals and popular press, cultural and social historians largely ignored the scientific press until after the Second World War. Indeed, it was not until the publication in 1957 of Alvar Ellegard's monograph, The Readership of the Periodical Press in Mid-Victorian Britain , and Derek Price's chapter on the exponential growth of science journals, in Little Science, Big Science (1963), that historians of science awoke to the significance of Victorian periodicals.1 Literary and cultural historians were quicker off the mark, helped by the launch of the interdisciplinary periodical Victorian Studies in 1957, and the appearance of the first volume of Walter Houghton's magisterial Wellesley Index to Victorian Periodicals in the same year. It was Michael Wolff, as editor of Victorian Studies, who spawned the Victorian Periodicals Newsletter in January 1968. This led to the formation of the Research Society for Victorian Periodicals, which stimulated the work of Wolff, Walter Houghton, Scott Bennett, John North, Barbara Schmidt, and Joel Wiener in the United States of America, and of Lionel Madden, Diana Dixon, and Joanne Shattock at the Victorian Studies Centre in Leicester. Despite the inter-disciplinarity of this research, few historians of science ventured into Wolffs 'golden stream' of periodicals until after

COMPARATIVE SUSCEPTIBILITY OF THREE SPECIES OF ANOPHELES FROM BELIZE, CENTRAL AMERICA, TO PLASMODIUM FALCIPARUM (NF-54)

In August of 2000, a comparative susceptibility study was conducted using 3 species of Anopheles mosquitoes from Belize, Central America, and a standard species used in laboratory infection studies, Anopheles stephensi. Test populations were fed human blood infected with cultured Plasmodium falciparum (NF-54 strain) parasites via a membrane feeder. The control species, An. stephensi, exhibited the highest infections, with 73.8% of dissected specimens positive for sporozoites in the salivary glands. The control species also showed heavier sporozoite loads; 74.0% of positive glands having greater than 200 sporozoites. Of species from Belize, Anopheles darlingi was the most susceptibile, e.g., 41.0% of salivary glands were positive, with more than 200 sporozoites per gland. Anopheles vestitipennis had a low salivary gland infection rate (9.3%) and a moderate number of sporozoites in glands (i.e., 85.7% containing 50-250 sporozoites). Anopheles albimanus was the least susceptible species to infection. No specimens of An. albimanus from the Golden Stream population developed sporozoites in the salivary glands, yet 20.7% of dissected specimens had positive midgut infections. The An. albimanus Buena Vista population showed similar results with only a 2.2% salivary gland infection rate and a 21.5% midgut infection rate. Oocysts in An. stephensi increased in size by 20% after day 10. Development peaked at day 12, with a mean oocyst diameter of 58 microm at onset of oocyst differentiation. Oocysts developed more slowly in An. vestitipennis until day 10. After day 10, there was a 53% increase in oocyst development over the previous 10 days. Oocyst differentiation was not observed until day 13 postfeed. As with An. vestitipennis, both populations of An. albimanus showed similar slow rates of oocyst development; however, no dramatic growth increase occurred after day 10. The oocysts in the Golden Stream population exhibited a cessation of growth after day 10, peaking at a mean of 30 microm. The Buena Vista population did not exhibit the same level of reduced oocyst development. A gradual increase in growth continued until days 13 and 14 (36.7 and 35.7 microm, respectively).

Novel deal to save rainforests in Belize

In a landmark deal, the US Government and the Nature Conservancy have teamed up to protect 9200 ha of endangered rainforest in Belize. The forests will be safeguarded as part of a debt-for-nature swap that will halve the indebtedness of Belize to the USA.In addition to reducing debt, contributions of ∼US$5.5 million from the USA and US$1.3 million from the Nature Conservancy will be exchanged for local currency and used by Belizean conservation groups to buy forests that are threatened by aggressive logging and agricultural encroachment. The funds will also be used to manage the Golden Stream Corridor Preserve, which sustains jaguars, ocelots and diverse bird communities, and which stabilizes forest soils to protect the world-class tropical reefs of Belize.This is the first time that a private organization has teamed up with the US Government in a major debt-for-nature swap. The US funds were provided under the Tropical Forest Conservation Act (TFCA), a bipartisan initiative that is designed to provide debt relief to developing countries in exchange for forest conservation.Although the TFCA has enjoyed laudable support from some conservative politicians in the USA, in addition to strong support from Democrats, many had hoped that the program would be greatly expanded. In a campaign promise just before the November 2000 election, US President G.W. Bush pledged to increase the annual budget of the TFCA to US$100 million. Shortly after being elected, however, Bush reneged on the promise and the current annual budget of the program is just US$30 million. WFL

The Control of Patent Rights Resulting from Federal Research

A golden stream of patentable inventions pours from the scientific research and development conducted or financed by the Federal Government. Some of the discoveries resulting from these activities pass under Government ownership or control, equivalent in current practice to public dedication of the particular device or process. The greater part of these technological riches, however, embodied in patents and patent applications, flows into the coffers of private industry, subject only to a nonexclusive license in the Government, and is available for commercial use, exploitation, or suppression according to the interests of the owner. The question of what disposition of patent rights from Federal research will best serve the public interest is one that has been pondered and mooted in all branches of Government during the past fifty years,1 the numerous studies having culminated in an exhaustive investigation recently completed by the Department of Justice.2 On the basis of that study, the Attorney General submitted a comprehensive report to the President in May, 1947, recommending that as a basic policy all technology financed with Federal funds should be owned or controlled by the Government.3