Carapidae Research Articles

G. Bizet’s “The Pearl Fishers” in the context of Poetics of French Lyrical Opera

The purpose of the study is to reveale the poetic and intonation uniqueness of G. Bizet’s “The Pearl Fishers” in the context of the genre-style canon of French lyric opera. The methodology of the work has a complex nature and is based on a combination of the principles of cultural, historical-typological, hermeneutic, and genre-intonation studies. The scientific novelty of the work is determined by the fact that it examines for the first time the genre-stylistic and spiritual-meaning specifics of G. Bizet’s “The Pearl Fishers” in the realm of the poetics of French lyric opera. Conclusions. Lyrical opera is a bright stage in the development of French musical theatre in the middle and second half of the 19th century. The opposition of this genre in relation to “grand” opera at the same time does not exclude their mutual influence, which is manifested in the antitheses of the personal drama of the main characters, ennobled by a high sense of love, and the patriarchal instructions of the environment in which they are. This also determined the stylistic specificity of lyric opera, formed at the intersection of romantic and Biedermeier traditions. The mysterious genesis of the European musical theatre was reflected in the lyric opera in the potential direction of the fate of its main characters towards spiritual transformation. G. Bizet’s romantic-exotic opera “The Pearl Fishers”, created in 1863, is based on the dramatic story of a priestess who broke her vow and her lucky escape from punishment. The genre canon of the lyric opera is manifested in the named opera in the appeal to the oriental plot, in the presence of a traditional love drama for lyric opera, which is in contradiction with the generally accepted patriarchal norms of the spiritual and religious order, which are dominant in the society in which the main characters live, in a significant the role of genre scenes, which generally reproduce within the framework of the European musical tradition, without corresponding folklore quotes, the exotic flavour given by the plot (fifth-note bourdons, the essential role of the metro-rhythmic factor and the timbre of percussion, the figurative-improvisational type of the vocal part of Leila the priestess).
 Key words: musical culture of France of the 19th century, French lyric opera, musical theatre by G. Bizet, “The Pearl Fishers” by G. Bizet.

Djamileh: opéra-comique en un acte: op. 24 by George Bizet

Reviewed by: Djamileh: opéra-comique en un acte: op. 24 by George Bizet Ralph P. Locke George Bizet. Djamileh: opéra-comique en un acte: op. 24. Critical edition by Hugh Macdonald. Norwich, England: Fishergate Music, 2020. (Bizet’s Other Operas; v. 1) [Preface and critical report in English. Paperback. ISMN 97909002245403. £95 ($132.75).] THE SERIES Georges Bizet is a composer whom, until recently, the music-publishing industry has largely failed. One of his operas (La maison du docteur) has never been published, and the others have often circulated in editions that are seriously flawed (and, in most cases, were released solely as piano-vocal scores). In the 1960s, Carmen was treated to a supposed critical edition by Fritz Oeser that, confusingly, inserted into the main text certain passages that Bizet himself demonstrably rejected. (To its credit, Oeser’s edition helped many opera companies reinstate the work’s spoken dialogues and remove the recitatives. The latter were composed by Ernest Guiraud—after Bizet’s early death—for the benefit of international opera houses where spoken dialogue was never used, such as in Vienna or indeed at the Paris Opéra. Still, the recitatives are effective and helpful because singers know them and can often sing more convincingly than speak. As a result, the recitatives are still widely used today, in whole or part.) Similarly, The Pearl Fishers is widely published and often performed in a version whose final trio may not be by Bizet and whose most famous duet (for Nadir and Zurga) uses an inauthentic ending. This ending, which is still heard at the Met and elsewhere, brings back a tune one final time that all opera lovers rightly adore. In the process, it sacrifices the dramatically more appropriate let-us-be-friends-again cabalette with which Bizet himself (and his quite capable librettists) closed the number. The Carmen situation has been alleviated in recent years by more capable critical editions from the hands of Robert Didion (1992), Richard Lang-ham Smith (1999, with a revision in progress; full score currently available only on rental), and Michel Rot (2009; it includes, like Oeser, some rejected material). And I hear that Bärenreiter is preparing its own critical edition. The Pearl Fishers situation is stymied by the fact that the original manuscript remains in private hands and inaccessible. Still, Hugh J. Macdonald, the renowned authority on nineteenth-century French music, has made a [End Page 122] critical edition that comes much closer to what Bizet intended. The score and parts that he prepared can be rented, and have been used by numerous opera houses (though some still insist on ending the men’s duet by bringing back that gorgeous big tune). Macdonald has now undertaken to make critical editions of the six other operas by Bizet that survive in a form complete enough to be staged. Two of the operas are short enough to be included in a single volume, making five volumes in all. Macdonald wittily (ruefully? invitingly?) entitles the series “Bizet’s Other Operas.” Here we have the first of the five volumes: Macdonald’s edition of the one-act Djamileh, on a delightful text by Louis Gallet. Djamileh (the character’s name is roughly equivalent to Jamila in English spelling) was first performed, with mixed success, at the Opéra-Comique in 1872. This was nine years after The Pearl Fishers and a scarce three years before Carmen. So we are dealing here with a work by a fully mature master. (Bizet would die at thirty-six, three months after the Carmen premiere.) The subsequent volumes are to include: vol. 2: Don Procopio (on an Italian libretto), vol. 3: La jolie fille de Perth (of which there is a fine recording with June Anderson), vol. 4: La maison du docteur and Le docteur Miracle, and vol. 5: Ivan IV (which Bizet completed except for the orchestration of the final two numbers; several recordings exist, featuring such major singers as tenor Henri Legay). THE WORK The fullest and most up-to-date accounts of Djamileh and its history are to be found in Hervé Lacombe’s magisterial biography, Bizet (Paris: Fayard, 2000), and Macdonald’s recent...

Pirates and pearls: Jikiri and the challenge to maritime security and American sovereignty in the Sulu Archipelago, 1907–1909

In 1908–1909, maritime commerce, fishing and traffic in the Sulu Archipelago in the southern Philippines almost came to a standstill due to a surge in piracy and coastal raids that challenged US colonial rule in the area. The leader of the outlaws was a renegade subject of the Sultan of Sulu, a Samal named Jikiri. Together with his followers, Jikiri was responsible for the murders of at least 40 people in numerous raids on small trading vessels, pearl fishers, coastal settlements and towns throughout the archipelago. In spite of the concerted efforts of the US Army, the Philippine Constabulary and private bounty hunters, Jikiri was able to avoid defeat for more than one and half years, before he was eventually killed in July 1909. His decision to take to piracy was triggered by the failure of the US authorities to pay compensation for the loss of the traditional claims that many families in the Sulu Archipelago had to the pearl beds of the region, as stipulated by a law on pearl fishing adopted in 1904. The law was in several respects disadvantageous to the native population of Sulu and this – together with the high-handed behaviour of the local officers in charge of the Sulu district from 1906 – fuelled widespread discontent with colonial rule and led several of the leading headmen of Sulu covertly to sympathize with, and protect, Jikiri and his followers. This sponsorship combined with the general reluctance of the population to cooperate with the US military explains why Jikiri was able to defy the vastly superior US forces for so long. American officers at the time tended to attribute the depredations to the allegedly piratical nature of the Sulus, but this article argues that the so-called ‘decay theory’, first proposed by Raffles a century earlier, is a more appropriate explanation of this surge in piracy.

First Record of Carapus acus (Osteichthyes: Carapidae) in the Gulf of Gabès (southern Tunisia, central Mediterranean Sea)

One specimen of Carapus acus was captured in the Gulf of Gabes (southern Tunisia, central Mediterranean Sea), during an experimental bottom trawl survey in the frame of the monitoring of benthic fish stocks of the Tunisian coast. This represents the first record of the pearl fish in the area and a proof of the occurrence of this species in Tunisian coast. The pearl fish caught measured 136.1 millimeters and it weighed 2.838 gram. It has been captured at the following coordinate 34°39’629”N; 12°45’795”E by 100 meters depth. Many Echinoderms were landed during this hauls but any Holoturoidea were observed. Carapus acus occurs in Tunisian water but others studies are necessary to confirm its abundance, the commensal or parasitic status usually attributed to the carapidae and to determine the host of this species in the Gulf of Gabes.

The pearl fishers and trade of jaffna before the arrival of the british - a historical view

The pearl fishers and trade of jaffna before the arrival of the british - a historical view

Review

Reviewed by: The Donkey Lady and Other Tales from the Arabian Gulf ed. by Patty Paine, Jesse Ulmer, Michael Hersrud Margaret Mills (bio) The Donkey Lady and Other Tales from the Arabian Gulf. Edited by Patty Paine, Jesse Ulmer, and Michael Hersrud. Highclere, UK: Berkshire Academic Press, 2013. 264pp. This charming, well-produced large-format book is a group project conceived by students and faculty at the Virginia Commonwealth University of Qatar. Mostly female students, with the assistance of faculty members whose first language is English, collected and translated fifteen oral stories, which were then illustrated by College of Arts students. An intelligent short preface aptly invokes the collaborative fluidity of oral tradition to support attributing these stories to Qatari sources without making claims to exclusivity. The stories are both visually and textually accessible for young readers or listeners and aesthetically appealing to adult readers. Each story is offered by a different student teller/writer and a different illustrator. Styles of illustration vary widely; all are effective and lively. Interestingly, the most conservative (“folkloric”) styles belong to the only two illustrators with European names. The Arab students’ techniques vary from lively pen and ink, to pastels (apparently), scratch work, felt pen, wash brushwork, and what appear to be paper cutout silhouettes. Their styles range from rather conservative literalist to anime, various cartoon styles, and abstract. The stories vary by genre. There are two different variants of “The Kind and Unkind Girls” (AT 480) and a “Cinderella” variant (AT 410). Another magic tale’s core array of motifs, familiar in regional oral tradition and the 1001 Nights, has a young male hero carried off to the jewel-filled mountain aerie of a great bird, whence he escapes to a magic castle and opens a forbidden door, winning (temporarily) a supernatural bride. Among nonmagical tales, a legend of named male and female rivals explains the invention of sail technology among Gulf pearl fishers. There is one anecdote of Jouha, the Arab trickster/fool. Among admonitory tales are a version of “The Boy Who Cried Wolf”; [End Page 152] another tale of two young boys, best friends, with an aphoristic finish; an animal chain tale about eventual retribution for a goat who tries to harm her sister; and a tale of the comeuppance of a tailor who tries magic to make a young woman fall in love with him but attracts a goat instead (her little brother switches the lock of her hair that the tailor would bewitch, with the goat’s hair). Among the most interesting to this reader were two legends of supernatural female predators. A tale attributed to Korea concerns a female fox spirit, a Gumiho, with a preliminary episode in which a young Qatari in Korea rejects the spirit’s requests and escapes; a young Korean male is more vulnerable. We learn in passing that cell phones cease to work in proximity of a fox spirit. A second legend presents the shape-changing Donkey Lady (Om Hamar), who preys on children and adults. It is cleverly structured: the Donkey Lady ensnares some children by telling scary tales of her own predations. They escape and call the police, but she disappears. A coda has her attacking foreigners traveling the desert in an SUV. This lively, beautifully produced collection could serve as a model for student projects elsewhere. The book’s production was supported by the Qatar National Research Foundation’s Undergraduate Research Experience Program. Margaret Mills Ohio State University Margaret Mills Margaret Mills is Professor Emerita of the Department of Near East Languages and Cultures at The Ohio State University. With a general interest in folklore and gender studies topics, she specializes in the popular culture of the Persian-speaking world, and her current oral history and folklore research is in Afghanistan. She is the co-editor of South Asian Folklore: An Encyclopedia (with Peter Claus and Sarah Diamond, 2003) and of Gender, Genre, and Power in South Asian Expressive Traditions (with Arjun Appadurai and Frank J. Korom, 1991). She is the author of Conversations with Davlat Khalav: Oral Narratives from Tajikistan (with Ravshan Rahmoni, 2000) and Oral Narrative in Afghanistan: The Individual in Tradition (1990). Her essay “Destroying Patriarchy...

Effect of three fertilization programs on the chemical water quality for integrated culture of freshwater pearl mussel and fish

A 155-day experiment was conducted in land-based enclosures to examine the effects of three fertilization programs on chemical water quality for integrated culture of freshwater pearl mussel(Hyriopsis cumingii)and fishes.The pearl mussel was co-cultured with grass carp,gibel carp,silver carp and bighead carp,and the stocking ratio of fish to mussel was 1.5∶ 1.Three fertilization programs,including fertilizing with duck manure(DM),with chemical fertilizer(CF),and with duck manure and chemical fertilizer in combination(DC),were used.In the experiment,the pH was lower in the CF enclosures than that in the DM enclosures during the earlier phase(from May 20 to July 18).The SD,concentration of dissolved oxygen(DO) and Ca2+,and ratio of Ca2+ to Mg2+ decreased,while the concentration of ammonia(TAN),nitrite(NO2-N),total nitrogen(TN),total phosphorus(TP) and chemical oxygen demand(CODMn)increased,with the progress of the experiment.There were no significant differences in the SD and concentration of dissolved oxygen(DO),SO2-4,Cl-,CO2-3,HCO-3,Ca2+,Mg2+,hardness,alkalinity,ammonia(TAN),NO3-N,NO2-N,PO4-P,total nitrogen(TN),total phosphorus(TP)and chemical oxygen demand(CODMn)between the fertilization treatments.The ratio of PO4-P to TP was higher in the CF enclosures than that in the DM enclosures.Our results indicate that using different fertilization programs had no significantly different effects on the major ions,hardness,alkalinity,TAN,NO3-N,NO2-N,PO4-P,TN,TP and CODMn in the enclosures with integrated culture of freshwater pearl mussel with fishes and fed formulated fish feed.The concentration of CODMn was slightly low,but the ratio of PO4-P to TP was higher,in the enclosures fertilized with chemical fertilizer,relative to the enclosures fertilized with duck manure,whereas the concentration of CODMn and ratio of PO4-P to TP were at median levels in the enclosures fertilized with both chemical fertilizers and duck manure.The higher growth rate and nacre secretion of H.cumingii hung in the enclosures supplied with both chemical fertilizers and duck manure suggest this fertilization program is suitable for H.cumingii farming.

STRATEGI PENGEMBANGAN USAHA PEREMPUAN PELAKU UMKM DI KOTA AMBON

Research explores the most appropriate strategies which are made to develop women as UMKM Actor at Ambon City. The field review shows that for business development, the UMKM Actor must increase the entrepreneurship capability by emphasizing on the empowerment aspect of public economic because both are very important features for UMKM Actor at Ambon City. Research method is qualitative method. Data collection techniques involve interview, observation and documentation. The first informant is selected by purposive sampling. Next informant is selected through snowball sampling, while the final informant is based on the satiation rate of information, in wich no more variance of information is required. Data collected from the field are analyzed using Spradley Model. Domain analysis technique is the first step, and continued by taxonomy technique. Interview, observation and documentation are conducted over the artisan of pearl mollusk, fish trader and entrepreneur of fumed fish, who are mostly women. The supporting interview and documentation from related agencies at Ambon City are also considered. Research recommends the business development strategy which is expected to be the guide to the similar business development works and the empowerment effort for the women of UMKM Actor at Ambon City.

Determination of mortality in exploited freshwater pearl mussel ( Margaritifera margaritifera) populations

Estimates of mortality, based on relative numbers of live mussels and empty shells observed were obtained for a sample of seven exploited Scottish freshwater pearl mussel ( Margaritifera margaritifera) populations. Total mortality ( Z) estimates ranged from 0.058 to 0.189 year −1 and fishing mortality ( F) estimates ranged from 0.005 to 0.129 year −1. General trends of increasing Z and F with age were apparent. Pearl fishers generally targeted larger, older mussels. In one heavily exploited population, the Z and F estimates converged, indicating that most of the mortality in older mussels (>50 years) was due to the effects of destructive pearl fishing. Since a complete ban on pearl fishing was introduced in 1998, illegal pearl fishing has continued albeit at a reduced level.

New host and geographical distribution for the pearlfish Carapus mourlani (Pisces, Carapidae) with a discussion on Carapini nomenclature and biogeography

New host and geographical distribution for the pearlfish Carapus mourlani (Pisces, Carapidae) with a discussion on Carapini nomenclature and biogeography

I Paradisets Have

I Paradisets Have

Adaptation Studies with the Argentine Pearl Fish, Cynolebias bellottii, for Its Introduction into California

The cyprinodontid annual fish, Cynolebias bellottii Steindachner, was successfully field-reared and propagated at Riverside, California, with eggs and adult fish subjected to climatic conditions which were the reverse of those in its native habitat (Brazil, Argentina, and Uruguay). Egg production during midsummer (July-August) was appreciably less than during autumn; and during the winter embryonic development was delayed for as long as 10 months. Less than 0.1% of overwintering eggs hatched when flooded after 71/2months (24 May 1965).

Vidt berømt for dens mange perler

vidt berømt for dens mange perler

Systematics of the Fishes of the Family Carapidae

Systematics of the Fishes of the Family Carapidae

A Guide to Human Parasitology for Medical Practitioners

A Guide to Human Parasitology for Medical Practitioners Get access A Guide To Human Parasitology for Medical Practitioners. Blacklock D. H., M.D. (Edin.), D.P.H. (London), D.T.M. (Liver.), Professor of Tropical Hygiene, Liverpool School of Tropical Medicine, University of Liverpool; and Southwell T., D.S.C., Ph.D., A.R.C.Sc, F.Z.S., F.R.S.E., Director of Fisheries to the Governments of Bengal, and Bihar and Orison; Scientific Adviser and Inspector of Pearl Banks to the Ceylon Company of Pearl Fishers. Cloth, Ed. 4. 259 pp., 122 illustrations and 2 colored plates. $4.00. A William Wood Book. The Williams & Wilkins Co., Baltimore, Md. American Journal of Clinical Pathology, Volume 11, Issue 7, 1 July 1941, Page 622, https://doi.org/10.1093/ajcp/11.7.622a Published: 01 July 1941

BIZET'S ADMIRERS AND DETRACTORS

ON the occasion of Bizet's centenary,(1) it may be of some interest to draw attention to the extraordinary diversity of critical opinion with regard to his work. His critics may be roughly divided into two sections: those who consider him a charming, but quite definitely minor composer, and those who are convinced that he is one of the two or three greatest French musicians of all time. During his lifetime Bizet met with singularly little appreciation. His work was consistently ignored and belittled. His last months were embittered by an almost incredible lack of understanding. He was not only occasionally but repeatedly denounced as a too scholarly musician completely lacking in spontaneity and incapable of writing a simple melody. For a man of Bizet's fairly easy-going temperament this atmosphere of persistent and frequently malevolent denigration was little short of deadly; it explains, to some extent, the comparative slenderness of his output. The first to recognize his talent was Hector Berlioz, who devoted the last musicalfeuilleton he ever wrote to Bizet's ' The Pearl Fishers ', produced in I863. Berlioz lays particular stress on Bizet's fire and originality; with uncanny insight he calls attention to the little dance at the opening of the first act and praises its exceptional verve and exuberance. Some critics have considered Berlioz's praise excessive; they have even ventured to affirm that it was not altogether disinterested, but an attempt to curry favour with the management of the Theatre Lyrique, which was about to produce his 'Les Troyens' after interminable delays and inexcusable mutilations. But Berlioz was, on the whole, no time-server; he had an undeniable admiration for his youthful contemporary, and his article has an unmistakable ring of sincerity. Besides, he does not hesitate to express his censure and he justifiably-and fairly ruthlessly-condemns the finale of the first act. It is of a vulgarity that is no longer permissible nowadays , he remarks trenchantly. He was quick to notice that Bizet did not always make the best use of his splendid gifts, but then the composer of' Carmen ' (who had