The recovery of identifiable plant remains intimately associated with a skeleton of Tyrannosaurus rex in southwestern Saskatchewan, Canada, provides the basis for interpreting the latest Maastrichtian (65.5–65 Ma) paleoenvironment of the region. Fossil plants from the site are described, and fruits formerly known as Aesculus antiquus Dawson or Ficus ceratops Knowlton are transferred to a new taxon, Spinifructus antiquus (Dawson) comb. nov. Study of the sediments of the Frenchman Formation that host the bones and plants, in combination with analysis of the plants, indicates that the regional climate was mesothermal and without winter frost, but with seasonal drought. The T. rex is believed to have roamed a broad river valley abundantly vegetated by a largely deciduous flora. The deciduous nature of the Saskatchewan paleovegetation, interpreted as a response to low winter light levels at high latitude, contrasts strongly with the contemporaneous vegetation of a few degrees latitude further south and leads to questions about how a dinosaur fauna survived in a region where the bulk of the vegetation entered an extended period of dormancy.

The mericlonedCymbidiumLovely Angel‘The Two Virgins’is known among commercial growers as a difficult cultivar in which to induce leads. At Yatsugatake Experimental Farm, Yamanashi Agricultural Experimental Station (Takane, Kitakoma, 955 m elevation), we studied the effects of autumn and winter light and temperature management on the number of leads in this cultivar. Variations in both light intensity and night temperature showed great effects on theCymbidiumplants. Low night temperature promoted the development of leads, while low light intensity retarded lead development. The number of leads was not correlated with obvious growth characteristics such as the number of leaves or leaf length.

New production in the East China Sea, comparison between well-mixed winter and stratified summer conditions

How evergreen species store and protect chlorophyll during exposure to high light in winter remains unexplained. This study reveals that the evergreen snow gum (Eucalyptus pauciflora Sieb. ex Spreng.) stores and protects its chlorophylls by forming special complexes that are unique to the winter-acclimated state. Our in vivo spectral and kinetic characterizations reveal a prominent component of the chlorophyll fluorescence spectrum around 715 nm at 77 K. This band coincides structurally with a loss of chlorophyll and an increase in energy-dissipating carotenoids. Functionally, the band coincides with an increased capacity to dissipate excess light energy, absorbed by the chlorophylls, as heat without intrathylakoid acidification. The increased heat dissipation helps protect the chlorophylls from photo-oxidative bleaching and thereby facilitates rapid recovery of photosynthesis in spring.

We report nutrient addition bioassays at 18 stations in Chesapeake Bay (USA) to assess resources limiting phytoplankton growth. Data were pooled from several sampling programs conducted from 1989 to 1994. Spatially, light and P limitation declined from low salinity regions to high salinity regions, as N limitation increased. This spatial pattern was driven primarily by freshwater inflows with high N/P and seawater inflows with low N/P. Seasonally, there was a marked progression of winter light limitation, spring P limitation, and summer N limitation at mesohaline and polyhaline stations. The seasonal pattern appeared to be caused by temperature, mixing, river discharge, and sediment P fluxes. At high salinity stations, we also observed winter N limitation (caused by DIN depletion prior to spring nitrate delivery), and at lower salinity stations there was fall P limitation (caused by reaeration of bottom sediments). At tidal fresh stations, turbidity and nutrient concentrations resulted in continuous light limitation, except at some stations in summer. Interannual decreases in light limitation and increases in N and P limitation appear to represent improvements in water quality.

Magnetoreception attributed to the efficacy of light therapy

Studies have been conducted on the geographic variation of growth and survival among fish populations but little work has been done in this regard on the early larval stages of marine fish. We conducted experiments on larvae from 2 separate populations of Atlantic cod to determine their response to light. Preliminary experiments conducted in our laboratory suggested that the light intensity under which larvae were reared may affect the growth performance of Atlantic cod larvae from the Scotian Shelf (SS) and Northeast Grand Banks (NF) differently. We conducted experiments to test the hypothesis that light intensity differentially affects larvae from these 2 geographically distinct populations. Cod larvae from each population were reared under low (0.19 μE m-2 or 8.5 lx) and high (12.92 μE m-2 or 680 lx) light intensities. Results showed that NF larvae foraged, grew and survived better under high light than low light, while the SS larvae performed better under low light conditions. In nature, the population of SS cod we used spawn during late fall/early winter while NF cod spawn in spring/ summer. Thus, SS larvae likely experience low winter light levels and NF larvae high summer light levels during first feeding. These results support our hypothesis and suggest that cod larvae from different latitudes are adapted to local environmental conditions.

Abstract Regardless of whether or not seeds of the geographically-widespreadSolidago altissimaandS. nemoraliswere exposed to light in autumn, those ‘dispersed’ in autumn (15/°C) or winter (5°C) required 12 weeks of light in winter to germinate to ≥80% in darkness in spring (2 weeks at 20/10°C). On the other hand, seeds of the narrow-endemicS. shortiidispersed in autumn and exposed to ≥2 weeks of light in early winter germinated to ≥77% in darkness in spring, and those dispersed in winter and exposed to ≥6 weeks of light germinated to ≥82%.S. altissimaandS. nemoralisseeds not exposed to light during any season germinated to only 0–1% in darkness in spring, whereasS. shortiiseeds germinated to 45–56%. Seeds ofS. altissimaandS. nemoraliskept in darkness in autumn and winter needed a 1-day (14-h photoperiod) light exposure in spring to germinate to ≥75% in darkness, whereas those ofS. shortiirequired only one 5-s exposure. Cold-stratified (nondormant) seeds ofS. altissima, S. nemoralisandS. shortiiexposed to light with a high far-red/red ratio germinated to significantly higher percentages than dark controls and freshly-matured and lab-stored seeds. Results of this study suggest that a soil seed bank ofS. shortiishould be smaller and be depleted at a faster rate than those ofS. altissimaandS. nemoralis, and portions of the seeds of the three species can germinate in the far-red-enriched light under plant canopies.

Phytoplankton biomass and growth rates were measured in Beatrix Bay, Marlborough Sounds, during 1994–95. In spring and summer, nitrate and chlorophyll a concentrations in the mixed layer were low (typically < 1 mg N m3 and < 1 to 3 mg Chi. a m−3, respectively), and phytoplankton growth rates were moderate (average 0.3 d−1). Growth rates increased several‐fold in response to the experimental addition of inorganic N (but not to inorganic phosphorus). Higher nitrate concentrations were found below the pycnocline. During autumn and winter, nitrate concentrations in the mixed layer were high (up to 60 mg m3), but phytoplankton growth rates were lower than in summer (average 0.2 d−1), and did not respond to added nutrients. Chlorophyll a concentrations, however, were highest during the winter (typically 3–6 mg m−3). Even so, low light levels meant integral photosynthesis per unit chlorophyll a was low in winter. Phytoplankton growth appears to be controlled by the availability of nitrogen in summer and by light in winter.

This paper focuses on the spatial variability of fine mass and extinction budgets taking data from the winter and summer months of 1992. The study area included southern California, southern Nevada, southern Utah, Arizona, and parts of New Mexico. Two types of monitoring sites were operated: intensive and secondary or satellite. At the intensive sites, all major aerosol species were measured as well as extinction or scattering. At the satellite sites, trace elements including sulfur and hydrogen, absorption, and gravimetric fine mass were measured. Where all aerosol species are measured, the spatial variability of extinction budgets is examined assuming an externally mixed aerosol. At the satellite sites, an approximated fine mass budget is derived and the variability of these budgets in space and time are examined. This effort was part of a study called Project MOHAVE (Measurement of Haze and Visual Effects) carried out with the principal objective of understanding the relative contribution of regional and local sources to visibility impairment on the Colorado Plateau and specifically, the Grand Canyon. Generally, the contribution of sulfates, organics, and absorption to extinction are about equal at 20-30% with the coarse mass fraction being about 10-20%. The one exception is in southern California where the nitrate contribution is significant. Furthermore, the nitrate contribution tends to be higher in the winter than summer. During the summer, concentration gradients tend to be spread out across the study area, while during the winter months, variability in concentration and budgets tends to occur on a smaller scale.

The Virgin Spring and The Seventh Seal: A Girardian Reading William Mishler Of his more than forty films, Ingmar Bergman has set two in the Middle Ages—The Seventh Seal (Det sjunde inseglet, 1956) and The Virgin Spring (Jungfrukällan, 1959), the latter based on an early ballad and utilizing a screenplay that he co-authored with Ulla Isaksson—which together form an instructive pair. The former, of course, represents his breakthrough as a director of international reputation. Though heralded by the powerful Sawdust and Tinsel from 1953, The Seventh Seal was his first unquestionable masterpiece. It was a film that to Bergman's own amazement "swept like a forest fire across the world."1 Today it continues to maintain its preeminent position with both audiences and critics. The Virgin Spring, however, is a different matter. Compared to his best work as a director, it has been judged a relative failure, first and foremost by Bergman himself. Initially elated by the film,2 he later became sharply critical of it. In an interview from 1970, he stated: "Now I want to make it quite plain that The Virgin Spring must be regarded as an aberration. It's touristic, a lousy imitation of Kurosawa."3 And in his autobiography, The Magic Lantern, he neglects even to mention the film4 and thus tacitly removes it from among the works by which he evidently wishes to be recognized as a director. Bergman's condemnation of The Virgin Spring is in my view excessive. Taken simply on its own terms, it possesses an undeniable power and presents sequences of great visual interest. On the other hand, it is true, the film is a far less captivating work than The Seventh Seal, less surprising to watch and less challenging to think about afterwards. Bergman locates its flaw at the conceptual level, and in my opinion he is correct to do so. After all, there is nothing amiss with the film's actors or technical resources, which are nearly identical to The Seventh Seal's. Speci106 William Mishler107 fically, Bergman locates The Virgin Spring's problem in what he intriguingly calls its "totally unanalysed idea of God."5 In the present essay I would like to open up this "totally unanalysed idea" first of all because I believe that it will hand us an important key for understanding the disparity in artistic quality between the two films and also, I hope, provide some insight into the connecting logic of Bergman's work as a director and screenwriter. To carry out this inquiry I will draw on the work of the literary critic and anthropologist René Girard, whose theories concerning the function of religion in human society strike me as offering a powerfully articulated parallel to the psychological and anthropological insights implicitly present in many of Bergman's films. I It is important in regard to the matter of religion to distinguish the two senses in which the subject is particularly relevant to Bergman—i.e., the personal and the ethical. There is on the one hand the Christianity of his childhood which shadowed him well into adulthood. As the son of a strict Lutheran pastor, Bergman grew up in an atmosphere pervaded by Christian theology and Christian habits of thought from which, as an artist, he struggled mightily to free himself. This endeavor is particularly noticeable in the films of his middle period, extending from The Seventh Seal through the so-called trilogy of Through a Glass Darkly (Sâsom i en spegel, 1961), Winter Light (Nattvardsgästern, 1963), and The Silence (Tystnaden, 1963). These last three record the progressive stages in an examination and rejection of the notion of God as a sufficient response to the ills of the world. Bergman has called the trilogy a "reduction," thereby pointing to the tight interlinkage among the films, each taking the minimal optimism of its predecessor, its faint glimmer of theistic possibility, and subjecting it to destructive scrutiny. By the end of the trilogy, the notion of God even as resonant absence or significant silence has been expunged. In The Silence the trio of the film's principal characters are carried deeper and deeper into a gritty...

Factors controlling holocene reef growth: An interdisciplinary approach

Part I: Seasonal Syndromes. Introduction: Discovering SAD. All About SAD. How Seasonal Are You? The Causes and Symptoms of SAD. in Children and Adolescents. Summer SAD and Other Seasonal Afflictions. Part II: Treatments. Light Therapy. Beyond Light Therapy: Other Ways to Help Yourself. Psychotherapy and SAD. Antidepressant Medications, Herbs, and Vitamins. How Can I Help?: Advice for Family and Friends. Step by Step Through the Revolving Year. Research on and Light Therapy. Part III: Celebrating the Seasons. A Brief History of Seasonal Time. Polar Tales. Through the Ages. Creating with the Seasons. Words for All Seasons. Winter Light: Life Beyond SAD. Part IV: Resources. Where to Get Further Help for Seasonal Problems. Dietary Advice, Menus, and Recipes. Further Reading. Appendix: Self-Assessment Mood Scale for (SAM SAD).

Potential 1+ smolts of Atlantic salmon (Salmo salar) were reared under three light regimes: simulated natural photoperiod (LDN), continuous light (LD24:0), or a combination of continuous, low-intensity background light and a superimposed simulated natural photoperiod (dual photoperiod, LDD). Growth rate in freshwater was enhanced by LD24:0 and LDD, and changes associated with smoking (increased salinity tolerance, reduced condition coefficient) were advanced under LD24:0. Plasma growth hormone levels were initially high on LD24:0 and LDD whereas on LDN, plasma growth hormone levels increased gradually from February through April. Overall GH levels were negatively correlated with condition coefficient during the final stages of smoking. After 16 mo in seawater, there were no significant size differences among the groups. The incidence of sexual maturation as postsmolts was higher in the LD24:0 and LDD groups whereas the incidence of grilsing was higher in LDN. Results demonstrate the significant influence of photoperiod on growth and smoking in Atlantic salmon. An abrupt increase to continuous light in winter may be sufficient to advance important aspects of the parr–smolt transformation. Dual photoperiod may be a way to combine the increased growth rate observed under continuous light and the normal parr–smolt transformation associated with natural photoperiod.

Research Article| April 01 1991 Illuminations: An Interview with Andrew Noren Scott MacDonald, Scott MacDonald Search for other works by this author on: This Site PubMed Google Scholar Andrew Noren Andrew Noren Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1991) 44 (3): 30–43. https://doi.org/10.2307/1212794 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Scott MacDonald, Andrew Noren; Illuminations: An Interview with Andrew Noren. Film Quarterly 1 April 1991; 44 (3): 30–43. doi: https://doi.org/10.2307/1212794 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search This content is only available via PDF. Copyright 1991 The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

by Kathleen Ann Goonan Iris Jekyll was on her way over. I knew because Evan told me so at the store. "She just left five minutes ago," said the old storekeeper as he slipped the half gallon into the bag. "Said she was headed up to your place." Gray winter light seeped around the monstrous jungle he kept in the front window, giving the top of his bald head an even glow. He frowned. "She was acting kind of strange, even for Iris." He shook his head. "I just don't know what's going on." I'll bet, I thought. Who doesn't know every little detail of what's going on in everybody's life around here? I watched his spidery, freckled hands slowly work the big round keys of the register. He turned the crank, the drawer popped out, and he handed me seventy-four cents. I slipped the change in my jeans pocket; the coat pocket had a hole which I never had fixed and never would. When I just picked up the bag and turned to go without saying anything, Evan couldn't take the hint. I didn't really think he would. I never said much, anyway, they all knew that by now. He raised his querulous old voice a notch. "Well, I wish she wouldn't come in here drinkin', that's the fact of it. That's the fact." 41 I hoisted my bag and left. The clomp of my heavy boots on the wide-plank floor mixed with the sound of those jingle things as I opened the door. Outside it was real quiet. The hush of damp winter was all around. Though it hadn't been predicted, I thought I smelled snow on the way. No cars. No one else was likely to pass the tiny crossroad for another hour or so. That's why I like this county. I don't have to mess with busybodies like Evan too often, and when I do I'm not inclined to give them much to go on. I took the back way and kept the old Pontiac at thirty-five. No rush. The low hills undulated by; it was too foggy to see the big mountains right behind them. White farmhouses sent up puffs of smoke which settled low and flat, making me even more sure about the snow. The tops of the bare trees pointed a million arrows upward, brown against the white of last week's unmelted fall. I went around the last bend before our house. The Kronig kids had left their bikes just about in the road. I wasn't going to wreck trying to avoid them the day they rolled onto the blacktop. Their sagging old house was a sight. But mine's not much better. Springhouse falling into the creek. Old barns leaning, twisting, and falling. I need to get out there soon with some lumber and tools. I've been thinking of selling them, though. I saw on TV a few months ago about how some people up north bought a barn and spent the whole day tearing it down for the wood. That'd be all right with me-let them do all the work. Iris' white Lincoln was there, spattered with mud. Why they bought it I'll never know. They practically need a four-wheel drive to get up the county road to their place, especially this time of year. I went through the screen porch and opened the kitchen door. Tony was there, in front of the stove, reading one of his everlasting books. I was surprised to see the cats there too. He had a low tolerance for them. I figured he hadn't noticed them yet. "Hi, Honey, he said. "Iris is here." "I know." I put the milk in the refrigerator . Beats me why we have to have one here in winter, with the rooms as cold as ice anyway. No, I know why. I just say that sometimes to annoy Tony. "How can a scientist be so stupid?" he'll ask nobody, running his hands through his hair. I knew Iris would be up in the...

The effect of using a Venetian reflector assembly to improve winter light levels in a single-span glasshouse on the growth of a pot chrysanthemum crop

A HUSBAND ON THE MARSH / Andrew Hudgins I'm lost. Which is the point. That's why I come here when I can and walk the marsh. Well, not exactly lost. Over scrub pines, I recognize a cypress that's not too far from the road back home. I know the marsh too well. I can't get lost—unlike when I was just a child. With longer legs, I see above sawgrass. I know the stars. I know which side of trees moss dangles from. I always find my way back home without much drama. Or much fear. Even if I stare into the sun, then close my eyes and follow the two dots of fire scored on the back of my eyelids like stars, I can't get lost. I just get my feet drenched from stumbling into water, clothes scuffed from brushing against trees, my face lashed with limbs, hands slashed by sawgrass. But when I look I know exactly where I am. Or will: This run of rotting fence connects to Parker's land. This smoke wafts from a chimney whose fireplace I've sat by and talked politics. But I get lost in what it means— the marsh. Mary just says, WZio cares? When I was young I had no doubt the marsh—the world—was God's mind. We were God's thoughts as we trampled through the bog, fished, hunted deer, and tried to keep our awe in check. Why try? But then I strated in on meaning, which goes nowhere. So then I thought The Missouri Review · 99 that play was aU there was to it— not least, because out wandering, Td seen the red-tailed hawks I love scream in mid-air on windy days until, God-like, the male bird tucks his wings and plummets toward this mate. A scant half second before he hits, he spreads wing and zooms off. Repeatedly he feints, then veers, as I watch noon sunlight glow red through his tail-feathers. And once, as he bore down, I saw the female flip. The two locked talons and tumbled almost to the pines before they separated and the game resumed. Courtship! I loved it once. But who could bear it every spring? Mary. Don'f be so serious, she says. But play is not enough. Tm of at least two minds—like one strange salamander that I found. These salamanders breed too fast to do it well—three tails, six legs. With heads at either end, it crawled one way until that end collapsed, and then the other end would crawl the other way—till it collapsed. I tried to let it go. But how could it escape? I tossed it back into the mud and left it there, alive when I walked off, but after that, who knows? Tm stuck with stories now. Perhaps this is a better one: Along the Chattahoochee's bank, I saw green cankerworms, in thousands, moil—seethe—beneath the cottonwoods like fat, green, severed fingers, searching for their lost hands. A scene of hell, one Dante overlooked. But later, at night, I went again and found the cankerworms were gone. Instead an equal number of dust-brown moths fluttered over water. They 200 · The Missouri Review Andrew Hudgins turned white, then silver, transformed by moonlight. Exquisite. I left before the magic turned them back to moths. But here, lost, when I could get lost I loved the idea of mosquitoes, lice, and ticks living off my blood, as I lived off the meaning of the marsh. Or off its lack of meaning—back and forth. Mosquitoes, ticks: I loved them as ideas. I never felt so thoroughly that I was just a soul and nothing else than when my body fed their bodies. But, dammit, the actual fact of them was more than I could bear. They hurt. But Td tell Mary what to do with facts: smack them around, and see if they will tell you anything. Some do. Some don't. Some waffle. Hell, she's not convinced. In winter light, the marsh is stark, abstract. Just up and down. The hard-edged light is clear, incisive...

The prediction of multispan greenhouse light transmission, with particular reference to tunnels under direct winter light conditions

The transmissivity of E-W aligned models of a conventional and clerestory greenhouse under natural winter irradiance