genetic variation. The latter requires testing for local adaptation in natural or simulated environmental settings. In the recently introduced quasi in situ approach (Volis & Blecher 2010 ), determination of the scale and spatial pattern of local adaptation is an important step in developing a
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Sergei Volis, Yong-Hong Zhang, Michael Dorman and Michael Blecher
Orthodoxy, Liberalism, and Adaptation
Essays on Ways of Worldmaking in Times of Change from Biblical, Historical and Systematic Perspectives
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Edited by Bob E.J.H. Becking
How does religion cope with changing situations? Are orthodoxy and liberalism really competing strategies? The essays in this volume argue three views. (1)Orthodoxy is not to be seen as the real and original form of a given religion, but as an idealized original form that should be construed as a construction in reaction to changes in time. (2) Over the ages, liberalism – despite its laudable strive for adaptation – has been less successful than generally assumed. This lesson from history can be quite important in view of the adaptation processes for Muslims in Western Europe. (3) Of great importance for the survival of religion seems to be a clear definition of the boundaries of religiously informed practices and ethics. Their recognisability and authenticity shall – when combined with a due lack of obtrusion – be of great influence for the ongoing acceptance of religion(s) in the public domain.
The Impact of Climate Change on Indigenous Peoples’ Land Tenure and Use
The Case for a Regional Policy in Africa
Michelo Hansungule and Ademola Oluborode Jegede
1 Introduction With an economy largely dependent on agriculture, limited adaptation capacity and effects of mitigation strategies adopted by the rest of the world, populations in Africa are and will be affected by climate change 1 more than the populations in other regions of the world. 2
Hao Tam Ho, Hao Tam Ho, Emily Orchard-Mills, Hao Tam Ho, Emily Orchard-Mills and David Alais
in the movie becomes less evident). In the experimental analogue, the point of subjective simultaneity (PSS) shifts toward the leading modality following audiovisual lag adaptation (Fujisaki et al. , 2004 ; Van der Burg et al. , 2015; Vroomen et al. , 2004 ). Far from existing only in artificial
Tony George Puthucherril
primary methodology to attain sustainable coastal development, and how they further adaptation to sea level rise. The article argues that, as it stands, India’s coastal law is ineffective to further these two objectives. Keywords India, integrated coastal zone management, climate change, sea level rise
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Edited by Michael J. Meyer
It can safely be said that when literary texts are utilized or adapted by a musician to create a new work of art, it is seldom that a diminished or lessened product results. Rather, such a merging usually enlarges and enhances both text and tune, perhaps significantly changing the message of the original. Discovering exactly what the new form has to offer and how it relates to the text or melody that preceded it is often a daunting task, requiring a close examination of both the author’s and the composer’s intent.
The essays in this collection offer an analysis of several adaptations, some successful, some not so successful, and attempt to assess just what the musicians or writers have modified or changed from to the original as they re-form it into an altogether different media. Ranging from Pasternak’s appropriation of Tchaikovsky to Britten’s operatic versions of Billy Budd and the Turn of the Screw, from Celan’s use of fugal technique in his “Todesfuge” to the way that the musicianship of several women writers found voice in their writing, a broad spectrum of collaborations is examined. As readers examine an author’s respect for a long dead musician (Hopkins’ admiration of Purcell) or as they discover how John Harbison worked to transform Fitzgerald’s musicality in The Great Gatsby, it will be evident that musical adaptations often provide a richness that the originals did not possess and that the potential for greatness is heightened when the arts intersect.
The essays in this collection offer an analysis of several adaptations, some successful, some not so successful, and attempt to assess just what the musicians or writers have modified or changed from to the original as they re-form it into an altogether different media. Ranging from Pasternak’s appropriation of Tchaikovsky to Britten’s operatic versions of Billy Budd and the Turn of the Screw, from Celan’s use of fugal technique in his “Todesfuge” to the way that the musicianship of several women writers found voice in their writing, a broad spectrum of collaborations is examined. As readers examine an author’s respect for a long dead musician (Hopkins’ admiration of Purcell) or as they discover how John Harbison worked to transform Fitzgerald’s musicality in The Great Gatsby, it will be evident that musical adaptations often provide a richness that the originals did not possess and that the potential for greatness is heightened when the arts intersect.
“Zerhaut, zerreißt, zerschmettert!”
Der Bethlehemitische Kindermord – ein interkonfessionelles Bindeglied in den europäischen Künsten
Elena Nendza
der Ratsherr und Dichter Barthold Heinrich Brockes vermag mit seiner deutsch-italienischen Übersetzung das ‘niederländische Gedankengut’ aus dem geistlichen Epos im frühen 18. Jahrhundert der Hansestadt Hamburg richtig freizusetzen. Marinos epische Kindermord-Adaptation avanciert in der europäischen
Roberto Arrighi
Previous studies have shown that numerosity perception is susceptible to adaptation, suggesting that it is a primary visual property (Burr and Ross, 2008). Recent studies on monkeys have revealed a sharp numerosity selectivity for neurons of intraparietal sulcus (IPS), with some tuned to an abstract representation of numerosity independent of the temporal format (simultaneous or sequential) of presentation (Nieder et al., 2006). Here we exploit adaptation technique to test demonstrate a truly abstract number sense in humans. We demonstrate numerosity adaptation for sequentially presented items both across modalities as well as across presentation format. Adapting to a series of flashes presented at 2 or 8 Hz for about 40 seconds changes the perceived numerosity of visual pulses (range 2–20) presented within a temporal window of 2 seconds: adapting to 2 Hz increased perceived number by 15–20%; adapting to 8 Hz decreased perceived number by a similar amount. For adaptation to occur, the adaptor stimulus had to occupy the same spatial position in external rather than retinal coordinates. Similar adaptation effects were observed for auditory stimuli (adaptation to tone sequences), and also cross-modally: adapting to auditory bursts affected perceived visual numerosity and vice versa, to similar extent as intra-modal adaption. Finally we demonstrated cross-format adaptation: adapting to sequential streams of flashes affect perceived numerosity of spatial arrays and viceversa. All these results point to the existence of a perceptual system that combines visual and auditory information to encode an abstract sense of number, in space and in time.
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Ger Zielinski
In this paper I reconsider Bruce LaBruce’s underground film No Skin Off My Ass (1993) as both a daring queering of Toronto and an abrasive yet also camp punk re-queering of both Richard Miles’ 1965 novel That Cold Day in the Park but particularly Robert Altman’s 1969 film adaptation of the
Han Xiaorong
, these refugee communities in China have drawn much attention from Chinese scholars, officials, and reporters. Scholarly works have focused on the study of individual refugee communities, covering the settlement, remigration, adaptation, and identity of the refugees, and other issues (Chen 2007 ; Yao
