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Chromosome counts of Lactuca viminea from Cyprus revealed the diploid number 2n = 18, which confirms results from other parts of its distribution range. Cultivation of plants corroborated the existence of two habit forms but assignment of Cypriot material to infraspecific taxa still seems to be premature.
Various noteworthy records of flowering plants in Cyprus (1996–2019) and some status clarifications
(2020)
This paper deals with specimen-based records of 33 taxa, most of them having a scattered occurrence or restricted distribution range in Cyprus. The following taxa are new to Cyprus or have been documented by specimens for the first time: Artemisia verlotiorum, Atriplex suberecta, Cardamine occulta, Catharanthus roseus, Erigeron sumatrensis, Euphorbia graminea and Solanum lycopersicum. The recently found Cenchrus setaceus, already problematic as invasive outside Cyprus, seems to spread quickly on the island and should be given particular consideration.
Solenopsis annua, formerly thought to be a Greek endemic, is recorded in Cyprus for the first time. A morphological description and information on its taxonomy, distribution and habitat, as well as its floristic status are provided. It is recommended to treat it at species rank following the currently prevailing trend of a micro-species concept in Solenopsis. Regarding its future Red Data Book status in Cyprus it should be characterised as "Endangered".
In a time when 'internationalization' and 'diversity' have become key areas universities are expected to excel in, it may seem an almost self-evident endeavor to install a memorial for a figure as influential and internationalist as Du Bois, whose connection to the Humboldt University outlasted two ideologically very different political systems. Planned to be positioned in the ground floor of the main building, the memorial, which will start production as soon as the last funding has been secured, reveals an image right at its center that "exist[s] in virtually every student's life and family album, and commonly serve[s] as vehicle[s] of recognition, remembrance and commemoration": the class photograph. What are the main considerations underlying the W. E. B. Du Bois Memorial's concept and design? How has it evolved so far? And what can such a memorial realistically achieve?
The resistance of aesthetics consists in the mode of experience that art affords, which promotes individual consciousness and political awareness by exploding the dualisms with which we tend to simplify things: centralization and decentralization, totality and fragmentation, communism and neoliberal capitalism, dictatorship and democracy. Although the formal complexity and ambiguous compositions met in works by the likes of Picasso, Woolf, and Schönberg most obviously support this sort of experience, it can be drawn out of all art to various degrees. Indeed, what distinguishes these modernists from the artists who came before and after them is how they set aesthetic experience as the aim of artistic production. But no work of art can be reduced either to the whole or to the sum of its parts; either to systematicity or to formlessness. Strictly speaking, the opposing ideals of classical and critical aesthetics are not two distinct aesthetic positions, but the theoretical limits between which art unfolds. By analogy, totalitarian governance and social atomism are not oppositional political materializations, but the two extremes at which politics ends.
Where Haas sees the narrative dividing into "Streberwitz" and "Kriegsdarstellung" I see something more like a division between 'Witz' and 'Krieg' per se. The point and the provocation of the novel, in my view, is that Kehlmann declines to bring these two strata together, or rather: that he first insists on bringing them together, by forcing Tyll and the Thirty Years War to inhabit the same work, and then refuses to synthesize them into anything like a higher unity. The irony of the fool, in Tyll, does not acquire gravity or depth by virtue of its relationship to a reality whose hidden truths it emphatically does not reveal; and the reality of war does not find redemption or sublimation in art.