Explore the vast range of titles available.

The typification of the nameAnabasis foliosaL. (≡Neocaspia foliosa(L.) Tzvelev) (Chenopodiaceae) is revisited. The specimen on the left of sheet no. 316.3 in the Linnaean Herbarium (LINN) is designated as the lectotype.

The contents of a set of undated, handwritten notebooks by Balinese musician Gusti Putu Madé Geria (1906–83) are first assessed in historical perspective. He was in effect the first Balinese musicologist, but his work evokes older anonymous lontar (palm leaf manuscripts) of Balinese scribes, themselves heir to traditions of Hindu-Buddhist thought. Some of his descriptions of instruments and ensembles mimic the discourse of high priests and invoke unseen worlds. I will briefly consider their relationship to specific lontar and to Tantrism (Bandem 1986, Becker 1993). Geria’a analytical thinking dwells in a network of ideas bridging his precolonial umwelt with an inchoate Indonesian modernity. He invented a witty cornucopia of terms in Balinese for instrument functions and melodic patterns where none previously existed in oral tradition. His lexicon is a product of his insight into particular linear-intervallic structures and their motile impulses. Geria in effect provides a theory enabling close readings of “classical“ Balinese gamelan repertoires, which teem with these patterns. I introduce a selection of them, amplifying (and culturally decoding) Geria’s classifications and notations with a more granular but, I aver, ethnographically relevant approach. The last part of the paper sorts Geria’s terms by lexical field: the natural world, emotion or character, action and perception, and the unseen world. Finally I compare Geria’s lexicon with my own published work on the same musical material, assessing the epistemological gaps within each and between the two.PEER REVIEWER: Ed GarciaVIDEO CREDITS (left to right and front to back row in Part IV): Walker Williams, Putu Ichi Oka Swaryandana, Michael Tenzer, Oscar Smith, Iljung Kim, and John Lai. Videography, recording, and editing, March 2023: Jason Winikoff.

The paper presents the results of analysis of direct address melodic patterns in radio and TV interviews in English. The address serves to establish, break, and hold the conversation, change the topic, draw attention, express communicative tonality in the English interviews under study. In speech practice the position of address is not strictly regulated, it may be in an absolute, initial, middle and final position in the expression. The position and function of direct address govern the choice of address melodic pattern. Direct address often accompanies other speech acts (greeting, thanking, introducing, farewell, and compliment). The phonetic study based on the material of English interviews allows to describe functional peculiarities of some melodic patterns of address. It is proved that an address at the beginning of the interview (when realized in preposition or postposition) performs a contact-setting function, has different patterns of pitch variation (Level, Low Fall, Mid Fall, Rise-Fall) or may complete the melodic pattern of the previous statement. In the body of the interview, the address may be in an utterance-initial or utterance-final position and serves to resume and hold the conversation, attract listener's attention to the topic. In this part of the interview the address is realized with Low/Mid/High Fall, Fall-Rise, Low Rise, Rise-Fall tones. In the final part of the interview, the address is realized in preposition to other speech acts, serves to break the contact and has different melody patterns: Low/Mid Fall or Fall-Rise. The final address may not form a separate syntagma and have a separate melodic pattern.

In this paper, we report the analysis of the melodic behavior of wh-questions from the North of England. The corpus contains 107 utterances issued by 19 different native informants in real communicative situations, extracted from recordings of street interviews published on YouTube and carried out in the cities of York, Manchester, Sheffield and Liverpool. The analysis is conducted through the Melodic Analysis of Speech (MAS) method (Cantero, 2002) which allows us to quantify, standardize and compare melodic configurations. The results describe four different intonation patterns for this type of question. A rising final inflection pattern (E1: 27%); a falling final inflection pattern (E2: 58%); a circumflex rising-falling final inflection pattern (E3: 5%); and a high nucleus falling pattern (E4: 10%). After describing and quantifying each of these patterns, the results are discussed in relation to those melodic descriptions made by precedent authors in the existing literature.

A first comprehensive phylogenetic analysis of tribe Salsoleae s.l. (Salsoloideae: Chenopodiaceae) is presented based on maximum parsimony and maximum likelihood analysis of nuclear ribosomal internal transcribed spacer and chloroplastpsbB‐psbHDNA sequences. Our data strongly support (1) the sister relationship of Camphorosmeae to the Salsoleae s.l.; (2) splitting of Salsoleae s.l. into two monophyletic tribes, Salsoleae s.s. and Caroxyloneae tribus nova; (3) the current status of most monotypic or oligotypic genera in Salsoleae; and (4) polyphyly of the Botschantzev and Freitag (among others) circumscriptions ofSalsola, which falls into 10 (on average) monophyletic genera/lineages. Three well‐supported genera are described as new (Pyankovia,Kaviria, andTurania), and four previously described genera are resurrected (Caroxylon,Climacoptera,Kali, andXylosalsola).Salsolas.s. include a group of central and southwest Asian and north African species that consists ofSalsolasect.Salsolas.s.,Salsolasect.Caroxylonsubsect.Coccosalsola,Salsolasect.Obpyrifolia,Fadenia,Hypocylix,Seidlitzia, andDarniella. All species of tribe Caroxyloneae investigated so far have C4photosynthesis of the NAD‐malic enzyme subtype, while the majority of the species of Salsoleae s.s. are known to be of the NADP‐malic enzyme subtype.

琴調是琴樂構成的基礎。明代多數的琴譜當中，都收有各琴調的「調意曲」，暗示其具有幫助琴人演奏並理解琴調的作用。但古代文獻對琴調的音樂性質或是調意曲的着墨甚少，有待琴界的探索。為了進一步瞭解明代以前所使用的早期琴調，本研究選擇以《事林廣記》、《太音大全集》、《神奇秘譜》及《西麓堂琴統》中所收錄的調意曲為主要研究材料，理由是這四種文獻的時間較早，有助於揭露琴調的早期性質。另一方面這四種文獻所收錄的調意曲，彼此之間具有差異性，可以看出琴樂在長時間實踐下的可能變化。透過調意曲的分析，本研究發現早期琴調除了音階構成、畢曲音以外，還具有諸多音樂性質，例如慣用的旋律型、特殊的取音位置、音樂色彩的布局、終止式等。顯示早期琴調的內涵其實豐富而多元。藉由認識琴調的音樂性質，有助於更貼切地解讀古譜，進而重塑古調的音樂面貌。

According to a survey conducted from 1995 to 2004 in the eight regions with salinized soils, China contains 587 halophytes representing 242 genera and 71 families: apart from three species of ferns, all are angiosperms. Physiologically, Chinese halophytes include salt-secreting halophytes, euhalophytes, and pseudohalophytes. Ecologically, Chinese halophytes include zerohalophytes, mesohalophytes, and hydrohalophytes. Chinese halophytes represent a salt-tolerant gene pool that might be used to increase the salt tolerance of conventional crops through breeding, but also have considerable potential as salt-tolerant economic crops providing food, forage, medicine, and industrial material in salinized soils.

Alkali-rich plant ashes were mainly used in the manufacture of Bronze Age, Sasanian, Islamic, and Venetian glasses. In this article, the authors discuss ethnographic evidence for the use of plant ashes for glass production in the Middle East and its relevance to the study of ancient glass. Some potassium-, sodium-, and alkali-rich plant species from contrasting geological locations in Syria were chemically analyzed. This is the first such survey, and it demonstrates the overriding importance of the geology in determining the chemical composition of the plant ash. It also shows that heavy metals are accumulated in the plants, possibly providing the trace levels detected in plant-ash glasses. The study reveals that a number of soda-rich plant types, especially of the genus Salsola, could have been used in ancient glass production. It also established the (low) compositional variability in plant ashes for the same species growing in a small area.

Xenophon participated in the March of the Ten Thousand, but in the Anabasis, instead of parading his autopsy, he keeps his narratorial persona separate from his character. This separation, however, is subtly blurred when, on the one hand, the narrator adopts the perspective of the character, who is by far the most prominent focalizing instance in the narrative, and, on the other hand, the character appropriates narratorial functions: Xenophon the character comes to the fore as embedded narrator and commentator of the events. Furthermore, his references to the past can be read as meta-historical, i.e. they shed light on the commemorative act of the Anabasis. While the choice of a hetero-diegetic narrator helps Xenophon to enhance the credibility of the account of his deeds, the intricate entanglement of narrator and character contributes to the characterization of himself as the privileged agent in the March of the Ten Thousand.

To reconstruct phylogeny and verify the monophyly of major subgroups, a total of 52 species representing almost all species of Salsoleae s.l. in China were sampled, with analysis based on three molecular markers (nrDNA ITS, cpDNA psbB-psbH and rbcL), using maximum parsimony, maximum likelihood, and Bayesian inference methods. Our molecular evidence provides strong support for the following: (1) Camphorosmeae is nested within Salsoleae s.l. instead of the previously suggested sister relationship. (2) Tribe Salsoleae s.l. is monophyletic and is composed of three monophyletic subunits, Caroxyloneae, the Kali clade, and Salsoleae s.str. (3) Climacoptera is separated from Salsola s.l. It does not form a monophyletic group but is split into two monophyletic parts, Climacoptera I and Climacoptera II. (4) Halogeton is clearly polyphyletic, as are Anabasis and the genus Salsola s.l. (5) Caroxylon, Haloxylon, Kali, and Petrosimonia are well-supported monophyletic genera. Additional evidence is needed regarding the monophyly of Halimocnemis, which remains unclear.