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VIETBIO [Innovative approaches to biodiversity discovery and characterisation in Vietnam] is a bilateral German-Vietnamese research and capacity building project focusing on the development and transfer of new methods and technology towards an integrated biodiversity discovery and monitoring system for Vietnam. Dedicated field training and testing of innovative methodologies were undertaken in Cuc Phuong National Park as part and with support of the project, which led to the new biodiversity data and records made available in this article collection. VIETBIO is a collaboration between the Museum für Naturkunde Berlin – Leibniz Institute for Evolution and Biodiversity Science (MfN), the Botanic Garden and Botanical Museum, Freie Universität Berlin (BGBM) and the Vietnam National Museum of Nature (VNMN), the Institute of Ecology and Biological Resources (IEBR), the Southern Institute of Ecology (SIE), as well as the Institute of Tropical Biology (ITB); all Vietnamese institutions belong to the Vietnam Academy of Science and Technology (VAST). The article collection \"VIETBIO\" (https://doi.org/10.3897/bdj.coll.63) reports original results of recent biodiversity recording and survey work undertaken in Cuc Phuong National Park, northern Vietnam, under the framework of the VIETBIO project. The collection consist of this “main” cover paper – characterising the study area, the general project approaches and activities, while also giving an extensive overview on previous studies from this area – followed by individual papers for higher taxa as studied during the project. The main purpose is to make primary biodiversity records openly available, including several new and interesting findings for this biodiversity-rich conservation area. All individual data papers with their respective primary records are expected to provide useful baselines for further taxonomic, phylogenetic, ecological and conservation-related studies on the respective taxa and, thus, will be maintained as separate datasets, including separate GUIDs also for further updating.

Six different dimensions of the film are examined (interpersonal, intrapersonal, transpersonal, ideological, symbolical and aesthetical), and diverse levels of insight and comprehension (descriptive, inferential, interpretative, valuative, introspective and creative). Keywords: Aesthetic appreciation, education for art, teaching for comprehension, juridical comprehension, sociocultural focus. Ver S. B. Karpman: \"Fairy tales and script drama analysis\", Transactional Analysis Bulletin, Vol. 7, abril, 1968. Por ejemplo, Henry Bilecki plantea que hace cuarenta años la celebración más popular e importante era la Navidad, y que se recordaba el nacimiento de Cristo de múltiples modos, mientras que hoy ha perdido centralidad: \"Now Lucifer and his seed want to take all mention of Christ out of Christmas, from de Schools, all state offices, and all state properties.

Covering Reformation era polemics, theology, and thought, these essays cut new paths in Reformation scholarship, with each taking in some measure a cue from directions already offered by John Patrick Donnelly, in whose honor they were written.

Critical responses to two plays—John Patrick Shanley’s Outside Mullingar and Conor McPherson’s The Night Alive—during the 2013-14 New York theatre season evoked the long tradition of Irish drama performed on and off- Broadway. Not surprisingly, reviewers of these productions found touchstones of relevance in describing the attractions of these plays for their readers, Eugene O’Neill’s A Moon for the Misbegotten being one of them. But the concept of an “Irish play” is hardly univocal or even stable, as the history of Irish drama on the American stage for over 150 years demonstrates. This essay plots points of contact between Shanley’s and McPherson’s plays and this tradition, stopping for concerted discussions of nineteenth-century melodrama, and a tradition of modern drama in which O’Neill figures largely. One result of this process is an expanded notion of Irish drama, which includes both rural and urban components as exhibited by both Outside Mullingar and The Night Alive. (SW)

American liberalism today is in a state of confusion and disarray, with the \"L word\" widely considered a term of derision. By examining both the historical past and the fractious present, Liberalism for a New Century restores a proud political tradition and carves out a formidable defense of its philosophical tenets. This manifesto for a New Liberalism issues an urgent and cogent call for the most important rethinking of its values since the late 1960s, when conservatives reenergized themselves after Barry Goldwater’s infamous loss. The essays in this volume, most of them never before published, are written by a leading group of historians, journalists, and public intellectuals. Some of the nation’s most highly respected liberal minds explore such topics as the classical liberal tradition, postmodernism’s challenge to the American \"Enlightenment,\" the civil rights era, the influence of twentieth-century radicals on American liberalism, the 1950s, tolerance, the cold war, and whether liberalism should have a large and aggressive vision. One essay considers liberalism in Iran and what American liberals might learn from this movement. Fast-paced and encompassing such hot-button issues as the family and religion, here are ringside-seat arguments between people who don’t often get to engage with one another: right-leaning liberals like Peter Berkowitz and John Patrick Diggins, and leftier liberals like Michael Tomasky and Mona Harrington. The result is a lively and stimulating collection that articulates a clear-minded alternative to the conservative ascendancy in American history and offers a timely and essential contribution to the growing national debate.

The doctor's house? Yes, number 19. One moment please.\" One moment was just enough for me to reflect on the mystery of how a person's voice could be carried over a wire, and in those days the mystery arose 40 times every day. Still, it was a comfort to know that anyone could pick up the phone, whether during the day or even in the middle of the night if the need be, and a lady known as The Operator would ask, \"Number please?\" \"I've thought of it many times,\" he replied without a moment's pause for deliberation. \"But it just won't do. The way it is, I get to the phone awake and fully alert. But with the telephone upstairs there would always be the danger of answering only half awake, or, worse still, slipping back to sleep. I could never risk that,\" he concluded. An equally laconic response, \"A boy,\" or, \"Agirl.\"