In 1749, Linnaeus presided over the dissertation "Oeconomia Naturae," which argued that each creature plays an important and particular role in nature 's economy. This phrase should be familiar to readers of Darwin, for he claims in the Origin that "all organic beings are striving, it may be said, to seize on each place in the economy of nature." Many scholars have discussed the influence of political economy on Darwin's ideas. In this paper, I take a different tack, showing that (...) Darwin's idea of an economy of nature stemmed from the views of earlier naturalists like Linnaeus and Lyell. I argue, in the first section of the paper, that Linnaeus' idea of oeconomia naturae is derived from the idea of the animal economy, and that his idea of politia naturae is an extension of the idea of a politia civitatis. In the second part, I explore the use of the concept of stations in the work of De Candolle and Lyell – the precursor to Darwin's concept of places. I show in the third part of the paper that the idea of places in an economy of nature is employed by Darwin at many key points in his thinking: his discussion of the Galapagos birds, his reading of Malthus, etc. Finally, in the last section, I demonstrate that the idea of a place in nature 's economy is essential to Darwin's account of divergence. To tell his famous story of divergence and adaptation, Darwin needed the economy of nature. (shrink)

The song of the northern mockingbird, Mimus polyglottos, is notable for its extensive length and inclusion of numerous imitations of several common North American bird species. Because of its complexity, it is not widely studied by birdsong scientists. When they do study it, the specific imitations are often noted, and the total number of varying phrases. What is rarely noted is the systematic way the bird changes from one syllable to the next, often with a subtle transition where one (...) sound is gradually transformed into a related sound, revealing an audible and specific compositional mode. It resembles a common strategy in human composing, which can be described as variation of a theme. In this paper, we present our initial attempts to describe the specific compositional rules behind the mockingbird song, focusing on the way the bird transitions from one syllable type to the next. We find that more often than chance, syllables before and after the transition are spectrally related, i.e., transitions are gradual, which we describe as morphing. In our paper, we categorize four common modes of morphing: timbre change, pitch change, squeeze, and stretch. This is the first time such transition rules in any complex birdsong have been specifically articulated. (shrink)

Whether known as jongleur, minstrel, gestour, disour, mimus, scurra, or by some other term, the professional entertainer who sings, tells jokes and stories, and declaims the deeds of great men is a ubiquitous figure in both medieval literature and modern scholarship. A large body of literature, not only heroic narrative such as the chansons de geste and the romances, but also fabliaux, political satires, and short comic monologues, has been confidently placed in the minstrel repertoire, and terms such as (...) “minstrel tag,” “minstrel style,” and “minstrel text” are in common use. Although these attributions have met with increased suspicion in recent years, no one has fully challenged the widespread assumption that there exists somewhere a body of manuscripts that once belonged to minstrels, manuscripts that would offer codicological evidence of the practice and range of narrative minstrelsy. (shrink)