This paper compares and contrasts three groups that conducted biological research at Yale University during overlapping periods between 1910 and 1970. Yale University proved important as a site for this research. The leaders of these groups were Ross Granville Harrison, Grace E. Pickford, and G. Evelyn Hutchinson, and their members included both graduate students and more experienced scientists. All produced innovative research, including the opening of new subfields in embryology, endocrinology and ecology respectively, over a long period of (...) time. Harrison's is shown to have been a classic research school; Pickford's and Hutchinson's were not. Pickford's group was successful in spite of her lack of departmental or institutional position or power. Hutchinson and his graduate and post-graduate students were extremely productive but in diverse areas of ecology. His group did not have one focused area of research or use one set of research tools. The paper concludes that new models for research groups are needed, especially for those, like Hutchinson's, that included much field research. (shrink)

One of the seminal constructs in 20th-century biosemiotics is G. Evelyn Hutchinson's 'niche'. This notion opened up and unpacked cartesian space and time to recognize self-organizing roles in open, dynamical systems - in n-dimensional hyperspace. Perhaps equally valuable to biosemiotics is Hutchinson's inclusive approach to inquiry and his willingness to venture into abductive territory, which have reaped rewards for a range of disciplines beyond biology, from art to anthropology. Hutchinson assumed the fertility of inquiry flowing from (...) open, far-from-equilibrium systems to be characterized by 'fabricational noise', followingSeilacher, or 'order out of chaos', following Prigogine. Serendipitous 'noise' can self-organize into information at other levels, as does the 'noise' of Hutchinson's contributions themselves. (shrink)

One of the seminal constructs in 20th-century biosemiotics is G. Evelyn Hutchinson's 'niche'. This notion opened up and unpacked cartesian space and time to recognize self-organizing roles in open, dynamical systems - in n-dimensional hyperspace. Perhaps equally valuable to biosemiotics is Hutchinson's inclusive approach to inquiry and his willingness to venture into abductive territory, which have reaped rewards for a range of disciplines beyond biology, from art to anthropology. Hutchinson assumed the fertility of inquiry flowing from (...) open, far-from-equilibrium systems to be characterized by 'fabricational noise', followingSeilacher, or 'order out of chaos', following Prigogine. Serendipitous 'noise' can self-organize into information at other levels, as does the 'noise' of Hutchinson's contributions themselves. (shrink)

No one who has read with reasonable attention the Works and Days, the Theogony, the Shield, and even the fragments of the lost Hesiodic poems, can have failed to notice a peculiar feature. Again and again a passage, be it longer or shorter, is followed by what may be called, if not a true ‘doublet,’ at least an ‘echo’—a second passage reproducing the general idea, and often the more prominent verbal details of the preceding lines. In fact, in these poems (...) we have a series of variants or alternate versions. Editors of the Hesiodic works have indeed drawn attention to many of these ‘echoes,’ but they have been content to let the matter rest when they have drawn a distinction between ‘prima’ and ‘altera recensio,’ and have labelled one or other of them as ‘spurious.’ Yet this feature in the Hesiodic vulgate is surely of the highest interest and importance. How came these variant passages to be ‘stitched’ together, and when was the stitching done? (shrink)

In Proverb. Vat. IV. 3 the proverbial σιδειον γρας is somewhat darkly explained as follows: ριστοτλης ν ρχομενων πολιτεα δς τετφθαι φησ τν σοδον κα πιγ἗μματος τοδε τνχεν. Χαρε, δς βσας κα δς τον ντιβολσας, σοδ′, νθρποις μτρον χων σοης.

Focusing on the relationship between two important scientists in the development of ecological thought during the first half of the twentieth century, this paper argues that Yale limnologist G. E. Hutchinson's adoption of the biogeochemical approach in the late 1930s builds on the 1920s work of the Russian scientist V. I. Vernadsky. An analysis of Hutchinson’s scientific publications shows that he first referred to Vernadsky in 1940, on two different occasions. This article analyzes the dynamics of Hutchinson’s (...) formulation of the biogeochemical approach, providing historical context and linking its early application to the existing limnological tradition. (shrink)

O presente artigo visa problematizar a concepção de música proposta pelo filósofo Friedrich Schelling em sua obra ‘Filosofia da Arte’, na qual essa forma artística é concebida enquanto uma potência real do Absoluto. Desse modo, pretende-se apontar para o caráter inovador e peculiar da concepção schelliniana em contraste com a noção romântica de música absoluta, assim como situá-la dentro do panorama geral do sistema de identidades desenvolvido pelo autor.

Assistive technology has great potential to contribute to health, functioning, and quality of life. To date, as exemplified in the Canadian context, variations and inequities in access to assistive technology are evident; the development of legislation, policies, and programs has not kept up with the increasing use of assistive technology. In this article, we apply ;Daniels’s (2008) theory of just health to argue that equitable access to assistive technology funding and services is necessary for justice. In doing so, we offer (...) theoretical guidance for the development of legislation, policies, and programs to guide such access in health and social services. (shrink)

Two papyrus fragments treat of the ancestry and story of Bellerophon. The first has the beginnings of fifteen lines, and the other the endings of nineteen: both are assigned to the second century A.D.

In a note on the Geneva Papyrus, No. 94, I tried to show that of the four new lines which that fragment adds to our text the last two formed an introduction to the Iron Age parallel to ll.127,143, 157. I may be mistaken, but I do not remember to have seen it remarked that in ll.179-181 we have the conventional ending to the Iron Age.

The recently issued volume of the Oxyrhynchus Papyri contains new and important fragments from the Hesiodic Catalogue of Women; and the two substantial pieces grouped as No. 1358 are particularly welcome as shedding light upon two rather obscure sections of that work—the γης περlόδος, and the history of the Sons of Europa and Zeus. It goes without saying that the editors' treatment of these fragments is in every way admirable; and I trust it will not be regarded as an impertinence (...) if I endeavour to restore a few lines which they have refrained from completing, and to offer an alternative reconstruction of a somewhat difficult passage. (shrink)

If we had no idea which parts of Greek literature in a certain period were poetry or prose, we would regard it as our first job to find out. How much of the Greek prose of the Imperial period is rhythmic has excited less attention; and yet the question should greatly affect both our reading of specific texts and our understanding of the whole literary scene. By ‘rhythmic’ prose, this article means only prose that follows the Hellenistic system of rhythm (...) started, it is said, by Hegesias, and adopted by Cicero and by many Latin writers of the Imperial period. Estimates of how much Greek Imperial prose is rhythmic have long varied drastically. Some experts suggest that all or much artistic Greek prose in the period is rhythmic, others that what little there is fades out after the first centurya.d., as part of the victory of Atticism. There has been fairly little substantial work on rhythmic prose in the first three centuriesa.d.for over fifty years. The object of this article is to investigate a large part of one author's work thoroughly, and to establish that that part is rhythmic. It will also aim to show how that conclusion should greatly affect our whole conception of the author as a writer, and our reading of his every sentence. (shrink)

This article has a double purpose: to argue for some specific points on Cicero's rhythm, and to show how the significance of rhythm for literary understanding is larger than has perhaps been perceived. The piece is based on a reading of the whole of Cicero; but it will make only occasional reference to the letters. The question of rhythm in the letters is particularly involved, and it will be best handled elsewhere.