Persepolis, a UNESCO World Heritage Site in south-western Iran, dates back to more than 2500 years ago, and is colonized by a great diversity of lichen-forming fungi. A survey of the lichen-forming fungi revealed a species abundant in different areas of the cultural site, which turned out to be a new species of the genus Circinaria. The new species, Circinaria persepolitana, is introduced and described on the basis of morphological and molecular data. Circinaria persepolitana is characterized by having a crustose thallus, rimose to areolate, usually with bullate areoles, with an olive green to olive-brown surface and angular to elongate areoles in the marginal zone. Phylogenetic analyses including other species of the genus showed that the new species is phylogenetically close to C. mansourii, C. ochracea and C. reptans. We propose a new combination of Circinaria reptans (Looman) Sohrabi, Owe-Larsson & Paukov. The bioweathering capacity of the new species was also analyzed by scanning electron microscopy, examining the interface between the lichen thallus and the lithic substratum to assess its potential threat to the conservation of heritage surfaces. We found this species to be a potential biodeteriogenic agent, as thalli were closely attached to the lithic substratum and biogeophysical and biogeochemical changes at the rock surface could be associated with the colonization.

In the winter of 1845–6 the United States Army languished on the border waiting for an opportunity to provoke what would be the Mexican–American War, or, as the Mexicans would come to call it, La Intervención Americana. To break the dull monotony, the army turned to theatre. In January, Second Lieutenant Ulysses S. Grant was cast as Desdemona in a production staged for the troops and the local community. Grant would later be the victorious general in the Civil War and the eighteenth president of the United States from 1869 to 1877. He was not yet that person. In 1846 he was a twenty-four-year-old, newly commissioned officer, only three years out of the US Military Academy. His peers, a cohort of junior officers who would become the senior military leadership on both sides of the Civil War, were also actors in the production, as well as its producers. The anecdote is humorous in large part because the Grant of national record and memory is the least Desdemona-like figure anyone can conceive. It has been repeated multiple times across the nineteenth century and still holds in the imagination almost two hundred years later.

I argue that stories are ‘equipment for living’ in two senses: retrospectively, they provide ‘configurational comprehension’ of a temporal sequence of events; prospectively, they offer templates for action. Narrative conceptions of the self appear well poised to leverage these functional roles for stories into an intuitively compelling view of self-construction as self-construal. However, the narrative conception defines selves in terms of the lives they live: a self is the protagonist in a lifelong story. And narrative structure is itself defined by ‘retrospective necessity’: the meaning of events within a story is given by their contribution to that story's ending. Together, this entails that life stories hold selves metaphysically, epistemically, and practically hostage to their ends. Fortunately, narratives are just one species of interpretive frame. I suggest some alternative types of frames, including identity labels and metaphors, that support configurational comprehension, action guidance, and self construction without shackling selves to their lives’ ends.

Recent studies on the figuration of the nation in nineteenth-century Hispanic America have used sophisticated analyses of different media to suggest that Indigenous references were progressively excluded from urban public space as national symbols. In these spaces, the creole authorities placed themselves and their ancestors centre stage. However, these studies have neglected a highly representative medium: street names. This article demonstrates that street nomenclature was key in figuring the nation in a capital city and shows a different trend from that established using other media. Specifically, after the 1861 municipal reform of street names in Lima, Peru, the majority of official names were Indigenous and did not celebrate creole or military elites. This article examines this reform and the conflicts it provoked.

Late in 1947 Ralph Vaughan Williams (1872–1958) wrote to Alan Frank, music editor at Oxford University Press. He asked Frank if he or his wife, the composer Phyllis Tate, could ‘suggest any pieces of the wrong note school’ as he wanted to use some of their compositional techniques.1 Elisabeth Lutyens (1906–83), the British serial composer, appeared on his list of possible candidates alongside Arnold Schoenberg, Alban Berg, and Roberto Gerhard. In the early 1950s, Lutyens, always wilfully controversial, distanced herself from the music of the previous generation of British composers, chief among them Vaughan Williams, acidly dismissing it as ‘cow-pat music’. Decades earlier, in a letter to ‘My Darling Betty’, his beloved former student, Elizabeth Maconchy (1907–94), ‘Uncle Ralph’ had made a passing derogatory reference to a ‘Freak Fest’, his nickname for the annual festivals organized by the International Society for Contemporary Music (ISCM).2 But, it was Vaughan Williams’s close friend Edward Dent (1876–1957), a musicologist, who had helped to found the ‘Freak Fest’ in 1922. Both Dent and Edward Clark (1888–1962), a champion of modern European music and a BBC programmer during the institution’s early days, went on to be president of the society. Throughout this period, works by Maconchy, Lutyens (Clark’s wife) and Vaughan Williams were performed at ISCM festivals. The purpose of the preceding examples is not to highlight the aesthetic differences between the dramatis personae of the four volumes under discussion here – Vaughan Williams, Lutyens and Clark, Maconchy, and Dent – but rather to suggest some of the myriad ways their lives intertwined. These tangled webs of personal and professional relationships combined in different formations to produce overlapping musical networks. Together and individually these books provide rich insights into the British musical world during an important period in its development.

This article deals with the contribution of the indirect tradition to establishing the text of Lucan's Bellum ciuile. First, the methodological basis for the use of quotations is outlined, and then five passages from the Bellum ciuile are discussed. The variant readings which appear in the indirect tradition constitute important points that have been wrongly neglected by most editors of Lucan's poem.

This article explores the long roots of swadeshi (economic self-reliance) in nineteenth-century India, focusing on attempts at industrial revival through pedagogical institutions, exhibitions, and associations. These roots, which influenced the Swadeshi Movement and Gandhian swadeshi activity in the early twentieth century, demonstrate how it is impossible to understand swadeshi without taking an extensive global perspective. Indian thinkers engaged in contemporary global economic debates and with British imperial deliberations on free trade and protection; they fine-tuned comparative perspectives on the Indian economy through international travel and their readings of global history. In a similar spirit, Indians forged core swadeshi techniques through observing associational, institutional, and technological innovations across the British empire and the wider world. History was a powerful motivating force. Popular conceptions of deindustrialization under colonial rule fired Indians’ imaginations about a past when the country was a global powerhouse for manufactured exports—and directly stimulated specific swadeshi endeavours. Situated at the confluence of profit-making and patriotism, swadeshi enterprise in the nineteenth century created some unexpected alliances: between Britons and Indians, colonial officials and nationalists, and urban intellectuals and small-town entrepreneurs.

Artificial Intelligence (AI) is reshaping the world as we know it, impacting all aspects of modern society, basically due to the advances in computer power, data availability and AI algorithms. The dairy sector is also on the move, from the exponential growth in AI research, to ready to use AI-based products, this new evolution to Dairy 4.0 represents a potential ‘game-changer’ for the dairy sector, to confront challenges regarding sustainability, welfare, and profitability. This research reflection explores the possible impact of AI, discusses the main drivers in the field and describes its origins, challenges, and opportunities. Further, we present a multidimensional vision considering factors that are not commonly considered in dairy research, such as geopolitical aspects and legal regulations that can have an impact on the application of AI in the dairy sector. This is just the beginning of the third tide of AI, and a future is still ahead. For now, the current advances in AI at on-farm level seem limited and based on the revised data, we believe that AI can be a ‘game-changer’ only if it is integrated with other components of Dairy 4.0 (such as robotics) and is fully adopted by dairy farmers.

Although the contours of fidei laesio (pleas for debt in ecclesiastical courts) were established by Helmholz and suggestions about the wider impact on credit relationships were offered by Briggs, there still remains scope for a detailed examination of the causes in an ecclesiastical court to establish precisely the extent of the litigation in those fora, the composition of the litigants, the character of the debts, and the incentives and impediments to actions (although Helmholz broadly indicated these issues). Accordingly, an examination has been undertaken of two extant registers of the Lichfield consistory court (1464–1478) which survive for the period of maximum referral to these courts by lay (and clerical) creditors and debtors. The information allows a new perspective on the character of the credit relationships prosecuted in the consistory court.

The story of influential French stage director Jacques Copeau's 1917–19 residency in New York City was documented at the time by Copeau himself and subsequently analyzed by Copeau scholars.1 Copeau (1879–1949) is remembered today for his innovative, experimental theatre work in the early twentieth century; he developed core practices that became foundational for modernist stage artistry, including mime and physical theatre as well as devised theatre techniques.2 In 1913, he established his Théâtre du Vieux-Colombier in Paris, breaking away from traditional ornate design practices and envisioning an ensemble of actors trained in methods comparable to those used by Konstantin Stanislavsky, although Copeau knew comparatively little of his techniques at this time.3 Copeau's “‘attempt at dramatic renovation’”4 included staging plays to be performed in repertory and maintaining modest budgets and ticket prices to secure financial stability. In these and other regards, his vision paralleled those of other modernist colleagues not only in Europe, but also in the United States, where the Little Theatre movement was already underway,5 although Copeau similarly had little knowledge of US theatre at this early moment.

Plato, Republic 606ab, which deals with the soul bipartition and the behaviour of the two soul components during a theatrical performance, has been the object of scholarly dispute concerning both its grammar and its meaning. This article proposes a new syntactical approach and argues that the passage does not have to be interpreted as contradicting the context.