Snow White and the seven nicotine addicts

Nature ◽  
1999 ◽  
Author(s):  
Sara Abdulla
Keyword(s):  
1997 ◽  
Vol 50 (4) ◽  
pp. 20-31
Author(s):  
Anne Nesbet
Keyword(s):  

1930 ◽  
Vol 62 (4) ◽  
pp. 84-87 ◽  
Author(s):  
M. C. van Duzee

Male: Length 2.6-3 mm. Head, thorax, abdomen, legs and feet thickly white pruinose, but the ground color showing through; face moderately wide, wholly pollinose, this pollen yellow in the middle, reaching the orbits at the suture, sides of upper part narrowly, below the suture widely white pollinose, sonsetimes the yellow pollen covers most of upper part and extends onto the inner part of the palpi; palpi with snow white pollen, each nearly as large as upper part of face; antennae wholly yellow, small, arista whitish; orbital cilia white, rather long on the sides; occiput, front, thorax and abdomen reddish coppery, posterior margins of abdominal segments sometimes green ; bristles of thorax small, black; hairs of ahdomen very short, white; pleura and coxae black with ground color nearly concealed with white pollen, tips of coxae yellow; hypopygium small, with a long, straight, black appendage extending forward under the abdomen and small yellowish appendages inside of this long one; femora, tibiae and tarsi pale yellow, last two joints of all tarsi blackish; the minute hairs on all femora and tibiae white, the small bristles on tibiae black; fore tibiae with a row of long white hairs on upper surface, which are as long as diameter of tibiae and extend to fourth tarsal joint, becoming shorter towards the end; apical joint of middle tarsi very slightly widened; pulvilli not enlarged ; joints of fore tarsi as 20-8-6-5-7 ; of middle ones as 32-14-9-6-6; joints of posterior pair as 25-19-11-6-7.


2011 ◽  
pp. 216-218
Author(s):  
David Hand
Keyword(s):  

Wielogłos ◽  
2021 ◽  
pp. 151-181
Author(s):  
Maciej Skowera

[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio’s films.


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