A Survey of Chinese Plants of Potential Ornamental Value for the Southeastern United States

China, E.H. Wilson's “Mother of Gardens”, is a large untouched resource of ornamental plants to this day. Southeastern gardens and arboreta teem with plants from China, which boasts the most diverse temperate flora in the world with more than 30,000 species described. Because of China's unique geography, climate, and floristic similarities to the southeastern United States, many of these ornamental plants should be adaptable. Based on studies of the phytogeography, floristics, history of plan; hunting, and performance of plants already introduced into cultivation from central and southeastern China, ≈500 potentially “new” species of Chinese woody plants are presented for ornamental evaluation. Characterization of the species' geography and climatic preferences in China will allow horticulturists to more accurately predict the species' performance throughout the Southeast. Zone maps exist for the United States and China that equate geographic areas on a temperature basis. However, these zone maps do not reflect the wide microclimatic differences (such as those contributed by elevation) that occur in the climatic zones. The results of this survey should enhance interest in the wonderful diversity of Chinese plants. Maps of areas already explored in the past (George Forrest, Ernest H. Wilson, and other contemporary explorers) as well as maps of suggested areas which have not been fully botanized are presented for review.

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Virulence Characterization of Puccinia striiformis f. sp. tritici Using a New Set of Yr Single-Gene Line Differentials in the United States in 2010

Plant Disease ◽

10.1094/pdis-01-14-0071-re ◽

2014 ◽

Vol 98 (11) ◽

pp. 1534-1542 ◽

Cited By ~ 89

Author(s):

Anmin Wan ◽

Xianming Chen

Keyword(s):

United States ◽

Stripe Rust ◽

Large Scale ◽

Puccinia Striiformis ◽

Yellow Rust ◽

Single Gene ◽

The United States ◽

The Past ◽

History Of

Puccinia striiformis f. sp. tritici causes stripe rust (yellow rust) of wheat and is highly variable in virulence toward wheat with race-specific resistance. During 2010, wheat stripe rust was the most widespread in the recorded history of the United States, resulting in large-scale application of fungicides and substantial yield loss. A new differential set with 18 yellow rust (Yr) single-gene lines was established and used to differentiate races of P. striiformis f. sp. tritici, which were named as race PSTv in distinction from the PST races identified in the past. An octal system was used to describe the virulence and avirulence patterns of the PSTv races. From 348 viable P. striiformis f. sp. tritici isolates recovered from a total of 381 wheat and grass stripe rust samples collected in 24 states, 41 races, named PSTv-1 to PSTv-41, were identified using the new set of 18 Yr single-gene differentials, and their equivalent PST race names were determined on the previous set of 20 wheat cultivar differentials. The frequencies and distributions of the races and their virulences were determined. The five most predominant races were PSTv-37 (34.5%), PSTv-11 (17.5%), PSTv-14 (7.2%), PSTv-36 (5.2%), and PSTv-34 (4.9%). PSTv-37 was distributed throughout the country while PSTv-11 and PSTv-14 were almost restricted to states west of the Rocky Mountains. The races had virulence to 0 to 13 of the 18 Yr genes. Frequencies of virulences toward resistance genes Yr6, Yr7, Yr8, Yr9, Yr17, Yr27, Yr43, Yr44, YrTr1, and YrExp2 were high (67.0 to 93.7%); those to Yr1 (32.8%) and YrTye (31.3%) were moderate; and those to Yr10, Yr24, Yr32, and YrSP were low (3.4 to 5.7%). All of the isolates were avirulent to Yr5 and Yr15.

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The Dancing Body on the Line

Moving Otherwise ◽

10.1093/oso/9780190627010.003.0001 ◽

2018 ◽

pp. 1-30

Author(s):

Victoria Fortuna

Keyword(s):

United States ◽

Performance Studies ◽

Buenos Aires ◽

Federal Funding ◽

The United States ◽

Transnational History ◽

Contemporary Dance ◽

History Of ◽

And Performance ◽

Line P

The introduction first considers the movement for a National Dance Law (2008–), which aims to establish infrastructure and federal funding for all genres of dance in Buenos Aires and throughout the Argentine provinces. It introduces the book’s central concept of “moving otherwise,” outlining the kinds of political engagement it encompasses, as well as how it dialogues with conversations in dance and performance studies. It then explains how the category of “contemporary” dance functions in the text, and argues for an approach to contemporary dance history that decenters the United States and Europe as the original sites and ongoing loci of production. Additionally, it offers a brief overview of the transnational history of modern and contemporary dance in Buenos Aires through examination of the work of Miriam Winslow; Susana Tambutti; and Luciana Acuña and Alejo Moguillansky. Finally, it details the archival, ethnographic, and embodied research methodologies that Moving Otherwise employs.

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Backstage Divas

Beyond Broadway ◽

10.1093/oso/9780190639525.003.0003 ◽

2019 ◽

pp. 67-96

Author(s):

Stacy Wolf

Keyword(s):

United States ◽

The United States ◽

Musical Theatre ◽

Northern California ◽

Theatre History ◽

Working Process ◽

Familiar Figure ◽

History Of ◽

And Performance ◽

Theatre Programs

Many towns in the United States play host to afterschool musical theatre programs for children. Typically, these programs are directed by women who become well known in their communities and powerful figures in the lives of the children they teach. This chapter calls this figure a “backstage diva.” She is the female musical theatre director who runs afterschool and summer pay-to-play programs, teaching kids dance and theatre by directing them in several shows a year. This familiar figure is a disciplined leader and powerful mentor who, though invisible in theatre history, teaches musical theatre–obsessed kids to sing and dance and act and shapes them into triple-threat performers. This chapter begin with a brief biography of a backstage diva, including how she built her business. It then offers a history of musical theatre studios in the United States. The bulk of the chapter follows the working process of a backstage diva in northern California from auditions through rehearsals and performance. Finally, it explains her legacy and what kids say they learned from her.

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Commentary on “Bordering by Law” by Judith Resnik

Immigration, Emigration, and Migration ◽

10.18574/nyu/9781479860951.003.0006 ◽

2017 ◽

Author(s):

Jennifer L. Hochschild

Keyword(s):

United States ◽

The United States ◽

Public Governance ◽

Political Analysis ◽

History Of

Judith Resnik’s “Bordering by Law” has three major themes. First, the United States is strongly and increasingly criminalizing immigration and stigmatizing immigrants, to the detriment of everyone. Second, the United States is engaging in more and more harmful surveillance of migrants as well as citizens. Third, the history of the Universal Postal Union provides a model for how to overcome nationalist solipsism, as well as a warning that the virtues of public governance are threatened by privatized services. This commentary focuses mostly on the first theme, disagreeing to some extent with Resnik’s characterization of the trajectory of policies surrounding immigration and immigrants, and aiming to substitute a more complicated and multifaceted characterization. Her final theme provokes several larger questions, which are explored but not answered. The overall message is that we need more political analysis to fully understand the United States’ ambivalent treatment of migration and migrants.

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An American Singing Heritage

10.31022/a089 ◽

2021 ◽

Keyword(s):

United States ◽

Oral Tradition ◽

Vocal Music ◽

The United States ◽

Folk Songs ◽

Folk Song ◽

Field Recordings ◽

History Of ◽

And Performance ◽

The One

This edition brings together representative transcriptions of folk songs and ballads in the British-Irish-American oral tradition that have enjoyed widespread familiarity throughout twentieth-century America. Within are the one hundred folk songs that most frequently occurred in a methodical survey of Roud's Folk Song Index, catalogues of commercial early country (or “hillbilly”) recordings, and relevant archival collections. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from (1) commercial recordings of “hillbilly” musicians, and (2) field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. Each transcription is accompanied by a brief contextualizing essay discussing the song's history and influence, recording and performance information (whenever available), and an examination of the tune. The edition begins with a substantive essay about the history of folk song recordings and folk song scholarship, and the nature of traditional vocal music in the United States.

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Characterization of Free-nets in the United States and Canada: Facing History and Managing the Future

Proceedings of the Annual Conference of CAIS / Actes du congrès annuel de l'ACSI ◽

10.29173/cais400 ◽

2013 ◽

Author(s):

Timothy S. Chase

Keyword(s):

United States ◽

Information Service ◽

Public Library ◽

The United States ◽

The Other ◽

Community Based ◽

The Public ◽

The Past ◽

History Of

The explosion in the number of Free-Nets and their organizing committees over the past two years attests to the popularity of community-based computing. But, the goal of these organizations is farther reaching than merely strength of numbers; they want to change their communities for the better. In order to assure an important and relevant place in the community, Free-Nets must face the history of the other community-based information service provider: the public library. Once this is done, Free-Nets must focus on achieving results, not merely on achieving continued existence.

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Cuban Cha-Cha-Chá: Applications for Music Education in the United States

Music Educators Journal ◽

10.1177/0027432118766407 ◽

2018 ◽

Vol 104 (4) ◽

pp. 25-31

Author(s):

Jeffrey Torchon

Keyword(s):

United States ◽

Music Education ◽

Social Impact ◽

The United States ◽

Past Century ◽

History Of ◽

And Performance ◽

Musical Genres ◽

Music Classrooms ◽

Musical Elements

One of the most distinctive musical genres that originated in Cuba over the past century is cha-cha-chá, which is attributed to Enrique Jorrín during the 1950s. The popularity of this music has grown considerably since its genesis, as evidenced by the vast array of repertoire, the multitude of bands performing it, and its prevalence in popular culture. This article explores the history of cha-cha-chá, its musical elements, Enrique Jorrín’s influence on the creation and performance of the genre, and the importance of cha-cha-chá in music education in the United States. Due to its musical significance and social impact, it is important to understand cha-cha-chá’s place in modern Cuba, how it has been preserved over time, and how it can be taught in music classrooms at all levels.

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