The little orange tree grew

ABSTRACT: Current orange tree cultivation practices in the Brazilian State of Amazonas present several production problems, being the inadequate weed management the most important one, and significantly affecting fruit productivity. However, if weeds are managed properly, their coexistence with orange cultivars does not affect the fruit yield of orange trees. Thus, the objective of this research was to identify the period of longer weed interference in orange production. The treatments were conducted during the 2013 and 2014 harvests as follows: one control treatment with no coexistence of weeds and crop throughout the growing season; and six periods of coexistence (October to January, February to May, June to September, October to May, October to January, June to September, and February to September). The coexistence of weeds from October to May with orange trees increased the fall of unripe fruits and reduced the yield and the number of oranges per plant. Therefore, this period was considered as the most critical one for the control of weeds in orange trees.

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Enseñanza de la Botánica en un contexto local: una propuesta didáctica basada en el naranjo morisco de Hornachos - [Teaching Botany from a local context: a didcatic proposal based on Hornacho’s Moorish orange tree]

10.26754/cinaic.2021.0075 ◽

2021 ◽

Author(s):

Lorena Gutiérrez-García ◽

José Blanco-Salas ◽

Isaac Corbacho-Cuello ◽

Trinidad Ruiz-Téllez ◽

Jesús Sánchez-Martín

Keyword(s):

Local Context ◽

Orange Tree

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Condition of phloem of sour orange tree trunk in winter

Hilgardia ◽

10.3733/hilg.v22n16p583 ◽

1954 ◽

Vol 22 (16) ◽

pp. 583-591 ◽

Cited By ~ 2

Author(s):

Henry Schneider

Keyword(s):

Sour Orange ◽

Tree Trunk ◽

Orange Tree

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Decentralization as Chiaroscuro

New Theatre Quarterly ◽

10.1017/s0266464x00005194 ◽

1991 ◽

Vol 7 (25) ◽

pp. 64-76

Author(s):

Michel Vinaver

Keyword(s):

Financial Security ◽

Special Issue ◽

German Occupation ◽

Orange Tree ◽

The Usa ◽

Regional Cultures ◽

University Of Paris ◽

The 1950S ◽

Post War ◽

The University

Michel Vinaver is a French playwright, born in 1927, who was exiled to the USA during the German occupation, and began to write in the 1950s – alongside a business career until 1982, when he became Professor of Drama Studies in the University of Paris. His complete plays have recently been published in two volumes by Actes Sud, and are widely-produced in France – but in the following article he claims that his few British productions, at the Orange Tree in Richmond and the Traverse in Edinburgh, have often been closer to his textual intentions. This is one of the problems he examines in the following wide-ranging article on the successes and limitations of the French post-war policy of theatrical Decentralization. Against the benefits of financial security and non-metropolitan bias, he weighs the failures to reflect regional cultures, and the cult of the director, with its continuous pressures to be ‘different’ in the interests of promotion and critical prestige. This paper was first presented at a conference at Birmingham University in April 1990. Readers with access to copies of the original Theatre Quarterly may also find it useful to refer to the special issue on People's Theatre in France, TQ23 (1976).

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JONATHAN DOVE (b. 1959)Cut My Shadow (2011)

Vocal Repertoire for the Twenty-First Century, Volume 2 ◽

10.1093/oso/9780199390960.003.0020 ◽

2021 ◽

pp. 60-62

Author(s):

Jane Manning

Keyword(s):

Musical Style ◽

Orange Tree ◽

Frequent Use

This chapter studies Jonathan Dove’s Cut My Shadow (2011). This set of three songs (‘Surprise’, ‘The Guitar, and ‘Song of the Dry Orange Tree’) amply demonstrates Dove’s musical acumen and special understanding of vocal writing. The musical style, with its frequent use of repetitive figures, could certainly be described as ‘minimalist’, especially with regard to the characterful piano writing. It goes without saying that Dove is also an excellent pianist. The music brims with rhythmic vitality, and an exotic, passionate ‘Spanishness’ is established from the outset, achieved by deceptively simple means. A light mezzo can even relish the deepest notes, which are set so well that they come off every time, as long as the singer does not push too hard. Significantly, there are no dynamics written over the vocal line, so it is up to the singer to develop a close awareness of balance with the piano, and to adjust the volume without feeling strained or overwhelmed.

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Mansour, Sliman (b.1947, Palestine)

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem855-1 ◽

2018 ◽

Author(s):

Sarah Ann Rogers

Keyword(s):

Fine Arts ◽

Olive Tree ◽

The Political ◽

Art Making ◽

Artistic Production ◽

Orange Tree ◽

Political Act ◽

First Intifada ◽

Village Life ◽

Palestinian Woman

Born in 1947 in Birzeit, Palestine (north of Ramallah), Sliman Mansour studied fine arts at the Bezalel Art Academy in Jerusalem. Since the 1970s, his works on paper have contributed to the development of a visual iconography of the Palestinian struggle: the orange tree (symbol of the 1948 Nakba), the olive tree (symbol of the 1967 war), traditional Palestinian embroidery, village life, and the Palestinian woman as the maternal figure of Palestine. In 1987, together with artists Vera Tamari, Tayseer Barakat, and Nabil Anani, Mansour founded New Visions, a collective formed in response to the first intifada (1987–1993). Boycotting art supplies imported from Israel, the artists instead worked with natural materials (coffee, henna, and clay), thereby tying the process of art making to the land and its struggle. In doing so, art no longer merely represented the political. Instead, artistic production itself became a political act. Mansour is known for using mud as a medium. By layering and moulding mud into figural compositions on wooden frameworks, Mansour deploys the literal land to artistically depict Palestine, its history, and its people.

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