Effects of foliar Application with Zinc and Boron On fruitset and yield of Sweet cherry (Prunus avium L. var. Bing): تأثير الرش بالزنك والبورون في نسبة العقد والإنتاج للكرز الحلو (Prunus avium L. var. Bing)

The study aims to increase the fruitset percentage of sweet cherry trees, reduce their fall rate and increase fruit retention percentage that reaches the maturity stage. It was conducted during 2019/2020 years at Cherry orchard located in Sargaya- Al- Zabadani area in Rural Damascus, in Syria. the experiment included 4 foliar spray treatments (T1: Control, T2: Zn (100 ppm), T3: B (500 ppm), T4: (100 ppm Zn + 500 ppm B) on sweet cherry trees (Prunus Avium L.) cultivar (Bing) the fruitset percentage, fruit drop percentage, fruiting factor, and yield quantity were calculated for all treatments. The results showed that all treatments (T2, T3, T4) recorded higher fruitset percentage, compared to the control (T1) with no significant differences between (74.83, 76.35, 76.25%) respectively, while the control fruitset percentage (72.76%), and (T4) has achieved the highest percentage of fruiting factor (41.40%) with no significant differences between it and treatment (T3) (37.12%), and the highest yield (19.98 kg), as well as (T2, T3) treatments was (9.39, 10.80 kg/tree) respectively, while the control yield was (5.93 kg/tree). Therefore, it can be considered that treatment (T4) has succeeded in reducing Sweet cherry fruit drop, where the fruit drop percentage didn't exceed (70.27%), and in (T2, T3) treatments was (74.94, 72.99%) respectively, while it reached in the control treatment to (80.64%).

A sour cherry orchard. An excursion through Chekhovian green spaces

The cherry orchard marks the end of Anton Chekhov’s life, consecrating him as the author who defined the threshold of the new epoch. In this article, I construe the garden as the motif linking Chekhov’s sensitivity to the general spirit of his era, revealing his poetics to the global stage as the distinctive mark of a historical and socioeconomic shift. On this path, I will clarify how the subtle difference between sour cherries and sweet cherries becomes a symbol of Chekhov’s dramatic construction, and how his poetics are built on nuances and subtle shifts in meanings, representing the irrevocable fading of a culture. A philological reflection combined with an attentive reading of Chekhov’s letters, Stanislavsky’s memoirs and scenic sketches reveal the author’s interest in the relationship between man and nature as well as the need to read his work from a more spatial-oriented standpoint. Chekhov clearly anticipates the so-called ‘spatial turn’, approaching space not through the description of a specific landscape or dramaturgical setting, but from a phenomenological point of view, leading him to profound reflections on the relationship between physical planning and socio-political development, as later conceptualised by key social thinkers such as Henry Lefebvre and Edward Soja. Chekhov’s dramaturgical construction and symbology are the result of this awareness and endless passion for nature in all its forms.

Quantitative Survey of ‘Montmorency’ Tart Cherry Orchard Design in Utah

‘Montmorency’ tart cherry trees (Prunus cerasus L.) are grown commercially in the United States in low-density systems. Commercial tart cherry orchard design has not changed significantly over the past 50 years, but there is some variation from farm to farm in management strategies, including tree spacing, training, and pruning, and the resulting orchard production and turnover. Canopy dimensions and dynamics are important considerations for evaluating and improving orchard management strategies but are not well documented for tart cherry systems. Current orchard design and canopy management strategies were surveyed along a gradient of orchard age across five commercial farming operations in Utah. Trunk cross-sectional area and various canopy dimensions, including spread and volume, were quantified to capture tree size and canopy architecture. The survey indicated a surprising lack of deviation in orchard design in the region over the last several decades with higher variation among blocks within a farm than across farms. As a result, the survey revealed trends in tree growth and canopy structure across the range in orchard ages despite differences in management approaches of the surveyed farms. These trends were useful in illustrating canopy development and space fill. Tree age between 11 and 15 years after planting was determined to represent a transition between establishment and mature growth, where canopies filled available row space and began experiencing senescing canopy structure. Based on the distribution of ages captured in the survey, a significant number of orchards in Utah are at an age range of 11–15 years, perhaps contributing to superior yields per land area reported for the region. The confluence of space-fill and canopy development described in this study highlights a critical period for tart cherry orchard management at the transition of canopy establishment and maturity. These baseline dynamics will provide benchmarks for evaluating strategies for refining and improving orchard management systems for tart cherry in the Intermountain West region.

A Comparative Study of Modern Theatrical Technicalities in The Glass Menagerie and The Cherry Orchard

The nineteenth Century produced some of the most complex plays that today represent modern theatrical technicalities that differed in several ways from twentieth Century plays. In the twentieth Century, Tennessee Williams was acknowledged for the diversity of genres he covered in his plays, most of which focused on the dark aspects of human experience, which lent significant technicalities to his plays, most notably, The Glass Menagerie. Similarly, Anton Chekhov is a nineteenth Century playwright who developed plays that introduced several theatrical technicalities. He was renowned for portraying realism, a feature that characterised 19th Century theatre. Chekhov’s The Cherry Orchard is a play considered the landmark of modern theatrical technicalities. This study explores three ways in which Williams and Chekhov made The Glass Menagerie and Cherry Orchard respectively as landmarks of theatrical technicalities, i.e., the multiplicity of genres, effective use of indirect action and irony as theatrical conventions, and the integration and portrayal of nineteenth Century and twentieth Century realism. The research finds that while Williams employs a multiplicity of genres and the use of irony as the ideal theatrical conventions, Chekhov integrates all three elements to create modern theatrical technicalities that not only influence the audience's perception of the characters but also the playwright’s intention. This study is important for both undergraduate and postgraduate readers as it can enrich a reader’s thinking about different theatrical techniques and conventions used in both plays.

The state of the British garden: Mike Bartlett’s Albion and its Chekhovian scions

Mike Bartlett’s Albion (2017) is a highly sophisticated and illuminating instance of the diversity and complexity of adaptation. Although declaring no explicit relationship to informing source texts, amongst myriad intertextual allusions Albion manifests an engagement with Chekhov’s drama that abundantly affords adaptation’s pleasures. As well as deploying the principal hallmarks and strategies of Chekhovian dramaturgy, Bartlett reconfigures in Brexit Britain scenarios, characters and relationships from The Seagull and The Cherry Orchard. Moreover, demonstrating the thoroughness with which the English have appropriated and naturalized Chekhov, Bartlett implicitly challenges cardinal assumptions of that domestic tradition, through his nuanced subversion of both the ‘country-house’ and ‘state-of-the-nation’ play. Consequently, he reveals adaptation as a richly dialogic process, in which source and adapted texts shed light on each other. The politics of dramatic form(s) and of cultural adaptation and appropriation, to which Bartlett’s revision of a preeminent part of English dramatic heritage points, deftly parallel, and function as an analogue for, the conservative heritage enterprise that Albion portrays. Highlighting the longstanding association of the countryside and landscape with English cultural identity, the protagonist’s project of restoring an historic country garden to its former grandeur is laden with especial significance at this contemporary moment of national crisis.

Namesakes in literature, or Chekhov's code in Sholokhov's novels

An allusive proper name is one of the traditional artistic devices of the Russian classics. The author examines Sholokhov's prose to find nearly a dozen names with reference to various Chekhov short stories. In most cases, there is no similarity between the characters' destinies, but the sheer ubiquity of Chekhov-inspired names can be considered as an homage to the master. On the other hand, the allusive names that Sholokhov consistently borrows from The Cherry Orchard [Vishnyoviy sad] are indicative of plot parallels between Sholokhov's novels and Chekhov's play. Notably, Sholokhov uses allusive proper names as a means of generalisation and typification of characters, from the bulwark of traditional morality, the Cossack woman Natalia Stepanovna, the ‘Russian Lucretia,' to the evercheerful soldier Lopakhin, to the family of Mikhail and Dunyasha Koshevoy as a symbol of recovery of the nation divided by the civil war, to the Gaev family as a premonition of the fate awaiting peasant Russia. Such allusions allow for treatment of Sholokhov's novels as a trilogy about the tragedies of the Russian people in the first half of the 20th c.

Field-Level Exposure of Bumble Bees to Fungicides Applied to a Commercial Cherry Orchard

Bumble bees, Bombus spp. (Apidae), are important native pollinators; however, populations of some species are declining in North America and agricultural chemicals are a potential cause. Fungicides are generally not highly toxic to bees, but little is known about sublethal or synergistic effects. This study evaluates bumble bee exposure to fungicides by quantifying concentrations of boscalid and pyraclostrobin in nectar and pollen collected by colonies of Bombus huntii Greene, 1860 (Hunt bumble bee) deployed in a commercial cherry Prunus avium L. orchard in the spring of 2016. Seven colonies were placed adjacent to an orchard block that was sprayed with a fungicide mixture of boscalid and pyraclostrobin and a control group of seven colonies was placed next to an unsprayed block of orchard 400 m away from the treated block. Nectar and pollen were collected daily, beginning 1 d before spray application and continuing for a total of 12 d, and analyzed for both fungicides. Fungicide concentrations varied spatially by colony and temporally by day. The highest concentrations in nectar occurred 1 and 3 d after spraying: up to 440 ng/g boscalid and 240 ng/g pyraclostrobin. Six days after application, pollen from cherry flowers contained the highest concentrations of the fungicides: up to 60,500 ng/g boscalid and 32,000 ng/g pyraclostrobin. These data can help to determine field-level fungicide concentrations in nectar and pollen and direct future work on understanding the effects of these compounds, including their interactions with important bumble bee pathogenic and beneficial symbionts.

CHEKHOV’S BASICS OF VICTOR PETROV-DOMONTOVYCH’S NOVEL “WITHOUT FOUNDATION”

The goal of the study is to analyze the novel «Without Foundation» through the prism of A. Chekhov’s works, in particular, the play “The Cherry Orchard”.Research methods are determined by the goal. The method of intertextual analysis is used to identify various models and forms of literary dialogue in the text. Comparative and typological, structural and mythopoetic methods are used in contextual analysis and interpretation of the novel to clarify the author’s artistic concept.Results. It is indicated that the play by A. Chekhov “The Cherry Orchard” from the moment of its appearance, due to the scale of artistic generalization of the loss of home and motherland, began to play the role of a pretext to all artistic and philosophical searches of the twentieth century to comprehend the existential problem of baselessness, loss of personal in the period of historical catastrophes. Meanwhile, the review of literary studies indicates the absence of the special scientific study of cultural and artistic dialogue between V. Petrov-Domontovych and A. Chekhov, which narrows the intellectual horizons of the novel. It is not easy to recognize and distinguish Chekhov’s images and reminiscences in the general cultural context of the novel. The presence of A. Chekhov in the artistic world of Petrov-Domontovych is not a direct, but an indirect dialogue, when the consonance of aesthetic intentions is manifested in identical situations, conflicts, characters of heroes and is conditioned, among other things, by the cultural context, the cultural thesaurus. In the study, through the prism of Chekhov’s works, such motives as home, garden, steppe, alms, etc. are interpreted. It turns out that the main appeal to A. Chekhov is an ephrasis of Linnik’s painting with the eloquent title “The City is Cut”, which directly echoes the finale of “The Cherry Orchard”. For the main character of the novel, the canvas is a text, sounds, and its main sound, which, like A. Chekhov’s, breaks the silence, is the knocking of the ax on the tree. The Varangian Church, symbolizing the eternal, was under the threat of the destruction of the present, as in its time the poetic Chekhov’s garden. Conclusions. Domontovych-critic was inclined towards a combined concept of modern literature, which he proposed to call “schematic synthesis”. With his own novel “Without Foundation” Domontovych-writer demonstrated a model of a new Ukrainian novel, which, depicting his own, was not intended for “home use”, but thanks to intertextual poetics organically fit into the European literary context.Key words: A. Chekhov, “The Cherry Orchard”, intertextual poetics, mythology, modernist novel. Мета дослідження – аналіз роману «Без ґрунту» крізь призму творчості А. Чехова, зокрема, п’єси «Вишневий сад».Методи дослідження зумовлені поставленою метою. Метод інтертекстуального аналізу використовується для виявлення в тексті різних моделей і форм літературного діалогу. Порівняльно-типологічний, структурний і міфопоетичний методи застосовуються у контекстуальному аналізі та інтерпретації роману для з’ясування авторської художньої концепції.Результати. Вказано, що п’єса А. Чехова «Вишневий сад» з моменту своєї появи завдяки масштабам художнього узагальнення втрати дому і батьківщини стала виконувати роль претекста до всіх художньо-філософських шукань ХХ століття щодо осмислення екзистенційної проблеми безґрунтярства, втрати особистого у період історичних катастроф. Проте огляд літературознавчих розвідок свідчить про відсутність спеціального наукового дослідження культурно-мистецького діалогу В. Петрова-Домонтовича із А. Чеховим, що звужує інтелектуальні горизонти роману. Упізнати і виокремити чеховські образи і ремінісценції у загальному культурному контексті роману непросто. Присутність А. Чехова у художньому світі В. Петрова-Домонтовича – це не прямий, а опосередкований діалог, коли співзвучність естетичних намірів проявляються у тотожних ситуаціях, конфліктах, характерах героїв і зумовлені, зокрема, культурним контекстом, культурним тезаурусом. У дослідженні крізь призму чеховської творчості інтерпретуються такі міфологеми, як дім, сад, степ, милостиня тощо. Доводиться, що голо-вна апеляція до А. Чехова – екфрасис картини Линника з промовистою назвою «Місто рубають», який напряму перегукується з фіналом «Вишневого саду». Для головного героя роману полотно є текстом, що звучить, і головний його звук, який так само, як і у А. Чехова, порушує тишу, – стукіт сокири по дереву. Варязька церква, символізуючи вічне, опинилася під загрозою нищення нинішнього, як свого часу поетичний чеховський сад.Висновки. Домонтович-критик схилявся до комбінованої концепції сучасної літератури, яку пропонував назвати «схематичним синтезом». Власним романом «Без ґрунту» Домонтович-письменник продемонстрував зразок нового українського роману, який, зображуючи своє, призначався не для «хатнього вжитку», а завдяки інтертекстуальній поетиці органічно вписувався в європейський літературний контекст.Ключові слова: А. Чехов, «Вишневий сад», інтертекстуальна поетика, міфологема, модерністський роман.