#F.R.S

[takoluka-magurofever]

mazm!jekyll & hyde shitpost except i'm bawling my eyes out introducing henry 'ah yes i am a famous yet secretly arrogant scientist w repressed desires therefore i made an evil twink as an alter ego to do all my inhibitions under the guise of a science experiment because i have a reputation to uphold' jekyll M.D., D.C.L., LL. D., F.R.S.

[my-deer-friend]

I was today years old when I learned that John Laurens and Peggy Shippen are (supposedly, distantly) related.

According to William Coxe, writing in 1800:

A collateral branch of the family of Shippen is settled in Philadelphia, one of them married [Henry] Laurens, who was president of the congress, and another, the American general [Benedict] Arnold.

Coxe, William. Memoirs of the life and administration of Sir Robert Walpole, Earl of Orford, in three volumes. By William Coxe, M.A. F.R.S. F.A.S. Rector of Bemerton. ... Vol. 3, printed [by Luke Hansard] for T. Cadell, jun. and W. Davies, in the strand, 1800. Eighteenth Century Collections Online, link.gale.com/apps/doc/CW0100268298/ECCO?sid=bookmark-ECCO&xid=ae6db23e&pg=212. Accessed 16 Jan. 2025.

There's no quick way to verify this and I'm not entirely sure it's correct, given that John's mother Eleanor belonged the Delamere and Ball families – though this information was passed on from a Shippen family member directly to the author.

[agenderhyde]

working on my character sheet a bit! [plain text under the cut]

LWTHJ Character Sheet

‘present year’ = 2023

Henry Jekyll, M.D, D.C.L., L.L.D., F.R.S., etc. (AKA ‘Harry’, AKA ‘Edward Hyde’) (he/him)

b. 13th Nov., 1973

chemist, began to pursue law as his father had wanted that, but it wasn’t for him

bisexual, married to G.J. Utterson, father of Max, Louis, & Maggie

Edward Hyde (AKA ‘Eddie’) (he/him)

alter ego of Henry Jekyll, “born” 5th January, 2021

mid-2020 (concept), early 2021 (first transformation)

lover of debauchery

Gabriel John Utterson (he/him)

b. 1973, transitioned 1987

lawyer, owns his own practice

gay, married to H Jekyll, father of Max & Maggie

older brother of Jenna

[asfaltics]

a sudden rush, which words could never speak

  a sudden rush, a something of sound behind me     ₁ as though a something of the past     ₂   a something of some few dimensions, a span-long     ₃ literature or something of that kind     ₄   a something of familiar sound     ₅ a something of which running water     ₆   as fluidity resides in water; a something of nothing     ₇ a something of that restlessness, which     ₈   curative agency is resolvable into a something of change     ₉ a something of life, a speck only; this somewhat about     ₁₀   still a something of the day     ₁₁ a something of light heart     ₁₂   A something of the heaven’s own light,       Which words could never speak.     ₁₃  

—

sources (their respective details at the more’s)

1 conclusion of Gordon Young his four-part story “Sourcery and Everhard,” in Adventure (First August, 1921) / more 2 J. St. Clement [Eliza Cook?], “My Walk to ‘The Office’” (No. vi. and last), in Eliza Cook’s Journal No. 100 (Saturday, March 29, 1851) / more 3 ex The Royall Passing-Bell : Or Davids Summons to the Grave. A Sermon preached (lately) in the Parish-Church of Orchard-Portman in Sommerset. At the Funerall of the most hopefull, and truly-noble, Sr. Hugh Portman, Baronet; the great losse and sorrow both of his name and countrie. By Humphrey Sydenham... (London, 1630) / more 4 Anthony Hope, The Dolly Dialogues (Chicago; ca 1894?; 1890) / more 5 Jane Austen, Persuasion (1818) / more 6 chapter 4, on “Roads,” in The rural economy of the Midland counties; including the management of livestock, in Leicestershire and its environs: together with minutes on agriculture and planting in the district of the Midland Station. By Mr. Marshall. v. 1 (of 2) (London, 1796) / more 7 from Chapter 55 “The Spiritual Sense of the World,” in The Yoga-vásishtha-mahárámáyana of Válmiki, translated from the original Sanskrit by Vihári-lála Mitra; Containing The Nirvána-Prakarana, Uttarádha (Calcutta, 1899) / more 8 “Passages from the Life of Mary Stuart,” The American Monthly Magazine (August 1, 1834) / more 9 David Uwins, A Treatise on those Diseases which Are Either Directly or Indirectly Connected with Indigestion : Comprising a Commentary on the Principal Ailments of Children (London, 1827) / more 10 a ( fortuitous ? ) OCR misread across columns two and three (near top) of page, at “Inaugural Address of the President, Thomas R. Huxley, LL.D., F.R.S., etc., before the British Association for the Advancement of Science,” in Scientific American> (October 8, 1870) / more 11 ex Canto IV, 102-103 of “Childe Harold’s Pilgrimage” in The Works of the Right Hon. Lord Byron, vol. 2 (of 2); (London, 1815) / more 12 ex “The Foundling of Liverpool,” by the author [likely Felix M’Donogh (1768?-1836)] of the Hermit in London, in The Ladies’ Museum “New and improved series” (London; January 1831) / more 13 ex stanza 2 (of 15) in the poem “The Ruin” by “Linus,” in The American Monthly Magazine (August 1, 1834) / more

all a something of’s  

[v0idsp3rson]

which of the 'decorative' books on the bookshelf in my living room should I read first? Also yes, I have to read the entire thing cover to cover.

There is more by the way, im reblogging this

[ltwilliammowett]

Plan of HMS Beagle - Middle section fore and aft, upper deck, 1832

In: A Naturalist's Voyage Round the World, Journal of Researches into the Natural History and Geology of the countries visited during the voyage round the world of H.M.S. Beagle under the command of Captain Fitz Roy, R.N., By Charles Darwin, M.A., F.R.S., with illustrations by R. T. Pritchett, 1832

[amphtaminedreams]

2025 Fashion Week(s) Round Up: From Haute Couture to RTW F/W25 & Everything in Between (Part 2)

-clockwise l-r: Elena Velez RTW F/W25, Elisabetta Franchi “, Emilio Pucci RTW S/S25-

-clockwise l-r: Emilia Wickstead RTW F/W25, Emporio Armani ", Enfants Richés Deprimes "-

-l-r: Erdem Pre-fall 2025, RTW F/W25-

-top to bottom: Ermanno Scervino Pre-fall 2025, RTW F/W25-

-clockwise l-r: Ernest W. Baker Men’s RTW F/W25, Ferragamo RTW F/W25, Ferrari ", Pre-fall 2025-

-top to bottom: Etro Pre-fall 2025, RTW F/W25-

-Fendi RTW F/W25-

-clockwise l-r: Fetico RTW F/W25, Florentina Leitner ", F.R.S For Restless Sleepers ", Fiorucci "-

-clockwise l-r: Frederick Anderson RTW F/W25, Ganni ", Pre-fall 2025, Gabriele Colangelo RTW F/W25, Gabriela Hearst "-

-top to bottom: Gaurav Gupta Haute Couture S/S25, GCDS RTW F/W25-

-clockwise l-r: Genny RTW F/W25, Giorgio Armani ", Giambattista Valli Haute Couture S/S25, RTW F/W25-

-clockwise l-r: Givenchy RTW F/W25, Greta Constantine “, Gucci Pre-fall 2025, RTW F/W25-

-clockwise l-r: Haderlump RTW F/W25, Harbison Studio " Harunobumurata ", Hermès "-

-clockwise l-r: Harris Reed RTW F/W25, Hodakova ", Holzweiler ", HUI "-

-top to bottom: Huishan Zhang Pre-fall 2025, RTW F/W25-

-clockwise l-r: HYKE RTW F/W25, Institut Français de la Mode ", Icicle Atelier ", Isabel Marant Pre-fall 2025, RTF F/W25-

-clockwise l-r: Jacquemus RTW S/S25, Jacques Wei RTW F/W25, Jason Wu Collection ", Jane Wade "-

-Jean Paul Gaultier Haute Couture S/S25-

-clockwise l-r: Jil Sander RTW F/W25, Jeanne Friot ", Johanna Ortiz ", Julie Kegels "-

-clockwise l-r: Kate Barton RTW F/W25,  Kent & Curwen ", Keisukeyoshida ", Keburia "-

-top to bottom: Khaite Pre-fall 2025, RTW F/W25-

-top to bottom: Kiko Kostadinov RTW F/W25, Kim Shui “-

-clockwise l-r: KIMHĒKIM RTW F/W25, KNWLS ", Lacoste ", Kobi Halperin "-

-clockwise l-r: Lanvin RTW F/W25, LaPointe Pre-fall 2025, RTW F/W25, LaQuan Smith ", Lauren Manoogian ", Laura Biagiotti "-

-clockwise l-r: Lemaire RTW F/W25, Libertine ", Lou de Bètoly "-

-top to bottom: Louis Vuitton RTW F/W25, LoveShackFancy Pre-fall 2025, RTW F/W25-

-l-r: Luar RTW F/W25, Ludovic de Saint Sernin "-

-clockwise l-r: Luisa Spagnoli RTW F/W25, Mame Kurogouchi ", Maison Sara Chraïbi Haute Couture S/S25, Magda Butrym RTW F/W25-

-clockwise l-r: Maitrepierre RTW F/W25, Marie Adam-Leenaerdt ", Marchesa RTW S/S25-

-top to bottom: Marine Serre RTW F/W25, Mark Fast "-

[artfulfashion]

F.R.S. (For Restless Sleepers) Fall-Winter 2023, photo by Jesus Isnard

[outfitsinspiration]

Who: Julia Berolzheimer

What: Gucci Ilde GG Supreme Canvas & Leather Flatform Loafers ($1,150.00). And HERE When: Daily Look - July 31, 2024

Worn with: F.R.S For Restless Sleepers dress, Celine bag and sunglasses

[imsorryimlate]

Henry Jekyll, M.D., D.L.C., LL.D., F.R.S., etc.

why are goth lit characters like this, like how easy was it to get multiple doctorates back then. also i can’t find what dlc stands for, i assume it’s not downloadable content 🧐

[thinkpleasure]

A Curated List Of The Top Brands Offering Luxurious And Sexy Sleepwear

Here’s a curated guide to luxurious and sexy sleepwear, spotlighting the top brands favored for their exceptional quality, comfort, and design:

✨ Top Luxury Sleepwear Brands & Reviews Olivia von Halle Highlight: Signature silk pyjama sets like the Lila Nika or Maugham line—19 momme silk satin with mother-of-pearl buttons.

Why it stands out: Iconic glamour; loved by celebrities like Kate Moss. Forbes notes its polished elegance and global presence. Customer reviews: Users rave about the luxury feel and roomy cut .

Eberjey Highlight: Gisele line—16 momme, Grade 6A silk; known for soft, billowy comfort and machine-washable convenience. What's loved: Silky, hypoallergenic, perfect for everyday indulgence.

Lunya Highlight: Washable silk long-sleeve sets praised for thermoregulation and comfort. Why it excels: Stylish, breathable, and easy to care for—ideal for daily wear.

La Perla Highlight: Italian craftsmanship since 1954—luxury sleepwear lines celebrated for quality and elegance. Design note: Renowned for sensual, artful designs with impeccable tailoring.

Hanro Highlight: Swiss‑engineered sleepwear combining simplicity with premium fabrics. Why premium: High-quality production in Europe, timeless and understated.

Sleeper Highlight: Eco-conscious and fashion-forward day-to-night styles—organic cotton, linen, and silk. Style edge: Instagram-ready, versatile sets that double as daywear.

Morgan Lane, F.R.S., Natori, Julianna Rae Standouts: Playful designs (Morgan Lane), bold prints (F.R.S.), elegant Eastern-inspired cuts (Natori), and classic silk (Julianna Rae)

📝 Care & Insight Tips Silk quality: 16–22 momme indicates luxurious durability and drape. Machine-washable silk: Brands like Eberjey and Lunya make luxury easy-care. Fit for comfort: Silk relaxes—opt for sizes that allow movement and airflow.

👩‍💼 Real Feedback "Olivia von Halle… raved about robes and PJ sets!" "Eberjey's silk is beautifully billowy and cool to the touch."

🎯 Final Recommendations For iconic elegance: Olivia von Halle’s Lila Silk Set For everyday luxury: Eberjey Gisele or Lunya washable silk For timeless minimalism: Hanro or La Perla For eco-chic style: Sleeper or Morgan Lane Ready to dive deeper? I can help you find size-inclusive options, budget picks, or styling tips to match your taste and body type.

[linguistlist-blog]

Support: New Funding Opportunity for Students, Université de Louvain

Deux bourses de doctorat (4 ans) sont offertes respectivement à l’Université libre de Bruxelles et à l’UCLouvain, dans le cadre du projet de recherche (PDR) « Faire face à la langue de l’Autre : donner du sens au néerlandais et au français en tant que langues peu valorisées », co-dirigé par les professeurs Jürgen Jaspers (ULB) et Philippe Hambye (UCLouvain). Ce projet, financé par le Fonds national de la recherche scientifique (F.R.S.-FNRS), vise à mieux saisir la manière dont les élèves et les http://dlvr.it/TL8WYv

[mi6021samringwood]

deep forest

this idea sheet further elaborates on my idea for the deep forest. the initial idea of a giant unknowable forest has been in my head for years at this point. in my imagination pitting the technologies of Victorian era England against the nature of a Forrest and having them on equal footing, seems deeply interesting. to me the atmospheric contrast between industrial machinery and the power of an ecosystem humans cant control is very evocative . the idea of integrating the deep sea into a Forrest setting was first inspired by a viral Tumblr post (seem below) that I'm not quite sure how i stumbled upon it, however i found a reupload of it on reddit.

in the modern day however a Forrest as deep as an ocean wouldn't be an issue to travers, as a plane could bypass it all together. and if not that then it could be deforested with little issue. so setting it in a time where humans couldn't bypass the ocean in these ways, seems necessary.

i have always been interested in creature design as well as speculative evolution so getting to design a new and scary ecosystem would be very creatively rewarding.

speculative evolution is described by google as …

Speculative evolution is a subgenre of science fiction and an artistic movement focused on hypothetical scenarios in the evolution of life, and a significant form of fictional biology.

some of my favourite artists like Wayne Barlowe have done works of speculative evolution for example his book 'Expedition(1990)' images from which are below...

other inspirations for this idea come from stories of failed expeditions, famous ones like the donner party and early arctic explorations. stories about survival. one such story being about underestimating nature is jack London's 'to build a fire(1902)' a short story about a man freezing to death in the wilderness. this story is kind of long however so i will link below and animated short of the story...

this section of the idea sheet was most inspired by this. that being where a man is laying at the foot of a tree as giant isopods crawl past.

it is definitely quite dark but something about that feeling of being reminded your not above nature really resonates with me creatively. but also the beauty of nature. to me this is illustrated by animations like studio Ghibli's 'princess Mononoke (2001)'

and when drawing shots like the jellyfish bloom flying over the carriage i had a studio Ghibli esc level of beauty in mind.

even shots from the film like this one below are akin to the look i want my Forrest to have. except more deep sea inspired of course.

another thing that inspired me with the deep sea and Victorian explorers was the style of presenting nature at the time with detailed illustrations called 'plates'. this can be seen in the book published from the HMS challengers deep sea exploration from 1872–1876. concisely titled 'Report on the scientific results of the voyage of H. M. S. Challenger: during the years 1873-76: under the command of Captain George S. Nares, R.N. F.R.S. and the late Captain Frank Tourle Thomson, R.N. Zoology (1886)' i accessed this book from the internet archive linked below...

within this paper there are beautiful illustrations like these...

the choice to make the forest have lower gravity the deeper you go has three reasons behind it. firstly this gives an explanation to how deep sea creature persist within the forest. secondly it makes the Forrest more alien, unexplainable and supernatural. thirdly it also is a chance to mess with the traditional rules of physics within the animation, Afterall animation is a medium where anything is possible, why would you choose to have things move around the same way they do in reality? the section of the idea sheet can be seen below...

this idea although maybe not as original as some of the other ideas i find the most creatively motivating.

Reddit.com. (2024). Blocked. [online] Available at: https://www.reddit.com/r/tumblr/comments/qojvot/the_deep_green_forest/#lightbox [Accessed 29 Oct. 2024].

Wayne Douglas Barlowe (1990). Expedition. Workman Publishing.

London, J. (1902). To Build A Fire. Century Magazine.

www.youtube.com. (n.d.). Jack London ‘To Build a Fire’ | Nexus Studios. [online] Available at: https://www.youtube.com/watch?v=LzRrPQJlUwM [Accessed 18 Oct. 2021].

princess mononoke. (2001). Toho Co., Ltd.

Archive.org. (2024). Blocked Page. [online] Available at: https://archive.org/details/ReportonscientiXVIThom/page/n390/mode/thumb [Accessed 29 Oct. 2024].

[theohonohan]

The astronomer James Bradley

Recently, while reading a short history of astrometry by Mark Perryman, I came across an astronomer (and a discovery) that I had not previously heard of. It was the discovery of stellar aberration by James Bradley in the late 1720s. Perryman says that the discovery "arguably rates as one of the most significant discoveries in the history of astronomy", and Bradley was, at one point, described by Newton as the best astronomer in Europe. The astronomer Delambre stated in 1821, referring to Bradley's discoveries of stellar aberration and nutation:

"It is to these two discoveries by Bradley that we owe the exactness of modern astronomy. ... This double service assures to their discoverer the most distinguished place (after Hipparchus and Kepler) above the greatest astronomers of all ages and all countries."

So why hadn't I heard of him? Well, he's not very famous now. A biography by James Fisher appeared in 2023, but it was billed as "the first major work on the life and work of James Bradley for 190 years". A brief life of Bradley was published by Sir Richard Woolley in 1963. Perhaps the most widely read account of Bradley's discoveries was physicist Freeman Dyson's article "The inventor of modern science", published in Nature in 1999.

Dyson underlines the significance of Bradley's discovery of stellar aberration as the first time scientific observations attained a level of six figures of accuracy (around one part per million). The key part of the story is not the details of the phenomena of stellar aberration or nutation, but the precision that enabled those phenomena to be discovered.

It was Bradley's skill as an observer which brought him this success—and not his gregariousness or his faithfulness as a correspondent, which are in doubt. He was clearly quiet and diligent to a fault, waiting for 20 years (more than a whole saros cycle), without publishing, until he had completed the observations that led to the confirmation of nutation.

In later life, Bradley became Astronomer Royal. The Irish Victorian astronomer Agnes Clerke, writing a popular account of Bradley's life in the Dictionary of National Biography, wrote that there was "scarcely an astronomer in Europe but sought a correspondence with him, which he usually declined, being averse to writing, and leaving many letters unanswered". What we know for sure is that no correspondence survives. The recent biographer, Fisher, seems to be a partisan of Bradley and "strongly contends" that the astronomer could not have been "indolent" with regards to his correspondence.

There is a reasonable possibility, then, that in spite of being a famous Astronomer Royal, Bradley didn't invest enough in the social aspects of eighteenth century astronomy to ensure his place in posterity. He was an observer, and all accounts of his scientific life are full of praise for his skill in that capacity.

Woolley, perhaps lacking better sources, repeats the comments of others:

The principal sources of information to which I am indebted are Miss Agnes Clerke's article in the Dictionary of National Biography, and the Memoirs of Bradley prefixed by Rigaud to the volume of Miscellaneous Works and Correspondence of the Rev James Bradley, D.D., F.R.S. (Oxford University Press, 1832). The eulogies of these two writers may be repeated here. Rigaud says that he possessed "a most extraordinary clearness of perception both mental and organic: great accuracy, in the combination of his ideas; and an inexhaustible fund of that 'industry and patient thought' to which Newton ascribed his own discoveries". According to Miss Clerke, Bradley was "less inventive than Kepler, but surpassed him in sobriety and precision: his scrutiny of possible causes and their consequences was keen, dispassionate and complete: his mental grasp was close and unrelaxing. He ranks as the founder of modern observational astronomy."

The circumstances of Bradley's discoveries are interesting. He used an instrument called a zenith sector, constructed by the instrument maker George Graham. This instrument was to become famous.

Freeman Dyson describes the setup:

Bradley had the good luck to have a widowed aunt who owned the house where she lived in Wanstead, east London. The house had a high roof, and the aunt allowed him to cut a hole in her roof and use the upper part of the house as an observatory. Her husband had also been a devotee of astronomy, so she was used to this sort of madness. Under the hole, Bradley suspended a slender three-inch refracting telescope, with a brass circular arc along which the eyepiece of the telescope could be moved with a micrometer screw. The eyepiece was focused simultaneously on a star overhead and on a fine crosswire. Bradley could move the star exactly onto the crosswire with the micrometer screw, and then read off the angle on the brass arc. At one place on the arc there was a notch leaving space for a vertical plumb line made of wire with one hundredth of an inch diameter. We must assume that he had his aunt well trained so that she did not slam doors while observations were in progress. Using his plumb-line and his micrometer screw, Bradley was able to measure the angle between a star and the local vertical with six-figure accuracy, with an error of one or two parts per million. He was the first person to measure anything with six-figure accuracy. He measured angles a hundred times more accurately than the astronomers of Newton’s time. That was how he discovered aberration.

Now, first things first: the fact of the matter was that Bradley was financially dependent on his aunt, and the house in Wanstead was small: the attic may have had a high roof, but ground floor was only 7½ feet high. (This information comes from Bradley's Miscellaneous Works). Dyson is also not quite accurate in his description of the instrument—for example, the plumb line was in fact ¹⁄₂₁₈" in diameter. He claims that Bradley needed to measure the angular position of the telescope to an accuracy of ¹⁄₁₀₀₀" in the following passage from an earlier article. Dyson writes

Bradley was able to measure the angle between a star and the local vertical with a precision consistently better than one second of arc. Measuring the angle to an accuracy of one second of arc meant measuring the movement of his eyepiece along the twelve-foot arc to an accuracy of one thousandth of an inch.

In fact, according to the Miscellaneous Works, Bradley was able to achieve an accuracy of about ¼ of an arcsecond. This corresponds to 1.2 × 10⁻⁶ radians. Since the telescope is 150" long, this level of precision is around 0.2 thousandths of an inch.

As far as the observations go, there are two elegant aspects which simplified Bradley's task.

The first is that he was looking for changes in elevation, rather than absolute measurements. This meant that he did not need to determine the collimation error of the zenith sector. The collimation error is just the angular deviation, from the vertical, of the telescope optics during calibration (when the plumb line is centred on the brass arc).

The second elegant feature is that Bradley was measuring the elevation of stars at culmination. This is the maximum elevation the star attains in the sky, so the rate of change of elevation is zero at the moment of culmination. No precise astronomical clock is required to measure time—the measurement is simply an angle, determined by bisecting the image of the star by adjusting the crosswire as it passes across the field of view.

The stellar aberration effect Bradley discovered had a magnitude of about 40 arcseconds. In his observations, the key values are on the order of arcseconds: due to diffraction, the image of a star in his 3½" telescope was a couple of arcseconds across. The Earth, spinning at 15 degrees per hour, caused the star's image to cross the field of view at a rate of 15 arcseconds per second. I don't have any information on the eyepiece Bradley used with the zenith sector, and it's the eyepiece that would have determined the field of view. Presumably, the observations were made with a field of view of less than a few tens of arcseconds.

The zenith sector became famous, and was preserved. It has been on show at the Greenwich Observatory for a century or more. It's not a very impressive object, though. The historian of science Rebekah Higgitt wrote an article about it in 2014 in which it was described as looking like a "rusty drainpipe".

This image, showing the zenith sector as it displayed, is from the RMG's website.

The following image shows the top part of the instrument. Note that, although this device dates from the late Baroque period, the only concession to ornamentation is a discreet profile on the microscope bracket.

These two engravings, showing the same part of the instrument, are from a 19th Century survey.

In a later blog post, I will describe the implications of Bradley's measurement of stellar aberration.

[mi4017thesandukandevidanalge]

Beddagama

This movie revolves around a village in the jungle, which is the English name of the original novel "THE VILLAGE IN THE JUNGLE - BY L. S. WOOLF", meaning Bedda (Rainforest) - gama (Village) in Sinhalese.

The entire novel is filled with words of demons and evil, sometimes with suggestive language. But according to the comparison of the movies, it will be found that there is a translation problem. Although the language in the original text carries a racial nature, the so-called demons are actually Sinhalese vocabulary such as Yasha and evil spirits. Yasha is a Buddhist vocabulary that also refers to evil spirits, but has different meanings.

There is a clear difference between the opening of the movie and the novel, as the novel features extensive depictions of the terrifying and evil nature of the rainforest through a narrow and eerie perspective. However, the movie may not have been shot entirely in the rainforest due to the difficulty of filming, resulting in more open and flat shots in the camera. At the end of the movie, the horror of the rainforest is also portrayed through leopards eating pigs. There is a significant difference in the effect.

mise-en-scene

The nuge tree mentioned in the movie is the Bayan tree in Sinhalese, which is the place where the Buddha "Kassapa" attained enlightenment. (Bodhi Tree - Dhamma Wiki, n.d.)

The local houses that appear in the movie are called "mati geya" in the Sangha, which literally means clay houses. Due to the absorption of moisture in the clay gaps at night and its discharge during the day, it creates a room temperature regulation similar to that of an air conditioner. The walls of this balcony (pilla) are usually built to accommodate seats or beds, and single rooms are used for sleeping, usually without windows - almost all other activities take place outside, with the kitchen usually located outside.

(Sri Lankan Sojourns: Building With Clay., 2013)

Bullock-cart, also known as "gon karattaya" in Sinhalese: "ගොන්කරත්තය

The man is wearing a jatawa and an amudaya.

(FM Ravaya, 2022)

The woman is wearing a redda hatta (fabric for the lower garment, Blouse for the upper garment)

Throughout the movie, people from every class and profession follow a certain dress code. The lower the social class, the less well dressed they are, and the lowest class may wear amudaya and sarongs, while Arachchi wears professional clothing (black jackets and sarongs). Even richer ones can wear pants. Mudaliar wearing a suit jacket and pants.

Fernando can even wear a sweatshirt. To show that he came from Colombo

The prop Yakka's Wesmunu (mask) that can be examined in detail. Among them, there is a night fork with black skin and white long teeth. There are also warriors in legends who connect with bear heads, the great demon of the cemetery, Maha Sona

(Folk Tales- Mahasona the Great Graveyard Demon – Classic Sri Lanka, 2022)

Reference :

Bodhi Tree - Dhamma Wiki. (n.d.). https://www.dhammawiki.com/index.php/Bodhi_Tree

Corea, I. (2014, August 2). Baddegama directed by Lester James Peiris – Vernon Corea 1927-2002. Vernon Corea 1927-2002. https://vernoncorea.wordpress.com/tag/baddegama-directed-by-lester-james-peiris/

Davy John, & M.D. F.R.S. (1821). An account of the interior of Ceylon, and of its inhabitants. with travels in that island. https://wellcomecollection.org/works/fqvgcgct/items?

FM Ravaya. (2022, August 22). හෙළයේ අමුඩයේ කතාව | Amude | History of amude | Ceylon amude | amuda Sri lanka 2022 | Story of amude [Video]. YouTube. https://www.youtube.com/watch?v=mereT7KkXRQ

Folk Tales- Mahasona The Great Graveyard Demon – Classic Sri Lanka. (2022, February 3). https://www.classicsrilanka.com/blog/2022/02/03/folk-tales-mahasona-the-great-graveyard-demon/

Lakpura LLC. (n.d.). Traditional masks of Sri Lanka: Raksha masks • Sanni masks • kolam masks. https://lk.lakpura.com/pages/masks

Paul H. De Neui. (2016). Seeking the Unseen: Spiritual Realities in the Buddhist World

Sri Lankan Sojourns: Building with Clay. (2013, December 1). Brunyfire. https://brunyfirepower.wordpress.com/2013/12/01/sri-lankan-sojourns-building-with-clay/

[evoldir]

Fwd: Graduate position: ULiege.ParentalEffects

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Graduate position: ULiege.ParentalEffects > Date: 24 February 2024 at 06:00:22 GMT > To: rdmpage@gmail.com > > > Dear colleagues, > > We are looking for a highly motivated candidate to apply for a PhD > position to be performed in the laboratory of Dr. Bertanne Visser > (Gembloux Agro-Bio Tech, University of Li�ge, Belgium) in collaboration > with Dr. C�cile Le Lann and Prof. Joan van Baaren (University of Rennes, > ECOBIO, France). Funding is available to pay a salary for 1 year, during > which the candidate is expected to apply for grants to fund a 4-year > PhD project (e.g., Fonds National de Recherche FRIA and ASP calls). > > The Visser laboratory works on eco-evolutionary aspects of fat metabolism > in parasitoids, particularly the amber wasp Leptopilina heterotoma > (see https://visserlab.be/). Recent findings on amber wasps revealed > that fat synthesis can be switched on or completely off depending on > the developmental environment. When sufficient fat can be carried over > from the host, most wasps will stop synthesizing fat, but when only > low quantities of fat can be obtained from the host, wasps will start > synthesizing fat. During the first year of the project, the PhD student > will be integrated in the laboratory to train and get experience with > the model system and be part of ongoing research and experiments. > > Parasitoids are cornerstone species in ecological communities by > regulating other insect populations. We are continuing to learn more about > the intriguing fat physiology of parasitoids, but we have only little > information as to how environmental changes in one generation impact > future generations. Pr van Baaren and Dr Le Lann work on the effect > of climate change on host-parasitoid interactions and in particular > on plasticity and adaptation to temperatures. More erratic climatic > conditions are becoming more prevalent and are expected to lead to > indirect effects on host fat content, as well as direct effects on > wasp fat metabolism (Le Lann et al., 2021). The candidate is expected > to develop a research project on parental effects and transgenerational > plasticity in response to reliable and unreliable variation in host fat > content and temperature. > > The ideal candidate for this position will have a strong background > in ecology and evolution, as well as an interest in physiology. The > candidate will be able to obtain skills in rearing and manipulating > wasps and Drosophila hosts, physiological measurements (determining > fat content, stable isotope tracing and analyzing fatty acid profiles > obtained with mass spectrometry), planning and designing experiments, > as well as writing and presenting research findings. > > We will continue to review applications until the position > is filled. Ideally, the candidate will start no later than > 1 July 2024. Applications should be sent to Bertanne Visser > (bertanne.visser@uliege.be) and must include 1) a statement of interest > detailing why you are interested in the topic and working in the host > laboratory; 2) a full CV; 3) a list of grades obtained during the master's > degree, and; 4) Contact details of at least 2 referees. > > Best regards, > Dr. Bertanne Visser, F.R.S.-FNRS Research Associate > Evolution and Ecophysiology group > https://visserlab.be/ > > Scheifler Mathilde