Experimental studies indicated that myomeres play several functional roles during swimming. Some of the functions in question are thought to change rostrocaudally, e.g., anterior myomeres are thought to generate forces, whereas posterior myomeres are thought to transmit forces. In order to determine whether these putative functions are reflected in myoseptal morphology we carried out an analysis of the myoseptal system that includes epaxial and hypaxial myosepta of all body regions for the first time. We combined clearing and staining, microdissections, polarized light microscopy, SEM technique, and length measurements of myoseptal parts to reveal the spatial arrangement, collagen fiber architecture, and rostrocaudal gradients of myosepta. We included representatives of the four basal actinopterygian clades to evaluate our findings in an evolutionary and in a functional context. Our comparison revealed a set of actinopterygian groundplan features. This includes a set of specifically arranged myoseptal tendons (epineural, epipleural, lateral, and myorhabdoid tendons) in all epaxial and postanal hypaxial myosepta. Only preanal hypaxial myosepta lack tendons and exclusively consist of mediolateral fibers. Laterally, myosepta generally align with the helically wound fibers of the dermis in order not to limit the body's maximum curvature. Medially, the relationship of myosepta to vertebrae clearly differs from a 1:1 relationship: a myoseptum attaches to the anterior margin of a vertebra, turns caudally, and traverses at least three vertebrae in an almost horizontal orientation in all body regions. By this arrangement, horizontal multiple layers of myosepta are formed along the trunk dorsal and ventral to the horizontal septum. Due to their reinforcement by epineural or epipleural tendons, these multiple layers are hypothesized to resist the radial expansion of underlying muscle fibers and thus contribute to modulation of body stiffness. Rostrocaudally, a dorsoventral symmetry of epaxial and hypaxial myosepta in terms of spatial arrangement and collagen fiber architecture is gradually developed towards the postanal region. Furthermore, the rostrocaudal extension of myosepta measured between anterior and posterior cones gradually increases. This myoseptal region is reinforced by longitudinal fibers of lateral tendons. Furthermore, the percentage of connective tissue in a cross section increases. These morphological data indicate that posterior myosepta are equipped for multisegmental force transmission towards the caudal fin. Anteriormost myosepta have reinforced and elongated dorsal posterior cones. They are adequately designed to transmit epaxial muscular forces to the neurocranium in order to cause its elevation during suction feeding.

Although the horizontal septum (HS) has been identified as playing a role in fish biomechanics and in path finding of cells during zebrafish development, its morphology is poorly known. However, it is generally regarded as an evolutionarily conserved structure. To test this idea, we applied a novel combination of techniques to analyse the HS of 35 species from all major gnathostome clades in which is visualized its collagen fibre architecture. Results show that the HS is a conserved trait only with respect to the presence of caudolateral [¼ epicentral] and craniolateral [¼ posterior oblique] collagen fibre tracts, but differs remarkably with respect to the specifications of these tracts. Our data revealed several evolutionary changes within vertebrates. In the gnathostome ancestor, the two tracts are represented by evenly distributed epicentral fibres (ECFs) and posterior oblique fibres (POFs). ECFs are condensed to distinct epicentral tendons (ECTs) in the actinopteran ancestor. POFs independently evolved to distinct posterior oblique tendons (POTs) at least two times within teleosts. Within basal teleostomes, POFs as well as ECFs or ECTs were lost two times independently. POTs were lost at least three times independently within teleosts. This view of a homoplastic HS remains stable regardless of the competing phylogenies used for analysis. Our data make problematic any generalization of biomechanical models on fish swimming that include the HS. They indicate that the pathfinding role of the HS in zebrafish may be extended to gnathostome fishes, but not to agnathans, sarcopterygian fishes and tetrapods.

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This article explores a recent performance of excerpts from T.S. Eliot's Four Quartets (1935/36-1942 entitled Engaging Eliot: Four Quartets in Word, Color, and Sound as an example of live poetry. In this context, Eliot's poem can be analysed as an auditory artefact that interacts strongly with other oral performances (welcome addresses and artists' conversations), as well as with the musical performance of Christopher Theofanidis's quintet "At the Still Point" at the end of the opening of Engaging Eliot. The event served as an introduction to a 13-day art exhibition and engaged in a re-evaluation of Eliot's poem after 9/11: while its first part emphasises the connection between Eliot's poem and Christian doctrine, its second part -especially the combination of poetry reading and musical performance -highlights the philosophical and spiritual dimensions of Four Quartets.

Recent research in the field of early modern representations of the Islamic world has shown that the conceptions of Self and Other in the early modern period were more ambiguous and fluid than in later Orientalist discourse. This article seeks to place Fulke Greville's tragedy Mustapha (published in 1609 and in 1633 in different versions) in the context of critical discussions about English representations of Muslims and the Islamic world during the sixteenth and seventeenth centuries and shows that it contributes to the great variety of portrayals of Muslims in early modern English drama. Jonathan Burton has commented on the tragedy's expression of religious and political tolerance and has explained it mainly as an 'accident of the story' (Burton, Traffic and Turning 193). This article probes into this 'accident of the story' and explores the source material, which was available to Greville. It demonstrates that Greville's nuanced portrayal of Muslims is the outcome of his creative appropriation of his sources and of contemporary representations of Muslims and the Ottoman Empire, especially of its practices of power. In the following, Mustapha is not discussed primarily with regard to its representation of morally depraved or admirable Muslims because these categories over-simplify the varied portrayal of Muslims in early modern English drama in general. Instead, this article shows that the significance of Greville's appropriation of his source material for the tragedy as a whole lies in his discussion of the political and philosophical implications of an event in Ottoman history. The following analysis seeks to demonstrate that this discussion resists aesthetic as well as political closure.