Anisakis  (a·nuh·saa·keez) 
is a genus of parasitic nematodes that have life cycles involving fish and marine mammals. They are infective to humans and cause anisakiasis. People who produce immunoglobulin E in response to this parasite may subsequently have an allergic reaction, including anaphylaxis, after eating fish infected with Anisakis species. Etymology
The genus Anisakis was defined in 1845 by Félix Dujardin as a subgenus of the genus Ascaris Linnaeus, 1758. Dujardin did not make explicit the etymology, but stated that the subgenus included the species in which the males have unequal spicules ("mâles ayant des spicules inégaux"); thus, the name Anisakis is based on anis- (Greek prefix for different) and akis (Greek for spine or spicule). Two species were included in the new subgenus, Ascaris (Anisakis) distans Rudolphi, 1809 and Ascaris (Anisakis) simplex Rudolphi, 1809. Life cycle
Anisakis species have complex life cycles which pass through a number of hosts through the course of their lives. Eggs hatch in seawater, and larvae are eaten by crustaceans, usually euphausids. The infected crustaceans are subsequently eaten by fish or squid, and the nematodes burrow into the wall of the gut and encyst in a protective coat, usually on the outside of the visceral organs, but occasionally in the muscle or beneath the skin. The life cycle is completed when an infected fish is eaten by a marine mammal, such as a whale, seal, sea lion, dolphin or another animal like a seabird or shark.
Instrumental intermezzo
In the 19th century, the intermezzo acquired another meaning: an instrumental piece which was either a movement between two others in a larger work or a character piece that could stand on its own. These intermezzi show a wide variation in the style and function: in Mendelssohns incidental music to A Midsummer Nights Dream the intermezzo serves as musical connecting material for action in Shakespeares play; in chamber music by Mendelssohn and Brahms, the intermezzi are names for interior movements which would otherwise be called scherzi; and the piano intermezzi by Brahms, some of his last compositions, are sets of independent character pieces not intended to connect anything else together. Stylistically, intermezzi of the 19th century are usually lyrical and melodic, especially compared to the movements on either side, when they occur in larger works. The Brahms piano intermezzi in particular have an extremely wide emotional range, and are often considered some of the finest character pieces written in the 19th century. Opera composers sometimes wrote instrumental intermezzi as connecting pieces between acts of operas. In this sense, an intermezzo is similar to the entracte. The most famous of this type of intermezzo is probably the intermezzo from Mascagnis Cavalleria rusticana. Puccini also wrote intermezzi for Manon Lescaut and Madama Butterfly, and examples exist by Wolf-Ferrari, Delius and others. Also, incidental music for plays usually contained several intermezzi. Schuberts Rosamunde music as well as Griegs Peer Gynt contained several intermezzi for the respective plays. In the 20th century, the term was used occasionally.