Post T Tauri stars in the solar neighborhood: isolated or members of young associations and moving groups

Post T Tauri stars (PTTS) are late-type stars in the age range between 10 and 100 Myr filling the gap between T Tauri (TTs) and zero-age: main sequence phases. This period of evolution remains ambiguous and until now different studies of young stars have failed to find the numbers of PTTS that are expected. In the last years, some PTTS have been identified among the X-ray detected pre-main sequence stars in some star-forming regions. More recently, additional PTTS have been identified in young associations and moving groups (β Pic, TW Hya, Tucana/Horologium, and the AB Dor). However, many isolated PTTS still remain undiscovered. In this contribution, we compiled the PTTS previously identified in the literature, and identified new candidates using the information provided by the high resolution spectra obtained during our surveys of late-type stars possible members to young moving groups, FGK stars in the solar neighborhood, and RasTyc sample. To identify PTTS we applied an age-oriented definition using relative age indicators (Li abundance, chromospheric and coronal emission and the kinematics) as well as color-magnitude diagrams and pre-main sequence isochrones.

‘You, my body, and my mind, one of these will go’: Madness as Disguise in Samuel Beckett's Murphy and Endgame

ithin the wide topic of disguise in literature, we could signal a subcurrent which can be found in a number of literary texts: the idea of madness as a disguise, i.e. the creation or invention of a ‘false self’ as a mask which is presented to the world and which conceals the real self. In The Divided Self (1960), R. D. Laing deals with the “personality, false self, mask, front or persona that (...) [schizophrenic] wear” (73). Using as a basis Laing’s theories on schizophrenia and the creation of a false-self system, we will analyze two works by Samuel Beckett: Murphy and Endgame, where we find the uses of madness as disguise in a series of ways: through the usage of ‘disguised’ language (what we could refer to as schizophrenese) which acts as a mask for real meaning; through odd ‘schizophrenic’ behaviour on the part of the characters (which screens real intentions), and, mainly, through the creation of a ‘false self’ which acts as a disguise and barrier between the inner self and the real world. These two works by Samuel Beckett, where real intentions and meanings are continuously concealed and disguised in a desperate attempt to preserve the inner self, lend themselves to an analysis of madness as disguise, precisely the one we attempt to carry out in our paper.