Mafic and felsic plutonism in the Elvas region (SW Iberia, Portugal): two distinct Nd isotope sources and geodynamics

The occurrence of mafic (mainly gabbros and diorites) and felsic (syenites and granites) rocks, in close spatial association, in the Elvas region, at the northern part of the Ossa-Morena Zone, could be interpreted as a single bimodal (alkaline) plutonic complex. However, in spite of scarce isotopic (Sm-Nd) data, the co-magmatic origin of both rock groups (mafic and felsic) has already been questioned [1]. Based on the mineral chemistry of primary clinopyroxenes (Di–Hd, %En: 45.5 – 27.2) and representative whole-rock analyses, gabbros and diorites of the Elvas massif show a transitional character between alkaline and non-alkaline fields and wide compositions: SiO2 (42.47 – 58.00 wt%); TiO2 (0.24 – 1.68 wt%); Y/Nb (4.0 – 10.7); Th (0.1 – 6.8 ppm); Zr (18.6 – 576.9 ppm). The felsic group is composed by highly differentiated rocks which correspond to distinct levels of silica saturation and alkalinity. Peralkaline syenites usually present sodic (riebeckite) and sodic-calcic (aegirine-augite, ferrowinchite) inosilicates and reveal quite variable compositions: SiO2 (57.50 – 72.07 wt%); TiO2 (0.10 – 1.45 wt%); Th (1.7 – 67.0 ppm); Zr (133.0 – 4800.0 ppm). The alkaline granites show hedenbergite as the characteristic inosilicate, presenting relatively common compositions: SiO2 (61.85 – 78.06 wt%); TiO2 (0.21 – 0.58 wt%); Th (11.8 – 38.4 ppm); Zr (317.3 – 1234.6 ppm) [2]. Recent Sm-Nd isotopic results, on a total of 18 whole-rock samples (6 mafites and 12 felsites), allow new and more consistent interpretation concerning the petrogenesis of these plutonic rocks. Assuming an age of 490 Ma [3], the felsic rocks provide (0.6 < Nd490 < 4.3), similar to other contemporary (per)alkaline rocks of this region [4], reflecting magmatic extractions from time-integrated depleted mantle sources followed by variable and incomplete mixing (and/or AFC-type) processes with enriched, probably crustal sources. This alkaline/peralkaline magmatism is thought to represent the main regional record of the rifting event which presumably led to the opening of the Rheic Ocean. On the other hand, the mafic plutonic rocks of the Elvas massif cannot represent the magmatic precursors of these syenites and granites as they show completely distinct Nd isotopic ratios (3.7 < Nd490 < 1.2) indicating important contribution of long-term enriched (crustal) sources. Instead, considering the age and the Nd isotopic signature of other mafic plutonic unit emplaced nearby (the Campo Maior massif: ca. 370 Ma; 6.0 < Nd370 < 5.2) [5], and recalculating the isotopic ratios of the Elvas massif for the same age (4.3 < Nd370 < 1.6), it is plausible to consider that these plutons (Campo Maior and Elvas) can be coeval and representative of the Variscan magmatism in this region. In such hypothesis, the differences between these isotopic values could be explained, on a time-integrated basis, either by magmatic sources for the Elvas massif less enriched in LREE than the sources involved in the Campo Maior massif, or, if both plutonites share similar depleted mantle sources, by magmatic differentiation paths considerably affected by crustal contamination processes, which reached higher degrees in the Campo Maior massif.

Trabalho temporário e qualidade dos serviços prestados: reflexão sobre a evolução recente na região de Setúbal

Os conceitos de qualidade e capital humano são amplamente conhecidos e a sua importância aceite por todos. A aplicação destes pressupostos à realidade do trabalho temporário, tomou-se um imperativo face ao contexto económico actual, repleto de rápidas mudanças organizacionais, caracterizado por colaboradores detentores de um novo leque de competências e flexibilidade profissional. Ao longo deste trabalho. procurou-se analisar a possível integração do trabalho temporário num novo modelo de relações laborais, na tentativa de distanciamento da corrente associação do trabalho temporário a uma "forma atípica de trabalho'', estabelecendo ainda uma breve evolução do trabalho temporário na Península de Setúbal. baseada na apreciação de trabalhos análogos. Em resultado da aplicação de questionário. definiu-se uma hierarquia de características individuais e organizacionais, como critério válido para um futuro processo de recrutamento e selecção, permitindo averiguar, ao nível do individuo, um aumento de competências profissionais e técnicas, acompanhado pelo incremento de formação e experiência profissional. Concluindo ao nível organizacional que qualidades como flexibilidade e dinamismo, aliado à experiência profissional, são factores críticos no processo de recrutamento e selecção, sendo imprescindíveis na procura contínua da qualidade, facilitando o alcance da excelência individual e organizacional. ABSTRACT: Quality and Human Capital are widely know concepts and their importance is accepted by all. Therefore, it has become imperative to make use of them in the contex t of temporary work given the current economic situation for they are present wherever organizational change happens rapidly and stakeholders possess a wide range of professional competencies and flexibility. The aim of this work is to study the possible integration of temporary work into a new model for labour relations, in an effort to distance temporay work from the notion of "atypical form of work" with which it is presently associated. Moreover, it presents a brief evolution of temporary work in the Peninsula of Setúbal, based on the analiysis of similar works. The findings obtained from our surveys ena bled us to define a hierarchy of individual and organizational characteristics which can serve as valid criteria in future recruitment and selection processes. With these processes it is al so possible to assess any increase of professional and technical competencies regarding the individual as well improvement as regards training and professional experience. At the organizational level, qualities such as nexibility and dynamism, together with professional experience, turned out to be critical factors in the recruitment and selection process. Not only are they indispensable in the constant pursuit of quality, but they also make it easy to achieve individual and organizational excellence.

Francisco Pizarro' s banner of arms: an analytical work contributing to latin America's history

The study of textiles is an open area of scientific research, which for its variety of material components and physical chemical diversity of conditions, makes a field of interest for scientific studies in the cultural heritage field. Archaeological/historical textiles offer the possibility to carry out studies on organic materials such as fibers, adhesion elements, dyes, paper, etc., as well as on inorganic compounds for instance metals, alloys, precious stones and other added ornamentation. That variety of composition, allow to use a combination of analytical techniques to solve the questions coming from the object in an archaeometric research. One kind of textile object that provides a valuable cultural information because of its linguistic representation employed by its carrier societies, are the flags/banners/emblems, objects made with a nonverbal communication purpose. As long as depending on the use and/or purpose of each object, varies both the materials/techniques used in its production and its iconography (style, color, emblem, shape), its study gives the possibility to extract information through their materials and manufacturing techniques about a temporal-spatial frame, a particular event or a specific character. The flags/banners have been used since the eleventh century as representative objects of power, hierarchy, social or military organization, or as communicative media. The use of these objects has been spread throughout the world, possibly due to its easy interpretation and/or appropriation by different societies, making it part of their own culture. The flags as symbols of territorial control, using emblems that represent a family, order or army, were introduced to the New World (America) with the arrival of the European conquerors at the end of the fifteenth century. Flags/banners representing the Royal dominion over conquered territories, the Catholic Church and conquistadors’ armies were the first to arrive. One of those flags that have endured over time, that have an invaluable cultural meaning for both American and Iberian societies, is the so-called Francisco Pizarro’s Banner of Arms. It is a textile object with metal threads decoration over a Royal emblem. According to historical sources, this object was used by Francisco Pizarro in 1532 on the conquest process of Peru, after received the permission by King Charles V to on behalf of him, to conquer the lands of the New World today known as Peru. After Pizarro’s control of the Inca territory, it is believed that Pizarro left his banner on top of the Inca’s Sun’s Temple as symbol of his rule. Centuries later, in the America libertarian campaigns, General Sucre, military at charge of the independence army in Peru, reports have found what he considered the Pizarro’s Banner, sending it to Bogotá as a symbol of victory, being kept since that time until today by the National Museum of Colombia. Due to historical discrepancies in the different movements of the so-called Pizarro’s Banner of Arms, its real meaning has been under discussion and because of the passage of time its physical condition has suffer deterioration. That is because its scientific study is now an interesting case study to respond to both historical and conservation questions of it. Through a collaboration with the National Museum of Colombia, a set of 25 samples of so-called Pizarro’s Banner of Arms were collected, covering the various components and areas from the object of study. These samples were subjected to analytical studies for physical and chemical characterization. Microscopic observation, VSEM-EDS analysis, Raman spectroscopy, chromatographic analysis (HPLC-MS, GCMS) and radiocarbon dating were done. Similarly, was sought through a direct in situ physical inspection to the object and through a research into historical sources, adequate information to solve the object’s problems. Results obtained allowed to identify as silk the textile used in the elaboration of the Banner’s fabric, as well as the use of natural dyes for dyeing the fibers used on the emblem: use of cochineal and brazil wood as a source of red, luteolin plant-based for yellow color, indigotine plant-based for blue, and a mixture of yellow and blue dyes for green were identified. Similarly, the use of animal glue in the manufacturing process and the use of rag paper was evident. The metal threads study from the Banner give a confirmation to a silver core wire gilded with a thin gold sheet, being flattened and entwined with silk threads for their use. Finally, using the radiocarbon results, it was possible to postulate with huge accuracy that the Banner date manufacture was between the XV-XVI century and subject to restoration processes with addition of textiles in modern times. Together with, was evident that the state of degradation of the fabric is due to natural degradation in the silk fibers, having that its color has faded and its mechanical properties decreased, leading to loss of rigidity and disappearance of the physical structure. Similarly, it was clear the original colors of the emblem and highlight problems of detachment of paper due to crystallization of the adhesive. In the same way, was found that the metal threads suffer corrosion by sulfur and detachment of its crystals. Finally, combining the analytical results and the historical sources data found from the so-called Francisco Pizarro’s Banner of Arms, allows to postulate that its manufacture process was done in Europe employing precious materials to obtain a long-life object with a deep message for its viewers. Also, the data obtained helps to support the possible idea that the object was employed by Francisco Pizarro in the Peru conquest process. However, by the symbols present in the object, its elaboration date and materials, this object its clearly unique in its kind, and the most important, by its linguistic message, does not represent to Francisco Pizarro or his army, meanwhile, represents the Spanish crown. Therefore, instead to be labeled as Francisco Pizarro’s Banner of Arms, it should be called the Colonial Royal Banner of Charles V in the New World; RESUMEN: El estudio de textiles es un área abierta de investigación científica, la cual por su variedad de componentes materiales y la diversidad de condiciones físico-químicas presentes en estos objetos, lo hace un campo de interés para estudios científicos en el patrimonio cultural. Los textiles arqueológicos/históricos brindan la posibilidad de realizar estudios en materiales orgánicos como fibras, elementos de adhesión, tinturas, papel, etc., e inorgánicos como metales, aleaciones, piedras preciosas y demás materiales decorativos añadidos. Por su variedad de composición, es posible emplear diversas técnicas analíticas para resolver aquellas preguntas propias del objeto en una investigación arqueométrica. Uno de los objetos textiles que brinda gran información cultural debido a su representación lingüística empleada por las sociedades portadoras, son las banderas/estandartes/emblemas. Donde varía dependiendo de su uso y/o propósito, los materiales empleados en su elaboración, al igual que su iconografía (estilo, color, emblema, forma). El estudio de estos objetos construidos con un propósito de comunicación no verbal, da la posibilidad de extraer información a través de sus materiales y técnicas de elaboración sobre un rango temporal-espacial, un evento determinado en la historia o incluso a un personaje en específico. Las banderas han sido empleadas desde el siglo XI como objetos representativos de poder, jerarquía, organización social o militar, o como medio de comunicación. El uso de estos objetos se ha extendido a lo largo del mundo posiblemente debido a su fácil interpretación y/o apropiación por distintas sociedades, haciéndolo parte de su cultura. Las banderas como símbolos de control territorial, empleando símbolos que representan a una familia, orden o armada fueron introducidas a el Nuevo Mundo (América) con la llegada de los conquistadores europeos al final del siglo XV. Las banderas/estandartes que representaban el dominio Real sobre territorios dominados, la iglesia católica y las banderas de ejércitos y/o conquistadores fueron las primeras en llegar al nuevo mundo. Una de aquellas banderas que ha soportado el paso del tiempo, teniendo un gran valor cultural tanto para las sociedades americanas como para las ibéricas, es el denominado Estandarte de armas de Francisco Pizarro. Siendo un objeto textil con decoración en hilos metálicos sobre un emblema Real. De acuerdo a fuentes históricas, este objeto fue usado por Francisco Pizarro en 1532 en el proceso de conquista del Perú, quien recibe por parte del Rey Carlos V el poder para que, en su nombre, Pizarro pueda conquistar las tierras del nuevo mundo hoy conocidas como Perú. Luego del dominio de Pizarro sobre el territorio Inca, se cree que Pizarro dejó su estandarte en la cima del templo Inca del sol como símbolo de su control. Siglos más tarde, en las campañas libertarias de América, el General Sucre, militar encargado de la armada independentista en Perú, reporta haber encontrado lo que él considera como el estandarte de Pizarro, enviándolo a Bogotá como muestra de victoria, siendo custodiada desde ese momento por el Museo Nacional de Colombia hasta la actualidad. Debido a discrepancias históricas, el verdadero significado del llamado estandarte de Pizarro ha sido objeto de discusión y debido del pasar del tiempo su estado de conservación se ha deteriorado. Dejando de este modo, un caso de estudio interesante para que por medio de estudios científicos al objeto se pueda dar respuesta a preguntas tanto históricas como de conservación del mismo. De este modo, por medio de una colaboración con el Museo Nacional de Colombia, se obtuvo un juego de 25 muestras del llamado Estandarte de armas de Francisco Pizarro, abarcando los diferentes componentes y áreas del objeto de estudio. Dichas muestras fueron sometidas a estudios analíticos para su caracterización físico-química. Análisis de observación al microscopio, análisis VSEM-EDS, espectroscopia Raman, análisis cromatográficos (HPLC-MS, GC-MS) y datación por radiocarbono catorce fueron realizados. Del mismo modo, por medio de una inspección física al objeto in situ y una profunda investigación en fuentes históricas del mismo, se buscó la información adecuada para resolver sus problemáticas. Los resultados obtenidos permitieron identificar como seda el textil empleado en la elaboración del estandarte, así como el uso de colorantes naturales para teñir las fibras en el emblema: uso de cochinilla y palo de Brasil como fuente del color rojo, plantas a base de luteolin para el color amarillo, plantas a base de indigotina para el color azul y mezcla de colorantes amarillos y azules para el color verde fueron identificadas. Del mismo modo se evidencio el uso de adhesivos animales y el uso de papel de trapos en el proceso de manufactura. El estudio de los hilos metálicos, permitió evidenciar el uso de alambres con núcleos de plata con un fino recubrimiento de oro en su exterior, siendo aplanados y entrelazados con hilos de seda para su uso. Finalmente usando la datación por radiocarbono, fue posible conocer con alta precisión que el estandarte fue elaborado entre los siglos XV-XVI y sufrió procesos de restauración con añadidura de textiles en tiempos modernos. Junto a lo anterior, es posible postular que el estado de degradación de la tela es debido a degradación natural en las fibras de seda, teniendo así que su color se ha desvanecido y sus propiedades mecánicas disminuidas, conllevando a perdida de rigidez y desaparición de la estructura. Del mismo modo se pudo conocer los colores originales del emblema y evidenciar problemas de desprendimiento del papel debido a cristalización del adhesivo. Asimismo, se comprobó que los hilos metálicos presentan corrosión por azufre y desprendimiento de sus cristales. Finalmente, combinando los resultados analíticos y la información de fuentes históricas encontradas del llamado Estandarte de armas de Francisco Pizarro, se puede postular que su elaboración fue realizada en Europa, usando materiales preciosos para obtener un objeto de larga vida con un profundo mensaje para sus observadores. También, los datos obtenidos ayudan a dar soporte la posible idea de que este objeto fue usado por Francisco Pizarro en el proceso de conquista del Perú. Sin embargo, debido a los símbolos presentes en el objeto, fecha y materiales de elaboración, este objeto es claramente único en su tipo, y lo más importante, por su mensaje lingüístico, este no representa a Francisco Pizarro o su armada, al contrario, representa a la Corona de España. Por ende, en vez de denominarse como Estandarte de armas de Francisco Pizarro, este objeto debería nombrarse como el Estandarte Real de la Colonia de Carlos V en el Nuevo Mundo.