La vegetación del Valle del Paular (Sierra de Guadarrama, Madrid), I

Primera parte de un estudio fitosociológico del valle del Paular (Sierra de Guadarrama, Madrid, España), que incluye (véase Apéndice sintaxonómico) la vegetación potencial (clases Juncetea trifidi, Pino-Juniperetea, Quercetea ilicis y Querco-Fagetea), las orlas forestales arbustivas (subclase Rhamno-Prunenea y clase Cytisetea scopario-striati) y herbáceas (clase Trifolio-Geranietea), y los matorrales seriales (clases Cisto-Lavanduletea y Ononido-Rosmarinetea). Tras una breve introducción sobre la geología, bioclimatología y biogeografía del territorio, se describen las asociaciones reconocidas con sus correspondientes tablas de inventarios (un total de 392). La relaciónde nuevos sintáxones propuestos se expone en el resumen en inglés. Se lectotipifican las asociaciones Melico uniflorae-Betuletum celtibericae y Santolino-Cistetum laur¡folii. También se aporta un mapa de series de vegetación, tres catenas de la vegetación potencial y dos cuadros con la distribución bioclimática de los sintáxon estratados y las relaciones dinámicas y seriales apreciadas entre ellos.

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.