Diversity of functional groups in the vegetation sandy seashore of the Grande, Anclitas and Caguamas Cays (Jardines de la Reina Archipelago, Cuba)

Sandy shores are known to be extreme ecosystems where the vegetation has evolved many morphological and physiological adaptations for its survival. With the aim of identify possible relationships between the vegetation´s functional diversity with abiotic factors and its corresponding quantification, we collected data on the abundance and richness of the sandy coast vegetation complex in Grande, Anclitas and Caguamas keys. Its flora is largely characterized by the dominance of hemicryptophytes and chamaephytes plants with nanophyllous leaves and displaying dispersal syndromes such as zoochory and anemochory. However, the functional groups´ richness, in the present study, varies from one key to another. Functional diversity is similar between the wet and dry seasons, and its spatial variation is influenced by the interplay of the set of abiotic factors herein studied.

Valor social de la fotografía de guerra: Robert Capa en la Guerra civil española

A partir del análisis de las relaciones entre sociología, fotografía y documentación se realiza un recorrido por algunas de las principales fotografías realizadas por Robert Capa durante la Guerra civil española.

La gran pantalla en guerra: Segunda Guerra Mundial y noticiarios cinematográficos "Luce" (1940-1945

En la Segunda Guerra Mundial la propaganda se convirtió en un campo de batalla más: en el caso de Italia era necesario crear en una opinión pública favorable a la guerra sin crear alarmismos. Para ello se utilizó uno de los instrumentos más eficaces para la propaganda del fascismo: el noticiario cinematográfico Luce. Este artículo analiza la representación que los noticiarios producidos desde 1940 hasta 1945 ofrecen de la Segunda Guerra Mundial. Se apuntan los temas más recurrentes, las características de las noticias sobre la guerra y se señalan las grandes ausencias debidas a la censura del Régimen de Mussolini.

Light-color and body-mass. The subjectivity of the Argentinean nation, according to the painting of Pío Collivadino

Pío Collivadino was a highly recognized painter in life, occupying the most important charges in the artistic field and receiving awards in his country and abroad, which turned him into an inescapable reference of young Argentinean artists who earned recognition throughout the twentieth century. Why, then, with the time, his work began to fall to the wayside? In response to this question, the present article, based on the analysis of the work of that artist, proposes to problematize the notion of subjectivity, both in its individual dimension and its national character, underlining the role that the figure of the artist meets for its formation. Developing the concepts of light-color and body-mass, from Collivadino painting, this article will attempt to explain the relation between the emergence of an Argentinean subjectivity, at the beginning of 20th century, and the art, not only at the level of the issues addressed, but, especially, taking into consideration its formal characteristics.