2. Luzulo (carpetanae)-Juncetum ellmanii Rivas-Martínez 1963, nombre inválido según el CNF

Rivas-Martínez (Anal. Inst. Bot. Cavanilles 21(1): 134. 1963) describe una asociación de cervunales carpetanos para la que propone el nombre «Luzulo-Juncetum ellmanii as. nova», la que sinonimiza con la asociación Luzula sudetica-Pedicularis sylvatica Tx. & Oberd. 1958. descrita en la excursión de la IPE de la misma Sierra de Guadarrama.

Desire, Resentment and Reprisal: Revisiting the Emotions of Myth in F. Scott Fitzgerald’s The Great Gatsby

This article aims to reassess F. Scott Fitzgerald’s classic The Great Gatsby (1925), taking into consideration the myth-critical hypotheses of philosopher René Girard. Specifically, this essay will analyse the concepts of mimetic desire, resentment and reprisal violence as emotional components of myth, paying close attention to how the reinterpreted mythical pattern of the novel influences the depiction of such emotions as social traits of corruption. Finally, this article will challenge interpretations that have regarded Gatsby as a successful scapegoat-figure, examining instead how the mythical meanings and structures of the text stage an emotional crisis of frustrated desire and antagonism that ultimately offers no hope of communal restoration.

Art, biology and technology. Interdisciplinary relations in the science lab

Bio art, understood as the convergence of the relations between art, biology and technology, constitutes a useful case study to discuss the meaning of interdisciplinarity in the artistic field. This paper explores different discourses around interdisciplinarity in order to challenge certain generic approaches for their ineffectiveness when assessing artistic practices. It is proposed that the analysis of interdisciplinarity must address the singular connections produced in the artistic practice itself, considering the impossibility of reducing the complexity of interdisciplinary dialogues into generic considerations. Taking bioart as a case study, different kinds of relationships between the artist and the lab are identified and analyzed, ranging from the use of the lab as a true atelier and as a resource for materials and techniques, to the rejection of the lab by proposing amateurism as an alternative. estrategias amateur, pasando por su utilización como fuente de técnicas y materiales.