'Pues tanto se esconde': Elusion at (inter)play in Ana Caro's El conde Partinuplés

El conde Partinuplés (first published 1653) is one of only two extant plays written by the Sevillan poet/dramatist Ana Caro Mallén de Soto (‘la décima musa sevillana’). Despite McKendrick's dismissal of the play as ‘extremely bad’, it has been the object of substantial critical scrutiny since the 1970s, impelled in great part by the production of modern editions (Luna and Delgado) and by Kaminsky's bio-biographical study (1973). Two responses have dominated: analysis of the play's imaginative reconceptualization of source material (most notably the Classical myth of Cupid and Psyche as contained in Apuleius and transmitted via the anonymous French chivalric romance Portonopeus de Blois; and more contemporary models, such as Calderón's La vida es sueño); discussions of the play from a gender/feminist perspective. There is some inevitable entanglement in these approaches, areas of ideological concurrence, but also of contradiction. This article will offer a critical synthesis of these lines of enquiry around an analysis of the play's patterns of non-identical repetition and, following Hubert's theory of ‘double movement’, will move beyond these to consider the generative and potentially transcendent nature of the interplay of inscription (text) and transcription (interpretive performance). A subversive strategy of elusion underpins this interference, a dynamic, mobile frame within which ‘envidia’ (‘celos’) functions as a prominent dramatic catalyst, directed outwards, and mobilized both as a potent catalyst for the female dramatist's artistic creativity and as an antagonistic interrogation of broader socio-cultural forms of inequality. The play's (new) marvellous versions and inversions expand the functions of the sign beyond Renaissance resemblance and repetition, challenging its promotion of unity and stable identity, and opening up an interactive space between the represented (world/product) and the representing (stage/process). The power of authorities, as figured in/through the dramatic and rhetorical devices of the play, is self-consciously precarious, but it is this very anxious articulation that challenges the very authority of power.

Lack of genetic structure and evidence for long-distance dispersal in ash (Fraxinus excelsior) populations under threat from an emergent fungal pathogen: implications for restorative planting

Genetic analysis on populations of European ash (Fraxinus excelsior) throughout Ireland was carried out to determine the levels and patterns of genetic diversity in naturally seeded trees in ash woodlands and hedgerows, with the aim of informing conservation and replanting strategies in the face of potential loss of trees as a result of ash dieback. Samples from 33 sites across Northern Ireland and three sites in the Republic of Ireland were genotyped for eight nuclear and ten chloroplast microsatellites. Levels of diversity were high (mean A R = 10.53; mean H O = 0.709; mean H E = 0.765) and were similar to those in Great Britain and continental Europe, whilst levels of population genetic differentiation based on nuclear microsatellites were extremely low (Φ ST = 0.0131). Levels of inbreeding (mean F IS = 0.067) were significantly lower than those reported for populations from Great Britain. Fine-scale analysis of seed dispersal indicated potential for dispersal over hundreds of metres. Our results suggest that ash woodlands across Ireland could be treated as a single management unit, and thus native material from anywhere in Ireland could be used as a source for replanting. In addition, high potential for dispersal has implications for recolonization processes post-ash dieback (Chalara fraxinea) infection, and could aid in our assessment of the capacity of ash to shift its range in response to global climate change.