Metal levels in the bones and livers of globally threatened marbled teal and white-headed duck from El Hondo, Spain

El Hondo is a key area for marbled teal and white-headed duck. We present Pb, Cu, Zn, Se, and As data for bone and liver in birds found dead between 1996 and 2001. Several metals were higher in adult white-headed ducks than in marbled teal. They were higher in female than in male white-headed ducks, and did not differ with sex in marbled teal, but did by age. Lead in liver of adults was influenced by Pb shot ingestion, which was detected in 21% of marbled teal and in 71% of white-headed duck. No marbled teal had liver levels indicative of Pb poisoning, while 86% of white-headed ducks did. Selenium, Zn, and Cu were elevated in 13%, 7%, and 39% of birds, respectively. Whilst Pb shot poses the greatest threat to these species, further work should assess exposure via plants, invertebrates, water, and sediments for other metals, and investigate possible sub-lethal effects.

On the way to 'duende' (through Lorca's 'Elogio de Antonia Merce, 'la Argentina', 1930)

This article analyzes how Lorca develops the concept of ‘duende’, finding a crucial missing link in the Elogio de Antonia Mercé, ‘la Argentina’ (1930). ‘Duende’ crystallizes around 1929/1930 when the poet explicitly takes into account the art of the dancer in performance. Three aspects of performance are singled out and systematically traced through Lorca's evolving reflections on popular art and the struggle of the modern artist to create the new – from his first lecture on the cante jondo in 1922 to the Arquitectura del cante jondo (1930) and finally Juego y teoría del duende (1933). The conclusion is drawn that it is in the performance and reception of a text – whether it is heard or read – that the artist's agonistic stand between tradition and modernity, repetition and singularity, is played out, in an invitation to the listener or reader to celebrate his or her mortality.