Integrated taphonomy in an open-marine platform: The Lower Cretaceous of Sierra Helada (Betic Cordillera, SE Spain)

A detailed taphonomic analysis was carried out on the lower Albian deposits of the Sierra Helada section (Alicante, Betic Cordillera, southeastern Spain). Ten taphonomic characters were studied and ten skeletal concentrations were defined on the basis of taphonomic features and the dominant taxa. Cluster analysis was performed on the dataset represented by the abundance of the taphonomic characters in each skeletal concentration. This enabled the definition of four different taphonomic categories: 1) skeletal concentrations characterized by the presence of fossils preserved in life position, 2) skeletal concentrations showing very little physical reworking, 3) skeletal concentrations related to high-energy background conditions, and 4) skeletal concentrations produced by medium- to high-energy events. Four taphofacies were defined on the basis of the main sedimentological features and the most representative skeletal concentrations. Taphofacies A represents the low energy outer platform, rich in skeletal concentrations with echinoids in life position and only slightly reworked. The second taphofacies (taphofacies B) is very rich in reworked echinoid tests and calcarenitic beds and records the transition to shallower areas, while taphofacies C shows abundant thick-bedded calcarenites and skeletal concentrations produced by sediment transport and rapid deposition. Finally, cross-bedded grainstone beds, which are rich in fine-grained fragmented, locally reoriented bioclasts (taphofacies D), record the existence of shifting sandy dunes in the shallow inner part of the platform.

Emotion in Cervantes and Shakespeare

Early modern thought found in emotion a key to explaining human behaviour, highlighting the powerful way in which it can influence and disturb human life. Shakespeare’s and Cervantes’s treatment of emotion includes a full acknowledgement of its mental and bodily aspects and functions. But emotion rarely comes in a pure state. Character and emotion interact and their responses are often contradictory. Since emotions are sentiments that we feel and actions that we perform, it is worth inquiring into how, in Cervantes and Shakespeare, emotion affects their characters in different ways.