Miocene catfishes (Ariidae,Bagridae) from Lisbon: a Nilotic (or Sudanian) type fauna

Miocene catfishes from Lisbon are dealt with. Two distinct sets of pectoral and dorsal pterygiophores are described. That from the Langhian V-b is referred to Arius sp. probably close to A. heudeloti. Another ser from the uppermost Burdigalian V-a may be ascribed to a bagrid, cf. Chrysichthys sp., identified for the first time in this region. The catfish and Lates association is sctrikingly similar to African, nilotic or sudanian ones as far as freshwaters are concerned. In marine, coastal environments, stenotherm warm-water forms (Polynemids, large barracudas and several sharks) indicate, as a model, faunas like chose from Cape Verde to northern Angola. There is some gradation for brackish waters (fig. 1). Catfishes and Lates probably migrated into the Iberian Peninsule in the lower Miocene. They are unknown after Langhian V-b except for a reappearance of Arius in the middle Tortonian VII-b. Decreasing temperatures and aridity account for local extinction at least in freshwaters. Expansion of these fishes have been made easier owing to the displacement of land masses chat narrowed or closed the marine waterway between Europe and Africa. Salinity tolerance is not necessarily the sole explanation for migration. Catfishes plus Lates associations colonized inland waters from both sides of the Paleomediterranean. Local extinction may have weighed more in the development of modern distribution patterns than migration.

Miocene c4tfishes (Ariidae, Bagridae) from Lisbon: a Nilotic (or Sudanian) type fauna

Miocene catfishes from Lisbon are dealt with. Two distinct sets of pectoral and dorsal pterygiophores are described. That from the Langhian V-b is referred to Arius sp. probably close to A. Beudeloti. Another set from the uppermost Burdigalian V-a may be ascribed to a bagtid, cf, Chrysichthys sp., identified for the first time in this region. The catfish and Lates association is strikingly similar to African, nilotic or sudanian ones as far as freshwaters are concerned. In marine, coastal environments, stenotherm warm-water forms (Polynemids, large barracudas and several sharks) indicate, as a model, faunas like those from Cape Verde to northern Angola. There is some gradation for brackish waters (fig. 1). Catfishes and Lates probably migrated into the Iberian Peninsule in the lower Miocene. They are unknown after Langhian V-b except for a reappearance of Arius in the middle Tortonian VII-b. Decreasing temperatures and aridity account for local extinction at least in freshwaters. Expansion of these fishes have been made easier owing to the displacement of land masses that narrowed or closed the marine waterway between Europe and Africa. Salinity tolerance is not necessarily the sole explanation for migration. Catfishes plus Lates associations colonized inland waters from both sides of the Paleomediterranean. Local extinction may have weighed more in the development of modern distribution patterns than migration.

Representações Masculinas Afro-americanas no Cinema: do Filme Liberal de Hollywood a “Boyz n the Hood”

O objecto de estudo deste trabalho é a construção da identidade masculina afro-americana, e representação desta no cinema liberal de Hollywood. Isolam-se três momentos de particular relevo: o período do cinema mudo antes da Primeira Guerra Mundial, os anos 1960-70 e por fim, a década de 1990. Traçar-se-á um percurso analítico que examina obras-chave da história do cinema comercial de Hollywood bem como manifestações do cinema independente afro-americano entabulando um diálogo permanente com o contexto histórico e social, nomeadamente a luta pelos direitos civis, a afirmação do Black Power, traduzida cinematograficamente na Blaxploitation, para finalmente se concentrar em Boyz n the Hood escolhido como sintomático de um impulso regenerativo das representações masculinas afro-americanas, sob forte ataque dos media populares nas últimas décadas do século XX.

The most Portuguese village in Portugal: tradition in the age of its technical reproducibility

Ethnographic film is often associated with many European countries’ past as colonial powers and the way these countries used film to depict African, American and Asian territories and populations they once ruled. However, ethnographic film also has a European tradition of its own, closely interlaced with the history of ethnography and anthropology as autonomous sciences and with the desire of scholars to represent local, regional and national cultural identities. This paper presents a Portuguese attempt of this sort dating from 1938, when the authoritarian regime organized a national contest to determine which would be Portugal’s most “authentic” village – something other European countries also did. As part of this metonymic contribution to the construction of Portugal’s national identity as an agrarian utopia, a short documentary was shot, sponsored by the same official propaganda office that had organized the contest. In this film, the viewer’s gaze is made to coincide with the one of the national jury visiting the final selection of 12 villages and to whose benefit local scholars had organized all sorts of colourful peasant traditions hoping to cause the strongest impression. The film makes a strong case for the importance of ethnographic film as a relevant instance not only of the iteration of existing European national cultures, but also of the construction of so many of Europe’s national identities and traditions. Suffice to say that even today the village of “Monsanto”, which won the 1938 contest, is still referred to as “Portugal’s most Portuguese village”.