Assessment of eutrophication status of two Northern Irish Loughs

Dissertação apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para obtenção do grau de Mestre em Engenharia do Ambiente, perfil Engenharia Sanitária

Volcanic events in the Eastern part of the Adriatic foreland (Northern Marchean Italy)

Proceedings of the 1'I R.C.A.N.S. Congress, Lisboa, October 1992

Significado regional dos depósitos neogénicos continentais da área de Vila de Rei (Portugal Central)

In the Vila de Rei area (Central Portugal) the continental deposits of the Lower Tagus Tertiary Basin lay upon the pediment of the Portuguese Central Chain. Three conglomerate units are recorded from the base upwards, separated by regional or basinal unconformities; Conglomerados de Rio de Moinhos (RM); Conglomerados de Serra de Almeirim (SA) and Conglomerados de Vila de Rei (VR). The first two units (RM and SA) have been sites of gold exploitation in huge open pit mines probably during Roman colonisation times. The contact of this units, on the Paleozoic basement or on the Paleogene unit Grés de Monsanto, is unconform, defining in both limits a large nondepositional and/or erosional hiatus. Those conglomerates seal the sedimentation of the Lower Tagus Tertiary Basin along its northern border. Taking into account the significance assigned to their basinal unconformity limits, the uplift of the Portuguese Central Chain, and the fact of this continental units yielded no fossils with chronostratigraphic significance, they have been considered ranging from Upper Miocene to the beginning of the Quaternary. Finally, a lithostraligraphic equivalence with the Neogenic units of the Bierzo and Duerna basins (NW of the Iberian Peninsula), where exploitations from Roman times are also evident, is presented.

Some Notes on the Reception of Josquin and of Northern Idioms in Portuguese Music and Culture

Although Josquin is by far the best-represented foreign composer in Gonçalo de Baena's Arte novamente inventada pera aprender a tanger (Lisbon, 1540), his music is undeniably under-represented both in the extant sixteenth-century Portuguese manuscripts containing Franco-Flemish polyphony and in volumes imported from the Netherlands such as Coimbra MM 2 and VienNB 1783. Josquin’s reputation made him, along with Ockeghem, a symbol in Portuguese humanistic culture, but up to at least the late 1530s his name seems to have been much better known than his music. Nevertheless, possible allusions to specific works by Josquin can be found in early- and mid-sixteenth-century Portuguese polyphony. By the 1520s, the general technical and stylistic characteristics of his and the following generation of northerners had begun to permeate locally produced polyphony. This eventually replaced the late-fifteenth- and early-sixteenth-century pan-consonant and homorythmic style associated with the Aragonese and the so-called Spanish court repertory.