Environment conditions and biological innovations in the european agrarian growth, 1819-1939

The circumstances that were the driving forces behind Europe's economic growth beginning in the 19th century are diverse, and not easily prioritized. Until the 1970's, specifically, in Economy and Economic History, attention was focused on different institutional and technological variables, and various regularities were proposed. Nevertheless, new studies also underlined that the evolution of economic activity could not be understood considering only the new production possibilities offered by market economies. As a result, today it is also accepted that those processes can not be explained without considering two additional circumstances: the energy flows that sustained them, and the changes undergone in their transformation In this context, a question arises that takes on special importance. Which was the influence of the biological change in the economic growth?. A part of the flows of energy must be made into food, and this transformation can only happen with the participation.

O proxecto de creto agrícola e a proposta de redención foral (1886). A resposta liberal de Montero Ríos e Díaz de Rábago á crise finisecular

Este estudo plantexa as interaccións habidas entre pensamento económico e a toma de decisións políticas a traveso dun caso concreto. Analizámo-las propostas referidas á política agraria plantexadas polo Ministro de Fomento Eugenio Montero Ríos (1885-1886) e a influencia que nelas exerciu o economista Joaquín Díaz de Rábago. Ámbolos dous foron galegos destacados da segunda metade do XIX . A investigación centrouse nas concomitancias entre as propostas lexislativas e as obras publicadas. Ainda que tamén pescudamos aspectos biográficos máis correspondencia persoal co gallo de evidencia-la amizade e a cooperación existentes entre eles.

Mourning becomes Electra d'Eugene O'Neill: Èsquil i Plató per a crear un drama fosc?

The fundamental debt of E. O'Neill's Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author's hypothesis, O'Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader's right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O'Neill's work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author's article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O'Neill's drama bearing in mind the above mentioned Platonic parameter.

Mourning becomes Electra de Eugene O'Neill: ¿Esquilo y la caverna de Platón para crear un drama oscuro?

The fundamental debt of E. O'Neill's Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author's hypothesis, O'Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader's right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O'Neill's work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author's article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O'Neill's drama bearing in mind the above mentioned Platonic parameter.

Spermiogenesis and spermatozoon ultrastructure of the bothriocephalidean cestode Clestobothrium crassiceps (Rudolphi, 1819), a parasite of the teleost fish Merluccius merluccius (Gadiformes: Merlucciidae)

Spermiogenesis and the ultrastructure of the spermatozoon of the bothriocephalidean cestode Clestobothrium crassiceps (Rudolphi, 1819), a parasite of the teleost fish Merluccius merluccius (Linnaeus, 1758), have been studied by means of transmission electron microscopy. Spermiogenesis involves firstly the formation of a differentiation zone. It is characterized by the presence of two centrioles associated with striated rootlets, an intercentriolar body and an electron-dense material in the apical region of this zone. Later, two flagella develop from the centrioles, growing orthogonally in relation to the median cytoplasmic process. Flagella then undergo a rotation of 90° until they become parallel to the median cytoplasmic process, followed by the proximodistal fusion of the flagella with the median cytoplasmic process. The nucleus elongates and afterwards it migrates along the spermatid body. Spermiogenesis finishes with the appearance of the apical cone surrounded by the single helical crested body at the base of the spermatid. Finally, the narrowing of the ring of arched membranes detaches the fully formed spermatozoon. The mature spermatozoon of C. crassiceps is filiform and contains two axonemes of the 9 + '1' trepaxonematan pattern, a parallel nucleus, parallel cortical microtubules, and electron-dense granules of glycogen. The anterior extremity of the gamete exhibits a short electron-dense apical cone and one crested body, which turns once around the sperm cell. The first axoneme is surrounded by a ring of thick cortical microtubules that persist until the appearance of the second axoneme. Later, these thick cortical microtubules disappear and thus, the mature spermatozoon exhibits two bundles of thin cortical microtubules. The posterior extremity of the male gamete presents only the nucleus. Results are discussed and compared particularly with the available ultrastructural data on the former 'pseudophyllideans'. Two differences can be established between spermatozoa of Bothriocephalidea and Diphyllobothriidea, the type of spermatozoon (II vs I) and the presence/absence of the ring of cortical microtubules.

Spermiogenesis and spermatozoon ultrastructure of the bothriocephalidean cestode Clestobothrium crassiceps (Rudolphi, 1819), a parasite of the teleost fish Merluccius merluccius (Gadiformes: Merlucciidae)

Spermiogenesis and the ultrastructure of the spermatozoon of the bothriocephalidean cestode Clestobothrium crassiceps (Rudolphi, 1819), a parasite of the teleost fish Merluccius merluccius (Linnaeus, 1758), have been studied by means of transmission electron microscopy. Spermiogenesis involves firstly the formation of a differentiation zone. It is characterized by the presence of two centrioles associated with striated rootlets, an intercentriolar body and an electron-dense material in the apical region of this zone. Later, two flagella develop from the centrioles, growing orthogonally in relation to the median cytoplasmic process. Flagella then undergo a rotation of 90° until they become parallel to the median cytoplasmic process, followed by the proximodistal fusion of the flagella with the median cytoplasmic process. The nucleus elongates and afterwards it migrates along the spermatid body. Spermiogenesis finishes with the appearance of the apical cone surrounded by the single helical crested body at the base of the spermatid. Finally, the narrowing of the ring of arched membranes detaches the fully formed spermatozoon. The mature spermatozoon of C. crassiceps is filiform and contains two axonemes of the 9 + '1' trepaxonematan pattern, a parallel nucleus, parallel cortical microtubules, and electron-dense granules of glycogen. The anterior extremity of the gamete exhibits a short electron-dense apical cone and one crested body, which turns once around the sperm cell. The first axoneme is surrounded by a ring of thick cortical microtubules that persist until the appearance of the second axoneme. Later, these thick cortical microtubules disappear and thus, the mature spermatozoon exhibits two bundles of thin cortical microtubules. The posterior extremity of the male gamete presents only the nucleus. Results are discussed and compared particularly with the available ultrastructural data on the former 'pseudophyllideans'. Two differences can be established between spermatozoa of Bothriocephalidea and Diphyllobothriidea, the type of spermatozoon (II vs I) and the presence/absence of the ring of cortical microtubules.

L'Anatomia artística a l"Escola de Belles Arts de Barcelona. Els casos de Jeroni Faraudo (1823-1886) i de Tiberio Ávila (1843-1932)

[cat] Aquest article se centra en la significació i transcendència de l"assignatura d"Anatomia artística a l"Escola de Belles Arts de Barcelona durant la segona meitat del segle XIX i principis de segle XX. S"empren, com a fil conductor, les figures de Jeroni Faraudo i Condeminas (1823-1886) i de Tiberio Ávila Rodríguez (1843-1932), els dos primers professors que impartiren la matèria i que romanen, en l"actualitat, pràcticament inèdits. El coneixement de l"ideari de Faraudo i d"Ávila permet completar el panorama de l"evolució de les idees estètiques a la Catalunya del moment i, alhora, contribueix a la comprensió de l"erosió de la primacia de l"antic en l"aprenentatge oficial de les arts a Catalunya. [spa] Este artículo se centra en la significación y transcendencia de la asignatura de Anatomía artística en la Escuela de Bellas Artes de Barcelona durante la segunda mitad del siglo XIX y principios de siglo XX. Se emplean, como hilo conductor, las figuras de Gerónimo Faraudo Condeminas (1823-1886) y de Tiberio Ávila Rodríguez (1843-1932), los dos primeros profesores que impartieron la materia y que permanecen, en la actualidad, prácticamente inéditos. El conocimiento del ideario de Faraudo y de Ávila permite completar el panorama de la evolución de las ideas estéticas en la Cataluña del momento y, al mismo tiempo, contribuye a la comprensión de la erosión de la primacía del antiguo en el aprendizaje oficial de las artes en Cataluña. [eng]This article focuses on the subject of Artistic Anatomy at the Barcelona School of Fine Arts during the second half of the 19th and early 20th centuries, discussing its signification. The connecting thread of this article are Jeroni Faraudo i Condeminas (1823-1886) and Tiberio Ávila Rodríguez (1843-1932), its first two teachers, who remain nowadays practically unknown. The knowledge of their ideas completes the history of contemporary Catalan aesthetics and also contributes to the comprehension of the erosion in the primacy of the use of ancient models in the official artistic teaching in Catalonia.

Ultrastructure of the spermatozoon of the digenean Lecithocladium excisum (Rudolphi, 1819) (Hemiuroidea: Hemiuridae), a parasite of marine teleosts in Senegal

The present study describes the ultrastructure of the mature spermatozoon of Lecithocladium excisum (Rudolphi, 1819) (Digenea: Hemiuroidea: Hemiuridae) from the stomach of the marine teleost Scomber japonicus Houttuyn (Scombridae) captured in the Atlantic Ocean, off Dakar (Senegal). The ultrastructural organization of the spermatozoon of L. excisum follows the general model described in most digeneans. It presents two axonemes of the 9+'1' pattern of the Trepaxonemata, nucleus, mitochondrion and parallel cortical microtubules, among other characters. However, some particularities of the spermatozoon of L. excisum are (i) the presence of a membranous ornamentation not associated with cortical microtubules in its anterior extremity, (ii) the presence of a very reduced number of cortical microtubules located only in the ventral side of the spermatozoon and (iii) the absence of several structures described in most digeneans such as spine-like bodies and cytoplasmic expansions.

Ultrastructure of the spermatozoon of the digenean Lecithocladium excisum (Rudolphi, 1819) (Hemiuroidea: Hemiuridae), a parasite of marine teleosts in Senegal

The present study describes the ultrastructure of the mature spermatozoon of Lecithocladium excisum (Rudolphi, 1819) (Digenea: Hemiuroidea: Hemiuridae) from the stomach of the marine teleost Scomber japonicus Houttuyn (Scombridae) captured in the Atlantic Ocean, off Dakar (Senegal). The ultrastructural organization of the spermatozoon of L. excisum follows the general model described in most digeneans. It presents two axonemes of the 9+'1' pattern of the Trepaxonemata, nucleus, mitochondrion and parallel cortical microtubules, among other characters. However, some particularities of the spermatozoon of L. excisum are (i) the presence of a membranous ornamentation not associated with cortical microtubules in its anterior extremity, (ii) the presence of a very reduced number of cortical microtubules located only in the ventral side of the spermatozoon and (iii) the absence of several structures described in most digeneans such as spine-like bodies and cytoplasmic expansions.

SEM evidence for existence of an apical disc on the scolex of Clestobothrium crassiceps (Rudolphi, 1819): comparative results of various fixation techniques

The scolex of the bothriocephalidean cestode Clestobothrium crassiceps was studied by means of scanning electron microscopy (SEM). The comparative results of various fixation procedures and techniques are presented. The scolex of C. crassiceps is oval to globular and exhibits two deep bothria which appear in the form of two lobes separated by a longitudinal groove. At the apex of the scolex, resembling a beret, an apical disc is present (oval, flattened and with a sinuous edge). Our results are compared with those previously reported in other species of Clestobothrium. This study represents the first report which highlights the presence of an apical disc in the scolex of C. crassiceps. It describes the effects of different procedures applied to our material during preparation and a comparative analysis results obtained using these various methods.

SEM evidence for existence of an apical disc on the scolex of Clestobothrium crassiceps (Rudolphi, 1819): comparative results of various fixation techniques

The scolex of the bothriocephalidean cestode Clestobothrium crassiceps was studied by means of scanning electron microscopy (SEM). The comparative results of various fixation procedures and techniques are presented. The scolex of C. crassiceps is oval to globular and exhibits two deep bothria which appear in the form of two lobes separated by a longitudinal groove. At the apex of the scolex, resembling a beret, an apical disc is present (oval, flattened and with a sinuous edge). Our results are compared with those previously reported in other species of Clestobothrium. This study represents the first report which highlights the presence of an apical disc in the scolex of C. crassiceps. It describes the effects of different procedures applied to our material during preparation and a comparative analysis results obtained using these various methods.

L'Anatomia artística a l"Escola de Belles Arts de Barcelona. Els casos de Jeroni Faraudo (1823-1886) i de Tiberio Ávila (1843-1932)

[cat] Aquest article se centra en la significació i transcendència de l"assignatura d"Anatomia artística a l"Escola de Belles Arts de Barcelona durant la segona meitat del segle XIX i principis de segle XX. S"empren, com a fil conductor, les figures de Jeroni Faraudo i Condeminas (1823-1886) i de Tiberio Ávila Rodríguez (1843-1932), els dos primers professors que impartiren la matèria i que romanen, en l"actualitat, pràcticament inèdits. El coneixement de l"ideari de Faraudo i d"Ávila permet completar el panorama de l"evolució de les idees estètiques a la Catalunya del moment i, alhora, contribueix a la comprensió de l"erosió de la primacia de l"antic en l"aprenentatge oficial de les arts a Catalunya. [spa] Este artículo se centra en la significación y transcendencia de la asignatura de Anatomía artística en la Escuela de Bellas Artes de Barcelona durante la segunda mitad del siglo XIX y principios de siglo XX. Se emplean, como hilo conductor, las figuras de Gerónimo Faraudo Condeminas (1823-1886) y de Tiberio Ávila Rodríguez (1843-1932), los dos primeros profesores que impartieron la materia y que permanecen, en la actualidad, prácticamente inéditos. El conocimiento del ideario de Faraudo y de Ávila permite completar el panorama de la evolución de las ideas estéticas en la Cataluña del momento y, al mismo tiempo, contribuye a la comprensión de la erosión de la primacía del antiguo en el aprendizaje oficial de las artes en Cataluña. [eng]This article focuses on the subject of Artistic Anatomy at the Barcelona School of Fine Arts during the second half of the 19th and early 20th centuries, discussing its signification. The connecting thread of this article are Jeroni Faraudo i Condeminas (1823-1886) and Tiberio Ávila Rodríguez (1843-1932), its first two teachers, who remain nowadays practically unknown. The knowledge of their ideas completes the history of contemporary Catalan aesthetics and also contributes to the comprehension of the erosion in the primacy of the use of ancient models in the official artistic teaching in Catalonia.

Mourning Becomes Electra by Eugene O’Neill: Aeschylus and Plato’s Cave to Create a Dark Drama

The fundamental debt of E. O’Neill’s Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author’s hypothesis, O’Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader’s right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O’Neill’s work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author’s article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O’Neill’s drama bearing in mind the above mentioned Platonic parameter.