Imátgenes 19, 20 y 21

Por quinta vez puso cuatro motas de tinta en el papel, les puso nombres (A, B, C, D) y los unió con segmentos para formar un cuadrilátero. Luego señaló los puntos medios de sus cuatro lados y los conectó formando otro cuadrilátero (P, Q, R, S). Ahí estaba el problema. Ese cuadrilátero interior siempre resultaba ser un paralelogramo pusiera como pusiera los cuatro puntos originales. ¿Acaso había orden en el caos? Por un momento pensó que quizá había truco, que tal vez sucedía así porque la gente ponía los puntos de formas similares. Pero ya había probado configuraciones muy raras, incluso dejó que los segmentos del cuadrilátero ABCD se interceptasen, y siempre obtenía idéntico resultado. No, lo que parece cumplirse para cualquier caso no es ningún truco, sino un teorema que demostrar.

Identification of the copepodite developmental stages of twenty-six North Atlantic copepods. Occasional Publication of the Marine Biological Association 21.

In zooplankton copepod studies there is often the requirement to be able to identify the six copepodite developmental stages of different species, or to know their body dimensions. However, this information is not available for many species, or is dispersed through the literature. This guide gathers together both original and previously published information on morphology and measurements for the stages of twenty-six common North Atlantic copepod species and tabulates them in a standard format. For each species additional notes useful in their identification are also given.

Identification of the copepodite developmental stages of twenty-six North Atlantic copepods. Occasional Publication of the Marine Biological Association No. 21 (revised edition)

This identification guide to the copepodite developmental stages of twenty-six North Atlantic copepods has been revised and extended, to include new information, to update the taxonomy and to give additional details on how to determine sex in the later copepodite stages of gymnoplean copepods.

Contributions to the bryological flora of the tropical and subtropical forests from the Argentina (Bryophyta, Musci).

The authors present here a list of 32 mosses belonging to 15 families: Brachytheciaceae, Cryphaeaceae, Entodontaceae, Hedwigiaceae, Hypnaceae, Leptodontaceae, Meteoriaceae, Neckeraceae, Pilotrichaceae, Polytrichaceae, Pterobryaceae, Racopilaceae, Rigodiaceae, Stereophyllaceae, and Trachypodaceae, all collected in the mountainous forests of the Yungas of the NW of the Argentina (Jujuy, Salta, Catamarca and Tucumán provinces), and also in the rainforests from the NE of the country (Misiones province). Eight species: Atrichum polycarpum, Chrysohypnum elegantulum, Pilosium chlorophyllum, Pilotrichella flexilis, Porotrichodendron lindigii, Pseudotrachypus martinicensis, Steerecleus scariosus, and Thamnobryum fasciculatum are new records for the bryologic flora from Argentina. Braunia imberbis and Squamidium brasiliense are two new records for the bryophytic flora of the Catamarca province; Porotrichodendron superbum is new for the Salta province, while Forsstroemia coronata is the first record for the Catamarca and Jujuy provinces. Aerolindigia capillacea, Braunia reflexifolia, Chryso-hypnum diminutivum, Meteorium deppei and Meteoridium remotifolium are five new citations for the Jujuy province, and Schoenobryum concavifolium is new for the bryophytic flora of the Misiones province. Many studied species occur more frequently in the Yungas than in the NE rainforests; others show separated distribution but live in both areas, the Yungas and Paranaense area, and others are more or less restricted to the Paranaense rainforest of the NE of Argentina. The taxonomy of species is updated, and comments are included on bibliographical precedents, ecology and chorology of each taxon.

Social Work and theatre: considering intersections

Theatre is a cultural and artistic form that involves a process of communication between creators and is received in a space and time located in the public sphere, which has meant that, over the centuries, it has acted as a space for expression, exchange and debate regarding all manner of ideas, causes and struggles. Implicit within this process are processes of expression, creation and reception, by way of which people demonstrate, analyse and question ways of seeing and understanding life, and ways of being and existing in the world. This gives rise to educational, cultural, social and political potential, which has been endorsed in numerous studies and investigations. In this work, in which theoretical orientation is established through a review of the relevant literature, we consider different intersections that occur between theatre and social work in order to also show that dramatic and theatrical expression offers substantive methodologies for achieving some objectives of social work, particularly in areas such as critical literacy, reflexivity and recognition, awareness raising, social participation, personal and/or community development, ownership of cultural capital and access to personal and social wellbeing.