A new species and key to known species of genus Oxya Serville (Orthoptera : Acrididae : Catantopinae) from China

During routine identification of the grasshoppers of the Dasa river, Guizhou Province of China in 2004, a new species [ Oxya guizhouensis sp, nov.] of the genus Oxya Serville ( Orthoptera, Acrididae, Catantopinae) was discovered. It is described here. A key to all known species of the genus from China is given. The type specimens are deposited in the Museum of Hebei University (MHU), Baoding, Hebei, China.

A new species and a key to known species of the genus Atractomorpha (Orthoptera, Acridoidea, Pyrgomorphidae) from China

A new species, Atractomorpha taiwanensis sp. n. from Taiwan, China, is described in this paper. The new species is similar to A. micropenna Zheng, 1992, but it differs from the latter by the following: lateral lobe of pronotum without membranous area near posterior margin; the tegmina strongly shortened, not reaching ( in male) the midpoint of hind femur; and wings very small, not reaching the midpoint of tegmina. A key to all known species of the genus Atractomorpha from China is given. The type specimens are deposited in the Museum of Hebei University, China.

A new genus and species of grasshopper from China (Orthoptera : Acrididae Catantopinae)

This paper reports a new genus and species of Catantopinae: Guizhouacris xiai gen et sp. nov. The new genus is similar to Genimen I. Bolivar, 1917, but differs from the latter in: 1) lateral lobes of metasternum separated in apical part and 2) prozona about 2.5 (male) and 2.7 (female) times longer than metazona. The new genus is also similar to Rhinopodisma Mishchenko, 1954 (= Aserratus Huang, 1981), but differs from the latter in: 1) diameter of tympanal aperture longer than half tergum and 2) face not projected between two eyes. Type specimens are deposited in the Museum of Hebei University ( MHU).

Fact, fiction and nostalgia: an assessment of heritage interpretation at living museums

This paper aims to explore and discuss the role of nostalgia (a concept that is inherently grounded within a psychological framework) in heritage interpretation from both provider and consumer perspectives. Whilst many cultural practitioners recognise the relationship between sentimentality and authenticity, particularly within a folk-heritage context, few have sought to examine the effect this has on the visitor experience. This paper questions visitors’ ability to objectively assess objects and experiences at heritage sites, and the role of practitioners in presenting often blurred views of social history that may sometimes negate historical fact. Drawing on case study research at two UK living museums, Blists Hill Victorian Town in Shropshire, England, and the Big Pit: National Coal Museum in Wales, notions of reminiscence, authenticity, myth and intangibility are considered within the framework of the interpretive experience. Findings suggest that the visitor experience is inherently subjective, highly individual and that the concept of intangibility is integral to an understanding of the nostalgia-authenticity debate.

Archaeological and Palaeoecological investigations of a Middle Bronze Age settlement at Ballyarnet Lake, Co. Derry

Excavations at Ballyarnet Lake, Co Derry, have identified a Middle Bronze Age settlement site at the margins of the lake. The site is characterised by a palisaded enclosure surrounding a structure containing a hearth. Finds include a large quantity of Cordoned Urn ware, lithics and a faience bead. Palaeoenvironmental studies, including pollen, plant macrofossil and beetle analyses, provide insights into the environmental background of the settlement. The site is considered in terms of the broader context of Middle Bronze Age settlement.

Women artists of the international avant-garde: the case of "Abstraction-Création" (1931-1936)

Women’s contribution to abstract art in the interwar period is a subject that, to date, has received very little attention. In this article we deal with the untold story of the participation of women artists in Abstraction-Création, the foremost international group dedicated to abstract art in the 1930s. Founded in Paris in 1931, the group took on the work of two previous collectives to become a platform for the dissemination and promotion of abstract art and consisted of around a hundred members. Twelve of these were women, whose writings and works were published in the group’s annual magazine, abstraction creátion art non figuratif (1932-1936), and who participated in a number of the group’s exhibitions. Compared to what had occurred in previous groups, the participation of women, although reduced in number, was comparable to that of the male artists and being members of the group had a generally positive impact on the women’s careers. However, all this came at the expense of relinquishing any gender specificity in their work and the public presentation of it, and demonstrates that the normalization of women’s contributions to the avant-garde could only be brought about alongside a questioning of the more dogmatic views of modernity.

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.

The conflict between realism and abstraction in the field of spanish art as an iteration of la "Querelle des Anciens et des Modernes"

Based on the analysis model favored by the study of the conditions in which the seventeenth century Querelle des Anciens et des Modernes took place, we examine the case of confrontation between realism and abstraction, which occurred in the context of Spanish art in the nineties of the twentieth century. Connections are established with other aesthetic conflicts which are considered part of a genealogy whose most explicit antecedent could be placed in the before mentioned complaint, such as the confrontation between realism and abstraction in the American art scene, which occurred in the fifties of the last century, and the more recent controversy on pluralism and the end of art.