Between Memory and History : The Nineteenth Century in Jewelle Gomez’s Vampire Novel The Gilda Stories and the TV Series True Blood

This article examines two American vampire narratives that depict the perspective and memories of a main character who is turned into a vampire in the US in the nineteenth century: Jewelle Gomez’s novel The Gilda Stories (1991), and the first season of Alan Ball’s popular TV series True Blood (2008). In both narratives, the relationship between the past and the present, embodied by the main vampire character, is of utmost importance, but the two narratives use vampire conventions as well as representations of and references to the nineteenth century in different ways that comment on, revise, or reinscribe generic and socio-historical assumptions about race, gender, class, and sexuality.

Barcelona: Espacio Literario, Espacio Urbano en la Novela Catalana Femenina del Siglo XX

This dissertation analyses, through a rhetorical framework and a literary approach, texts written in Catalan and Castilian by four Catalan female writers (Dolors Monserdà, Maria Aurèlia Capmany, Esther Tusquets, Monserrat Roig ), whose works cover from 1900 to the 1980. Utilizing this urban feminine literature, it discusses the historical-geographical vision about the changes in Catalan society during the twentieth century with its consequences for the urban space, especially the space occupied by women. It is also established that Barcelona’s recovery and literary vindication by women has been done through the written text, as literary affirmation and as a matter of conscience in which the city could not be summed up as a backdrop, but rather as an active part of a literary creation, active in the double sense, as a socio-historical space in the novel and as characteristic of their works. The primary purpose of this dissertation is to demonstrate that the use of the city as a setting for the novels determines and characterizes those female writers’ texts. Consequently, these writings are literary material relevant and essential to the understanding of the Barcelonian women’s space. However their use of space is not arbitrary, on the contrary it corresponds to a social order established by the patriarchy where the relation of women to the world is embodied in the intentional and socially restricted space and movements of their bodies. The theoretical perspectives of this study are based on Montserrat Roig’s feminist urban space theories. Her theory advocates the right to individuality, denouncing the patriarchal and hierarchical social system present in gendered space from the outside male world to the domestic feminized space. I also turn to the writings of Maria Aurèlia Capmany, who addresses cultural aspects of women’s roles revealing a purposive controlled patriarchal society according to a historical-geographical analysis. This study of texts permits a new reading of the Catalan capital and demonstrates that Catalan women writers have consciously willed to give birth to a new history of the city: the history of women as protagonist citizens, producers, reproducers, and consumers of the space represented by the Catalan capital

William Layton en España

This year 2015 marks the 55th anniversary of the establishment in Spain of the first theatre academy whose methodological principles for actors were based on the Stanislavski system —although transformed by the perspective of the Method, developed in America by the Group Theatre during the 1930s and then implanted in some famous schools such as the Actor’s Studio—. It was in October 1960 when the American actor, teacher and director William Layton (1913-1995) opened the Teatro Estudio de Madrid (TEM). By then, he had already been living in Spain for two years. In that adventure Layton was accompanied by the Spanish Miguel Narros (a stage director) and the American Elizabeth H. Buckley. This private academy began its activity by offering the Method, a discipline that Layton had learned in his country with Sandford Meisner; one member of the Group Theatre along with Lee Strasberg, Stella Adler, Harold Clurmann or Elia Kazan. Thanks to the TEM, concepts till then completely unknown in Spanish academic venues for actors such as organicity, truth, mood, sensory memory, etc., started being implemented in the theatrical interpretation. Firstly, in exercises of improvisation; secondly, in scenes and characters; and finally, after a time of performing, those concepts were tested in the scenarios, by display to the public, which is the biggest challenge for any actor, author or director. That way, a singular model of interpretation, a naturalistic type, which have prevailed in the West over other ways of interpreting, came to Spain. A system (which could be defined as organic interpretation) that had been systematized by the Russian Konstantin Stanislavski in the early twentieth century and rapidly was exported abroad by some of his first students: Richard Boleslavsky, Maria Ouspenskaya, Michael Chekhov, Pietro Scharoff, P. Pauloff... Its popularity in the USA increased mainly due to the Actor’s Studio and also thanks to professor Lee Strasberg, through the famous Method working. While in 1960 Layton founded in Madrid the TEM, together with Narros and Buckley, the Brechtian technique was arriving to Barcelona. In that city, Ricard Salvat —who had trained in Germany— and Maria Aurélia Capmany opened the School of Dramatic Art Adrià Gual (EADAG). From Catalonia and over the years, this center will project the first formulas about “distancing”. That way, after decades of delay, that same year 1960 landed in Spain two key trends that shaped and influenced the development of Western theatrical art in the first half of the twentieth century. SYNTHESIS: The knowledge and deep analysis of William Layton’s work as acting teacher in Spain will allow us to get closer to a major figure in the history of theater education in our country. Our main goal is to demonstrate that he was responsible for breaking the isolation that, from secular times, suffered the training of actors in Spain. Layton not only did achieve that, but did it consistently, without interruption. Also, by analyzing his work as stage manager, we will discover how this methodology was implemented in two aspects regarding the theatrical play: in the actor himself and in the dramatic text...

A century of research: what have we learned about the interaction of Trypanosoma cruzi with host cells?

Since the discovery of Trypanosoma cruzi and the brilliant description of the then-referred to "new tripanosomiasis" by Carlos Chagas 100 years ago, a great deal of scientific effort and curiosity has been devoted to understanding how this parasite invades and colonises mammalian host cells. This is a key step in the survival of the parasite within the vertebrate host, and although much has been learned over this century, differences in strains or isolates used by different laboratories may have led to conclusions that are not as universal as originally interpreted. Molecular genotyping of the CL-Brener clone confirmed a genetic heterogeneity in the parasite that had been detected previously by other techniques, including zymodeme or schizodeme (kDNA) analysis. T. cruzi can be grouped into at least two major phylogenetic lineages: T. cruzi I, mostly associated with the sylvatic cycle and T. cruzi II, linked to human disease; however, a third lineage, T. cruziIII, has also been proposed. Hybrid isolates, such as the CL-Brener clone, which was chosen for sequencing the genome of the parasite (Elias et al. 2005, El Sayed et al. 2005a), have also been identified. The parasite must be able to invade cells in the mammalian host, and many studies have implicated the flagellated trypomastigotes as the main actor in this process. Several surface components of parasites and some of the host cell receptors with which they interact have been described. Herein, we have attempted to identify milestones in the history of understanding T. cruzi- host cell interactions. Different infective forms of T. cruzi have displayed unexpected requirements for the parasite to attach to the host cell, enter it, and translocate between the parasitophorous vacuole to its final cytoplasmic destination. It is noteworthy that some of the mechanisms originally proposed to be broad in function turned out not to be universal, and multiple interactions involving different repertoires of molecules seem to act in concert to give rise to a rather complex interplay of signalling cascades involving both parasite and cellular components.

Status of Early 19th-Century Names Authored in Parallel by Wied and Schinz for South American Reptiles and Amphibians, with Designations of Three Nomina Protecta

Prince Maximilian zu Wied's great exploration of coastal Brazil in 1815-1817 resulted in important collections of reptiles, amphibians, birds, and mammals, many of which were new species later described by Wied himself The bulk of his collection was purchased for the American Museum of Natural History in 1869, although many ""type specimens"" had disappeared earlier. Wied carefully identified his localities but did not designate type specimens or type localities, which are taxonomic concepts that were not yet established. Information and manuscript names on a fraction (17 species) of his Brazilian reptiles and amphibians were transmitted by Wied to Prof. Heinrich Rudolf Schinz at the University of Zurich. Schinz included these species (credited to their discoverer ""Princ. Max."") in the second volume of Das Thierreich ... (1822). Most are junior objective synonyms of names published by Wied. However, six of the 17 names used by Schinz predate Wied's own publications. Three were manuscript names never published by Wied because he determined the species to be previously known. (1) Lacerta vittata Schinz, 1822 (a nomen oblitum) = Lacerta striata sensu Wied (a misidentification, non Linnaeus nec sensu Merrem) = Kentropyx calcarata Spix, 1825, herein qualified as a nomen protectum. (2) Polychrus virescens Schinz, 1822 = Lacerta marmorata Linnaeus, 1758 (now Polychrus marmoratus). (3) Scincus cyanurus Schinz, 1822 (a nomen oblitum) = Gymnophthalmus quadrilineatus sensu Wied (a misidentification, non Linnaeus nec sensu Merrem) = Micrablepharus maximiliani (Reinhardt and Lutken, ""1861"" [1862]), herein qualified as a nomen protectum. Qualifying Scincus cyanurus Schinz, 1822, as a nomen oblitum also removes the problem of homonymy with the later-named Pacific skink Scincus cyanurus Lesson (= Emoia cyanura). The remaining three names used by Schinz are senior objective synonyms that take priority over Wied's names. (4) Bufo cinctus Schinz, 1822, is senior to Bufo cinctus Wied, 1823; both, however, are junior synonyms of Bufo crucifer Wied, 1821 = Chaunus crucifer (Wied). (5) Agama picta Schinz, 1822, is senior to Agama picta Wied, 1823, requiring a change of authorship for this poorly known species, to be known as Enyalius pictus (Schinz). (6) Lacerta cyanomelas Schinz, 1822, predates Teius cyanomelas Wied, 1824 (1822-1831) both nomina oblita. Wied's illustration and description shows cyanomelas as apparently conspecific with the recently described but already well-known Cnemidophorus nativo Rocha et al., 1997, which is the valid name because of its qualification herein as a nomen protectum. The preceding specific name cyanomelas (as corrected in an errata section) is misspelled several ways in different copies of Schinz's original description (""cyanom las,"" ""cyanomlas,"" and cyanom""). Loosening, separation, and final loss of the last three letters of movable type in the printing chase probably accounts for the variant misspellings.

Reinterpreting the history of women's judo in Japan

This paper reassesses the role of women in judo in Japan, from its secluded and restricted beginnings in the late nineteenth century to the gradual changes in gender and social paradigms triggered by the influence of Western feminist struggle from the 1960s onwards. Judo has been considered in theory an inclusive martial art because its creator, Jigoro Kano, stressed safety, etiquette and moral teachings irrespective of age, size or gender of its adherents. However, the social and cultural environment in Japan has traditionally discriminated against women both outside and inside the dojo (training place). We treat this issue historically, considering the broader context of the Japanese social, political and cultural developments.

Leadership in the Asian Century: Lessons from GLOBE

In this paper, based on the results of the Global Leadership and Organizational Behavior Effectiveness (GLOBE) 61-nation study of culture and leadership, we present findings related to three ‘clusters’ of countries. These clusters are: (1) the ‘Anglo culture’ cluster (Australia, Canada, Ireland, New Zealand, white South Africa, UK, and USA), the ‘Southern Asia’ cluster (Iran, India, Thailand, Malaysia, Indonesia, and the Philippines), and the ‘Confucian Asia’ cluster (China, Hong Kong, Japan, Singapore, South Korea, and Taiwan). Data from the GLOBE study, reporting middle managers’ perceptions of societal practices and values, and of the factors that facilitate and inhibit effective leadership will be compared across the three clusters. Results demonstrate that, despite differences in cultures, especially cultural values, perceptions of effective leadership vary substantially only in respect of the extent that participation is seen to facilitate leadership. In the Anglo cluster, participative leadership is seen as much more facilitative of leadership, than in either of the Asian clusters. Results are discussed in terms of effective leadership styles suitable for management in the twenty-first century, where Asian economies are likely to play a more dominant role than they have in recent history.

Evolutionary history of dog rabies in Brazil

Although dogs are considered to be the principal transmitter of rabies in Brazil, dog rabies had never been recorded in South America before European colonization. In order to investigate the evolutionary history of dog rabies virus (RABV) in Brazil, we performed a phylogenetic analysis of carnivore RABV isolates from around the world and estimated the divergence times for dog RABV in Brazil. Our estimate for the time of introduction of dog RABV into Brazil was the late-19th to early-20th century, which was later than the colonization period but corresponded to a period of increased immigration from Europe to Brazil. In addition, dog RABVs appeared to have spread to indigenous animals in Brazil during the latter half of the 20th century, when the development and urbanization of Brazil occurred. These results suggest that the movement of rabid dogs, along with human activities since the 19th century, promoted the introduction and expansion of dog RABV in Brazil.