A review of the New World Atteva Walker moths (Yponomeutidae, Attevinae)

The New World species of Atteva Walker are reviewed and illustrated in colour. One name: A. pustulella (Fabricius), nom. rev. and three species: A. aurea (Fitch), sp. rev., A. floridana (Neumoegen), sp. rev. and A. gemmata (Grote), sp. rev. are reinstated; five names are synonymised under A. aurea: Poeciloptera compta Clemens, syn. n., A. edithella Busck, syn. n., A. exquisita Busck, syn. n., A. ergatica Walsingham, syn. n. and A. microsticta Walsingham, syn. n.; four new species are described: A. rawlinsi sp. n., from the Dominican Republic, A. sidereoides sp. n., from Jamaica, A. entermedia sp. n., from Antigua, and A. zebrina sp. n., from Brazil; lectotypes for A. floridana and A. glaucopidella (Guenée) (=fulviguttata) are also designated.

Una Cort italianitzant a València. Notes sobre la recepció d’Ariosto a Espanya

Aquest estudi pretén mostrar com una cort perifèrica dins de la monarquia espanyola com la dels Centelles, comtes d’Oliva, tot imitant fil per randa la dels Este de Ferrara i la seva brillant presència en la Itàlia renaixentista mitjançant el mecenatge de Boiardo i d’Ariosto, va importar aquells esquemes i es va envoltar d’un grup d’escriptors que van constituir el nucli inicial de la recepció, difusió i continuació castellana de l’èpica d’Ariosto a la península Ibèrica. Gairebé es podria afirmar que la propagació en castellà de l’Orlando furioso a la península Ibèrica estava monopolitzada en gran part pel clan dels Centelles. Un cercle en el qual localitzem, segons tots els indicis, el traductor de Gli asolani de Bembo al castellà: Lluís Santàngel

Multiple plume events in the genesis of the peri-Caribbean Cretaceous oceanic plateau province

The oceanic crust fragments exposed in central America, in north-western South America, and in the Caribbean islands have been considered to represent accreted remnants of the Caribbean-Colombian Oceanic Plateau (CCOP). On the basis of trace element and Nd, Sr, and Pb isotopic compositions we infer that cumulate rocks, basalts, and diabases from coastal Ecuador have a different source than the basalts from the Dominican Republic. The latter suite includes the 86 Ma basalts of the Duarte Complex which are light rare earth element (REE) -enriched and display (relative to normal mid-ocean ridge basalts, NMORB) moderate enrichments in large ion lithophile elements, together with high Nb, Ta, Pb, and low Th contents. Moreover, they exhibit a rather restricted range of Nd and Pb isotopic ratios consistent with their derivation from an ocean island-type mantle source, the composition of which includes the HIMU (high U-238/Pb-204) component characteristic of the Galapagos hotspot. In contrast, the 123 Ma Ecuadorian oceanic rocks have flat REE patterns and (relative to NMORB) are depleted in Zr, Hf, Th, and U. Moreover, they show a wide range of Nd and Pb isotopic ratios intermediate between those of ocean island basalts and NMORB. It is unlikely, on geochemical grounds, that the plume source of the Ecuadorian fragments was similar to that of the Galapagos. In addition, because of the NNE motion of the Farallon plate during the Early Cretaceous, the Ecuadorian oceanic plateau fragments could not have been derived from the Galapagos hotspot but were likely formed at a ridge-centered or near-ridge hotspot somewhere in the SE Pacific.

Who are Cerverí's worst enemies?

Those who heard the piece sung at the royal court of Aragon, where it was composed, were more than likely familiar with its author, the troubadour Cerverí de Girona, one of the most significant poets of the time. If later readers knew the poem from a compilation similar to the only chansonnier that has preserved it until present times, they would have had access to at least one hundred and three other pieces by the same troubadour, which give useful clues to understand this self-referential piece

Teologis-filosofista aatehistoriaa uusissa väitöskirjoissa

Simo Knuuttila

Ophiolite-related ultramafic rocks (Serpentinites) in the Caribbean region: a review of their occurrence, composition, origin, emplacements and Ni-Laterite soil formation

Ultramafic rocks, mainly serpentinized peridotites of mantle origin, are mostly associated with the ophiolites of Mesozoic age that occur in belts along three of the margins of the Caribbean plate. The most extensive exposures are in Cuba. The ultramafic-mafic association (ophiolites) were formed and emplaced in several different tectonic environments. Mineralogical studies of the ultramafic rocks and the chemistry of the associated mafic rocks indicate that most of the ultramafic-mafic associations in both the northern and southern margins of the plate were formed in arc-related environments. There is little mantle peridotite exposed in the ophiolitic associations of the west coast of Central America, in the south Caribbean in Curacao and in the Andean belts in Colombia. In these occurrences the chemistry and age of the mafic rocks indicates that this association is mainly part of the 89 Ma Caribbean plateau province. The age of the mantle peridotites and associated ophiolites is probably mainly late Jurassic or Early Cretaceous. Emplacement of the ophiolites possibly began in the Early Cretaceous in Hispaniola and Puerto Rico, but most emplacement took place in the Late Cretaceous to Eocene (e.g. Cuba). Along the northern South America plate margin, in the Caribbean mountain belt, emplacement was by major thrusting and probably was not completed until the Oligocene or even the early Miocene. Caribbean mantle peridotites, before serpentinization, were mainly harzburgites, but dunites and lherzolites are also present. In detail, the mineralogical and chemical composition varies even within one ultramafic body, reflecting melting processes and peridotite/melt interaction in the upper mantle. At least for the northern Caribbean, uplift (postemplacement tectonics) exposed the ultramafic massifs as a land surface to effective laterization in the beginning of the Miocene. Tectonic factors, determining the uplift, exposing the peridotites to weathering varied. In the northern Caribbean, in Guatemala, Jamaica, and Hispaniola, uplift occurred as a result of transpresional movement along pre-existing major faults. In Cuba, uplift occurred on a regional scale, determined by isostatic adjustment. In the south Caribbean, uplift of the Cordillera de la Costa and Serrania del Interior exposing the peridotites, also appears to be related to strike-slip movement along the El Pilar fault system. In the Caribbean, Ni-laterite deposits are currently being mined in the central Dominican Republic, eastern Cuba, northern Venezuela and northwest Colombia. Although apparently formed over ultramafic rocks of similar composition and under similar climatic conditions, the composition of the lateritic soils varies. Factors that probably determined these differences in laterite composition are geomorphology, topography, drainage and tectonics. According to the mineralogy of principal ore-bearing phases, Dominican Ni-laterite deposits are classified as the hydrous silicate-type. The main Ni-bearing minerals are hydrated Mg-Ni silicates (serpentine and ¿garnierite¿) occurring deeper in the profile (saprolite horizon). In contrast, in the deposits of eastern Cuba, the Ni and Cooccurs mainly in the limonite zone composed of Fe hydroxides and oxides as the dominant mineralogy in the upper part of the profile, and are classified as the oxide-type.

Luis Cernuda: platonic emotiveness versus presocratic-aristotelian mind

The aim of this article is to show how, although the poet finds himself materialist or both Presocratic and Aristotelian, his poetic emotiveness is truly Platonic or idealist, so that that tension between reality and desire with the help of which his poetry has always been defined becomes once more confirmed thanks to the analysis of his poems from a philosophical rather than a literary point of view.

SAFO fragmento 16 V: El Deslumbramiento

E1 fr. 16 V es un breve poema en el que, argumentando con rigurosa lógica y utilizando como ejemplo demostrativo el mito de Helena, Safo formula la más antigua teorización conocida sobre la naturaleza de la belleza. Su modernidad es sorprendente; la belleza no es una cualidad absoluta, sino el producto fantasmático del impulso sexual. Los pormenores de su fenomenalogía se desglosan con el apoyo de la tradición homérica: el deslumbramiento inicial trastorna los sentidos creando apariencias ilusorias, ciega la ruzón, enajena, provoca olvido; pero cuando el deseo se extingue retornan memoria y conciencia, y con ellas el dolor. Se entiende así que la Helena que ya está de vuelta, la de la Odisea, proceda a administrar su seducción como una droga analgésica. El proccso se repite constantemente; sus sujetos somos todos, cualquiera, y su actualización afecta, más alla de la singular experiencia psica-física a las prácticas matrimoniales de la época, donde no se contemplava la elección de pareja y la mujer abandonaba su entorno para inscribirse en el del marido. Así la poesía de Safo, que forma parte de la iniciación a la vida adulta femenina, al poner al descubierto la relatividad de la belleza dentro del mecanismo amoroso, distancia a sus pupilas de sus propias emociones y las protege de la soledad insertándolas en una experiencia religiosa compartida.

El aprendiz de rapsoda, o de cuando Homero cruzó la laguna estigia (Lucianus, Cont. 7)

In Charon or the Inspectors we find the ferryman of the underworld on earth, talking to the god Hermes about wealth, happiness, and the vain human striving for material goods. The piece has been considered to be an example of Menippean satire inside the corpus of Lucian"s works. Homeric poetry is always in the background. Lucian uses Homeric verses, or rather, verses structured in the Homeric manner, to formulate his critical view of the mortal world; in addition, he puts these verses into the mouth of a character who must temporarily give up his job as a ferryman in order to practise the art of rhapsody. This paper analyses a textual problem: the two variants in Cont. 7 referring to Homer in the manuscript tradition. In a context in which Lucian wants to make fun not just of foolish humans but also of the Greek poet par excellence, the reading of the ueteres seems more appropriate because it illustrates better Lucian"s parodic intention in recalling Homer and in trying to adapt form and content to the Greek tradition.

Miguel de Unamuno i Heràclit: de ‘La elegía eterna’ a ‘La flor tronchada’

[cat] L’objectiu d’aquest breu article és provar i analitzar la influència de la saviesa d’Heràclit en alguns poemes de Miguel de Unamuno com ara ‘La elegía eterna’ i ‘La flor tronchada’. En certes ocasions –‘La elegía eterna’- Heràclit és per a ell una mena de crossa amb l’ajut de la qual reïx a mostrar poèticament les seves angoixes i, en d’altres –‘La flor tronchada’- necessita realment Heràclit per a il•lustrar la seva visió de Déu i de la vida humana com una lluita o guerra permanent.

Larin Parasken epiikan metriikasta

Summary: The metrics of Larin Paraske's epic folk poetry in the Kalevala metre

Tres argumentos para di/versificar as identidades de xénero: Arden, Pronomes e Lob*s

O noso propósito é presentar o proxecto máis ambicioso de poesía gai e lesbiana galega escrito, en paralelo, por Ana Romaní e Antón Lopo. A súa esculca poética representa unha interesante proposta de experimentación formal, na que se renova a concepción da poesía ó levala e adaptala a outros soportes, sen perder por iso a intensidade e a emoción lírica. Ademais ofrece dúas reflexións diferentes e complementarias sobre as identidades homosexuais, nas que se subliña o dereito a saír da sombra, a reivindicación do goce sexual (a arder e a ser lob*), e a definirse por posición e non pola imposición das convencións xenéricas (a rebeiión contra os pronomes).

Como prenden elas da nación? sobre a poesia épica a comenzos do século XXI

Pode facerse cargo a poeta do nós sen sucumbir a unha idea de comunidade sentimental vertebrada a partir dunha postergación utópica? Como pode pór en debate ao tempo a causa das mulleres e a da nación subalterna sen que unha tenda a abranguer a outra como paraugas totalizador? Como se constrúe unha épica non heroica axeitada a un tempo nos que non son posíbeis as narracións míticas ou técnicas sobre a orixe dunha comunidade? Chus Pato e Ana Romaní ofrecen nos seus poemarios publicados a partir do ano 2000 modelos que interrogan á comunidade desde a transformación das formas poéticas do épico para interrogar a identidade nacional desde a diferenza sexual