Conflito Trabalho-Família/Família-Trabalho e Capital Psicológico Positivo em Professores

Este estudo teve três grandes objetivos. Por um lado procurámos conhecer a prevalência do conflito trabalho-família e os níveis de capital psicológico positivo em professores; por outro, foi nosso intuito analisar a relação existente na perceção do conflito trabalho-família e os seus reflexos no capital psicológico individual; por fim, quisemos compreender a influência de algumas variáveis sociodemográficas nos dois constructos em estudo. Voluntariamente participaram nesta investigação 231 professores do ensino público e privado, aos quais foi aplicado o Questionário CTF_CP, composto por um conjunto de questões de caracterização sociodemográfica, pela escala S.W.I.N.G. (para avaliação do conflito trabalho-família) e pelo PsyCap Questionnaire (para determinação do capital psicológico positivo). No geral estes profissionais apresentaram níveis moderados de conflito trabalho-família negativo e de conflito família-trabalho-família positivo, assim como níveis moderados de autoeficácia, de resiliência e de capital psicológico positivo. Relativamente às variáveis sociodemográficas verificou-se que o conflito trabalho-família e família-trabalho negativo é significativamente mais elevado nos professores do ensino público, enquanto o conflito família-trabalho-família positivo é mais elevado nos professores do ensino privado. Verificou-se também que é o sexo feminino quem apresenta maiores índices de conflito trabalho-família negativo. Através da regressão linear constatou-se que as três dimensões do conflito trabalho-família estudadas explicam 24,3% da variação obtida no capital psicológico positivo dos inquiridos.

Motivaciones económicas en la manumisión de esclavas: una comparación entre ciudades de América Latina (Estudios)

La manumisión esclava fue una característica estructural de la sociedad colonial latinoamericana. Sin embargo, esto no quiere decir que todos, o que la mayoría,de los esclavos consiguieran salir del cautiverio. Solo un pequeño porcentaje logró terminar sus días como libre. En ese porcentaje la mayoría fueron mujeres. Desde las grandes regiones esclavistas hasta las periféricas, y desde el comienzo de la era colonial hasta la emancipación total, siempre las mujeres se manumitieron proporcionalmente más que los hombres. Este artículo propone como hipótesis parcial de tal fenómeno que las esclavas se manumitieron más porque contaban con una exención fiscal que no tenían los hombres. Para demostrar tal cosa, se enfatiza en que la familia esclava era la que tomaba la decisión de a quién manumitir y que la libertad era más una estrategia que un objetivo.

Mujeres, esfera pública y populismo en Brasil, Argentina y Ecuador, 1870-1960 (Estudios)

Este trabajo se enfoca en las luchas de las mujeres para convertirse en actores políticos en tres países latinoamericanos: Brasil, Argentina y Ecuador. Analiza la educación de las mujeres como un factor decisivo para obtener el derecho al voto e ingresar a la arena pública mediante la publicación de periódicos. Se estudia la manera como las mujeres crearon sus propias organizaciones políticas,muchas de las cuales fueron respaldadas por liberales, conservadores e incluso socialistas. A pesar de que la lucha para conquistar el voto femenino fue una combinación entre las organizaciones de derechos femeninos, el diálogo interamericano y el apoyo de figuras públicas masculinas, fueron los líderes populistas quienes aprobaron el derecho al voto femenino. Ellos usaron este derecho para atraer el voto femenino en sus reelecciones presidenciales.

Modernidad narrativa en Ecuador. Personajes femeninos de tres novelas de Alfredo Pareja Diezcanseco (Del Fabulador)

La autora revisa brevemente las características de la modernidad narrativa en Latinoamérica, para contextualizar la ocurrencia de dicho fenómeno en Ecuador, así como la contribución de Alfredo Pareja Diezcanseco al mismo. Resalta el papel del autor en la consolidación de los logros de tres generaciones de narradores ecuatorianos. Al referirse a las novelas de Pareja, a propósito de Baldomera estudia la representación de la ciudad de Guayaquil en proceso de modernización, así como los vínculos de la misma con este personaje femenino, estudia también otros dos personajes, de las novelas El muelle y El aire y los recuerdos, para sustentar el interés que el autor mantuvo, en las diferentes etapas de su producción novelística, en crear personajes femeninos muy bien estructurados y perdurables.

Chicas chic: representación del cuerpo femenino en las revistas modernistas ecuatorianas (1917-1930)[Debates]

Este trabajo analiza cómo, entre 1917 y 1930, se inscribe en Ecuador un nuevo ideal de mujer a través de anuncios publicitarios en revistas de corte modernista. Los anuncios muestran mujeres bellas, elegantes, seductoras, de cuerpos esbeltos, promueven trabajo y entretenimiento, y, aunque se cuestionan los roles tradicionales y se genera una tensión entre lo público y lo privado, el cuerpo femenino sigue siendo objeto de la visión dominante, esta vez desde la normativa del mercado.

Medusa, Antaeus, and Caesar Libycus

Although it is well known that Lucan’s Libya is a wild and threatening place, its threat is not restricted to indigenous people, places and things, such as Hannibal, Cleopatra, the Syrtes, or the desert with its catalogue of horrifying snakes. He also associates Libya with anti-Republican Romans, above all Julius Caesar, who endangers the Republic with his excessive, animalistic energy and resembles the continent where he is trapped in the final book. Although the gods as characters are removed from the world of the Bellum Civile, Lucan allows supernatural traces to linger in particular locations such as the Gallic grove in Book 3 or Thessaly in Book 6. Libya is by far the greatest of these reservoirs of frightening myth and fantasy, which do violence to the historical credibility of the narrative, just as Libya itself is presented as the origin or conduit of a number of historical characters who assault Italy and Europe. Lucan’s two mythic narratives (Antaeus in Book 4 and Medusa in Book 9) are essential parts of the hostile Libyan landscape, but in very different ways. The male Antaeus, associated with lions, is connected with a region of solid rock where he was destroyed. The female Medusa, associated with snakes, is connected with a region of shifting sands where she left a deadly, everlasting legacy. To complicate matters further, even though Medusa’s snakes represent the annihilation of the Republican self, the logic of the narrative is undermined and there is even a sympathetic subtext. As part of Libya’s historical and mythical legacy, these stories reveal that for Lucan, historical epic is linked with Republicanism, but mythical epic is in the service of dictatorship.

Heterosis for yield and its physiological determinants in wheat

Heterosis in hybrid wheat varieties produced using a chemical hybridising agent was assessed in field experiments. Hyno Esta and its parents were compared in factorial combinations of four-seed rates (25-300 seeds m(-2)) and two nitrogen fertilizer rates (0 and 200 kg N ha(-1)) in 2001/02 and again in 2002/03. Hyno Rista and Hyno Renta and their parents were compared at two-seed rates in 2001/02. Hyno Rista and its parents were added factorially to the Hyno Esta experiment in 2002/03, while Hyno Renta and Hybred and their parents were compared at two seed rates in 2002/03. Mid parent heterosis for grain yield was found in three hybrids and two of these showed high parent heterosis. High parent heterosis in Hyno Esta over a range of sowing densities was mostly exhibited in total biomass but also, in one of two years, in harvest index. High parent heterosis in Hyno Renta was associated more with harvest index than with biomass. The heterosis for biomass in Hyno Esta resulted from greater interception of photosynthetically active radiation (PAR) than the male parent, with better radiation use efficiency than the female parent. In both seasons Hyno Esta achieved grain numbers per ear at least as high as the high parent for this trait (Audace), and combined this with mean grain weights at least as heavy as the high parent for mean grain weight (Estica). Much of the increased biomass and grain yield in the hybrid came late in the season as high parent heterosis was expressed for both maximum grain filling rate and grain filling duration. Heterosis was higher when nitrogen was applied than when withheld; only greater at lower seed rates when expressed in proportionate terms (e.g. as a percentage of the parents), rather than in absolute terms (e.g. t ha(-1)); and greater in the year with the cooler and wetter summer.

Sarah Kane: Cool Britannia's reluctant feminist

Aleks Sierz in his important survey of mid 1990s drama has identified the plays of Sarah Kane as exemplars of what he terms ‘In-Yer Face’ theatre. Sierz argues that Kane and her contemporaries such as Mark Ravenhill and Judy Upton represent a break with the ideological concerns of the previous generation of playwrights such as Doug Lucie and Stephen Lowe, whose work was shaped through recognizable political concerns, often in direct opposition to Thatcherism. In contrast Sarah Kane and her generation have frequently been seen as literary embodiments of ‘Thatcher’s Children’, whereby following the fall of the Berlin Wall and the inertia of the Major years, their drama eschews a recognizable political position, and seems more preoccupied with the plight of individuals cut adrift from society. In the case of Sarah Kane her frequently quoted statement, ‘I have no responsibility as a woman writer because I don’t believe there’s such a thing’, has compounded this perception. Moreover, its dogmatism also echoes the infamous comments attributed to Mrs Thatcher regarding the role of the individual to society. However, this article seeks to reassess Kane’s position as a woman writer and will argue that her drama is positioned somewhere between the female playwrights who emerged after 1979 such as Sarah Daniels, Timberlake Wertenbaker and Clare McIntyre, whose drama was distinguished by overtly feminist concerns, and its subsequent breakdown, best exemplified by the brief cultural moment associated with the newly elected Blair government known as ‘Cool Britannia’. Drawing on a variety of sources, including Kane’s unpublished monologues, written while she was a student just after Mrs Thatcher left office, this paper will argue that far from being an exponent of post-feminism, Kane’s drama frequently revisits and is influenced by the generation of dramatists whose work was forged out the sharp ideological positions that characterized the 1980s and a direct consequence of Thatcherism.

What limits insect fecundity? Body size- and temperature-dependent egg maturation and oviposition in a butterfly

1. Large female insects usually have high potential fecundity. Therefore selection should favour an increase in body size given that these females get opportunities to realize their potential advantage by maturing and laying more eggs. However, ectotherm physiology is strongly temperature-dependent, and activities are carried out sufficiently only within certain temperature ranges. Thus it remains unclear if the fecundity advantage of a large size is fully realized in natural environments, where thermal conditions are limiting. 2. Insect fecundity might be limited by temperature at two levels; first eggs need to mature, and then the female needs time for strategic ovipositing of the egg. Since a female cannot foresee the number of oviposition opportunities that she will encounter on a given day, the optimal rate of egg maturation will be governed by trade-offs associated with egg- and time-limited oviposition. As females of different sizes will have different amounts of body reserves, size-dependent allocation trade-offs between the mother’s condition and her egg production might be expected. 3. In the temperate butterfly Pararge aegeria , the time and temperature dependence of oviposition and egg maturation, and the interrelatedness of these two processes were investigated in a series of laboratory experiments, allowing a decoupling of the time budgets for the respective processes. 4. The results show that realized fecundity of this species can be limited by both the temperature dependence of egg maturation and oviposition under certain thermal regimes. Furthermore, rates of oviposition and egg maturation seemed to have regulatory effects upon each other. Early reproductive output was correlated with short life span, indicating a cost of reproduction. Finally, large females matured more eggs than small females when deprived of oviposition opportunities. Thus, the optimal allocation of resources to egg production seems dependent on female size. 5. This study highlights the complexity of processes underlying rates of egg maturation and oviposition in ectotherms under natural conditions. We further discuss the importance of temperature variation for egg- vs. time-limited fecundity and the consequences for the evolution of female body size in insects.

Chaucer's presence in songes and sonettes

In an elegy to Wyatt published in Tottel’s Miscellany, Surrey claims that Wyatt ‘reft Chaucer the glory of his wit’. This statement, which both lauds and resists Chaucer, is a microcosm of the way Chaucer is treated throughout the Miscellany. In examining the collection’s paradoxical attitude to Chaucer, this essay focuses particularly on the Squire’s Tale, the Franklin’s Tale, Anelida and Arcite, the Legend of Good Women, and several short lyrics. In its interest in courtly love poetry and Petrarch, the Miscellany follows a trajectory in English poetry set by Chaucer. Its courtly verse is saturated with words, phrases, and tropes from his poetry. Rhyme royal, which he introduced into English poetry, is widely used. The Canterbury Tales has been fully assimilated and can be referred to allusively with the same confidence of the audience’s knowledge as is the case when referring to classical myth; in Wyatt’s ‘Myne owne Jhon Poins’, the speaker, disclaiming deceitfulness, says that he cannot ‘say that Pan/ Passeth Appollo in musike manifold:/ Praise syr Topas for a noble tale,/ And scorne the story that the knight tolde’ (lines 48-50). However, Chaucer’s poetry is also downplayed and contested in the Miscellany. ‘Truth’, the only poem of his which appears in the volume, is disingenuously placed in the ‘Uncertain Authors’ section. In addition, some of the most important elements of his work are strongly resisted in the Miscellany, either ignored, dismissed or challenged. These elements include Chaucer’s interest in variety of voice, his sympathetic engagement with women, particularly wronged women, and his interest in female speech and particularly female complaint. The Miscellany, by contrast, is dominated by male-voiced lyrics preoccupied with the pain inflicted on the lover by a lady who is frequently unfeeling, cruel, or faithless. Chaucer’s frequent focus on the cynical seduction and betrayal of female by male is reversed in the Miscellany, and the language and metaphors he uses to express male cruelty (e.g. the word ‘newfangleness’ and images of hooks, nets and traps) are usurped to describe the lady’s cruelty to the suffering lover. On occasion, poems in the Miscellany challenge specific Chaucerian texts; ‘On His Love Named White’ throws down a gauntlet to The Book of the Duchess, while two of Surrey’s poems implicitly take issue with the female falcon’s voice in the Squire’s Tale, giving the deceitful tercelet the opportunity to shout down the falcon’s charges. The essay thus shows that in many respects Tottel’s Miscellany is only superficially Chaucerian, and that it both passively and actively takes issue with Chaucer’s work.

Sarah Kane: Cool Britannia’s reluctant feminist

Aleks Sierz in his important survey of mid 1990s drama has identified the plays of Sarah Kane as exemplars of what he terms ‘In-Yer Face’ theatre. Sierz argues that Kane and her contemporaries such as Mark Ravenhill and Judy Upton represent a break with the ideological concerns of the previous generation of playwrights such as Doug Lucie and Stephen Lowe, whose work was shaped through recognizable political concerns, often in direct opposition to Thatcherism. In contrast Sarah Kane and her generation have frequently been seen as literary embodiments of ‘Thatcher’s Children’, whereby following the fall of the Berlin Wall and the inertia of the Major years, their drama eschews a recognizable political position, and seems more preoccupied with the plight of individuals cut adrift from society. In the case of Sarah Kane her frequently quoted statement, ‘I have no responsibility as a woman writer because I don’t believe there’s such a thing’, has compounded this perception. Moreover, its dogmatism also echoes the infamous comments attributed to Mrs Thatcher regarding the role of the individual to society. However, this article seeks to reassess Kane’s position as a woman writer and will argue that her drama is positioned somewhere between the female playwrights who emerged after 1979 such as Sarah Daniels, Timberlake Wertenbaker and Clare McIntyre, whose drama was distinguished by overtly feminist concerns, and its subsequent breakdown, best exemplified by the brief cultural moment associated with the newly elected Blair government known as ‘Cool Britannia’. Drawing on a variety of sources, including Kane’s unpublished monologues, written while she was a student just after Mrs Thatcher left office, this paper will argue that far from being an exponent of post-feminism, Kane’s drama frequently revisits and is influenced by the generation of dramatists whose work was forged out the sharp ideological positions that characterized the 1980s and a direct consequence of Thatcherism.

Além da diferença: a mulher no Cinema da Retomada

This paper analyses the female participation in the Brazilian Film Revival of the 1990s beyond differences of sex, race, class, age and ethnicity. Its main contention is that the most decisive contribution brought about by the rise of women in recent Brazilian cinema has been the spread of team work and shared authorship, as opposed to a mere aspiration to the auteur pantheon, as determined by a notoriously male-oriented tradition.

Biased oviposition and biased survival together help resolve a fig-wasp conflict

We report evidence that helps resolve two competing explanations for stability in the mutualism between Ficus racemosa fig trees and the Ceratosolen fusciceps wasps that pollinate them. The wasps lay eggs in the tree's ovules, with each wasp larva developing at the expense of a fig seed. Upon maturity, the female wasps collect pollen and disperse to a new tree, continuing the cycle. Fig fitness is increased by producing both seeds and female wasps, whereas short-term wasp fitness increases only with more wasps, thereby resulting in a conflict of interests. We show experimentally that wasps exploit the inner layers of ovules first (the biased oviposition explanation), which is consistent with optimal-foraging theory. As oviposition increases, seeds in the middle layer are replaced on a one-to-one basis by pollinator offspring, which is also consistent with biased oviposition. Finally, in the outer layer of ovules, seeds disappear but are only partially replaced by pollinator offspring, which suggests high wasp mortality (the biased survival or ‘unbeatable seeds’ explanation). Our results therefore suggest that both biased oviposition and biased survival ensure seed production, thereby stabilizing the mutualism. We further argue that biased oviposition can maintain biased survival by selecting against wasp traits to overcome fig defenses. Finally, we report evidence suggesting that F. racemosa balances seed and wasp production at the level of the tree. Because figs are probably selected to allocate equally to male and female function, a 1:1 seed:wasp ratio suggests that fig trees are in control of the mutualism.