La prehistoria en la comarca de Alba de Tormes

Incluye un cuaderno de lectura, estudio y actividades para s??ptimo y octavo de EGB titulado Huk, gran cazador : un d??a en la vida de un ni??o prehist??rico. Ejemplar fotocopiado

Ateneo 'El Abra' : Cátedra de Extensión Cultural del Instituto de Guecho (Vizcaya).

Contiene fotografías

II Ciclo del Ateneo 'El Abra' del Instituto de Guecho.

Diversas fotografías ilustran los actos

Programa de refuerzo, orientación y apoyo (PROA) en el IES Vicente Cano (Argamasilla de Alba).

Resumen basado en el de la publicación

La niña en el cine Ecuador 2008 a 2015. En el nombre de la hija de Tania Hermida; En espera de Gabriela Calvache; Domingo Violeta, Ánima, Nuca y Alba de Ana Cristina Barragán

La niña ha sido representada en el cine ecuatoriano de 2008 a 2015, con carácter protagónico, en seis películas -dos largometrajes y cuatro cortometrajes-, todas en el género de la ficción cinematográfica y en todos los casos escritas y dirigidas por mujeres. Descubrir las huellas dejadas por estas obras en sus representaciones es el objetivo central de esta investigación que se limita a seis películas cuya protagonista es una niña. Huellas de la expresión artística contra-hegemónica y liberadora de la persona, sujeto de derechos y agente social que son las niñas, en relación a los imaginarios y construcciones sociales que los medios de comunicación así como el arte permiten reforzar o replantear. La investigación teórica, entrevistas a profundidad y el análisis de la imagen han sido los métodos, técnicas e instrumentos utilizados a fin de lograr los necesarios referentes, insumos y criterios para lograr una mirada integral a partir de las evidencias particulares que las autoras y sus obras nos dejan. Así se ha logrado una aproximación a la representación de la niña que las autoras han hecho en sus películas, respondiendo a sus propias experiencias de vida y a la necesidad de expresar libremente sus emociones y sentimientos.

Seed storage of Avicennia alba B1

Seeds of Avicennia alba BI. matured at high moisture content and were sensitive to desiccation: no seeds survived desiccation below 35% moisture content. The effect on survival of a factorial combination of five moist storage treatments (fresh seeds in a polyethylene bag, open with water sprayed over regularly, mixed with sand at 10% moisture content, mixed with moist paddy hulls, or naked seeds mixed with sand at 10% moisture content) and three temperatures (28-30degreesC, 17degreesC and 8-10degreesC) was investigated. In addition, seeds were mixed with sand at 5% moisture content and stored at 17degreesC in order to determine the effect of sand moisture content on seed moisture content and viability during storage. Avicennia alba showed recalcitrant seed storage behaviour, but 75% of the seeds remained viable after four months' moist (45-47% moisture content) storage in 10% moisture content sand at 17degreesC.

Effect of drying methods on the phenolic constituents of meadowsweet (Filipendula ulmaria) and willow (Salix alba)

The objective of this study was to investigate the effect of drying conditions on the phenolic constituents and colour of extracts of organically grown white willow and meadowsweet for incorporation into a functional beverage with potential anti-inflammatory properties. The herbs were freeze-dried, air-dried, oven or tray-dried at 30 or 70 °C. The drying kinetics of the herbs was first determined. Both drying temperature and method had a significant effect (p ≤ 0.05) on the drying rate, the samples tray-dried had a faster drying rate than those oven-dried. Results show that for meadowsweet and willow, freeze-drying and oven or tray drying at 30 °C had no significant effect on the phenolic constituents (e.g. total phenols, salicylates, quercetin) or the colour of the extracts in comparison to traditional air-drying. Although increasing the drying temperature to 70 °C resulted in an increase in the drying rate of both herbs it also led to the loss of some phenolic compounds. Also, the extracts from both herbs dried at 70 °C were significantly (p ≤ 0.05) redder than the other drying methods. Therefore, tray drying these herbs at low temperatures may reduce drying time without having a significant effect on the phenolic content and colour of the extracts.

The potential to intensify sulforaphane formation in cooked broccoli (Brassica oleracea var. italica) using mustard seeds (Sinapis alba)

Sulforaphane, a naturally occurring cancer chemopreventive, is the hydrolysis product of glucoraphanin, the main glucosinolate in broccoli. The hydrolysis requires myrosinase isoenzyme to be present in sufficient activity; however processing leads to its denaturation and hence reduced hydrolysis. In this study, the effect of adding mustard seeds, which has a more resilient isoform of myrosinase, to processed broccoli was investigated with a view to intensify the formation of sulforaphane. Thermal inactivation of myrosinase from both broccoli and mustard seeds was studied. Thermal degradation of broccoli glucoraphanin was investigated in addition to the effects of thermal processing on the formation of sulforaphane and sulforaphane nitrile. Limited thermal degradation of glucoraphanin (less than 12 %) was observed when broccoli was placed in vacuum sealed bag (sous vide) and cooked in a water bath at 100 ºC for 8 and 12 min. Boiling broccoli in water prevented the formation of any significant levels of sulforaphane due to inactivated myrosinase. However, addition of powdered mustard seeds to the heat processed broccoli significantly increased the formation of sulforaphane.

Thermal and pressure stability of myrosinase enzymes from black mustard (Brassica nigra L. W.D.J Koch. var. nigra), brown mustard (Brassica juncea L. Czern. var. juncea) and yellow mustard (Sinapsis alba L. Subsp Maire) seeds

This study investigates the effects of temperature and pressure on inactivation of myrosinase extracted from black, brown and yellow mustard seeds. Brown mustard had higher myrosinase activity (2.75 un/mL) than black (1.50 un/mL) and yellow mustard (0.63 un/mL). The extent of enzyme inactivation increased with pressure (600-800 MPa) and temperature (30-70 °C) for all the mustard seeds. However, at combinations of lower pressures (200-400 MPa) and high temperatures (60-80 °C), there was less inactivation. For example, application of 300 MPa and 70 °C for 10 minutes retained 20%, 80% and 65% activity in yellow, black and brown mustard, respectively, whereas the corresponding activity retentions when applying only heat (70 °C, 10min) were 0%, 59% and 35%. Thus, application of moderate pressures (200-400 MPa) can potentially be used to retain myrosinase activity needed for subsequent glucosinolate hydrolysis.

"Porque quiero casarme con un varón hermoso de la orilla del mar" Un análisis de lo grotesco femenino de María Josefa en La casa de Bernarda Alba

This essay is an analysis of the character María Josefa in the play 'The House of Bernarda Alba' (1936) by Federico García Lorca. It is hypothesized that the character of María Josefa can be considered a distorting mirror of the femininity presented in the play, and that through María Josefa this femininity is both revealed and problematized. The analysis adopts theories from the field of the (female) grotesque, using terminology both from Mikhail Bakhtin and Mary Russo. Throughout the analysis it is demonstrated how the character of María Josefa challenges the boundaries and norms which are dictated by Bernarda to control the women of the house. These conventions are challenged by María Josefa with the use of her loud speech, her dressed up appearance, and in her physical resistance. In this manner María Josefa is creating and embodying an alternate feminine view that is uncovered through her consistent provocation and by making herself into "a spectacle", a transboundary behaviour that is well interpreted within the theories of carnival, the grotesque body, and the spectacle of the female grotesque.

Frustración lorquiana : Metáforas y símbolos en La Casa de Bernarda Alba

El presente trabajo está orientado a detectar los símbolos y metáforas ambivalentes en la obraLa Casa de Bernarda Alba de Federico García Lorca. Debido a que hay pocos estudiosdedicados al simbolismo de la frustración, se ha concentrado en analizar dicha temática. Paraanalizar el concepto de frustración, primero ha sido necesario comprender cómo eraconcebida la moral de la época en que se inscribe la obra. En segundo lugar, ha sidofundamental entender cómo surge la frustración en el ser humano. Atendiendo a estascuestiones se ha aplicado la teoría del formalismo iluminista y una visión freudiana sobre lasteorías del psiquismo. En base a estas nociones se detectaron cuatro símbolos ambivalentesque connotan sentimientos de frustración: el blanco, el olivo, la maroma y el mar. Estossímbolos antitéticos contienen una fuerza negativa que se impone a la fuerza positiva, lo cualtiene como resultado la frustración. Las fuerzas contradictorias están presentes durante laobra entera. Esta característica no solo se manifiesta a través de los tropos estudiados, sinoque también se detectó que a menudo las fuerzas antitéticas se hacen presentes enprotagonistas que forman grupos ambivalentes, donde cada personaje actúa como una fuerzaopuesta, lo cual lleva hacia una tensión permanente entre una persona positiva y otranegativa.

Avaliação qualitativa e quantitativa do colágeno total, tipo I e III da linha alba em pacientes portadores de hérnia da parede abdominal anterior

No presente trabalho foram colhidas amostras da aponeurose da linha alba abdominal de 26 pacientes com idades entre 26 e 75 anos, portadores de hérnias da parede abdominal anterior, para avaliação qualitativa e quantitativa do colágeno total, tipo I e III. Oito desses pacientes foram operados no Hospital de Clínicas de Porto Alegre (HCPA), quatro no Hospital Pompéia de Caxias do Sul (HP) e 14 na Clínica Particular do autor (CPA) em Caxias do Sul. Todos os pacientes eram portadores de hérnias da parede abdominal anterior, sendo seis casos de hérnias incisionais, 11 casos de hérnias umbilicais e sete casos de hérnias epigástricas, um caso com duas hérnias: incisional e epigástrica e um outro caso também com duas hérnias, sendo uma epigástrica e outra umbilical. As amostras foram retiradas na linha média da linha alba, três centímetros acima da cicatriz umbilical e outra a dois centímetros abaixo dessa cicatriz. Uma vez no laboratório, as amostras foram subdivididas em duas. Em uma delas realizou-se a avaliação quantitativa do colágeno total e na outra a avaliação qualitativa dos colágenos tipo I e III. A avaliação quantitativa foi realizada por meio da coloração com picrosirius e contagem das fibras colágenas em microscópio de luz polarizada e análise digital por birrefringência, tendo sido utilizado o aplicativo Image Pro Plus (Media Cybernetics, Silver Spring, USA). A avaliação qualitativa foi feita por meio da imuno-histoquímica, com a utilização de anticorpos monoclonais anticolágeno tipo I e III. Os achados obtidos nesses pacientes foram comparados com os achados obtidos em um grupo-controle de cadáveres não formolizados do Instituto Médico Legal de Caxias do Sul. No grupo-controle de cadáveres sem hérnias, foram realizados os mesmos estudos dos pacientes cirúrgicos portadores de hérnias, para avaliar as diferenças das quantidades de colágeno total, tipo I e III entre os dois grupos. Os resultados mostraram que as quantidades de colágeno total eram 18,05% menores nos pacientes com hérnias da parede anterior do abdome, quando comparados com o grupo-controle de cadáveres sem hérnias (p  0,05). Já as quantidades do colágeno tipo I foram 20,50% menores nos pacientes (p  0,05). O mesmo ocorreu com o colágeno tipo III que apresentou uma percentagem 7,3% menor nesses mesmos pacientes (p = 0,383).