Ecological niche modeling, cytogenetics and phylogeography of the genera Geomalacus and Letourneuxia (Gastropoda, Pulmonata) from the Iberian-Moroccan region

First described more that 150 years ago, the systematics of the genera Geomalacus and Letourneuxia (Arionidae, Gastropoda, Pulmonata) is still challenging. The taxonomic classification of arionid species is based on extremely labile characters such as body size or color that depends both on diet and environment, as well as age. Moreover, there is little information on the genetic diversity and population structure of the Iberian slugs that could provide extra clues to disentangle their problematic classification. The present work uses different analytical tools such as habitat suitability (Ecological Niche Modeling - ENM), cytogenetic analysis and phylogeography to establish the geographical distribution and evolutionary history of these pulmonate slugs. The potential distribution of the four Geomalacus species was modeled using ENM, which allowed the identification of new locations for G. malagensis, including a first report in Portugal. Also, it was predicted a much wider distribution for G. malagensis and G. oliveirae than previously known. Classical cytogenetic analyses were assayed with reproductive and a novel use of somatic tissues (mouth and tentacles) returning the number of chromosomes for the four Geomalacus species and L. numidica (n = 31, 2n = 62) and the respective karyotypes. G. malagensis and L. numidica present similar chromosome morphologies and karyotypic formulae, being more similar to each other than the Geomalacus among themselves. We further reconstructed the phylogeny of the genera Geomalacus and Letourneuxia using partial sequences of the mitochondrial cytochrome oxidase subunit I (COI) and the nuclear ribosomal small subunit (18S rRNA), and applied an independent evolutionary rate method, the indicator vectors correlation, to evaluate the existence of cryptic diversity within species. The five nominal species of Geomalacus and Letourneuxia comprise 14 well-supported cryptic lineages. Letourneuxia numidica was retrieved as a sister group of G. malagensis. G. oliveirae is paraphyletic with respect to G. anguiformis. According to our dating estimates, the most recent common ancestor of Geomalacus dates back to the Middle Miocene (end of the Serravallian stage). The major lineage splitting events within Geomalacus occurred during the dry periods of the Zanclean stage (5.3-3.6 million years) and some lineages were confined to more humid mountain areas of the Iberian Peninsula, which lead to a highly geographically structured mitochondrial genetic diversity. The major findings of this are the following: (1) provides updated species distribution maps for the Iberian Geomalacus expanding the known geographic distribution of the concerned species, (2) unravels the cryptic diversity within the genera Geomalacus and Letourneuxia, (3) Geomalacus oliveirae is paraphyletic with G. anguiformis and (4) Letourneuxia numidica is sister group of G. malagensis.

Casa(l) em construção : uma base teórico-empírica para o desenvolvimento de uma intervenção na transição para a conjugalidade

Tese de doutoramento, Psicologia (Psicologia da Família e Intervenção Familiar), Universidade de Lisboa, Faculdade de Psicologia, 2014

Mass-wasting episodes in the geological evolution of the Azores islands : timing, recurrence, mechanisms and consequence

Tese de doutoramento (co-tutela), Geologia (Geodinâmica Interna), Faculdade de Ciências da Universidade de Lisboa, Faculté des Sciences D’Orsay-Université Paris-Sud, 2014

Finding ‘Good Friday’ An explorative study into the sedimentary structures left from the Good Friday tsunami

Senior thesis written for Oceanography 444

Caracterização de ambientes de transição do SW Alentejano a distintas escalas temporais

Tese de doutoramento, Geologia (Geologia Económica e do Ambiente), Universidade de Lisboa, Faculdade de Ciências, 2016

Depositional characteristics and trace metal abundance of sediments in an anoxic basin

Senior thesis written for Oceanography 445

Growing Up in Taiwan: Counterfactual Models of Part-Time Work, Romantic Relationships, and Crime among Taiwanese Youth

Thesis (Ph.D.)--University of Washington, 2015

Repressive desublimation and the great refusal in Bret Easton Ellis's fiction

In 1968, Herbert Marcuse believed that a Great Refusal was possible, one that would deny the exploitative power of corporate capitalism. Marcuse's vision was never realised. This essay argues that society today is in an advanced state of that which the Frankfurt School termed repressive desublimation and questions whether a liberationary praxis is still possible. It claims that Bret Easton Ellis's fiction choreographs an internalising of the forms of critique that marked 1968 and about which Marcuse writes. It is Ellis's act of double voicing that allows him to develop a duplicitous recalcitrant voice within the state of assimilation and it is double voicing which emerges as the key technique in Ellis's work that effects an ongoing critique in commodity society. Looking at Slavoj iek's recent revisionism of the notion of repressive desublimation, which connects Marxism and psychoanalysis, the essay considers how Ellis's novels, American Psycho, Glamorama and Lunar Park, function to address and reconfigure the relationship between the status of the Marxist fetishised object and the psychoanalytic phobic object in the present-day era of late capitalism. This essay seeks to illuminate how Ellis's fiction, through an involution of Marcuse's political theories, enacts a contemporary refusal from within the state of reification.

Radical interiors: Cindy Sherman's ‘Sex pictures’ and Kathy Acker's 'My mother: demonology'

In 1989, the American visual artist Cindy Sherman produced her ‘Sex Pictures’, a number of photographic images of two medical mannequins whose bodies had been dismembered and reconstructed to form abstract configurations that alluded to pornographic poses. Sherman's series was a response to the National Endowment for the Arts controversy, in which American artists such as Andres Serrano and the late Robert Mapplethorpe, whose work was considered obscene by the Republican Congress, were censored. Many artists in the culture-war period had their grants rescinded. The American avant-garde writer Kathy Acker published My Mother: Demonology in 1993. A prominent concern of Acker's in the work is what she termed her ‘writing freedom’ in a climate of cultural expurgation by the Republican elite. In particular, Acker was worried that she was ‘internalizing certain censorships’. This article addresses Sherman's and Acker's work in a comparative context to explore, through the theoretical work of Julia Kristeva, the ways in which their responses to a climate of political censorship can be read as forms of intimate revolt. Kristeva's notion of ejection—the act of placing something beyond the scope of the possible—transpires as ‘a condition of art's creation’ in Sherman's and Acker's work. Acker and Sherman use the pornographic reference in their work to disrupt and dislocate the narrative and image from convention in order to de-eroticize the body, against heteronormativity's terms, and empower the female sex organs. Eversion—that is, in Sherman's and Acker's works, the act of turning the institutional and maternal body inside out—emerges as a mode of resistance to the danger of the writer and the artist internalizing cultural restrictions. The everted body creates a site of radical interiority which becomes the (impossible) site for the radical (re-)embodiment of the feminine subject.

Engaged Disengagement: Reframing as Feminist Critique in Vanessa Place’s Tragodía

This essay positions Vanessa Place’s Tragodía (2011) as an instance of reframing as contemporary feminist cultural critique. An enquiry into allegory, hermeneutics, and the performative use of indifference in Place’s conceptual writing generates insights into new narrative conditions produced by Place’s work. Tragodía does not represent trauma but rather generates trauma through a poetic practice that has a bipartite structure: conceptual writing (allegory) and Place’s performances of the narratives. Place’s performance is read in this analysis as an ancillary act of reframing that raises the question of what might be at stake in the performative use of indifference. Understood as a strategy of failure, Place’s performance parallels the lack of mediation in the conceptual act of reframing. Positioned counter to the linguistic deformation of the subjects' speech acts and the erasure of affect that occurs in the legal narratives through the act of interpretation, the refusal to interpret implicit in the act of reframing in Tragodía is an ethical gesture, a paratextual pathway to metamorphosis. In its refusal to interpret, Tragodía creates a site of contextual resistance to the oppression of the subjects’ organic narratives by the institutional language of the law, and offers a new textual field of meaning-making.