La construcción de la identidad del rey y los orígenes de su identificación con Osiris

Para la sociedad del Antiguo Egipto el mito era la forma de legitimación y la explicación de porqué el mundo adquiría determinada forma y orden. El paso de una economía cazadora- recolectora a una propiamente agrícola provoca un cambio de mentalidad en donde la figura del rey aparece como garante del orden dado. En este trabajo analizaremos la construcción de la identidad del rey en el Antiguo Egipto en base a dos interrogantes: los orígenes topográficos del culto a Osiris y cómo a través del mito se produce la identificación de Osiris el rey-padre muerto con su sucesor Horus-rey-hijo-vivo, todo esto vinculado a la formación del Estado

La construcción de la identidad del rey y los orígenes de su identificación con Osiris

Para la sociedad del Antiguo Egipto el mito era la forma de legitimación y la explicación de porqué el mundo adquiría determinada forma y orden. El paso de una economía cazadora- recolectora a una propiamente agrícola provoca un cambio de mentalidad en donde la figura del rey aparece como garante del orden dado. En este trabajo analizaremos la construcción de la identidad del rey en el Antiguo Egipto en base a dos interrogantes: los orígenes topográficos del culto a Osiris y cómo a través del mito se produce la identificación de Osiris el rey-padre muerto con su sucesor Horus-rey-hijo-vivo, todo esto vinculado a la formación del Estado

La construcción de la identidad del rey y los orígenes de su identificación con Osiris

Para la sociedad del Antiguo Egipto el mito era la forma de legitimación y la explicación de porqué el mundo adquiría determinada forma y orden. El paso de una economía cazadora- recolectora a una propiamente agrícola provoca un cambio de mentalidad en donde la figura del rey aparece como garante del orden dado. En este trabajo analizaremos la construcción de la identidad del rey en el Antiguo Egipto en base a dos interrogantes: los orígenes topográficos del culto a Osiris y cómo a través del mito se produce la identificación de Osiris el rey-padre muerto con su sucesor Horus-rey-hijo-vivo, todo esto vinculado a la formación del Estado

Wanted : dead or alive. Women as bodies in Shakespeare's Pericles, King Lear and Macbeth

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Oh Holly, The Fish is Dead

From Kurt Vonnegut to Stephen King, many novelists use metanarrative techniques to insert fictional versions of themselves in the stories they tell. The function of deploying such techniques is often to draw attention to the liminal space between the fictional constructs inherent in the novel as a form, and the real world from which the constructs draw inspiration, and indeed, are read by an audience. For emerging writers working in short form narratives, however, the structural demands of the short story or flash fiction make the use of similar techniques problematic in the level of depth to which they can be deployed. ‘Oh Holly, the fish is dead’ is the fourth in a series of short stories that work to overcome the structural limitations of a succinct form by developing a fractured fictional version of the author over a number of pieces and published across a range of sites. The accumulative affect is a richer metanarrative textual arrangement that also allows for the individual short stories to function independently.

Extremely slow feeding in a tropical drilling ectoparasite, Vitularia salebrosa (King and Broderip, 1832) (Gastropoda: Muricidae), on molluscan hosts from Pacific Panama

This study documents one of the slowest feeding behaviors ever recorded for a muricid gastropod in one of the most biotically rigorous regions on the planet. In Pacific Panama, Vitularia salebrosa attacks mollusks by drilling through their shells. The duration of attacks estimated by isotope sclerochronology of oyster shells collected during attacks in progress range from 90 to 230 days, while experimental observation of interactions documented one attack greater than 103 days. The prolonged nature of attacks suggests that V. salebrosa is best characterized as an ectoparasite than as a predator, which is the ancestral condition in the Muricidae. An ectoparasitic lifestyle is also evident in the unusual interaction traces of this species, which include foot scars, feeding tunnels and feeding tubes, specialized soft anatomy, and in the formation of male-female Pairs, which is consistent with protandrous hermaphroditism, as is typical in sedentary gastropods. To delay death of its host, V. salebrosa targets renewable resources when feeding, such as blood and digestive glands. A congener, Vitularia miliaris from the Indo-Pacific, has an identical feeding biology The origin and persistence of extremely slow feeding in the tropics challenges our present understanding of selective pressures influencing the evolution of muricid feeding behaviors and morphological adaptations. Previously, it has been suggested that faster feeding is advantageous because it permits predators to spend a greater proportion of time hiding in enemy-free refugia or to take additional prey, the energetic benefits of which could be translated into increased fecundity or defenses. The benefits of exceptionally slow feeding have received little consideration. In the microhabitat preferred by V. salebrosa (beneath boulders), it is possible that prolonged interactions with hosts decrease vulnerability to enemies by reducing the frequency of risky foraging events between feedings . Ectoparasitic feeding through tunnels by V. salebrosa may also reduce competitive interactions with kleptoparasites (e.g., crabs, snails) that steal food through the gaped valves of dead or dying hosts.

Occurence of monothalamous foraminifera in Admiralty Bay, King George Island, West Antarctica (Table 1, 2)

During the late 2007 austral summer, 20 sediment samples were collected in Admiralty Bay (King George Island, South Shetlands, West Antarctica) from 8 down to 254 m water-depth (mwd). The samples yielded abundant assemblage of monothalamous benthic foraminifera, belonging to at least 40 morphospecies. They constituted the first such collection from Antarctic Peninsula fjords and provided a new insight into this group's diversity and distribution. Among organic-walled taxa, Psammophaga sp., Allogromia cf. crystallifera, and three morphotypes of Gloiogullmia were especially abundant. Agglutinated forms were dominated by Hippocrepinella hirudinea, Psammosphaera spp., Lagenammina spp., and various mudballs. Although, the majority of the morphotypes were known from other high?latitude locations, somewere reported for the first time. Our quantitative data (>125 µm) showed the greatest differences between monothalamous foraminifera assemblages at shallowest water depths above 50 mwd. The deepest assemblages from between 179 and 254 mwd, were most similar, suggesting uniform near-bottom conditions at ~200 mwd throughout the Admiralty Bay.

Contemporary take on deconstructed Medea : a review

THEATRE: The New Dead: Medea Material. By Heiner Muller. Stella Electrika in association with La Boite Theatre Company, Brisbane, November 19. THERE has been a lot of intensity in independent theatre in Brisbane during the past year, as companies, production houses and producers have begun building new programs and platforms to support an expansion of pathways within the local theatre ecology. Audiences have been exposed to works signalling the diversity of what Brisbane theatre makers want to see on stage, from productions of new local and international pieces to new devised works, and the results of residencies and development programs. La Boite Theatre Company closes its inaugural indie season with a work that places it at the contemporary, experimental end of the spectrum. The New Dead: Medea Material is emerging director Kat Henry's interpretation of Heiner Muller's 1981 text Despoiled Shore Medea Material Landscape with Argonauts. Start of sidebar. Skip to end of sidebar. End of sidebar. Return to start of sidebar. Muller is known for his radical adaptations of historical dramas, from the Greeks to Shakespeare, and for deconstructed texts in which the characters - in this case, Medea - violently reject the familial, cultural and political roles society has laid out for them. Muller's combination of deconstructed characters, disconnected poetic language and constant references to aspects of popular culture and the Cold War politics he sought to abjure make his texts challenging to realise. The poetry entices but the density, together with the increasing distance of the Cold War politics in the texts, leaves contemporary directors with clear decisions to make about how to adapt these open texts. In The New Dead: Medea Material, Henry works with some interesting imagery and conceptual territory. Lucinda Shaw as Medea, Guy Webster as Jason and Kimie Tsukakoshi as King Creon's daughter Glauce, the woman for whom Jason forsakes his wife Medea, each reference different aspects of contemporary culture. Medea is a bitter, drunken, satin-gowned diva with bite; Jason - first seen lounging in front of the television with a beer in an image reminiscent of Sarah Kane's in-yer-face characterisation of Hippolytus in Phaedra's Love - has something of the rock star about him; and Glauce is a roller-skating, karaoke-singing, pole-dancing young temptress. The production is given a contemporary tone, dominated by Medea's twisted love and loss, rather than by any commentary on her circumstances. Its strength is the aesthetic Henry creates, supported by live electro-pop music, a band stage that stands as a metaphor for Jason's sea voyage, and multimedia that inserts images of the story unfolding beyond these characters' speeches as sorts of subconscious flashes. While Tsukakoshi is engaging throughout, there are moments when Shaw and Webster's performances - particularly in the songs - are diminished by a lack of clarity. The result is a piece that, while slightly lacking in its realisation at times, undoubtedly flags Henry's facility as an emerging director and what she wants to bring to the Brisbane theatre scene.

Byron's back from the dead? : revenants of Romanticism in contemporary young adult fiction

Often identified as the origin of today’s children’s literature, Romanticism offers a particular context for interrogating boundaries between child and adult. Since the turn of the nineteenth century, however, Western society has “invented” the teenager to figure and to police the boundary between childhood and adulthood. In due course, twenty-first-century young adult (YA) novels such as Susan Davis’s Mad, Bad and Totally Dangerous (2004) and Cara Lockwood’s Wuthering High: A Bard Academy Novel (2006) have combined the Romantic and the adolescent in narratives which turn on supernatural invocation of Romantic authors as “really” present in contemporary adolescent lives. These novels tell stories of adolescence in which the self comes to be known via embodied encounters with dead authors, in particular, with Byron. Where “Byron scholarship has worked hard to disassociate the poet from this kind of pop-Gothic depiction, seeing it as the inevitable but regrettable offspring of nineteenth-century Byromania” (McDayter 30), contemporary YA fiction suggests that it is precisely via pop-Gothic depictions that today’s adolescents may first come to know the Romantic in general and the Byronic in particular. This paper reads these novels in the context of current anxieties about cultural illiteracy and educational “failure” in order to consider what work is being undertaken in the name of Byron, and to shed light on the ways in which cultural education may be taking place far beyond the realms of schools or cemeteries for today’s young readers.

Realising dead path elimination in BPMN

The Web Service Business Process Execution Language (BPEL) lacks any standard graphical notation. Various efforts have been undertaken to visualize BPEL using the Business Process Modelling Notation (BPMN). Although this is straightforward for the majority of concepts, it is tricky for the full BPEL standard, partly due to the insufficiently specified BPMN execution semantics. The upcoming BPMN 2.0 revision will provide this clear semantics. In this paper, we show how the dead path elimination (DPE) capabilities of BPEL can be expressed with this new semantics and discuss the limitations. We provide a generic formal definition of DPE and discuss resulting control flow requirements independent of specific process description languages.

Turbulence measurements in a small subtropical estuary under king tide conditions

In natural waterways and estuaries, the understanding of turbulent mixing is critical to the knowledge of sediment transport, stormwater runoff during flood events, and release of nutrient-rich wastewater into ecosystems. In the present study, some field measurements were conducted in a small subtropical estuary with micro-tidal range and semi-diurnal tides during king tide conditions: i. e., the tidal range was the largest for both 2009 and 2010. The turbulent velocity measurements were performed continuously at high-frequency (50Hz) for 60 h. Two acoustic Doppler velocimeters (ADVs) were sampled simultaneously in the middle estuarine zone, and a third ADV was deployed in the upper estuary for 12 h only. The results provided an unique characterisation of the turbulence in both middle and upper estuarine zones under the king tide conditions. The present observations showed some marked differences between king tide and neap tide conditions. During the king tide conditions, the tidal forcing was the dominant water exchange and circulation mechanism in the estuary. In contrast, the long-term oscillations linked with internal and external resonance played a major role in the turbulent mixing during neap tides. The data set showed further that the upper estuarine zone was drastically less affected by the spring tide range: the flow motion remained slow, but the turbulent velocity data were affected by the propagation of a transient front during the very early flood tide motion at the sampling site. © 2012 Springer Science+Business Media B.V.