Reasserting the distinctive character of share-holder remedies in Scotland - Wilson v Inverness Retail and Business Park Ltd

Juridical Review. Looks at the question of whether an individual shareholder has title to bring an action on the company's behalf in exceptional circumstances, as considered in the cases of Anderson v Hogg and Wilson v Inverness Retail & Business Park Ltd. Examines the difference between English and Scottish law in this area, notwithstanding the reliance on English case law in Scotland due to the small number of Scottish cases decided. Looks at progress towards the reform of company law and the impact it will have on a shareholder's title to sue.

Contraste e alteridade na viagem contemporânea

No mundo contemporâneo globalizado, definido pela sua qualidade essencialmente fluida e instável, o carácter distintivo da viagem parece dissolver-se face à contracção do planeta, à economia das ―trocas simbólicas‖ e a um alegado processo de diluição das diferenças e de homogeneização cultural. Com efeito, a mediatização da sociedade e a proliferação icónica contemporâneas produzem um aparente estado de saturação da geografia real e de multiplicação de lugares enquanto representações e imagens, permitindo pôr em causa a própria necessidade e urgência de deslocação, bem como admitir a abolição do ―estatuto de privilégio‖ de certos lugares e a derradeira quebra no conceito aurático das férias e das viagens, tradicionalmente assente em antinomias cruciais entre o quotidiano/familiar e o diferente/extraordinário. O presente artigo propõe-se abordar o paradigma da mobilidade contemporânea, nomeadamente no que diz respeito à traumática aniquilação do espaço e do tempo e ao seu impacto fortemente disruptivo sobre a dimensão ontológica de uma prática cultural cujo poder aurático se encontra tradicionalmente relacionado com a conquista de distâncias, a percepção de diferenças e a experiência de alteridade. O artigo pretende, por outro lado, refutar a declaração pós-moderna de que a familiarização com o outro conduz a uma diminuição do potencial de choque cultural no turismo contemporâneo, discutindo a relevância e a prevalência da busca de contraste e formas de vivência de alteridade no complexo novelo de motivações da viagem turística contemporânea.

Estratégia de comunicação da burberry em Portugal: um estudo de caso

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Gestão Estratégica das Relações Públicas.

La notion de fonctionnalité en droit canadien : quels fondements pour quels usages?

Ce mémoire analyse la notion de fonctionnalité. D'origine jurisprudentielle, ce concept tend à maintenir la dichotomie traditionnelle entre le régime des marques de commerce et celui des brevets. À la lecture des jugements rendus en la matière, le maintien d'une telle dichotomie empêcherait notamment de prolonger indûment un monopole échu sous le régime des brevets par l'enregistrement d'une marque de commerce. Cette étude tente de mieux cerner le concept de fonctionnalité et, plus précisément, de justifier son existence. Pour ce faire, une étude approfondie des régimes des marques de commerce et des brevets, nous permet de comprendre que chacun de ces corps de règles répond à une logique différente. Les fonctions des marques de commerce et des brevets sont en effet distinctes et aucun chevauchement ne semble être permis. Cette situation est d'ailleurs propre à ces régimes spécifiques. Un examen de l'étendue de la notion de fonctionnalité nous permet de constater que d'autres droits de propriété intellectuelle peuvent coexister. À titre d'exemple, nous croyons qu'une intersection est possible entre les régimes des dessins industriels et des marques de commerce. À l'issue de ces recherches, nous constatons que la notion de fonctionnalité est un principe jurisprudentiel bien établi en droit canadien visant à empêcher tout renouvellement à perpétuité d'un brevet par le biais du droit des marques de commerce. L'existence de ce principe nous semble être justifiée en matière de marques de commerce et de brevets. Cette conclusion pourrait toutefois différer dans le cadre d'autres droits de propriété intellectuelle, les fonctions de ces autres régimes semblant permettre des chevauchements.

Die Wahrnehmung des Fremden im Caoba-Zyklus von B. Traven

Les six romans du cycle de Caoba retracent sur un mode fictif le déroulement de la Révolution mexicaine et montrent les conséquences de la colonisation de même que les injustices sociales et économiques dont souffre tout particulièrement la population indigène. Dans ce contexte de conflit culturel entre colonisés et colonisateurs, le personnage de l’indigène est perçu de façon variée dans les différents romans. L’analyse de la représentation de la population indigène est donc le sujet principal de ce travail qui combine une étude narratologique et une approche postcoloniale. L’examen détaillé d’extraits de texte permettra de vérifier dans quelle mesure l’auteur germanophone B. Traven, dans sa représentation de l'étranger, se détache d’un discours colonial, et s’il peut être considéré comme un auteur postcolonial avant la lettre. Dans ces analyses, les questions suivantes serviront de fil conducteur : dans quelle mesure la représentation du personnage de l’indigène correspond-elle à celle du «bon sauvage» ? Comment les différents groupes sociaux du Mexique sont-ils représentés – par des individus, des descriptions stéréotypées, des allégories? Quels moyens l’auteur utilise-t-il pour familiariser son lectorat européen/occidental avec cette culture étrangère? Ainsi, le travail se penche sur les procédés narratifs employés par l’auteur pour dépeindre la société à partir de perspectives diverses. Dans le but de dénoncer des conditions d’oppression et d’exploitation, Traven écrit à partir du regard du colonisé. Mais lorsqu'il cherche à comprendre le système dictatorial, il écrit dans la perspective du colonisateur. Cette méthode correspond à celle des regards croisés que le théoricien Edward E. Said décrit dans son ouvrage Orientalisme. L’emploi de cette méthode contrapunctique - permet-il d’exercer une critique (post)coloniale? Dans quelle mesure ce texte révèle-t-il l’importance de l’hybridité de la culture telle qu'elle a été théorisée par K. Bhabha? Dans quelle mesure l'accent est-il mis sur les rapports transculturels, sur la façon dont les cultures s'influencent les unes les autres?

Análise das estratégias comunicacionais de grifes de luxo na Internet

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

The complete larval development of Armases benedicti (Rathbun) (Decapoda, Sesarmidae), from the Amazon region, reared in the laboratory

São descritos e ilustrados em detalhes, os quatro estágios de zoea e um de megalopa do caranguejo Armases benedicti (Rathbun, 1897), a partir de larvas obtidas em laboratório. A média de duração de cada estágio larval foi 3, 2, 4, 4 e 13 dias, respectivamente. O período compreendido desde a eclosão até o surgimento do primeiro juvenil foi de 26 dias. Morfologicamente A. benedicti é muito similar às outras espécies do gênero, contudo, um pequeno espinho lateral é claramente observado na carapaça das zoeas desta espécie. Esta característica aparenta ser única dentre os Sesarmidae. Outra característica distinta desta espécie é a distribuição das cerdas do endópodo da maxila (2+2), o qual difere dos demais sesarmídeos que apresentam a distribuição (2+3), exceto para Sesarma tetragonum (Fabricius, 1798) o qual apresenta (2+2). Outras comparações morfológicas com trabalhos anteriores relacionados a larvas do gênero Armases Abele, 1992 são brevemente discutidas.

A relação fala-escrita em dados produzidos em contexto digital

This paper aims to explain certain language phenomena remarkable for example in the Internet. These phenomena are popularly known as “internetês” in Brazilian Portuguese writing texts. A set of texts collected from chats was analyzed based on discoursive and phonological studies. The relationship between spoke and writing is seen as a distinctive character of heterogeneity of writing. In a particular way, the writing of nicknames in these digital interactions is analyzed. It is shown that enunciative complexity came from different linguistic information (phonological, morphological, semantics and enunciative ones). This study aims to contribute for general questions about oral/spoken and literacy/writing in digital context (but not just in those contexts).

Ou isto ou aquilo: a poesia (não tão) infantil de Cecília Meireles

In this paper, we propose a brief analysis of Ou Isto ou Aquilo, a 1964 children's poetry book by Cecilia Meireles. Based on the perception that the poems in this book possess a distinctive character, both aesthetically and thematically, the analysis focuses precisely on the work's unique aspects, regarding the approach to certain issues which are not customarily associated with the child's universe - such as solitude, death, longing, sorrow, angst and nostalgia. Our work aims to shun a common - and sometimes reductionist - vision of children's poetry, by seeing the ludic primarily as a tool that allows the poet to address denser themes in a way that is accessible to children, but without underestimating them. Likewise, based on the assumptions presented, we intend to demonstrate how the author allows not only children, but also to the adult readers, to get in contact with poetic profundity that is not restricted to the target audience. Thus, we expect that the presentation and the analysis of children's poems might, in a way, redeem the importance of Cecilia Meireles's children's poetic production

Ou isto ou aquilo: a poesia (não tão) infantil de Cecília Meireles

In this paper, we propose a brief analysis of Ou Isto ou Aquilo, a 1964 children's poetry book by Cecilia Meireles. Based on the perception that the poems in this book possess a distinctive character, both aesthetically and thematically, the analysis focuses precisely on the work's unique aspects, regarding the approach to certain issues which are not customarily associated with the child's universe - such as solitude, death, longing, sorrow, angst and nostalgia. Our work aims to shun a common - and sometimes reductionist - vision of children's poetry, by seeing the ludic primarily as a tool that allows the poet to address denser themes in a way that is accessible to children, but without underestimating them. Likewise, based on the assumptions presented, we intend to demonstrate how the author allows not only children, but also to the adult readers, to get in contact with poetic profundity that is not restricted to the target audience. Thus, we expect that the presentation and the analysis of children's poems might, in a way, redeem the importance of Cecilia Meireles's children's poetic production

Adattamento e acclimatazione a diverse temperature di lieviti psicrofili obbligati e facoltativi e di lieviti mesofili. Studio della produzione di acidi grassi polinsaturi omega-3 e omega-6 per via fermentativa.

Adaptation and acclimation to different temperatures of obligate psychrophilic, facultative psychrophilic and mesophilic yeasts. Production of ω-3 and ω-6 polyunsaturated fatty acids by fermentative way. Obligate psychrophilic, facultative psychrophilic and mesophilic yeasts were cultured in a carbon rich medium at different temperatures to investigate if growth parameters, lipid accumulation and fatty acid composition were adaptive and/or acclimatory responses. Acclimation of facultative psychrophiles and mesophiles to lower temperature negatively affected their specific growth rate. Obligate psychrophiles exhibited the highest biomass yield (YX/S), followed by facultative psychrophiles, then by mesophiles. The growth temperature did not influence the YX/S of facultative psychrophiles and mesophiles. Acclimation to lower temperature caused the increase in lipid yield (YL/X) in mesophilic yeasts, but did not affect YL/X in facultative psychrophiles. Similar YL/X were found in both facultative and obligated psychrophiles, suggesting that lipid accumulation is not a distinctive character of adaptation to permanently cold environments. The extent of unsaturation of fatty acids was one major adaptive feature of the yeasts which colonize permanently cold ecosystems. Remarkable amounts of α-linolenic acid were found in obligate psychrophiles at the expenses of linoleic acid, whereas it was generally scarce or absent in all the others strains. Increased unsaturation of fatty acids was also an acclimatory response of mesophiles and facultative psychrophiles to lower temperature. It’s well known that omega-3 polyunsaturated fatty acids (PUFAs) display a variety of beneficial effects on various organ systems and diseases, therefore a process for the microbial production of omega-3 PUFAs would be of great interest. This work sought also to investigate if one of the better psychrophilic yeast, Rhodotorula glacialis DBVPG 4785, stimulated by acclamatory responses, produced omega-3 PUFAs. In fact, the adaptation of psychrophilic yeasts to cold niches is related to the production of higher amounts of lipids and to increased unsaturation degree of fatty acids, presumably to maintain membrane fluidity and functionality at low temperatures. Bioreactor fermentations of Rhodotorula glacialis DBVPG 4785 were carried out at 25, 20, 15, 10, 5, 0, and -3°C in a complex medium with high C:N ratio for 15 days. High biomass production was attained at all the temperatures with a similar biomass/glucose yield (YXS), between 0.40 and 0.45, but the specific growth rate of the strain decreased as the temperature diminished. The coefficients YL/X have been measured between a minimum of 0.50 to a maximum of 0.67, but it was not possible to show a clear effect of temperature. Similarly, the coefficient YL/S ranges from a minimum of 0.22 to a maximum of 0.28: again, it does not appear to be any significant changes due to temperature. Among omega-3 PUFAs, only α-linolenic acid (ALA, 18:3n-3) was found at temperatures below to 0°C, while, it’s remarkable, that the worthy arachidonic acid (C20:4,n-6), stearidonic acid (C20:4,n-3) C22:0 and docosahexaenoic acid (C22:6n-3) were produced only at the late exponential phase and the stationary phase of batch fermentations at 0 and -3°C. The docosahexaenoic acid (DHA) is a beneficial omega-3 PUFA that is usually found in fatty fish and fish oils. The results herein reported improve the knowledge about the responses which enable psychrophilic yeasts to cope with cold and may support exploitation of these strains as a new resource for biotechnological applications.

Deep-sea sediment core PS2644 record from the southern Greenland Sea

The PS2644 deep-sea core sequence, retrieved from the northwestern margin of Iceland and covering the last 86 ka, exhibits high sedimentation rates during the last glacial cycle that allow the clear distinction of Greenland stadial (GS)/ interstadial (GI) cycles in the various proxy records. Abundance records of rhyolitic, basaltic and tachylytic tephra grains reveal several maxima. Tephra grains of all types were geochemically analyzed in 44 levels. A total of 92 tephras with a distinctive character have been defined within the glacial sequence of gravity core PS2644-5, whereas the Holocene record is dominated by reworked Vedde Ash grains and not suitable for tephra stratigraphic work. Of the 92 tephras only 19 geochemical populations have been linked with confidence to previously defined tephras such as from the Vedde Ash, Faeroe Marine Ash Zones (FMAZ) II and III and North Atlantic Ash Zone (NAAZ) II. For the glacial period informal names were given to 78 new tephras, most of which are basaltic tephras. Several of these layers have a unique geochemical character and might become new chronostratigraphic markers in the North Atlantic region. Linking the tephra populations to the volcanic system producing them, respectively, revealed that Icelandic eruptions dominate with 83 tephra geochemical populations and Jan Mayen with 9. Around 48% of the informal tephra layers linked to the Icelandic volcanic province are produced from either the Grimsvötn or the Veidivötn-Bardarbunga volcanic systems. The intervals spanning from Greenland Stadial (GS) 3 to Greenland Interstadial (GI) 4 (24.5-29 ka BP), from GI 8 to GS 10 (36.9-40.5 ka BP) and from GI 14 to GI 15.2 (50-56 ka BP) are the periods with the highest number of eruptions, all of which are associated with known tephra zones.

Geochemistry of the sheeted dike complex at Pito Deep

Alteration of sheeted dikes exposed along submarine escarpments at the Pito Deep Rift (NE edge of the Easter microplate) provides constraints on the crustal component of axial hydrothermal systems at fast spreading mid-ocean ridges. Samples from vertical transects through the upper crust constrain the temporal and spatial scales of hydrothermal fluid flow and fluid-rock reaction. The dikes are relatively fresh (average extent of alteration is 27%), with the extent of alteration ranging from 0 to >80%. Alteration is heterogeneous on scales of tens to hundreds of meters and displays few systematic spatial trends. Background alteration is amphibole-dominated, with chlorite-rich dikes sporadically distributed throughout the dike complex, indicating that peak temperatures ranged from <300°C to >450°C and did not vary systematically with depth. Dikes locally show substantial metal mobility, with Zn and Cu depletion and Mn enrichment. Amphibole and chlorite fill fractures throughout the dike complex, whereas quartz-filled fractures and faults are only locally present. Regional variability in alteration characteristics is found on a scale of <1-2 km, illustrating the diversity of fluid-rock interaction that can be expected in fast spreading crust. We propose that much of the alteration in sheeted dike complexes develops within broad, hot upwelling zones, as the inferred conditions of alteration cannot be achieved in downwelling zones, particularly in the shallow dikes. Migration of circulating cells along rides axes and local evolution of fluid compositions produce sections of the upper crust with a distinctive character of alteration, on a scale of <1-2 km and <5-20 ka.

El vidrio y sus máscaras : el sueño de la arquitectura de cristal

Según Heidegger, la esencia de la arquitectura, de la construcción, descansa en un no espacio: en la materia con que se construyen las fronteras que otorgan espacios, irradiando sobre ellos aquello que los caracteriza. Si hay alguna materia, de las utilizadas por la arquitectura a lo largo de su historia para construir fronteras, que haya mantenido una especial relación con la luz y la visión, dando un carácter inconfundible a los espacios aviados por ellas, esta es el vidrio; algunas de las etimologías de su nombre: zakû (ser claro), hyalos (diáfano) o vitrum (ver), así lo evidencian. Posiblemente, sea la pregnancia de este modo fascinante de relacionarse con la luz, la que ha hecho del vidrio, a lo largo del tiempo que lleva siendo usado en arquitectura, y aún antes, el material que ha provocado en el imaginario humano la ilusión de ser aquel en que, en último término, podrían llegar a sublimarse todos los demás, dando lugar con ello a lo que en la tesis hemos denominado el sueño de la arquitectura de cristal. Siendo la luz, siempre, energía, consideraremos en la tesis luz-energía, a aquella que ilumina y calienta; es una luz científica y mesurable. Cuando la luz se “hace visible”, desvelando un mensaje “contenido” en el vidrio, hablaremos de luz-información. Esta luz, no puede medirse científicamente. La luz-energía y la luz-información, se manifiestan al conjuro de la arquitectura de vidrio. Es la segunda la que ha conformado las fronteras de vidrio enmascarado, y la que se estudia con más detenimiento en la tesis. Los distintos modos de usar en arquitectura la infinita combinatoria de las propiedades de absortancia, reflectancia, transmitancia y translucencia del vidrio, ha condicionado al hombre en su manera de “ver” el mundo. Unas veces, “inmerso” en él, puesto que solo lo separa del mismo, una frontera transparente, y “deseadamente” invisible: ese modo de usar el vidrio, ha sido el sueño imposible de una parte importante de la arquitectura del siglo XX. Otras veces, para “aislarse” de él, el hombre ha manipulado la luz y el vidrio para construir mundos diferentes. Las fronteras de vidrio enmascarado de color, mosaicos, vidrieras, pantallas y lo que hemos llamado vidrios complejos (con un cometido similar al que Schiller atribuía al coro en la tragedia griega, aislar a esta del “mundo real”, para mantener su libertad poética), son las fronteras que han construido el sueño posible de la arquitectura de cristal. Ambas actitudes, en distintos momentos de la historia de la arquitectura, han sido dos formas de querer materializar un mismo sueño. La capacidad del vidrio para adaptarse a tantos modos de presentarse ante nosotros, y a poder ser interpretado de tantas formas diferentes, es la que ha servido para dar título a la tesis, pues hasta en su faceta más transparente, el vidrio, de una forma o de otra, se ha mostrado siempre como un material enmascarado en el más amplio sentido de la palabra: se enmascara, incluso cuando apela a la transparencia o se convierte en espejo, para hacernos caer en la ilusión de que no está presente. Cuando el hombre construyó fronteras de vidrio e incluso antes, cuando soñó que con él podría llegar a construirlas, condensó en ellas toda la mítica, la mística y la epistemología en torno a la luz y la visión, dando lugar a una serie de arquetipos arquitectónicos. En la iglesia bizantina, la luz sobre, o la luz desde, los mosaicos, construyó una frontera titilante; y en la catedral gótica, la luz a través de las vidrieras construyó una frontera radiante; en ambos casos con el fin de alcanzar anagógicamente lo Inteligible. En el siglo XIX, con el descubrimiento de la electricidad y su incorporación a la arquitectura, las fronteras se vuelven fulgurantes, aviando, en este caso, el espacio urbano. Poco antes, en este mismo siglo, el espíritu del gótico tiene un efímero resurgir del que se nutrirá, a comienzos del siglo XX, el expresionismo cristalino, en el que la luz anagógica se hace laica. El espacio urbano fulgurante prefigurado por este movimiento y presente en las ciudades desde principios del siglo XX, fue potenciado a mediados de ese siglo con la aparición de las pantallas, extendiéndose desde entonces, imparable, por todo el planeta. La reciente emergencia de los vidrios complejos, ha abierto la posibilidad de construir fronteras a la carta (de vidrios de propiedades múltiples, seleccionadas de forma voluntaria y variable en cada momento). En principio, se pensó que, el uso de estos vidrios como cerramiento, podría llegar a constituirse como la panacea de los problemas del material relacionados con la luz-energía, sin necesidad de recurrir a “prótesis”, y manteniendo por tanto la seductora tersura de la fachada; aunque parece que, por ahora, esa posibilidad es, cuando menos, lejana. Sin embargo, en el campo de las megapantallas urbanas (y ,en general, en el de las pantallas de información), ubicuas actualmente en nuestras vidas, los vidrios complejos ayudan a construir los espesos velos de ilusión, que según Lefebvre sirven para mantener el capitalismo, siendo el último estadio de un desarrollo tecnológico, impuesto por el principio de economía del hombre, que como un metrónomo inexorable, y a modo de contrapunto, ha acompañado siempre (de nuevo en palabras de Lefebvre), a la necesidad del gasto, del juego, de la lucha, del arte, de la fiesta. La tecnología y el arte forman parte de la cultura producida por la sociedad y como señala Lévi-Strauss, esa cultura imprime orden; por el contrario, la sociedad, entendida como el conjunto de relaciones que los hombres mantienen entre sí, produce desorden. Del equilibrio entre esos extremos, surge el progreso, incluido el de la arquitectura. Las fronteras de vidrio que analizamos en la tesis –que avían espacios para la espiritualidad, el fasto y el espectáculo o, desde otro punto de vista, para las distintas manifestaciones del poder: la iglesia, la monarquía, el estado o el mercado– también han surgido de esa concomitancia entre el desorden y el orden; y forma parte de ese desorden, la aventura que ha impulsado al genio individual de místicos, alquimistas, geómetras, abades, reyes, inventores, poetas y arquitectos, a explorar, como escribe Apollinaire, vastos y extraños territorios donde el misterio en flor, se ofrece a quien quiera cogerlo, hogueras nuevas de colores nunca vistos, mil fantasmas imponderables a los que dar cuerpo. ABSTRACT According to Heidegger, the essence of architecture, building, lies in a non-space: the material that creates the boundaries from which something begins its presencing, radiating onto them that which characterizes them. If there is any single material amongst all those used throughout the history of architecture to build boundaries which has maintained a special relationship with light and vision, which has bestowed a distinctive character on spaces avid for them, it is glass. This is evidenced in some of its etymologies: zakû (to be clear), hyalos (transparent), vitrum (see). The rich potential of this fascinating way of relating to light in the history of the architectural use of glass, and even before, is possibly what has triggered the illusion in human imagination of being something that can ultimately sublimate all others, giving rise to what in this thesis we call The Dream of Crystal Architecture. Given that light is always energy, in this thesis we consider energy-light to be that which illuminates and warms. This is scientific, measurable light. When light "becomes visible" and reveals a message “contained” in glass, we speak of information-light. This light cannot be measured scientifically. Energy-light and information-light are manifested under the spell of glass architecture. The latter is what has shaped the boundaries of coloured glass, which is studied in this thesis. Architecture's different ways of using the infinite combinations of the absorptance, reflectance, transmittance and translucency of glass has affected the way we humans "see" the world. Sometimes we are "immersed" in it, since only an invisible, transparent boundary separates us from it: this use of glass has characterized a considerable part of 20th century architecture. In other cases, in order to "isolate" us from it, we have manipulated light and glass to build different worlds: the boundaries of glass "masked" by colour, mosaics, stained glass, screens and what we have called complex glazing, which plays a similar role to what Schiller attributed to the chorus in Greek tragedy, isolating it from the "real world" in order to maintain its poetic license. These are the boundaries that have built the viable dream of crystal architecture. These two approaches have been different ways of making same dream come true at different times in the history of architecture. The ability of glass to adapt to so many forms of manifestation, and interpretation, is what has given rise to the title of the thesis. Even in its most transparent facet, glass has one way or another always been a masking material in the broadest sense of the word: it is masked even when it invites transparency or becomes a mirror, triggering the illusion that it is not present. When man began to build glass boundaries, and even before, when he dreamed that he could build them, he condensed in them all the mythology, mysticism and epistemology concerning light and vision, which gave rise to a series of architectural archetypes. In the Byzantine church, light on or from mosaics created tenuous boundaries. In Gothic cathedrals, the light through the stained glass windows constructed radiant boundaries. In both cases the aim was to achieve, in an anagogical way, the Intelligible. In the 19th, the discovery of electricity and its use in architecture led to the production of dazzling boundaries, in this case employed in urban spaces. Earlier in the same century, the Gothic spirit had a short-lived revival, which in the early 20th century drew from crystalline expressionism in which anagogic light became secular. The dazzling urban space prefigured by this movement, present in cities since the early 20th century, was intensified in the mid-century with the emergence of screens, and since then it has spread unstoppably across the world. The recent emergence of complex glasses has made it possible to build boundaries on demand in glass with multiple properties, chosen at will and at whim at any time. Initially it was thought that the use of this glass as a wall could eventually become the panacea for the material problems related to energy-light, without needing to resort to "prosthesis" and thereby maintain the seductive smoothness of the facade. For now, that possibility seems remote, to say the least. In the realm of urban megascreens and information screens in general, now ubiquitous in our lives, complex glasses help to build the thick veils of illusion which, according to Lefebvre, serve to maintain capitalism. Like an inexorable metronome, in counterpoint, this ultimate state of technological development imposed by man's principle of economy has in fact always accompanied (again in the words of Lefebvre), the need to spend, play, fight, art, and party. Technology and art are part of the culture produced by society. As Levi-Strauss says, this culture imposes order. On the contrary, society, understood as a set of relationships amongst people, produces disorder. Progress, including that of architecture, arises from the balance between these two extremes. The glass boundaries analyzed in this thesis, which propitiate spaces for spirituality, pomp and spectacle or, from a different perspective, for the various manifestations of power: the church, the monarchy, the state and the market, have also emerged from the concomitance of order and disorder. One aspect of this disorder is the adventure that has inspired the individual genius of mystics, alchemists, surveyors, abbots, kings, inventors, poets and architects to explore, as Apollinaire says, vast, strange domains where flowering mystery offers itself to whoever wishes to pluck it, new fires, colours you have never seen before, a thousand intangible phantasms still awaiting reality.

(Table 2) Composition of polycyclic aromatics in bottom sediments from the Weddell Sea

Distribution, composition and genesis of organic matter in recent bottom sediments of the Weddell Sea (Western Antarctic) are discussed. Geochemical background levels of bitumen, organic matter, and polycyclic aromatics in the sediments are respectively 0.01-0.1%, 0.003-0.005%, and 0.0001-0.0002%. Deviations from the background level, probably caused by secondary processes, are found. Organic matter has characteristic properties resulting from distinctive character of aquatic biota organic matter, from which it has been formed.