The studies on the relationship between religion and Macedonian monarchy have been mainly focused on male rulers. This paper tries to compile and analyse the evidence for Macedonian royal women. This ...article demonstrates the importance of public religion and patronage for those women through archaeological, epigraphical, and textual evidence. The corpus shows that religious affairs in Macedonia were necessarily entangled with political and cultural aspects, hindering straightforward conclusions about the range and evolution of the royal women in the public religion of Argead Macedonia.
Circadian clocks in terrestrial animals are encoded by molecular feedback loops involving the negative regulators PERIOD, TIMELESS or CRYPTOCHROME2 and positive transcription factors CLOCK and ...BMAL1/CYCLE. The molecular basis of circatidal (~12.4 hour) or other lunar-mediated cycles (~15 day, ~29 day), widely expressed in coastal organisms, is unknown. Disrupting circadian clockworks does not appear to affect lunar-based rhythms in several organisms that inhabit the shoreline suggesting a molecular independence of the two cycles. Nevertheless, pharmacological inhibition of casein kinase 1 (CK1) that targets PERIOD stability in mammals and flies, affects both circadian and circatidal phenotypes in Eurydice pulchra (Ep), the speckled sea-louse. Here we show that these drug inhibitors of CK1 also affect the phosphorylation of EpCLK and EpBMAL1 and disrupt EpCLK-BMAL1-mediated transcription in Drosophila S2 cells, revealing a potential link between these two positive circadian regulators and circatidal behaviour. We therefore performed dsRNAi knockdown of Epbmal1 as well as the major negative regulator in Eurydice, Epcry2 in animals taken from the wild. Epcry2 and Epbmal1 knockdown disrupted Eurydice's circadian phenotypes of chromatophore dispersion, tim mRNA cycling and the circadian modulation of circatidal swimming, as expected. However, circatidal behaviour was particularly sensitive to Epbmal1 knockdown with consistent effects on the power, amplitude and rhythmicity of the circatidal swimming cycle. Thus, three Eurydice negative circadian regulators, EpCRY2, in addition to EpPER and EpTIM (from a previous study), do not appear to be required for the expression of robust circatidal behaviour, in contrast to the positive regulator EpBMAL1. We suggest a neurogenetic model whereby the positive circadian regulators EpBMAL1-CLK are shared between circadian and circatidal mechanisms in Eurydice but circatidal rhythms require a novel, as yet unknown negative regulator.
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3.
The journeys of Orpheus Ceci, Francesca; Krauze-Kołodziej, Aleksandra
Acta antiqua Academiae Scientiarum Hungaricae,
05/2024, Volume:
63, Issue:
2-3
Journal Article
Peer reviewed
Abstract The figure of Orpheus has been and continues to be the subject of in-depth studies focusing mainly on the historical, religious (relative especially to Orphism), and then iconographic ...aspects (the representation of Orpheus and typical moments of mythical imagination that concern him). It may be interesting here to draw a precise map of places visited by Orpheus, alive but also once killed, through his prophetic head and lyre. This paper also aims to present the iconographic itinerary of the journeys of the Thracian singer between Ancient and Modern times.
The article discusses differences in the treatment of the Virgilian epyllion by scholars and artists. It also indicates that the work of a translator is the result of the activities in both areas. A ...few introductory remarks are followed by Polish translation of the story.
Mito - Cine - Adaptación - Orfeo - Eurídice Abstract: This article gathers the cinematographic adaptations of the episode of Orpheus and Eurydice in order to establish the transformations and the ...different objectives of its inclusion in this type of works. The analysis of the films showed that four raise issues related to the artistic medium (Orphée, Vous n'avez encore rien vu, Parking, Me ton Orfea ton Avgousto) and six deal with social problems (Orfeu Negro, Orfeu, The Fugitive Kind, Orpheus Descending, Evridiki BA 2O37, Shredder Orpheus). La versión que ofrece Ovidio (Met. 10-11.1-66) incluye todos los motivos del mito y se centra en los aspectos amorosos -el leitmotiv de las Metamorfosis-, pues la historia finaliza con el reencuentro de los amantes en el Hades después de la muerte de Orfeo y se observa el especial énfasis en el amor como causa de la catábasis, de la transgresión, de la fidelidad y de las historias de amor cantadas por Orfeo que ocupan la mayor parte del libro X. Del s. I d. C., provienen dos evocaciones del mito en sendas tragedias sobre Hércules compuestas por Séneca. De esta manera, se expondrán en dos grupos: el primero conformado por las cuatro obras que tratan temas relacionados con el medio artístico (Orphée, Vous n'avez encore rien vu, Parking, Me ton Orfea ton Avgousto); el segundo, con las seis que abordan distintos tipos de problemáticas sociales (Orfeu Negro, Orfeu, The Fugitive Kind, Orpheus Descending, Evridiki BA 2O37, Shredder Orpheus).
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We aim to evaluate the genetic structure of an Atlantic Forest amphibian species, Scinax eurydice, testing the congruence among patterns identified and proposed by the literature for Pleistocene ...refugia, microrefugia, and geographic barriers to gene flow such as major rivers. Furthermore, we aim to evaluate predictions of such barriers and refugia on the genetic structure of the species, such as presence/absence of dispersal, timing since separation, and population expansions/contractions. We sequenced mitochondrial and nuclear genetic markers on 94 tissue samples from 41 localities. We inferred a gene tree and estimated genetic distances using mtDNA sequences. We then ran population clustering and assignment methods, AMOVA, and estimated migration rates among populations identified through mtDNA and nDNA analyses. We used a dated species tree, skyline plots, and summary statistics to evaluate concordance between population's distributions and geographic barriers and Pleistocene refugia. Scinax eurydice showed high mtDNA divergences and four clearly distinct mtDNA lineages. Species tree and population assignment tests supported the existence of two major clades corresponding to northeastern and southeastern Atlantic Forest in Brazil, each one composed of two other clades. Lineage splitting events occurred from late Pliocene to Pleistocene. We identified demographic expansions in two clades, and inexistent to low levels of migrations among different populations. Genetic patterns and demographic data support the existence of two northern Refuge and corroborate microrefugia south of the Doce/Jequitinhonha Rivers biogeographic divide. The results agree with a scenario of recent demographic expansion of lowland taxa. Scinax eurydice comprises a species complex, harboring undescribed taxa consistent with Pleistocene refugia. Two rivers lie at the boundaries among populations and endorse their role as secondary barriers to gene flow.
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Eurídice became the main character in Eurídice y Orfeo by Antonio de Solís, staged in Pamplona in 1643 and adapted to be performed at Coliseo del Buen Retiro in 1655. The playwright created a ...love-honour-jelalousy conflict based on Eurídice. But in her baroque characterization for stage, several questions linked to the limits of art and the representation of women came into light and activated some epistemological problems which were essential to Seventeenth century worldview regarding body-image and life-art dialectics. In Coliseo’s rendition Solís could moreover profit from a number of performing options not only in order to intensify the visual power of mythological fest but also deepen into tensions about the representation of the female which also appeared in poetry and visual arts.
Tidal (12.4 hr) cycles of behavior and physiology adapt intertidal organisms to temporally complex coastal environments, yet their underlying mechanism is unknown. However, the very existence of an ...independent “circatidal” clock has been disputed, and it has been argued that tidal rhythms arise as a submultiple of a circadian clock, operating in dual oscillators whose outputs are held in antiphase i.e., ∼12.4 hr apart.
We demonstrate that the intertidal crustacean Eurydice pulchra (Leach) exhibits robust tidal cycles of swimming in parallel to circadian (24 hr) rhythms in behavioral, physiological and molecular phenotypes. Importantly, ∼12.4 hr cycles of swimming are sustained in constant conditions, they can be entrained by suitable stimuli, and they are temperature compensated, thereby meeting the three criteria that define a biological clock. Unexpectedly, tidal rhythms (like circadian rhythms) are sensitive to pharmacological inhibition of Casein kinase 1, suggesting the possibility of shared clock substrates. However, cloning the canonical circadian genes of E. pulchra to provide molecular markers of circadian timing and also reagents to disrupt it by RNAi revealed that environmental and molecular manipulations that confound circadian timing do not affect tidal timing. Thus, competent circadian timing is neither an inevitable nor necessary element of tidal timekeeping.
We demonstrate that tidal rhythms are driven by a dedicated circatidal pacemaker that is distinct from the circadian system of E. pulchra, thereby resolving a long-standing debate regarding the nature of the circatidal mechanism.
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•The intertidal crustacean Eurydice pulchra exhibits circadian and tidal phenotypes•We have cloned and characterized the canonical circadian factors of Eurydice•While sensitive to CK1 inhibition, circadian and tidal clocks can be dissociated•Eurydice has a dedicated circatidal clock independent of its circadian clock
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GEOZS, IJS, IMTLJ, KILJ, KISLJ, NLZOH, NUK, OILJ, PNG, SAZU, SBCE, SBJE, UILJ, UL, UM, UPCLJ, UPUK, ZAGLJ, ZRSKP
This paper argues that Céline Sciamma's Portrait of a Lady on Fire (2019) goes beyond the lesbian or queer categorization that critics have often hastily reduced it to. Set in pre-revolutionary ...France, Portrait is a film from 'the 2019th century' (Sciamma) that addresses contemporary issues (consent, patriarchal and heteronormative order, women's silencing, women's desire and sexuality). It offers a reflection on 'fluid' time and historicizes and archives both disappeared women artists and same-sex women's relations in French painting and cinema. Sciamma reeducates her spectators’ (male) gaze, precludes voyeurism and the objectification and fetishization of her heroines’ bodies, bestows agency upon them, and displays equality and respect in both form and content. Despite its Queer Palme award at Cannes, Portrait calls for a qualifier better suited to our changing times, as this fluid approach attempts to show.
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This study aims to reconsider the Scottish poet Robert Henryson’s retelling of the myth of Orpheus in his Orpheus and Eurydice (c. 1470) as a late example of medieval dream vision genre. There are ...two prominent versions of the myth in the medieval world: The anonymous Breton lay Sir Orfeo (c. 1330-1340) and Robert Henryson’s Orpheus and Eurydice. While Sir Orfeo abounds in romance elements, Henryson’s poem seems to be a dream poem with its extensive use of medieval allegory and several characteristics of the dream vision poetry. While the king in Sir Orfeo enjoys a happy ending, Henryson’s Orpheus cannot achieve bliss as he breaks his promise when he looks back to Eurydice, hence surrendering to worldly appetite. As a result, the poem ends with the disillusionment of Orpheus, who, however, learns from his mistake and is more mature and enlightened at the end of the poem. Like the dreamers in a typical medieval dream narrative, Orpheus goes through a journey in a vision and as a result of this experience, he is educated and spiritually transformed. In this light, the aim of this paper is to introduce Orpheus and Eurydice not as a romance but as a medieval dream poem.
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