This article compares three passages of two Catalan recreations of Ovid’s Metamorphoses dating to the fifteenth century: the translation Transformacions by Francesc Alegre and the Lamentacions by ...Joan Roís de Corella. Our comparison allows us to propose the hypothetical reconstruction of a third text, now lost, from which some of these common passages could have derived. Our comparison of these passages also helps us reflect on the importance of the Transformacions for the study of the textual transmission of Corella’s Lamentacions. Last, we suggest that remnants of that third text may also be found in Joanot Martorell’s Tirant lo Blanc.
Microbiomes provide a range of benefits to their hosts which can lead to the coevolution of a joint ecological niche. However, holometabolous insects, some of the most successful organisms on Earth, ...occupy different niches throughout development, with larvae and adults being physiologically and morphologically highly distinct. Furthermore, transition between the stages usually involves the loss of the gut microbiome since the gut is remodeled during pupation. Most eusocial organisms appear to have evolved a workaround to this problem by sharing their communal microbiome across generations. However, whether this vertical microbiome transmission can overcome perturbations of the larval microbiome remains untested. Honey bees have a relatively simple, conserved, coevolved adult microbiome which is socially transmitted and affects many aspects of their biology. In contrast, larval microbiomes are more variable, with less clear roles. Here, we manipulated the gut microbiome of
-reared larvae, and after pupation of the larvae, we inoculated the emerged bees with adult microbiome to test whether adult and larval microbiome stages may be coupled (e.g., through immune priming). Larval treatments differed in bacterial composition and abundance, depending on diet, which also drove larval gene expression. Nonetheless, adults converged on the typical core taxa and showed limited gene expression variation. This work demonstrates that honey bee adult and larval stages are effectively microbiologically decoupled, and the core adult microbiome is remarkably stable to early developmental perturbations. Combined with the transmission of the microbiome in early adulthood, this allows the formation of long-term host-microbiome associations.
This work investigated host-microbiome interactions during a crucial developmental stage-the transition from larvae to adults, which is a challenge to both, the insect host and its microbiome. Using the honey bee as a tractable model system, we showed that microbiome transfer after emergence overrides any variation in the larvae, indicating that larval and adult microbiome stages are effectively decoupled. Together with the reliable vertical transfer in the eusocial system, this decoupling ensures that the adults are colonized with a consistent and derived microbiome after eclosion. Taken all together, our data provide additional support that the evolution of sociality, at least in the honey bee system tested here, is linked with host-microbiome relationships.
Dynamics of the Duffing–van der Pol driven oscillator is investigated. Periodic steady-state solutions of the corresponding equation are computed within the Krylov-Bogoliubov-Mitropolsky approach to ...yield dependence of amplitude A on forcing frequency Ω as an implicit function, FA,Ω=0, referred to as resonance curve or amplitude profile.
In singular points of the amplitude curve the conditions ∂F∂A=0, ∂F∂Ω=0 are fulfilled, i.e. in such points neither of the functions A=fΩ, Ω=gA, continuous with continuous first derivative, exists. Near such points metamorphoses of the dynamics can occur. In the present work the bifurcation set, i.e. the set in the parameter space, such that every point in this set corresponds to a singular point of the amplitude profile, is computed.
Several examples of singular points and the corresponding metamorphoses of dynamics are presented.
•The externally forced van der Pol oscillator is investigated.•Implicit equations for amplitude profiles of nonlinear resonances are derived.•The bifurcation manifold in the parameter space is computed.•Examples of dynamics near double singular points are computed.
Alfred Hitchcock’s film Vertigo (1958) has attracted the interest of classical reception scholars because of its adaptation of Ovid’s Pygmalion myth. Scottie, the film’s main character, has been ...interpreted as a re-enactment of Pygmalion, a character in the Metamorphoses who sculpted his ideal woman out of ivory. In this article, the idea of a direct line of reception from Ovid to Hitchcock is challenged. Rather, the principal model of the film is identified as George Bernard Shaw’s drama Pygmalion (1913). However, Ovid’s Pygmalion story does constitute a model for the film as well, though it does so on a more indirect level. In fact, all the film’s main characters display Ovidian traits. These add an extra layer of meaning to the understanding of the film and the complexity of its characters, and allow for an unexpected re-interpretation of Scottie and his desires.
Minijci zdaj na ladji pagaški so rezali morje:videli vmes so Fineja, kako oslepljen je preživljalbridko starost, in tedaj Akvilonova mlada sinovaptice deviške nesrečnemu starcu od ust sta ...pregnala.Končno pod Jazonom slavnim, po vsem, kar vmes so prestali,slednjič dosegli so glenasti Fasid, deroče valove.Ko so pred kralja prišli, so zahtevali Friksovo runo,kralj pa je prej zahteval od njih neznanske pogoje.
El denominado Mosaico Nilótico de Mérida (nº 9 del corpus de MRH-MRM) fue encontrado antes de mediados del siglo XIX. Desde su hallazgo era evidente el carácter extraordinario de su diseño, aunque, ...lamentablemente, la superstición popular destrozó en gran medida el pavimento, no sin que antes se lograra dibujar un boceto de su contenido, además de conservarse numerosos restos, de forma que ha podido ser reconstruido y se encuentra expuesto en el Museo Nacional de Arte Romano de Mérida. En el mosaico se combinan elementos exóticos, culturales y sobre el ciclo anual, sin que se haya logrado postular hasta el momento una interpretación de conjunto. No obstante, parece posible llevar a cabo una lectura integradora a partir del mito de la contienda entre Musas y Piérides relatado en las Metamorfosis ovidianas. Dicha lectura confiere unidad a la amalgama de motivos iconográficos e incluso puede explicar la opción por una técnica predominantemente dicromática acorde con los colores de las urracas en que fueron transformadas las Piérides y acorde también con un precepto de la creación literaria que precave contra la hybris.
La tenture des Métamorphoses, tissée à partir de 1680 durant une cinquantaine d’années, à la manufacture royale des Gobelins, est une des plus vastes productions tombées des métiers parisiens. Elle a ...été beaucoup tissée. Elle a toutefois été peu étudiée, essentiellement car il s’agit d’un ensemble non compris dans la production officielle des Gobelins. Les chefs d’atelier travaillaient d’après les cartons appartenant au roi ou d’après des cartons qui leur appartenaient, qu’ils commandaient eux-mêmes à des peintres de renom ou à la gloire naissante. La genèse de la tenture a longtemps été confuse. Il s’agit en fait de deux ensembles conçus à une vingtaine d’années d’écart, comprenant plusieurs jeux de modèles et dont certains sujets sont communs aux deux séries. La première série a très vraisemblablement été réalisée peu avant 1680, à partir de tableaux de différents peintres (Louis Boullogne, Charles Le Brun, René-Antoine Houasse et Charles de La Fosse) appartenant à l’entrepreneur Jean Jans. Dans les premières années du xviiie siècle, un nouveau jeu de cartons a été utilisé, toujours réalisé à partir de tableaux ou de copies de peintures de différents artistes (Louis Boullogne, Antoine Coypel, Charles de La Fosse, Nicolas Bertin, Antoine Dieu et Sébastien Leclerc). Plusieurs de ces modèles étaient des commandes royales pour Trianon, la ménagerie de Versailles et Marly. Certains avaient été exposés aux Salons de 1699 et 1704. Cette communication s’arrête sur les enjeux du tissage de ces peintures. Comment s’est opéré le passage du petit au grand format et du peint au tissé lors de l’exécution des tapisseries ?
The Metamorphoses tapestry, woven at the Manufacture Royale des Gobelins over some fifty years, beginning in 1680, is one of the largest creations ever made by Parisian craftsmen. It has been extensively woven. However, it has not been thoroughly studied, as it was not included in the Gobelins official production. The workshop managers followed cartoons belonging to the king or to ones they themselves owned, which they commissioned from renowned painters and rising stars. The origins of the tapestry have long been unclear. There are in fact two groups, conceived twenty years apart, made up of several groups of models and with some subjects shared by the two groups. The first series was most likely created just before 1680, based on the work of various painters (Louis Boullogne, Charles Le Brun, René-Antoine Houasse and Charles de La Fosse) owned by the entrepreneur Jean Jans. In the early years of the eighteenth century a new set of cartoons were used, all made from paintings or copies of paintings by different artists (Louis Boullogne, Antoine Coypel, Charles de La Fosse, Nicolas Bertin, Antoine Dieu and Sébastien Leclerc). Many of these were royal commissions for Trianon, the menagerie of Versailles or for Marly. Some had been shown in the Salons of 1699 and 1704. This paper focuses on the weaving of these paintings. In creating the tapestries, how did the transition from small to large format happen, and from painted image to woven?
O mundo do trabalho tem sido significativamente reorganizado na cultura do capitalismo global e flexível e vem requerendo um novo perfil de trabalhador. Assim, também o trabalho docente tem sido ...modificado em razão das metamorfoses simultâneas ocorridas a partir dos constantes movimentos no âmbito da economia, educação, política, e até mesmo em função da cultura digital, que afetam a vida e a profissão dos professores. Dado esse novo panorama social e cultural, aqui objetiva-se discutir aspectos que envolvem a transição “dos cadernos amarelos aos arquivos infinitos”, propiciada, sobretudo, pela cultura digital e seu potencial de mudança no trabalho docente. O foco é compreender as principais mudanças ocorridas no trabalho de um grupo de docentes do ensino superior de um Centro Universitário do interior de Goiás, Brasil. Participaram da pesquisa de campo, como entrevistados, 15 docentes. Os resultados obtidos foram submetidos a análise de conteúdo temática para a organização e tratamento das informações. Entre as principais conclusões, tem-se que as tecnologias digitais interferem nos processos, natureza, dimensões e desenvolvimento do trabalho docente no ensino superior, provavelmente pelo fato de elas não se caracterizarem como aspectos invisíveis no processo de trabalho na cultura digital.