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Yukon’s Beaufort coast, Canada, is a highly dynamic landscape. Cultural sites, infrastructure, and travel routes used by the local population are particularly vulnerable to coastal erosion. To assess threats to these phenomena, rates of shoreline change for a 210 km length of the coast were analyzed and combined with socioeconomic and cultural information. Rates of shoreline change were derived from aerial and satellite imagery from the 1950s, 1970s, 1990s, and 2011. Using these data, conservative (S1) and dynamic (S2) shoreline projections were constructed to predict shoreline positions for the year 2100. The locations of cultural features in the archives of a Parks Canada database, the Yukon Archaeological Program, and as reported in other literature were combined with projected shoreline position changes. Between 2011 and 2100, approximately 850 ha (S1) and 2660 ha (S2) may erode, resulting in a loss of 45% (S1) to 61% (S2) of all cultural features by 2100. The last large, actively used camp area and two nearshore landing strips will likely be threatened by future coastal processes. Future coastal erosion and sedimentation processes are expected to increasingly threaten cultural sites and influence travelling and living along the Yukon coast.

Carbon–carbon double bonds are an integral part of the chemical industry and are widely found in natural products, from the small and simple (ethylene) to the large and complex. The ability to manipulate carbon–carbon double bonds to make other carbon–carbon double bonds in a catalytic and stereospecific fashion has revolutionized the way organic molecules and polymers are made today. This article outlines the development of modern molybdenum and tungsten alkylidene catalysts that can be designed at a molecular level to achieve a given result. Carbon–carbon triple bonds also can be manipulated in a similar manner with the appropriate alkylidyne catalyst. Although the 'alkene metathesis' and 'alkyne metathesis' reactions are now fifty to sixty years old, many problems remain that will require an even more detailed understanding of these most intricate, superficially simple reactions.

The relationship between the arts and the sciences is discussed from the standpoint of a scientist and passionate art lover. The two playgrounds of human creativity have much in common and have cross-fertilized each other over centuries. An active involvement in an artistic discipline can stimulate scientific creativity by direct analogy and by emotional and intellectual experience. The excitement of a scientist for the arts is exemplified by the author's adventures in Tibetan painting. The scientific study of Tibetan thangkas is discussed by examples from the author's collection. The analysis of pigments and the dating of the paintings are covered. In addition, some background information on the historical and iconographic context is given.

O objetivo principal deste artigo é mostrar a concepção política radicalmente normativa elaborada por Aristóteles no livro I da Política, concepção que determina a vida na cidade como uma condição fundamental para a realização da excelência ou virtude humana (ἀρετή). Trata-se, assim, de investigar como o filósofo pensa a polis como uma forma de comunidade (κοινωνία) que tem por meta não apenas assegurar as condições materiais e econômicas necessárias ao viver humano elementar (ζῆν), mas também propiciar ao homem um locus superior no qual ele possa efetivar o bem viver (εὖ ζῆν), ou seja, a vida boa entendida como a realização da virtude e da racionalidade que lhe são próprias, o que desemboca na vigorosa subordinação da política às exigências da moralidade.

This chapter concerns the double valency of commercial and aesthetic values in reversed paintings depicted in nineteenth-century French and British paintings and cartoons of academic juries. My concern is not with actual backs of paintings, but with representations of them on the rectos of actual paintings, of which the best-known example is probably the huge canvas back in Diego Velázquez’s Las Meninas (1656). Likewise, my concern is not with the frame itself, but with intra-compositional frames of paintings (which I sometimes call versos or “backs”) depicted on the picture plane. Though the topos makes us aware that the painting we are looking at has a frame (which we can see) and a verso (which we cannot), I shall show how, especially when depicted on the move in outdoor settings, the reversed canvas embedded in the illusion may alert us to “extended” or “secondary frames” well outside its enframed setting, such as the studio where the painting was made or the gallery it will hang in or the jury room from which it has been rejected. In this respect the commercial and aesthetic meanings richly associated with the topos merge, intermingle and define each other in ways that illuminate polemical clashes of value in and between places of display in nineteenth-century London and Paris.

O artigo apresenta definições e entendimentos que o campo acadêmico tem produzido sobre o populismo, de modo a evidenciar diferenciações entre o populismo de esquerda e o de direita — enfatizando questões relacionadas ao último — e apontar articulações entre o populismo e a comunicação, debatidas em tempos recentes. Concluindo o trabalho, discute-se a necessidade de utilizar o enquadramento exposto de maneira reflexiva e contextual, com observações sobre os casos de Donald Trump e Jair Bolsonaro.

Entrevista com o pesquisador Paolo Gerbaudo, na qual as conexões entre tecnologias, particularmente digitais, e as mobilizações sociais e políticas são discutidas.

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