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Photinus gabicastanoae sp. nov. is described from the State of Michoacán, which morphologically differs from the known firefly species. In addition, its relationship with P palaciosi (Zaragoza-Caballero, 2012) is discussed. [ABSTRACT FROM AUTHOR]

In 1955 Ana María Matute published En esta tierra, an expurgated version of Las luciérnagas, banned by the censorship due to references to the Spanish religious and moral sphere. In 1993, the author retrieved the initial text and published Luciérnagas. The novel, set in Barcelona, describes the experiences of three families during the Civil War. The essay analyzes the initiation process carried out by the younger characters, focusing on the rites of passage and the defense mechanisms implemented in the passage from childhood and adolescence to adulthood.

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article proposes from the scenic praxis the concept of collective dramaturgy as a pedagogical tool to confront different types of violence exercised on young people in communities. This collaborative and interdisciplinary process approaches from research/creation the writing and staging of the play "The fireflies' continent", which was carried out in the area of Tres Ríos, Cartago, Costa Rica, thanks to the cultural association Espressivo Theatre and the initiative Culture Points of the Ministry of Culture of Costa Rica. [ABSTRACT FROM AUTHOR]

Resuming the conversation on Goya's oeuvre that took place in the special issue of Romance Quarterly in 2007, this article pays attention to Goya's Disasters of the War. Through a comparative reading of Goya's The Disasters of the War and the video-installation of Iranian artist Farideh Lashai's When I count..., this article proposes a notion of "adumbration" that shifts our understanding of Enlightenment as a narrative of power, progress and humanism founded on light. By way of theoretical reflections and drawing from Derrida and Nancy, this article shows how Goya and Lashai reflect with their works on the condition of exposition and disappearance of bodies on our age of global war and the commodification of the image. I propose "an Enlightenment as Adumbration" as a critical alternative to cultural critique based on Enlightenment logocentric categories such as progress, representation, or agency in Modern Iberian Studies. [ABSTRACT FROM AUTHOR]

Copyright of Biomedical Engineering Journal / Revista Ingeniería Biomédica is the property of Biomedical Engineering Journal / Revista Ingenieria Biomedica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Se investigó la distribución de la fauna de luciérnagas en La Hispaniola con respecto a su origen geológico a partir de dos paleoislas principales. Se encontró que de 66 especies, 57 son exclusivamente encontradas en un territorio o el otro, 27 especies en la paleoisla sur y 30 especies en la paleoisla norte. Otras cinco (5) especies se distribuyen en la paleoisla norte más el borde de la paleoisla sur, mientras que otras cuatro (4) especies se distribuyen en ambas paleoislas. De esta manera, las faunas de luciérnagas en los territorios correspondientes a las paleoislas de La Hispaniola parecen ser significativamente distintas y apoyar la idea de que la fauna en La Hispaniola moderna tiene un origen híbrido.