Tolerance to air exposure of the New Zealand mudsnail Potamopyrgus antipodarum (Hydrobiidae, Mollusca) as a prerequisite to survival in overland translocations

Spreading throughout a new ecosystem is the last step of an exotic species to become invasive. In the case of invasive aquatic molluscs, tolerance to air exposure is one of the main mechanisms allowing overland translocation and spreading. The mudsnail Potamopyrgus antipodarum (Hydrobiidae, Mollusca) is native to New Zealand but it has spread worldwide, invading ecosystems in Europe, Australia, America and Asia. The aim of our study is to assess mudsnail tolerance to air exposure, which may contribute to the successful overland translocation of this species. We conducted a laboratory experiment with four levels of air exposure (9, 18, 24 and 36 hours in a controlled climatic chamber). Snails were placed for 60 seconds in a laboratory paper filter to remove surface snail water. Then they were placed back in empty vessels during the four periods of air exposure, except the control group, which was immediately returned to water. At the end of each period of air exposure all vessels were filled with water and the cumulative mortality was monitored after 24, 96, 168 and 264 hours of rehydration. The calculated Lethal Times (i.e. the time of air exposure (in hours) necessary to cause the death of 50% (LT50) or 99% (LT99) of the population) and their 95% confidence limits at 24, 96, 168 and 264 hours were 28.1 (25.2–31.9), 26.9 (24.2–30.1), 25.9 (23.4–28.9) and 25.9 (23.4–28.9) hours, respectively for LT50, and 49.6 (42.7–63.3), 45.6 (39.9–56.5), 43.2 (38.0–53.0) and 43.2 (38.0–53.0) hours, respectively for LT99. Therefore an air exposure time over 43 hours caused the death of all studied individuals during all monitoring periods. Extending the monitoring period beyond 24 hours did not significantly change lethal times. Therefore, we recommend exposing fishing tools or boats at open air during at least 53 hours as a low cost measure to control mudsnail spread in early stages of invasion

Notas sobre la personificación en el Libro de Buen Amor.

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The Rose in 15h Century Love Poetry

En el presente trabajo analizo las diferentes funciones que la rosa tiene en la poesía del siglo XV: a) La rosa como metáfora de la belleza de la amada. En esta formulación, el color de la flor es irrelevante; b) La rosa roja o rosa como metáfora de las mejillas de la amada; c) La rosa roja para los labios femeninos; d) La rosa como regalo de la amada y el jardín de rosas como escenario en el que se mueve; y e) El amor y sus sufrimientos como rosa entre espinasIn this essay I study the different roles the rose plays in XVth century Spanish love poetry: a) The rose as a metaphor for the beloved’s beauty; b) The red or the pink rose as a metaphor of the beloved cheeks; c) The red rose for the lips; d) The rose as a present to the beloved, or the garden as the scene where she walks; and e) Love and its pains as a rose and its thorn

Villancicos y madrigales

[Resumo] Este artigo céntrase na análise dos primeiros madrigais españoles, os de Hernando de Acuña e Gutierre de Cetina. O seu propósito é mostrar o carácter medievalizante deses textos, que se relacionan, dunha banda, cos modelos italianos do século XIV e, doutra, cos vilancicos da antiga lírica de cancioneiro castelá.[Resumen] Este artículo se centra en el análisis de los primeros madrigales españoles, los de Hernando de Acuña y Gutierre de Cetina. Su propósito es mostrar el carácter medievalizante de esos textos, que se relacionan, por una parte, con los modelos italianos del siglo XIV y, por otra, con los villancicos de la antigua lírica cancioneril castellana.[Abstract] This article focuses on the earliest Spanish madrigals, composed by Hernando de Acuña and Gutierre de Cetina. Its aim is to demostrate the medieval character of these poems and their relationship with, on the one hand, Italian models of the fourteenth century and, on the other, villancicos in the Spanish cancioneros

Petrarquismo en octosílabos: del Cancionero de Urrea al de Pedro de Rojas.

This article deals with Italian influence over Spanish octosyllables. It brings into focus three kinds of images: those related to mythology, to descriptio puellae and to witty Petrarchism. Taking the analysis of these images as its starting point, the present paper proposes that spanish octosyllables were renewed from 1560 onwards, and that they were influenced by poesia cortigiana rather than by bembian Petrarchism

Fonología segmental del Fang ntumu.

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