Notes on the marine algae of the Bermudas. 15. \u3cem\u3eDichotomaria huismanii\u3c/em\u3e (\u3cem\u3eGalaxauraceae\u3c/em\u3e, Rhodophyta), a new species in the \u3cem\u3eD. marginata\u3c/em\u3e complex from the western Atlantic

Using plastid-encoded rbcL and mitochondrial COI-5P sequence data, the species in Bermuda formerly recognized as Dichotomaria marginata was found to be a cryptic species in a wide complex of species all falling under the morphologically broad species concept for this supposed pantropical species. The new species, Dichotomaria huismanii, shows subtle anatomical and morphological differences when compared to D. marginata, and at present is only known from Bermuda. Bermuda specimens were compared with our isolates of D. marginata from St. Croix (Virgin Is.), as well as rbcL sequenced specimens with those from Guadeloupe and Puerto Rico in GenBank as D. marginata. Morphological and molecular characterization of D. marginata is provided along with the new species

A molecular-assisted alpha taxonomic study of the genus Centroceras (Ceramiaceae, Rhodophyta) in Bermuda reveals two novel species

When the generitype Centroceras clavulatum, a presumed cosmopolitan warm temperate to tropical red alga, was discovered to have a biogeographic distribution limited to the Pacific Ocean using molecular and morphological evidence, the taxonomy in the genus Centroceras was thrown into chaos worldwide. An analysis of what species was, or were, previously identified as C. clavulatum in Bermuda is the focus of the present molecular (COI-5P, rbcL) and morphological study. Two novel species are proposed, C. arcii sp. nov. and C. illaqueans sp. nov., and the distributions of three taxa recently segregated in the ‘C. clavulatum complex’ of the western Atlantic, C. gasparrinii, C. hyalacanthum, and C. micracanthum, have been expanded to include Bermuda. C. arcii is shown to be morphologically cryptic with C. micracanthum, and remains best distinguished by its COI-5P barcode sequence

A Molecular-Assisted Alpha Taxonomic Study of the Genus \u3cem\u3eCentroceras\u3c/em\u3e (Ceramiaceae, Rhodophyta) in Bermuda Reveals Two Novel Species

When the generitype Centroceras clavulatum, a presumed cosmopolitan warm temperate to tropical red alga, was discovered to have a biogeographic distribution limited to the Pacific Ocean using molecular and morphological evidence, the taxonomy in the genus Centroceras was thrown into chaos worldwide. An analysis of what species was, or were, previously identified as C. clavulatum in Bermuda is the focus of the present molecular (COI-5P, rbcL) and morphological study. Two novel species are proposed, C. arcii sp. nov. and C. illaqueans sp. nov., and the distributions of three taxa recently segregated in the \u27C. clavulatum complex\u27 of the western Atlantic, C. gasparrinii, C. hyalacanthum, and C. micracanthum, have been expanded to include Bermuda. C. arcii is shown to be morphologically cryptic with C. micracanthum, and remains best distinguished by its COI-5P barcode sequence

La période parisienne d’Italo Calvino

Despite being one of the most globally renowned Italian authors of the Twentieth Century, Italo Calvino decides to relocate to Paris in 1967. Initially drawn to the French capital by an invitation to join the Ouvroir de Littérature Potentielle (Oulipo) by Raymond Queneau, Calvino found himself in an ideal position to observe his home country from afar while further developing his writing style around that of the Oulipo. This group of writers and mathematicians sought to spark innovation by constraining their works under mathematical and combinatorial structures. The thirteen years Calvino will spend there in collaboration with the Oulipo thus represent a formative step in his writing style. It is however a move that divided his critics, as some viewed it as an unfortunate departure from his earlier works. I will examine the reasons why Calvino moves to Paris and how it might actually be a natural progression considering his goals as a writer. I will also explore why the city of Paris does not figure heavily into his writing during this period. By analyzing works such as Le Città Invisibili and Eremita a Parigi, I will find traces of Paris in his writing in order to develop a better understanding of its place in Calvino’s literary imaginary. I will conclude by assessing how the city changes Calvino. How do his peers in Italy and in France view him following Paris? In what sense can Calvino be considered Italian, French, or global? Calvino’s Parisian period recalls the role of Paris as a cultural and literary center throughout time while also revealing Calvino’s sentiment and personal aspirations as an author

L’Ermetismo e il suo rapporto con il simbolismo

The 20th century Italian poets, known as i poeti ermetisti (Hermeticists), offer insight into the influence of French literature on their neighbors at the turn of the 1900s. The deconstruction of classical structures in their poetry recalls the standard bearers of French Symbolists, such as Mallarmé and Rimbaud. More importantly though, we see a common trend between the two movements in which the poets seek to elicit emotional responses from their readers who can only come to understand their poems through prolonged and deep reflection. Both Italian Hermeticism and French Symbolism present themselves as alternatives to rational means of understanding the human condition. To this effect they explore the surreal, mystical, and irrational aspects of human existence in the hope of discovering hidden truths. In this way, the poets resolve disconnected feelings between man and his environment. In this paper, I will analyze Giuseppe Ungaretti\u27s “Mattina” and Eugenio Montale\u27s, “I Limoni”, as two instances of the ‘hermetic\u27 style and poetics. I will also connect their poetic style with French Symbolist poetics. The Italian Futurists, led by F.T. Marinetti, were also influenced by French art and poetry of the late 19th century. Seeing as they were active at the same time as the ermetisti, I will take them into consideration as well. Finally, by contextualizing Hermeticism within a larger European (and especially French) framework, I wish to ascertain what is unique about Hermeticists\u27 poetics with respect to their precursors