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Copyright of Revista Latinoamericana de Metodología de las Ciencias Sociales is the property of Universidad Nacional de La Plata 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.)

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Copyright of Cuadernos para Investigacion de la Literatura Hispanica is the property of Fundacion Universitaria Espanola 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.)

A new gigantic titanosaur Bustingorrytitan shiva gen. et sp. nov. is described. The four specimens upon which this species is erected come from Neuquén Province, Argentina, from levels of the Huincul Formation (Cenomanian). Bustingorrytitan shiva gen. et sp. nov. exhibits some autapomorphic characters such as posterior dorsal vertebrae with spinodiapophyseal laminae bifurcated in two, very well developed anterior and posterior spinodiapophyseal lamina rami, which limit a deep, vertical, socket-like fossa; posterior dorsal neural arches with forked centropostzygapophyseal laminae; hyposphene in anterior caudal vertebrae; humerus with deltopectoral crest strongly expanded distally; and femur with a low longitudinal crest on the lateromedial half of the anterior face, bifurcated in two minor crests, which are directed to their respective condyles. The phylogenetic analysis performed recovers B. shiva gen. et sp. nov. as a lithostrotian, the sister taxon of Saltasauridae. The estimated body mass is 67.297 metric tons (with a standard error of ±17.228), which makes B. shiva gen. et sp. nov. one of the largest sauropods ever recorded. The record of this new sauropod corroborates the idea that gigantism (evolution of forms over the 50 metric tons) would have evolved many times within Eutitanosauria. [ABSTRACT FROM AUTHOR]

A new gigantic titanosaur Bustingorrytitan shiva gen. et sp. nov. is described. The four specimens upon which this species is erected come from Neuquén Province, Argentina, from levels of the Huincul Formation (Cenomanian). Bustingorrytitan shiva gen. et sp. nov. exhibits some autapomorphic characters such as posterior dorsal vertebrae with spinodiapophyseal laminae bifurcated in two, very well developed anterior and posterior spinodiapophyseal lamina rami, which limit a deep, vertical, socket-like fossa; posterior dorsal neural arches with forked centropostzygapophyseal laminae; hyposphene in anterior caudal vertebrae; humerus with deltopectoral crest strongly expanded distally; and femur with a low longitudinal crest on the lateromedial half of the anterior face, bifurcated in two minor crests, which are directed to their respective condyles. The phylogenetic analysis performed recovers B. shiva gen. et sp. nov. as a lithostrotian, the sister taxon of Saltasauridae. The estimated body mass is 67.297 metric tons (with a standard error of ±17.228), which makes B. shiva gen. et sp. nov. one of the largest sauropods ever recorded. The record of this new sauropod corroborates the idea that gigantism (evolution of forms over the 50 metric tons) would have evolved many times within Eutitanosauria. [ABSTRACT FROM AUTHOR]

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This article traces the itinerary followed by the earliest Broadway musicals to be imported to Madrid in the 1950s and 1960s. Such innovative format dazzled critics and audiences, carving out a niche of enthusiastic followers that would grow larger over time. The handful of works borrowed in this period will receive attention, especially insofar as their reception is concerned. The final phase of the Francoist dictatorship brought an increased visibility to the form, as heated controversy surrounded the eventual importation and prohibition of titles such as Hair and Jesus Christ Superstar. In the case of the former, shows purporting to bring to Spaniards what the authorities had banned will be briefly discussed. The latter will receive closer attention. Both these plays will serve as privileged viewing platforms whence the tensions inherent to a moribund regime and its outdated cultural policies will become obvious. [ABSTRACT FROM AUTHOR]

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