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Intensive aquaculture practices involve rearing fish at high densities. In these conditions, fish may be exposed to suboptimal dissolved O levels with an increased formation of reactive O species (ROS) in tissues. Seaweeds (SW) contain biologically active substances with efficient antioxidant capacities. This study evaluated the effects of dietary supplementation of heat-treated SW (5% Gracilaria vermiculophylla or 5% Ulva lactuca) on stress bioindicators in sea bream subjected to a hypoxic challenge. 168 fish (104.5 g average weight) were distributed in 24 tanks, in which eight tanks were fed one of three experimental diets for 34 days: (i) a control diet without SW supplementation, (ii) a control diet supplemented with Ulva, or (iii) a control diet with Gracilaria. Thereafter, fish from 12 tanks (n=4 tanks/dietary treatment) were subjected to 24 h hypoxia (1.3 mg O l) and subsequent recovery normoxia (8.6 mg O l). Hypoxic fish showed an increase in hematocrit values regardless of dietary treatment. Dietary modulation of the O-carrying capacity was conspicuous during recovery, as fish fed SW supplemented diets displayed significantly higher haemoglobin concentration than fish fed the control diet. After the challenge, survival rates in both groups of fish fed SW were higher, which was consistent with a decrease in hepatic lipid peroxidation in these groups. Furthermore, the hepatic antioxidant enzyme activities were modulated differently by changes in environmental O condition, particularly in sea bream fed the Gracilaria diet. After being subjected to hypoxia, the gene expression of antioxidant enzymes and molecular chaperones in liver and heart were down regulated in sea bream fed SW diets. This study suggests that the antioxidant properties of heat-treated SW may have a protective role against oxidative stress. The nature of these compounds and possible mechanisms implied are currently being investigated.

Resumo: Este artigo propõe-se analisar um dos gêneros mais produtivos da poesia palaciana portuguesa dos séculos XVI e XVII, o retrato elogioso da donna, de fundo petrarquista, largamente praticado no Quinhentos por poetas como Luís de Camões, Pero de Andrade Caminha e Sá de Miranda, e, no século seguinte, pelos poetas cujas obras foram reunidas nas coletâneas de verso Fênix Renascida e Postilhão de Apolo. Demonstra-se a prática de “notação” do retrato elogioso, discutem-se os preceitos retóricos e poéticos que o regravam, sua utilidade como controle dos afetos cortesãos, e como o seu contrário, o retrato cômico, especificamente aquele construído à base de metáforas de doce, valendo-se dos mesmos lugares comuns de invenção, disposição e elocução do gênero, articula a imagem reversa da donna, transformando a illustratio ou evidentia (de forte apelo visual), própria do retrato de tipo alto, em “apetite”, “gustação”, “gula” e “satisfação sexual”.Palavras-chave: sátira; retrato poético; elogio da donna; ars laudandi; Fênix Renascida.Abstract: This article proposes to analyze one of the most productive poetry genres of Portuguese palace in the 16th and 17th Centuries – praise of a lady, fundamentally Petrarchan, largely practiced in the 1500s by poets such as Luís de Camões, Pero de Andrade Caminha, and Sá de Miranda, and in the following century, by poets whose works were reunited in the collections of verses Phoenix Reborn (Fênix Renascida) and Apollo’s Postilion (Postilhão de Apolo). The practice of “Notation” in the complimentary portrait is demonstrated, the rhetorical and poetic precepts that are rewritten are discussed, its usefulness as a control on courtier affections as well as how its opposite, the comedic portrait, specifically that one built upon sweet metaphors, using the same commonplaces of invention, arrangement and elocution of the genre, articulates the reverse image of a lady, transforming the illustration or evidentia (of strong visual appeal), typic

Resumo: Este artigo propõe-se analisar um dos gêneros mais produtivos da poesia palaciana portuguesa dos séculos XVI e XVII, o retrato elogioso da donna, de fundo petrarquista, largamente praticado no Quinhentos por poetas como Luís de Camões, Pero de Andrade Caminha e Sá de Miranda, e, no século seguinte, pelos poetas cujas obras foram reunidas nas coletâneas de verso Fênix Renascida e Postilhão de Apolo. Demonstra-se a prática de “notação” do retrato elogioso, discutem-se os preceitos retóricos e poéticos que o regravam, sua utilidade como controle dos afetos cortesãos, e como o seu contrário, o retrato cômico, especificamente aquele construído à base de metáforas de doce, valendo-se dos mesmos lugares comuns de invenção, disposição e elocução do gênero, articula a imagem reversa da donna, transformando a illustratio ou evidentia (de forte apelo visual), própria do retrato de tipo alto, em “apetite”, “gustação”, “gula” e “satisfação sexual”.Palavras-chave: sátira; retrato poético; elogio da donna; ars laudandi; Fênix Renascida.Abstract: This article proposes to analyze one of the most productive poetry genres of Portuguese palace in the 16th and 17th Centuries – praise of a lady, fundamentally Petrarchan, largely practiced in the 1500s by poets such as Luís de Camões, Pero de Andrade Caminha, and Sá de Miranda, and in the following century, by poets whose works were reunited in the collections of verses Phoenix Reborn (Fênix Renascida) and Apollo’s Postilion (Postilhão de Apolo). The practice of “Notation” in the complimentary portrait is demonstrated, the rhetorical and poetic precepts that are rewritten are discussed, its usefulness as a control on courtier affections as well as how its opposite, the comedic portrait, specifically that one built upon sweet metaphors, using the same commonplaces of invention, arrangement and elocution of the genre, articulates the reverse image of a lady, transforming the illustration or evidentia (of strong visual appeal), typic

European seabass (Dicentrarchus labrax) production is often hampered by bacterial infections such as photobacteriosis caused by Photobacterium damselae subsp. piscicida (Phdp). Since diet can impact fish immunity, this work investigated the effect of dietary supplementation of 5% Gracilaria sp. aqueous extract (GRA) on seabass antioxidant capacity and resistance against Phdp. After infection, mortality was delayed in fish fed GRA, which also revealed increased lysozyme activity levels, as well as decreased lipid peroxidation, suggesting higher antioxidant capacity than in fish fed a control diet. Dietary GRA induced a down-regulation of hepatic stress-responsive heat shock proteins (grp-78, grp-170, grp-94, grp-75), while bacterial infection caused a down-regulation in antioxidant genes (prdx4 and mn-sod). Diet and infection interaction down-regulated the transcription levels of genes associated with oxidative stress response (prdx5 and gpx4) in liver. In head-kidney, GRA led to an up-regulation of genes associated with inflammation (il34, ccr9, cd33) and a down-regulation of genes related to cytokine signalling (mif, il1b, defb, a2m, myd88). Additionally, bacterial infection up-regulated immunoglobulins production (IgMs) and down-regulated the transcription of the antimicrobial peptide leap2 in head kidney. Overall, we found that GRA supplementation modulated seabass resistance to Phdp infection.

[EN] This paper presents a systematic mapping literature review about the mobile robotics competitions that took place over the last few decades in order to obtain an overview of the main objectives, target public, challenges, technologies used and final application area to show how these competitions have been contributing to education. In the review we found 673 papers from 5 different databases and at the end of the process, 75 papers were classified to extract all the relevant information using the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) method. More than 50 mobile robotics competitions were found and it was possible to analyze most of the competitions in detail in order to answer the research questions, finding the main goals, target public, challenges, technologies and application area, mainly in education.

[Resumen] El paso del espacio sagrado al espacio secular confiere al espacio religioso una funcionalidad más amplia que permitirá incorporar un simbolismo espacial abstracto y abierto a diferentes percepciones de lo divino para ver, sentir o invocar a Dios. Según Rudolf Otto, en las iglesias protestantes la expresión arquitectónica de lo numinoso está constituida por tres elementos fundamentales de la representación: la oscuridad, el silencio y el vacío. Como elementos que se oponen conceptualmente al símbolo concreto o definitivo, adquieren un significado universal que la propia arquitectura moderna incorporará como un proceso de emancipación artística. Para un arquitecto contemporáneo, diseñar un espacio religioso impone así una inevitable incursión en esta matriz protestante que apela a la simplicidad de las formas, a la fidelidad de la construcción y a la experiencia estética como acceso a lo trascendente. Las capillas mortuorias que estoy presentando toman este contacto con el conocimiento constructivo moderno y con el retorno al lugar sagrado esencial del espacio, la luz y la materia, [Abstract] The passage from sacred to secular space confers on religious space a wider functionality that will allow the incorporation of an abstract and open spatial symbolism to different perceptions of the divine to see, feel or invoke God. According to Rudolf Otto, on the Protestant churches the architectonic expression of the numinous is made by three fundamental elements of representation: obscurity, silence and emptiness. As elements that conceptually oppose the concrete or definitive symbol, they acquire a universal meaning that modern architecture itself will incorporate as a process of artistic emancipation. For a contemporary architect to design a religious space thus imposes an inevitable incursion into this Protestant matrix that appeals to the simplicity of forms, to the fidelity of construction and to the aesthetic experience as access to the transcendent. The mortuary chapels I am presenting takes up this contact with the modern constructive knowledge and with the return to the essential sacred place made of space, light and matter