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Presentación del monográfico: El remake literario: procedimientos de reescritura, copia y repetición en la escritura española contemporánea.

According to Black Twitter community members, who were active online just after rock 'n' roll artist Little Richard's passing in 2020, Michael Jackson's purchase of the Beatles catalog (thirty-five years prior) was viewed as what Twitter user and academic author DJ Scholarship calls "rhythmic reparations," offering restitution for Black artists like Little Richard who were never compensated fairly in a white industry. The purchase of Sony/ATV then became more than just a business transaction; it worked rhetorically as a pop culture object to amplify and change narratives about race, music, money, and power. I rely on two concepts of rhetoric—counterpunch and copia—to reexamine language surrounding Jackson's initial purchase and the conversation about Jackson occurring in the wake of Little Richard's death. I also explain how this conversation on Black Twitter led me to revise my knowledge of popular culture and music history and to confront my own white privilege. [ABSTRACT FROM AUTHOR]

El desarrollo de la inteligencia artificial y la invasión en todos los ámbitos de la vida pública (incluido el arte) ha abierto un debate que anuncia, una vez más, la muerte del arte. Lo artificial se debate contra lo natural por legitimar su existencia a través de la verdad y la mentira. Para algunos la creatividad está en riesgo en pro de la banalización, para otros se trata de meras imitaciones o copias que vulneran los derechos de propiedad intelectual. El objetivo fundamental de este artículo es poner las ideas en contexto mediante las respuestas a las siguientes preguntas: ¿qué es y qué no es la inteligencia artificial?, ¿qué es y qué no es el plagio?, ¿qué es y qué no es útil de todo este conflicto?, ¿estamos, de verdad, ante un nuevo fin del arte?

L'obiettivo del presente lavoro è quello di mettere a confronto "Il Giuoco delle parti" di Luigi Pirandello e "People Like Us" di Frank Permain Vosper, analizzando i personaggi e le tematiche affrontate per far emergere analogie e differenze. Quest’analisi getterà le basi a favore dell'idea che il plagio visto da Pirandello sia un errore, dato dalla difficoltà di quest'ultimo di portare alla coscienza i temi erotici e scabrosi che egli stesso ha inserito nella sua opera teatrale. L'ultima parte del lavoro sarà quindi dedicata a sostenere questa idea attraverso una breve analisi di "Le venin" di Henri Bernstein, un'opera teatrale con temi sorprendentemente simili a quelli inseriti nell'opera di Pirandello, eppure aspramente valutati dal suo autore. Questo lavoro intende, in ultimo, dimostrare che il plagio visto dall’agrigentino in "People Like Us" è un lapsus freudiano dato dall'incapacità dello stesso Pirandello di portare alla coscienza i suoi fantasmi erotici.

Alonso Cano lleva a término a mitad del siglo XVII un lienzo con la representación de Cristo esperando la crucifixión influido por el naturalismo severo. No debió de pasar desapercibida esta pintura en el neoclasicismo, en tanto que dos autores como José Maea (1759-1826) y Manuel Álvarez de Mon (f. 1809) utilizaron este modelo según dos fórmulas diferentes: el primero, a través de una copia al óleo como objeto de aprendizaje y el segundo, con un dibujo y posterior grabado para optar a un premio en forma de concurso de la Academia de San Fernando. En el presente trabajo se estudian los aspectos artísticos, estéticos, iconográficos, de análisis de fuentes gráficas, así como de la historicidad propia de las obras. Con la exposición de una pintura inédita de Maea y las versiones gráficas de Álvarez de Mon, podemos analizar una convergencia hacia el estudio de una pintura barroca bajo los postulados del academicismo.

A complete telomere-to-telomere (T2T) genome has been a longstanding goal in the field of genomic research. By integrating high-coverage and precise long-read sequencing data using multiple assembly strategies, we present here the first T2T gap-free genome assembly of Ganoderma leucocontextum strain GL72, a Tibetan medicinal mushroom. The T2T genome, with a size of 46.69 Mb, consists 13 complete nuclear chromosomes and typical telomeric repeats (CCCTAA)n were detected at both ends of 13 chromosomes. The high mapping rate, uniform genome coverage, a complete BUSCOs of 99.7%, and base accuracy exceeding 99.999% indicate that this assembly represents the highest level of completeness and quality. Regions characterized by distinct structural attributes, including highest Hi-C interaction intensity, high repeat content, decreased gene density, low GC content, and minimal or no transcription levels across all chromosomes may represent potential centromeres. Sequence analysis revealed the first Copia centromeric retrotransposon in macro-fungi genome. Phylogenomic analysis identified that G. leucocontextum and G. tsugae diverged from the other Ganoderma species approximately 9.8–17.9 MYA. The prediction of secondary metabolic clusters confirmed the capability of this fungus to produce a substantial quantity of metabolites. This T2T gap-free genome will contribute to the genomic 'dark matter' elucidation and server as a great reference for genetics, genomics, and evolutionary studies of G. leucocontextum. [ABSTRACT FROM AUTHOR]

Based on the Body without Organs proposal, this article analyzes the discovery of sor Juana Inés de la Cruz's Ofrecimientos para el Santo Rosario de quince misterios que se ha de rezar el día de los Dolores de Nuestra Señora la Virgen María, in the Poor Clare nun sor Josefa de Castillo's prayer book. First, the contents of this manuscript, which is a task initiated by Darío Achury, are presented in full. Then, the article reflects on translatio and imitatio as literary practices of epistemological appropriation and redistribution for the consolidation of a project of feminine self-government. [ABSTRACT FROM AUTHOR]

Copyright of Critical Hermeneutics: Biannual Journal of Philosophy is the property of Universita degli Studi di Cagliari 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.)

Conditional gene regulation in Drosophila through binary expression systems like the LexA-LexAop system provides a superb tool for investigating gene and tissue function. To increase the availability of defined LexA enhancer trap insertions, we present molecular, genetic, and tissue expression studies of 301 novel Stan-X LexA enhancer traps derived from mobilization of the index SX4 line. This includes insertions into distinct loci on the X, II, and III chromosomes that were not previously associated with enhancer traps or targeted LexA constructs, an insertion into ptc, and seventeen insertions into natural transposons. A subset of enhancer traps was expressed in CNS neurons known to produce and secrete insulin, an essential regulator of growth, development, and metabolism. Fly lines described here were generated and characterized through studies by students and teachers in an international network of genetics classes at public, independent high schools, and universities serving a diversity of students, including those underrepresented in science. Thus, a unique partnership between secondary schools and university-based programs has produced and characterized novel resources in Drosophila, establishing instructional paradigms devoted to unscripted experimental science. [ABSTRACT FROM AUTHOR]

This essay analyzes excessively long speeches in order to argue that circulation naturalizes rhetorical processes that govern meaning within texts. In our view, abundant acts of address unsettle dominant models of speech and circulation, presenting an opportunity to reconsider the relationship between rhetorical forms and circulatory transfigurations. We focus on Strom Thurmond's twenty-four-hour filibuster of the 1957 Civil Rights Act and Mustafa Kemal Atatürk's 1927 speech to the Turkish Parliament, which lasted thirty-six hours over six days. We bring together these otherwise unrelated long speeches to outline three fictions of text and circulation: textual unity, speaker persona, and implied audience. We argue that these fictions stand in for the excessive address in circulation and, in turn, forms of circulatory abbreviation naturalize rhetorical constructions internal to the speech. In this way, we offer a rhetorical account of circulation that connects textual processes to circulatory forms. [ABSTRACT FROM AUTHOR]

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This article seeks to explain the meaning and function of Mersenne's exhaustive lists of note permutations. As is true for all of Mersenne's labors, the permutations are at their deepest level explicable in terms of his religious commitments—in this case, his faith in the ineffable plenitude of God's creation. Yet, Mersenne also intended the permutations and the combinatorial procedures that generate them to serve as the foundation of a pedagogy of compositional invention. That pedagogy, this article proposes, is tacitly informed by the rhetorical notion of copia, most comprehensively theorized by Erasmus in his influential De copia. [ABSTRACT FROM AUTHOR]

La obra audiovisual del director John Carpenter (Nueva York, 1948) está estrechamente relacionada con el concepto de remake. Perteneciente a la generación de directores promotora del “nuevo Hollywood”, que renovó el cine estadounidense en los años 70 desde el punto de vista estético y empresarial (muchos de ellos eran a la vez directores y productores, algo poco común en el Hollywood clásico), Carpenter se sirvió del cine clásico como fuente de inspiración, especialmente de la obra de su admirado Howard Hawks, al quien homenajea en varias ocasiones. Además de reelaborar obras clásicas, la propia obra de Carpenter ha sido fruto de reelaboraciones posteriores, estando él mismo en el equipo productor de algunos de los remakes de sus películas. El objetivo de presente artículo es analizar la obra de John Carpenter más relacionada con el concepto de remake, y situarla en el complejo universo de relaciones intertextuales creado por el autor y engrandecido por autores posteriores.

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Erasmus' sceptical attitude towards the discipline of dialectic in his early writings is well known. In this article, I revisit Erasmus' relationship with the arts of reasoning, tracing a trajectory from The Praise of Folly and De Copia to his final work, Ecclesiastes. Erasmus' treatise on preaching, I suggest, develops a new approach to copious speech and writing by combining the resources of rhetoric and dialectic, in dialogue with the textbooks on the arts of discourse that had appeared in the 25 years since the composition of The Praise of Folly. [ABSTRACT FROM AUTHOR]

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Copyright of INTRECCI d'Arte is the property of Universita di Bologna, Dipartimento delle Arti visive, performative e mediali, Alma Mater Studiorum 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.)

Copyright of INTRECCI d'Arte is the property of Universita di Bologna, Dipartimento delle Arti visive, performative e mediali, Alma Mater Studiorum 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.)

La realización de réplicas mediante moldes no supuso una novedad en el siglo XIX pero por varios motivos, y en especial, la creación de los museos públicos, el uso de los vaciados como objeto museístico se disparó por todo el mundo, gracias al empleo de nuevos materiales y técnicas perfeccionadas. Este artículo aborda algunas cuestiones referentes a los procesos de moldeo sobre monumentos, partiendo de nueva información localizada en la documentación archivística relativa a los mismos. Una cadena en la que los solicitantes, los propietarios de los originales y la gestión de las operaciones se ponen en relación directa con el estado de conservación de los monumentos y el rol de la réplica en la preservación del patrimonio monumental actual.

Este artículo desarrolla, mediante cinco casos de estudio, la improbabilidad de la copia en el arte de la pintura. Los cinco casos de estudio considerados tienen que ver con: el acento, la voz, el proceso, la verdad y el error. Considerada desde el acento, es decir desde la desviación que cada autor puede imponer a una obra, la copia literal no existe. Considerada la pintura como poesía no sonora, resultaría difícil encontrar la misma voz en el original que en la copia. Considerada desde el proceso, la obra es un acto inacabado y el concepto finalista de copia carece de sentido. Considerada desde la verdad, la verdad es inagotable e insondable, no tiene ni deudas ni dueño, no hay copias. Considerada, por último, desde el error, la copia y el original forman parte de un mismo experimento, un bello experimento. Estas mismas apreciaciones pueden trasladarse a la arquitectura.

Copyright of Panamerican Journal of Neuropsychology / Cuadernos de Neuropsicología is the property of Cuadernos de Neuropsicologia 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Copyright of TECHNO Review is the property of Eurasia Academic Publishing Group 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.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

Copyright of Authenticity Studies: International Journal of Archaeology & Art is the property of Padova University Press 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.)

El presente artículo tiene como objetivo revisar sustento teórico y empírico que aporte a repensar las prácticas pedagógicas que se están utilizando con personas escritoras principiantes para favorecer el proceso de automatización de habilidades grafomotoras durante actividades de copia. Lo anterior, porque siendo dicha actividad necesaria para desarrollar habilidades grafomotoras y en consecuencia para el proceso de automatización; la copia mecánica, reiterada e inconsciente resulta ineficiente y contraproducente. No solo no aporta a la construcción de memoria muscular, aspecto clave para la automatización del trazado, sino que las exigencias trascienden las capacidades motrices de la niñez. Se concluye que para que las prácticas de copia resulten respetuosas con dichas capacidades motrices y aporten a la automatización de las habilidades grafomotoras, se deben focalizar en la construcción de memoria muscular por medio de la instrucción del movimiento utilizando letra grande.

This paper reveals the cult of Saint Veronica in the Cathedral of Seville. It was developed around a copy of the Santa Face of Jaén which was donated in 1629 and which aroused great fervour among the faithful, both in its original location in the main sacristy and in the chapel of Nuestra Señora de la Antigua, where it was placed in 1690 in a silver reliquary, to be replaced in 1739 by the tabernacle that still guards it today. [ABSTRACT FROM AUTHOR]

El plagio es una práctica cada vez más frecuente en todos los sectores, a pesar de que actualmente está considerado a nivel jurídico como una infracción grave. En el contexto publicitario, la copia o imitación puede afectar a distintos elementos (marcas, etiquetado, etc.), y la protección judicial de los mismos puede plantearse a través de distintas normas. En este trabajo se revisará el extenso número de leyes que serían aplicables en España frente al plagio de productos publicitarios y se indicarán algunas de sus limitaciones. Cabe destacar que la legislación actual no protege las ideas, sino solo su desarrollo, lo que afecta especialmente a aquellos ámbitos en los que la creatividad y la originalidad son factores clave para alcanzar el éxito, a la hora de captar la atención del público. Se incluirán también en esta investigación los resultados de un estudio empírico, realizado sobre una muestra de 150 demandas de supuesto plagio de productos publicitarios, que se tramitaron judicialmente en España en el período 2016-2017. Se indicarán los aspectos presuntamente plagiados, las decisiones de los órganos judiciales sobre las normas infringidas y su coincidencia con la perspectiva de la parte reclamante, así como el sentido de las resoluciones finales.

Los autores defienden la licitud de la copia de una obra –literaria, artística, arquitectónica, fotográfica, de bellas artes- cuando la obra que se duplica no es original; cuando la obra que se reproduce está en el dominio público -y se honra el derecho de paternidad-; y cuando la copia se hace sin incurrir en competencia desleal o enriquecimiento ilícito.

La restauración del arte contemporáneo ha generado un gran debate teórico en torno a los criterios a seguir en los procesos de conservación-restauración y la reflexión teórica sobre qué conservar. En el panorama teórico actual surgen líneas de pensamiento que van más allá de la restauración crítica de Cesare Brandi, afrontando nuevos conceptos del arte como su significado, su inmaterialidad o su temporalidad, así como los procesos de copia, réplica y sustitución diferida que surgen desde la praxis en los foros internacionales, donde se ha tratado de buscar un modelo común de toma de decisiones que lleve a un trabajo riguroso y respetuoso con el arte contemporáneo.

The article addresses related issues surrounding the artistic biography and production of Gregorio Vásquez, the most important painter of colonial Colombia, active in the latter part of the seventeenth and the first decade of the eighteenth century. Vásquez is a unique figure in Latin American art historiography because local historians researched and wrote about his life and works since at least the nineteenth century. His vast catalogue consists of almost five hundred paintings and includes a unique corpus of over a hundred drawings. Based on published and unpublished primary sources and chronicles, and the analysis of his painterly style and drawing techniques, it is argued that the painter's abundant production and fame were both the means and result of artistic strategies devised by Vásquez and his followers throughout the eighteenth century in order to capitalize on the painter's regional success. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

El paso del tiempo y la obsolescencia de los soportes son hoy en día los dos factores elementales que invitan a someter a una pieza artística, en cualquiera de sus formas, a un proceso de restauración. Con esto presente, no quedan dudas de la importancia de la salvaguarda y posterior restauración de todo patrimonio: material, las obras de arte tangibles; e inmaterial, las obras sonoras y audiovisuales que viven dentro de diversos soportes de almacenamiento. En este artículo, vamos a analizar esta situación y proponer algunas soluciones que provienen principalmente del pensamiento filosófico acerca del contexto actual de las artes electrónicas.

A tapeçaria no Ocidente, especificamente na Europa, foi por centenas de anos um instrumento para divulgar a pintura. Para tal, os tapeceiros foram desenvolvendo mecanismos técnicos que favoreceram essa cópia, mas no início do século XX, talvez como em outras manifestações artísticas, alguns tapeceiros propuseram uma tapeçaria com “identidade própria”. Tanto Rosalind Krauss como Gilles Deleuze escrevem sobre o original, a primeira cópia, até chegar ao simulacro. Como esse conteúdo teórico pode ajudar a esclarecer o caminho da tapeçaria contemporânea?

A partir de la experiencia y de algunas obras de es-critores y artistas este ensayo busca una aproxima-ción a las relaciones de doble vía entre la literatura y el arte contemporáneo. Por un lado, intento des-cribir y analizar la forma en que diversas obras ar-tísticas contemporáneas como las de Dominique González-Foerster, Tim Youd o Kenneth Goldsmith, se relacionan o se apropian de la literatura; por otro lado, busco comprender la forma en que estrategias, técnicas y concepciones de las artes de las últimas décadas son también apropiadas por escritores y escritoras contemporáneas como César Aira, Angé-lica Freitas, Mario Bellatin, Marcelo Bene o Enrique Vila-Matas. Intento pensar esta problemática en el marco de la tradición comparatista que busca esta-blecer semejanzas o puntos en común entre diversas expresiones y modalidades artísticas

As linhas que se seguem debruçam-se sobre um filme recente do realizador iraniano Abbas Kiarostami, Cópia fiel (2010), e nele mergulham para reflectir, de uma perspectiva contemporânea, sobre as noções de cópia, de ficção, de simulacro e, em certa medida surpreendentemente, de aura. Dão ensejo a estas reflexões o “tema” e a “estrutura” do filme: o facto de nele um historiador de arte discorrer sobre o valor da cópia em arte (e na vida), e a circunstância de a certo ponto, sensivelmente a meio do filme, os seus dois protagonistas (o historiador e uma coleccionadora de arte com quem trava conhecimento em Itália) parecerem simular um relação amorosa. A certa altura, as certezas do espectador vacilam: James e Elle conheceram-se há pouco (como sugere a primeira parte do filme), ou mantêm uma relação desde há muito (como quem visse apenas a segunda parte do filme julgaria). A resposta parece indecidível. Uma ficção desdobra-se no interior de outra; porém nenhuma tem primazia; a cópia (a ficção fictícia) torna-se independente do original (a pretensa ficção verdadeira); sobrevém um simulacro. Mas qual é o poder deste? Até que ponto a ficção poderá transformar a vida, resgatá-la à banalidade, transfigurá-la? É a partir de perguntas como estas que arriscaremos a hipótese paradoxal de uma cópia provida de aura. Com esta hipótese (com a qual se subverte a associação tradicional entre aura e original), é o poder transformador da arte (em relação com a vida) que permanece em jogo, para lá e independentemente da falência da distinção entre cópia e original.

La categoría de copia en el ámbito artístico ha estado sujeta a una extensa y compleja multiplicidad de definiciones. El objetivo de este artículo es analizar una serie de premisas relativas a la construcción de la copia, su relación con los calcos escultóricos y su aplicabilidad a ellos. Se toma como caso de estudio una variedad de calcos escultóricos del David de Miguel Ángel en función de explorar sus particularidades objetuales y materiales y de examinar qué categoría de copia es pertinente emplear. En este sentido, se coteja el concepto de copia, réplica y falso

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Desiderius Erasmus' "Copia" is not only inscribed with rhetorical interpretations but also implied with semiotic meanings. This paper starts from the definition, components, and functions of "Copia" and then analyzes Nights at the Circus from two aspects: the abundance of expression and the abundance of subject-matter, through discussing the employment of metaphor and antonomasia, the dividing of a whole into parts, and the tracing of causes in this novel. This research finds that the use of "Copia" can not only contribute to the richness and variety of style but also highlight the characters' personalities and enable Angela Carter to discuss political and social issues such as patriarchy and individual rights. From a perspective of Bakhtin's cultural semiotics, the paper aims to explore "Copia" semiotic meanings in literary classics and provide alternative interpretations of this conception in literary criticism. [ABSTRACT FROM AUTHOR]

El presente artículo indaga algunas implicaciones ontológicas y políticas del fenómeno de reproducción técnica tal como se presenta a inicios del siglo XX. Hay cierto consenso básico en filosofía de la técnica sobre la idea de que las innovaciones sociales y políticas no pueden comprenderse independientemente de la emergencia y utilización de ciertos medios técnicos. Nuestro interés en este trabajo reside en explorar críticamente una faceta habitualmente subestimada en este tipo de indagación sobre la técnica: cómo las propiedades inherentemente técnicas atadas a ciertos nuevos sistemas técnicos (entre ellos, los sistemas de reproducción) favorecen fácticamente a algunos fines y, por tanto, tienden hacia una serie de utilizaciones en desmedro de otras. Con este objetivo en mente, el presente trabajo reconstruye la posición de Walter Benjamin sobre el problema de la copia reproductible y lo pone en diálogo con las críticas recientes de Hennion y Latour.

Hollar “copied” Leonardo: The use of ‘carta lucida’ for incisions on a 1:1 scale Hollar “copied” Leonardo for Lord Arundel and, as already demonstrated, in some cases he did it in real size (1:1). In this work process Hollar, following a technique already described by Cennino Cennino in his Book of Art, uses carta lucida: a sheet of paper made transparent through the use of oils that allows him to have an exact copy on the real size of any works of art. An example of this working process can be one drawing attributed to the Follower of Leonardo da Vinci now at the Teylers Museum in Haarlem (inv. A 5). It is an ink drawing on carta lucida with the copy in the real size of a man seen in profile, from the left side of a drawing of Leonardo with a couple of men represented en face (Windsor, RL 12490). The size of the male figure reproduced in Leonardo’s autograph, in the Harlem copy as well as in the Hollar’s engraving is always almost identical. A dimensional match that allows to formulate a new proposal for attribution and to include the Haarlem’s drawing in the corpus of Hollar’s drawings as an example of his workflow.

Abstract Background The three superfamilies of Long Terminal Repeat (LTR) retrotransposons are a widespread kind of transposable element and a major factor in eukaryotic genome evolution. In metazoans, recent studies suggested that Copia LTR-retrotransposons display specific dynamic compared to the more abundant and diverse Gypsy elements. Indeed, Copia elements show a relative scarcity and the prevalence of only a few clades in specific hosts. Thus, BEL/Pao seems to be the second most abundant superfamily. However, the generality of these assumptions remains to be assessed. Therefore, we carried out the first large-scale comparative genomic analysis of LTR-retrotransposons in molluscs. The aim of this study was to analyse the diversity, copy numbers, genomic proportions and distribution of LTR-retrotransposons in a large host phylum. Results We compare nine genomes of molluscs and further added LTR-retrotransposons sequences detected in databases for 47 additional species. We identified 1709 families, which enabled us to define 31 clades. We show that clade richness was highly dependent on the considered superfamily. We found only three Copia clades, including GalEa and Hydra which appear to be widely distributed and highly dominant as they account for 96% of the characterised Copia elements. Among the seven BEL/Pao clades identified, Sparrow and Surcouf are characterised for the first time. We find no BEL or Pao elements, but the rare clades Dan and Flow are present in molluscs. Finally, we characterised 21 Gypsy clades, only five of which had been previously described, the C-clade being the most abundant one. Even if they are found in the same number of host species, Copia elements are clearly less abundant than BEL/Pao elements in copy number or genomic proportions, while Gypsy elements are always the most abundant ones whatever the parameter considered. Conclusions Our analysis confirms the contrasting dynamics of Copia and Gypsy elements in metazoans and indicates that BEL/Pao represents the second most abundant superfamily, probably reflecting an intermediate dynamic. Altogether, the data obtained in several taxa highly suggest that these patterns can be generalised for most metazoans. Finally, we highlight the importance of using database information in complement of genome analyses when analyzing transposable element diversity.