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Nel tradurre l’inizio del quarto stasimo dell’Antigone di Sofocle, Friedrich Hölderlin svia dal testo greco e dà consapevolmente una interpretazione allegorica del mito della sfortunata Danae, imprigionata dal marito in un talamo di bronzo e nonostante questo resa gravida da Zeus trasformatosi in nuvola d’oro. L’esempio mitico, al di là della funzione svolta nella tragedia di Sofocle, viene ad essere allegoria per l’esistenza umana che resiste all’impulso di morte e lo sconfigge, continuando a vivere il suo tempo anche se in una solitudine estrema. La vita eremiticanè la più alta realizzazione della coscienza e dell’eroismo. Nella sua capacità di vivere e gestire il tempo la figura mitologica di Danae si oppone a quella di Antigone, invasata dal dio al punto da credersi dio e dedita alla morte. Forse Hölderlin nell’esempio mitologico di Danae rispecchiò la propria esperienza, ossia la scelta di ritirarsi dal mondo compiuta nel 1806 sino alla morte. Un eremitaggio, in parte prefigurato nella figura romanzesca di Iperione, che Hölderlin visse per lunghi quarant’anni, dai biografi e studiosi intesi come gli anni della ‘follia’ del poeta. Se la nostra interpretazione coglie nel segno, l’attività di tradurre Sofocle si conferma per Hölderlin un impegnativo compito esegetico e una maniera di riflettere sulla storia e sulla dimensione tragica dell’esistenza umana. Perciò Hölderlin non traduce l’Antigone, ma consapevolmente adatta la tragedia di Sofocle al pensiero moderno.

[ES] El fin que se persigue en el presente trabajo es hacer una lectura simbólica y metafórica de las representaciones de los Amores de Zeus en los mosaicos romanos de la Bética, poniendo de manifiesto las particularidades iconográficas y la contaminación con otros ciclos mitológicos. Se profundiza en las formas de representar las distintas escenas del mito, en ocasiones dominadas por la ambigüedad y el juego al despiste, factores estos últimos especialmente presentes en los mosaicos de Écija. Se resalta, asimismo, el carácter «amable» de las representaciones, en las que domina el juego del amor, del cortejo y de la seducción, así como la sexualidad y el consentimiento que reina sobre cualquier rasgo o síntoma de violencia, [EN] This paper aims to symbolically and metaphorically analyze the depictions of Zeus’ love affairs in the Roman mosaics of Baetica, focusing on the iconographical features and its contamination with other mythological cycles. This research highlights different ways of depicting the various scenes of this myth, in which ambiguity and vagueness are outstanding. These factors are particularly evident in the mosaics of Écija. In addition, it is also highlighted that love games, courtship, seduction, sexuality, and consent are elements that prevail over any violent feature.

Entre los siglos XVI y XVII, en Europa continental, proliferaron pinturas y grabados dedicados al episodio mítico de Dánae y la lluvia dorada. El elemento que distingue la escena de Dánae de otros desnudos mitológicos es el oro, el cual aparece como una sustancia corruptora. A partir de la particular pintura realizada por Hendrik Goltzius sobre este tema, el propósito de este trabajo es investigar la manera en la que aparece representado el oro en algunos de los óleos del período. Indagaremos acerca del vínculo de estas imágenes con la curiosidad propia de la época por desentrañar el misterio del metal. Desde un tratado alquímico hasta un texto protoeconómico, entre la magia y la ciencia, encontraremos a Dánae siendo evocada para esbozar explicaciones sobre el poder del oro., Between the XVI and the XVII centuries, in continental Europe, there was a proliferation of paintings, engravings, frescoes and prints dedicated to the mythical episode of Danae and the golden rain. The distinctive element of Danae’s scene, in comparison to other mythological nudes, is gold, which appears as a corrupting substance. Taking Hendrik Goltzius’ painting on the subject as a starting point, the purpose of this article is to investigate the way in which gold is represented in some of the paintings of the period. We will explore the link of these images with the curiosity of the time to unravel the mystery of this metal. From an alchemical treatise to an economic text, between magic and science, we will find Danae being evoked in order to explain the power of gold., Facultad de Artes

Starting from the analysis of both the Allegory of Lorenzo Lotto (Washington, National Gallery of Art) and its connections with Petrarch���s Canzoniere, this essay aims to study some Petrarchan interpretations of the mythological episode of Dana��. Following the double thematic thread of the excited gaze and the sublimation of desire, this analysis matches literary and visual sources, focusing on the illustrative set of the ���Incunabolo Queriniano��� produced by Antonio Grifo as well as on the moralised elaboration of the figure of Dana�� in some Latin texts by Petrarch, and finally on some poetic ekphraseis by the Venetian Renaissance author Lodovico Dolce.

The article concerns the Comedia di Danae by Baldassarre Taccone, a favola mitologica represented in Milan, in 1496 in its dramatic articulation and in relation to the myth relived in the courtly dimension. It makes particular reference to the modification of the conclusion, here with a transfiguration into a star of the protagonist, chaste girl and sacrificial victim.

The tradition of Greek mythology follows complex, sometimes difficult, paths. Not all its myths are given the same attention over time: such is the case of the story of Dana��, relatively neglected. For fear of being killed by his nephew (as prophesied by the oracle of Delphi) Acrisius, king of Argos, decided to lock his daughter in a tower. Under a golden rain, Dana�� was ���loved��� by Zeus and, in her confinement, conceived a son, Perseus. As punishment, Acrisius closed Dana�� and the little Perseus in a nailed wooden box that was thrown into the sea. Mother and child saved themselves and the myth has persisted. This issue of Engramma is dedicated to the afterlife of the myth of Dana��: from Greek Antiquity to contemporary art, passing through the Medieval and Modern traditions. It includes contributions by Barbara Baert, Maddalena Bassani, Monica Centanni, Mario Cesarano, Simona Dolari, Gabriella F��nyes, Lorenzo Gigante, Elena Pirazzoli, Carlo Sala, Andrea Torre, and Piermario Vescovo.

This paper deals with the myth of Dana�� in Classical antiquity. The author discusses the multiple versions of the myth through an analysis of literary sources, by quoting and examining many texts by Ancient Greek and Latin authors such as ��� among others ��� Homer, Pindar, Simonides, Pseudo-Apollodorus, Lucian, Horace, Hyginus, Ovid.

Starting from the analysis of both the Allegory of Lorenzo Lotto (Washington, National Gallery of Art) and its connections with Petrarch’s Canzoniere, this essay aims to study some Petrarchan interpretations of the mythological episode of Danaë. Following the double thematic thread of the excited gaze and the sublimation of desire, this analysis matches literary and visual sources, focusing on the illustrative set of the “Incunabolo Queriniano” produced by Antonio Grifo as well as on the moralised elaboration of the figure of Danaë in some Latin texts by Petrarch, and finally on some poetic ekphraseis by the Venetian Renaissance author Lodovico Dolce.

This article focuses on the Dana�� painting (1527) by Jan Gossaert van Mabuse (1478-1532) (Munich, Bayerische Staatsgem��ldesammlungen), developing the meaning of ���psycho-spatial space��� (Raumlichkeit) in the painting. In Gossaert���s Dana��, the space concerned is a sophisticated articulation of outer and inner discourse: the hard, dry, external space, with its eclectic architecture, in contrast with the sweltering, moist, internal space of the figure���s naked body. I develop Gossaert���s complex phantasmata surrounding architecture, decoration, and the female body in three phases: first, the space that allows access to intimacies; second, the gendered space as (un)heimlichkeit and voyeurism, and, third, space as the petrifying gaze of Medusa.

Between the fifth and fourth centuries BC the Etruscan city of Spina, founded at the mouth of the Po on the Adriatic, weaves such a close relationship with the Greek people that it established a thesauros in Delphi and became a privileged partner of Athens. Ancient literary sources remember it as polis hellenis. Its cemeteries have been officially excavated since 1922. Several thousand burials have been discovered. In many of them there are vases with Attic red-figured pottery. The present work aims to understand if the Etruscans of Spina are able to understand the iconographic lexicon used by Athenian potters and if they assign it the same semantic value. In particular, the work focuses on an Attic red-figured kylyx from tomb 503 in Valle Trebbra, depicting the mythical episode of Dana�� abandoned with her son Perseus in a chest on the sea by the will of her father Acrisio, king of Argon. The study of the other vases with the same scene shows that the myth of Dana�� and Perseus was widespread in the Italian peninsula where it could be a reference to the idea that no man can escape his fate.

A late Venetian Baroque painting was recently sold on the art market with an attribution to Antonio Bellucci. But, the painting is actually also a late copy from Titian���s Dana��. Both its attribution and its copy status raise questions: what is the meaning of the myth for a Baroque painter? What are the visual options for a painter depicting Dana��? How does a copyist relate to Titian, 150 years later? The present essay starts from these questions, analyzing the Titiansque sources of the painting, discussing its attribution to Bellucci and trying to understand the myth of Dana�� at the dawn of a hedonistic eighteenth century.

The article aims at analysing the role of Dana�� in the Latin town of Ardea and in the Latium vetus starting from a ���local��� variation of the Greek myth. In particular, thanks to an in-depth reading of specific Latin sources and to a reconsideration of the archaeological remains in Ardea, some hypotheses about the cultural and religious context in which the Latin myth of Dana�� took place are proposed. The ���westerner version��� of the myth of Dana�� could be emphasized during the Hellenistic phase with new semantic meanings and it could be reused in the Augustan age for specific ���dynastic��� purposes.

All the Aeschylean editors agree that in vv. 144-146 of the Persians where the codes have transmitted the text ������� ������� �������������� ������������ ����������������� / ����������������������, ����� ���������������������� ���������� �����������������, a single or a double corruption has intervened. The solution generally adopted is to clean up the corrupt text area and, in fact, consider it a locus desperatus (such is the case up to the last important edition of Garvie 2009). However, Martin West, in his 1990 Teubner edition, proposed an intervention as bold as it was brilliant: assuming the hypothesis of a double corruption, he restored the mention of the ���lineage from Dana����� in the indicted text along with the idea of the paronymia Perseus-Perses-Persae: ������� ������� �������������� ������������ ����������������� / ������������ ���� ���������� / ����� �������������������� ���������� �����������������; The essay reconstructs the genesis of the proposal by West, which could constitute a further tile in the mosaic of the Aeschylean drama, and particularly in the topic of the genealogical relationship between Greece and Persia. Dana��, the Greek princess Dana��, was the first receptacle of the ���golden seed��� from which Perseus was born and from him his son Perses, ancestor of Xerxes. Therefore, the chorus of the old Persians would confirm that Dana�� herself is the matrix of ���our lineage, which takes its name from her���. The text reconstructed by West would also be a confirmation of the importance of the theme of ���eponymy��� in the Aeschilean dramaturgical composition: the Appendix provides a review of the occurrences of eponymy / paronymy in the text of all seven preserved Aeschylean tragedies.

On November 9th, 1947, the exhibition of artworks recovered in Germany was inaugurated at Villa Farnesina in Rome. On display were mainly paintings and sculptures from the collections of Neapolitan museums stolen by the Nazis but returned to Italy a few months earlier, thanks to Rodolfo Siviero and his collaborators. Hidden in the abbey of Montecassino to escape the bombings of Naples, these artworks were evacuated by German troops after the Italian armistice, just before the destruction of the abbey by the Allies. Most of the pieces were returned in a few months, but some were not: they were a gift for Hermann G��ring. The Reichsmarschall was indeed a greedy collector and during the war his collection increased through art confiscations in occupied countries. Among the artworks stolen from Montecassino was Titian's Dana��, painted for Cardinal Alessandro Farnese in 1545 and part of Capodimonte collection. By mythological subject and historical events, this canvas became the emblem of the rescue.

Aux XVIe et XVIIe siècles, le récit ovidien relatant la rencontre entre Jupiter et Danaé devient l’un des sujets mythologiques les plus prisés des artistes de l’époque. La première œuvre majeure de la Renaissance illustrant cette scène, datant de 1527 et intitulée Danaé, est attribuée à l’artiste flamand Jan Gossaert. Alors que les chercheurs s’entendent pour affirmer qu’à partir du XVIe siècle, le personnage de Danaé se veut pour les artistes un modèle de courtisane, la version réalisée par Gossaert reste encore aujourd’hui une source de désaccord. Les différentes lectures de la toile établissent des similitudes iconographiques, d’une part, avec la Vierge de l’Annonciation et, d’autre part, avec les courtisanes de la Renaissance. Le présent mémoire s’intéresse à ces deux positions paradoxales sans en écarter l’une ou l’autre afin de repenser l’œuvre sous un nouvel angle., During the sixteenth and seventeenth centuries, the ovidian story of Jupiter and Danae became one of the most popular mythological subjects for artists of the time. The first major work of the Renaissance illustrating this scene, entitled Danae, dating from 1527, is attributed to the Flemish artist Jan Gossaert. While researchers agree that, from the sixteenth century onwards, the character of Danae was chosen by artists as a model of the courtesan, the version by Gossaert still remains a source of disagreement between them. The different readings of the painting establish iconographic similarities, on the one hand with the Virgin of the Annunciation and, on the other, with the courtesans of the Renaissance. My thesis focuses on these two paradoxical positions without rejecting one or the other in order to rethink the painting from a new angle., Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée à la Division de la gestion des documents et des archives

This paper raises questions about the social value of money, gold and wealth in Athenian society of V century BC. and their manipulative power of traditional values, through the analysis of Euripides’ Danae. Beginning on the suspicion of Acrisio about loving seduction that gold have reached on his young daughter Danae, this paper investigates the ability of wealth to legitimize socio-political ideas and positions in the field of traditional values such as virtue, intelligence and the opportunity. Finally, the article discusses the subject in other tragic and lyric fonts to suggest that, from the mid-sixth century BC. gold rivals with Érws in power, seductive and manipulative traditional strength in the kósmos., El presente trabajo pone en discusión la valoración social del dinero, el oro y la riqueza en la sociedad ateniense del siglo V aC. y su poder manipulador de valores tradicionales, a través del análisis de la obraDánaede Eurípides. Partiendo de la sospecha de Acrisio, acerca de la seducción amorosa que el oro habría producido en su joven hija Dánae, el trabajo indaga la capacidad de la riqueza de legitimar ideas y posiciones socio-políticas frente a valores tradicionales como la virtud, la inteligencia y la oportunidad. Finalmente, el artículo analiza el tema en otras obras trágicas y líricas y propone que, a partir de mediados del siglo VI aC. el oro rivaliza en poder conÉrws, tradicional fuerza seductora y manipuladora en elkósmos., El presente trabajo pone en discusión la valoración social del dinero, el oro y la riqueza en la sociedad ateniense del siglo V aC. y su poder manipulador de valores tradicionales, a través del análisis de la obraDánaede Eurípides. Partiendo de la sospecha de Acrisio, acerca de la seducción amorosa que el oro habría producido en su joven hija Dánae, el trabajo indaga la capacidad de la riqueza de legitimar ideas y posiciones socio-políticas frente a valores tradicionales como la virtud, la inteligencia y la oportunidad. Finalmente, el artículo analiza el tema en otras obras trágicas y líricas y propone que, a partir de mediados del siglo VI aC. el oro rivaliza en poder conÉrws, tradicional fuerza seductora y manipuladora en elkósmos. &nbsp

One of the classical myths that are present in Cervantes’ interpolated tale of El curioso impertinente, the rape of Danaë, has not receive much critical attention.. The many visual images in the cervantine tale recall the use of ekphrasis to portray the myth in Terence’s Eunuch, where the painting is one of the causes of Pánfila’s rape. The cervantine tale evokes the controversy triggered by the ancient play, starting with Saint Augustine and continuing into the Spanish Golden Age, with writers such as Juan de Mariana and Juan de Pineda. This study of Terence’s comedy along with the painting of Danae, sent by Titian to Philip II, serves to the underline the structural and thematic importance of the myth in Cervantes’ tale. Through the story of Danaë, Cervantes enters into the debate on the impact of the visual arts at the time of the Counterreformation., Uno de los mitos clásicos que aparecen en la novela intercalada cervantina, El curioso impertinente, el del rapto de Dánae, no ha recibido mucha atención crítica. Las muchas imágenes visuales de la novela cervantina recuerdan la écfrasis de este mito en el Eunuco de Terencio, donde la pintura es una de las causas del rapto de Pánfila. La novela cervantina se hace eco de la controversia que había suscitado el Eunuco, comenzando con San Agustín; controversia que continuó hasta el Siglo de Oro con escritores tales como Juan de Mariana y Juan de Pineda. El estudio de la comedia de Terencio y de la pintura de Dánae enviada por Tiziano a Felipe II ayudan a comprender la importancia del mito como elemento temático y estructural en la novela. La historia de Dánae en Cervantes forma parte del debate sobre el impacto de las artes visuales en la época de la Contrarreforma.

One of the classical myths that are present in Cervantes’ interpolated tale of El curioso impertinente, the rape of Danaë, has not receive much critical attention.. The many visual images in the cervantine tale recall the use of ekphrasis to portray the myth in Terence’s Eunuch, where the painting is one of the causes of Pánfila’s rape. The cervantine tale evokes the controversy triggered by the ancient play, starting with Saint Augustine and continuing into the Spanish Golden Age, with writers such as Juan de Mariana and Juan de Pineda. This study of Terence’s comedy along with the painting of Danae, sent by Titian to Philip II, serves to the underline the structural and thematic importance of the myth in Cervantes’ tale. Through the story of Danaë, Cervantes enters into the debate on the impact of the visual arts at the time of the Counterreformation.

International audience; On ne l’aura pas jusqu’à présent noté : le « meurtre sous la douche » de Psycho (1960) d’Alfred Hitchcock – je propose d’en trouver immédiatement une autre désignation, tout comme Hubert Damisch, après Jean-Louis Leutrat, nous aura appris qu’il fallait traduire Rear Window par « le rétroviseur » – appartient par bien des aspects à la tradition picturale des Danaé, où l’on ne trouverait pourtant nulle mort de femme. Aucun tableau représentant Danaé n’est explicitement cité dans le film : pour le voir, il convient de regarder autrement que par la seule iconographie iconique...

Wealth, manifested gold and possessions, is a traditional tool for manipulating people. Greek myth gives many examples about the kind of situations can generate offering wealth. Political corruption or family betrayal are recurring consequences of the presence of gold in society and in core of the family. A particular case is the loving manipulation of a young maiden. Offering of gold for sexual intercourse is a central theme in the myth of Danae and in Euripides' play Danae whose fragments realize a tight agon on this topic. This paper attempts to present the lines of discussion of the power of wealth in Euripides' Danae from pointing outthe spaces that traditional mythic narrative leaves open for theatrical operation by the playwrite. This treatment is, in turn, a manipulation of myth and traditional épos through anachronisms that allow channeling the issue in the ways of V century BC Athenian society., Las riquezas, en oro y posesiones, son una herramienta tradicional de manipulación de las personas. El mito griego da muchas muestras de lo que puede generar la oferta de riquezas en oro. La corrupción política o la traición familiar son consecuencias recurrentes de la presencia del oro en la sociedad y en la familia. Un caso particular es la manipulación amorosa de una joven doncella. La oferta de oro a cambio de unión sexual es un tema central en el mito de Dánae y en la obra homónima de Eurípides cuyos fragmentos dan cuenta de un reñido agón en torno a este tema. Este trabajo intenta presentar las líneas de discusión del poder de las riquezas en Dánae de Eurípides a partir del señalamiento de los espacios que la narración mítica tradicional deja abiertos para la operación teatral del tragediógrafo. Este tratamiento resulta, a su vez, una manipulación del mito y del épos tradicional a través de anacronismos que permiten encauzar el tema según los intereses de la sociedad ateniense del siglo V a.C.

En reprenant la suggestion de Michel Foucault sur « l’âme, prison du corps » qui renverse la conception classique, on peut analyser un détail du Theophilus in carcere de Théophile de Viau (la référence surprenante à Danaé, vue plutôt comme sexuellement douteuse, alors qu’il est accusé de mauvais usage du sexe) comme exemplaire de cette production d’âme dans un écrit de prison, permettant ainsi de capturer/captiver ses juges. L’âme naît alors des procédures de surveillance et de capture qui cherchent à en déchiffrer les figures, changeant le corps en archive de soi.Following Michel Foucault’s suggestion about the “soul, prison of the body”, which inverses the traditional conception of the body as prison of the soul, I will scrutinize a detail of Viau’s Theophilus in carcere (the astonishing reference to Danae) that permits him paradoxically to capture/ captivate his judges. This detail is exemplary of the way surveillance and enprisonment produces a “soul”, which transforms one’s body into an archive of one’s self.

Danae House was unearthed by my responsibility, on head of Gaziantep Museum Directorate in 2003-4 excavation. The house was named Danae owing to Danae was figured on the mosaics. Danae-Diktys mosaics were found in shallow pool (impluvium) of inner court. On this mosaics, the chest containing Danae and Perseus washed ashore on the island of Seriphos is described. Danae gets out from the box with her baby Perseus who was embraced by her, over agains pirate Diktys extends his hand to baby Perseus. One of the fisherman holds cover of the chest, the other looks at inside it. Similar scene like DanaeDiktys were find few on the other mosaics. The scene were described on the wall and vase painting. On these grounds, the Danae mosaics of Zeugma is rare. Geometrics desing mosaics are seen on the ground of perystyle, living room, resting room and latrine. The motifs of geometric mosaics are intersecting circles forming quatrefoils, row of tanged outlined with serrated fillets, shaded three-strand guilloche, meander and row of tangent four-pointed stars as saltires, with in crosslets of 5 poised tesserae. These geometric motifs are also seen on the ground mosaics of the other houses of Zeugma. Owing to location of Danae House is higher than Birecik Dam lake, its mosaics are left on-site in original rooms which they were found.

Danae House was unearthed by my responsibility, on head of Gaziantep Museum Directorate in 2003-4 excavation. The house was named Danae owing to Danae was figured on the mosaics. Danae-Diktys mosaics were found in shallow pool (impluvium) of inner court. On this mosaics, the chest containing Danae and Perseus washed ashore on the island of Seriphos is described. Danae gets out from the box with her baby Perseus who was embraced by her, over agains pirate Diktys extends his hand to baby Perseus. One of the fisherman holds cover of the chest, the other looks at inside it. Similar scene like DanaeDiktys were find few on the other mosaics. The scene were described on the wall and vase painting. On these grounds, the Danae mosaics of Zeugma is rare. Geometrics desing mosaics are seen on the ground of perystyle, living room, resting room and latrine. The motifs of geometric mosaics are intersecting circles forming quatrefoils, row of tanged outlined with serrated fillets, shaded three-strand guilloche, meander and row of tangent four-pointed stars as saltires, with in crosslets of 5 poised tesserae. These geometric motifs are also seen on the ground mosaics of the other houses of Zeugma. Owing to location of Danae House is higher than Birecik Dam lake, its mosaics are left on-site in original rooms which they were found.

National audience; L'Eunuque de Térence, comédie à succès, contient une scène peu banale qui a surpris et gêné plus d'un critique ( III,5). Le jeune Chéréa raconte à son ami comment, en se déguisant en eunuque, il a réussi à s'approcher d'une jeune fille dont il était tombé amoureux et comment il est parvenu à ses fins avec elle. Le récit débute par l'évocation d'un tableau à caractère certainement érotique, représentant Danaé séduite par Jupiter métamorphosé en pluie d'or. Pour saisir l'intérêt et la place de cette scène dans la pièce, il faut abandonner le point de vue moralisant. Cette comédie témoigne d'un état de la réception du mythe à l'époque hellénistique ( III°-II° siècle av. J.-C) : le mythe est utilisé comme topos de l'argumentation rhétorique ( dont témoignent , entre autres, les épigrammes de l'Anthologie Palatine) et comme sujet érotique dans l'iconographie. La scène de Térence, comme déjà sa source chez Ménandre, joua sans doute un rôle de relais dans la réception du mythe qui, après Térence, fut interprété comme une référence à la relation sexuelle payante obtenue d'une courtisane. L'Eunuque est une comédie de l'apprentissage des conventions sociales en matière de relations sexuelles.

Danae testacea (Ziegler, 1844) NOVA SCOTIA: Inverness Co.: Lone Shieling, Cape Breton Highlands National Park, 7.vii. 1983, R. Vockeroth, malaise trap, CNC. Distribution in the Maritime Provinces is shown in Fig. 4. At Lone Shieling it was found in an old-growth hardwood stand. In eastern North America found largely as a relict species in old-growth hardwoods (Floyd Shockley pers. comm.) Found in subcortical fungi in hardwoods and softer species of Polyporaceae (Floyd Shockley pers. comm.)., Published as part of Majka, Christopher G., 2007, The Erotylidae and Endomychidae (Coleoptera: Cucujoidea) of the Maritime Provinces of Canada: New records, zoogeography, and observations on beetle-fungi relationships and forest health, pp. 39-50 in Zootaxa 1546 on pages 46-47, DOI: 10.5281/zenodo.177990