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Critical studies about the Macanese and their literature in the former Portuguese colony of Macau have been scant. Novelists like Austin Coates (City of Broken Promises, 1967) from Great Britain and Henrique de Senna Fernandes (A trança feiticeira, 1993) from Macau, as well as short story writers Deolinda da Conceição (Macau) and Maria Ondina Braga (Portugal), depict life in colonial Macau. While the plots of these works display similarities, Coates’s and Braga’s perspectives are filtered through the lenses of European colonialism and Fernandes and da Conceição work through the legacy of coloniality.

El síndrome de Ondina, o síndrome de hipoventilación central congénita, es una enfermedad neurológica rara, donde hay fracaso en el control de la ventilación en el sistema nervioso central, llevando a la hipoxia e hipercapnia que pueden generar problemas del neurodesarrollo y, finalmente, ocasionar la muerte. Puede representar una situación muy dolorosa para los familiares de los pacientes que la padecen, despertando sentimientos difíciles de enfrentar, es por esto que es importante tener conocimiento acerca de esta condición para así impactar en la disminución de su incidencia.

This research focuses on the study of body semiotic, specifically in the beautiful and the ugly corposphere in the homonymous character Ondina. For this purpose, there are considered some semiotic concepts like: spaces, limits, and frontiers (Finol, 2014a), which are established around Ondinaʼs body and in relation to the character called Vega, who expects an approach to Ondina throughout the story. The results demonstrate that the spaces moved by characters, with the bordering and border demarcations, play an important role in the semiotic process of Ondinaʼs body like a complex significance system in which there are combined the beauty and the ugliness. La presente investigación se centra en el estudio de la semiótica del cuerpo, específicamente en la corposfera de lo bello y lo feo en el personaje homónimo Ondina, mediante el análisis de los espacios, límites y fronteras en torno a este cuerpo y en relación con el personaje Vega, quien pretende un acercamiento a lo largo del relato. Para lograr dicho objetivo, se hace un estudio semiótico aplicado al accionar de Vega a partir de las nociones de espacio, límite y frontera (Finol, 2014a). Así, se logra determinar que los espacios por los que transitan los entes actanciales, con sus demarcaciones limítrofes y fronterizas, cumplen un papel relevante dentro del proceso de semiotización del cuerpo de Ondina, que resulta en un complejo sistema de significación dentro del universo narrativo en el que se conjuga lo bello y lo feo.

ActeonsemicingulatusDall, 1927, previously known only by its original description is reassigned to the Pyramidellidae, inOndina, based on the collecting of several new specimens along the coast of Brazil, in the same bathymetry as the type locality. Its shell shape variation is discussed and Odostomia (Evalea) ryclea Dall, 1927 is considered a synonymy. Other Western Atlantic species, previously allocated to other genera are transferred toOndina:AclisstriataVerrill, 1880, Odostomia (Iolaea) hendersoni Bartsch, 1909,EvaleastockiDe Jong & Coomans, 1988 and Odostomia (Evalea) emeryi Bartsch, 1955 based on conchlogical comparison to the revison by Høisæter (2014), from Northeastern Atlantic. The genusEvaleais considered to be absent in the Atlantic Ocean.

Este artigo tenciona apresentar uma análise das figurações femininas chinesas, do estatuto familiar e social da mulher e da sua luta pela emancipação sobretudo em Macau. Maria Ondina Braga, que viveu neste território há anos, configurou na sua obra A China Fica ao Lado imagens de mulheres chinesas. A obra permite-nos olhar para uma evolução da importância da presença feminina das décadas 40 a 60 do século XX. Atendendo aos pressupostos teóricos de Jean-Marc Moura, Álvaro Manuel Machado e Daniel-Henri Pageaux, no âmbito da imagologia, analisaremos o modo como a obra assume enquanto plataforma de construção de imagens das mulheres chinesas em Macau. Discutiremos, no seio de determinado imaginário social, a imagem se pode ou não converter em estereótipo. Reflectiremos que auto-imagem se transmite nesta obra. Quanto à situação das mulheres, será também trabalhado de acordo com as perspectivas enunciadas por Simon de Beauvoir.

Resumo Este artigo explora os “álbuns de família” delineados na obra de teor autobiográfico intitulada Estátua de Sal da escritora portuguesa Maria Ondina Braga. Atendendo aos pressupostos teóricos de Anne Muxel, Halbwachs, Candau, entre outros, o nosso objectivo será analisar, numa óptica comparativista, os “álbuns” das famílias britânicas com quem a autora viveu como au pair e as representações da sua própria família, evidenciando o modo como o olhar face ao outro, à realidade estrangeira e à transmissão da memória cultural se assumem como instrumentos definidores da identidade no seio da alteridade. Abstract This article explores the “family albums” drawn in the portuguese writer Maria Ondina Braga’s autobiographical work entitled Estátua de Sal (Statue of Salt). Based on the theories of Anne Muxel, Halbwachs and Candau, among others, our aim is to analyze, comparatively, the “albums” of the British families with whom the author lived as an au pair, and the representations of her own family. We will show how viewing the “other”, the foreign reality and the transmission of cultural memory is a tool to define identity within alterity. Resumen Este artículo explora los álbumes de familia dibujados en la obra de corte autobiográfico titulada Estátua de Sal de la escritora portuguesa Maria Ondina Braga. Bajo los presupuestos teóricos de Anne Muxel, Halbwachs y Candau, entre otros, nuestro objectivo es analizar, en una óptica comparativista, los álbumes de las familias británicas con quiénes la autora vivió y trabajó y las representaciones de sua propia familia evidenciando el modo cómo la mirada hacia el otro, hacia la realidad extranjera y la transmisión de la memoria cultural, se asumen como herramientas definidoras de la identidad en el seno de la alteridad.

Latrodectus gr. mactans is responsible for 28% of ali accidents provoked by spiders in state of Bahia, Brazil (1980-1990), which makes necessary the study of its manejament. The spiders were captured in Ondina, Salvador, and in Baxio, Esplanada (Bahia, Brazil); they were mantained in captivity, with food supply weekly (Atta sp., larva of Tenebrio sp. and Drosophila melanogaster) with three hours/ offers observation time, during march/95 to april/96. In captivity, the spiders accepted two kinds of food: Atta sp., which seems to be the major item of its diet in natural conditions, and larva of Tenebrio sp., which is not available in natural conditions. Drosophila melanogaster was systematically rejected. The feeding behavior iscomposed by four distinct steps: (1) imrnobilization, (2) inoculation, (3) second immobilization and (4) ingestion. Two kinds of social alimentary behavior are descri-bed. The results indicated that larvae of Tenebrio sp. can be an alternative supply for successfull maintenance of this specie in captivity.

The present paper deals with Odostomiinae species distributed along the Turkish coasts. The examination of a material sampled from different depths (0-875 m) and habitats between 1996 and 2011 resulted in identification of 20 Odostomia (O. acuta, O. angusta, O. barashi, O. carrozzai, O. conoidea, O. conspicua, O. erjaveciana, O. eulimoides, O. megerlei, O. kromi, O. improbabilis, O. lorioli, O. lukisii, O. plicata, O. scalaris, O. sicula, O. silesui, O. turriculata, O. turrita and O. unidentata), 2 Liostomia (L. afzelii and L. clavula) one Noemiamea (N. dolioliformis) and 5 Ondina (O. anceps, O. crystallina, O. diaphana, O. vitrea and O. warreni) species. Among the identified species, Odostomia silesui and Ondina anceps are new records for the eastern Mediterranean, Liostomia afzelii is new for the Levantine and Aegean Seas, Odostomia megerlei is new for the Levantine Sea, Odostomia angusta, O. barashi and O. lorioli are new for the Aegean Sea molluscan fauna, Odostomia carrozzai is new for the Turkish mollusc fauna, Odostomia unidentata is new for the Turkish Levantine and Aegean Seas, Liostomia clavula is new for the Turkish Levantine coast and 6 species (Odostomia conspicua, O. kromi, O. improbabilis, O. lukisii, O. turrita and Ondina diaphana) are new ones for the Turkish Aegean Sea fauna. Of the identified species, Odostomia conoidea is the most abundant and widely distributed species along the Turkish coasts, whereas Odostomia angusta, O. barashi, O. megerlei, Ondina anceps and O. crystallina are species with restricted distribution. Odostomia silesui is the deepest living Odostomiinae species. In the present study, some ecological and distributional features and taxonomic remarks, with colour photographs of the identified species, are given.

Born in Braga in January 1932, where she also died (March 2003), the Portuguese writer and translator Maria Ondina Braga travelled to several countries, lived in England, France, India (Goa), Angola, Macau and China. Those existential journeys to different corners of the world are fictionalized into her narratives, as in Estatua de Sal (Braga, 1965b) and A Passagem do Cabo (Braga, 1994) - which will be analyzed in this work. By drawing on imagology we shall discuss the mechanisms used by the narrator in the process of identity reconstruction, through the memory in the midst of alterity and the exotic 'Other', having Macao as a scenario.

Recent works on prostomatid ciliates show that some genera of this group have a differentiated oral infraciliature and that their stomatogenesis during division involves the proliferation of only a few somatic kineties. These findings have significant implications regarding the iaxonomic status of these genera and also on the terminology used for the oral structures. In Urotricha ondina, the oral infraciliature consists of (1) a paroral kinety formed of paired kinetosomes that encircle the cytostome at the anterior pole of the cell and (2) 3 adoral organelles, each formed of 2 rows of kinetosomes, ventral in position and obliquely disposed, lying above 3 short somatic kineties that do not reach the anterior pole of the cell. This oral ciliature —formerly known as the corona and brosse, respectively—originate during stomatogenesis from the proliferation of 4 somatic kineties that lie posterior to the adoral organelles of the parental cell.