Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

In an expedition of 341 plots across a large elevation (1,100-3,880 m) and spatial gradient (~270 km) in the eastern cordillera we found a new species of the genus Lepanthes in Santuario de Fauna y Flora de Iguaque, Boyaca, Colombia. We propose L. bachue as a new species. It is most similar to L. papallactae but it can be distinguished by its proliferous plants (vs. non proliferous), the petals with the upper lobe 2.5 mm long, the lower lobe 4.5 mm long, larger than the upper one, and the margins fimbriate (vs. lobes subequal, 4.5 mm long and shortly pubescent) and the lip with the blades oblong, sub-sigmoid, adnate to the middle of the column with a short oblong, bifid, yellow appendix hiding in the middle (vs. blades narrowly elliptical-oblong, connate to the column above the middle with a recurved, pedunculate, biglandular appendix). Our large elevational and geographical sampling suggest that the species is geographically restricted and have high habitat specialization, thus urging to protect its natural habitat and population.

Bernhard Eunom Philippi (1811–1852), his brother Rudolph Amandus Philippi (1808–1904), and the latter’s son Federico Philippi (1836–1910) must be considered the main actors in the history of the natural sciences in Chile between 1840 and 1910. While Bernhard was responsible for convincing the rest of his family to emigrate to Chile (and in fact, became the initiator of German immigration to southern Chile), Rudolph became the leading Figure in Chile’s scientific community, becoming the first director of the National Museum of Natural History, a post he held from 1853 to 1897. The description of many new orchid species in the series Plantarum novarum Chilensium (1856–1864) during this time is only one of his merits. His son Federico took over the direction of the Museum after his father’s retirement until he died in 1910. Catalogus plantarum Chilensium (1881) stands out among his numerous publications.

Pachygenium muyscarum, a new species from Colombia, is described, illustrated, and aspects related to its distribution, ecology, conservation status, and relationships with morphologically similar species are discussed. This species is characterized by flowering without leaves, labellum 1.4–1.6 cm long, with the apex trilobulate and labellum nectar glands 0.2–0.4 cm long, subulate and uncinate. To date, this is the only species of the genus present in Colombia, being endemic to the subxerophytic enclaves of Cundinamarca. 

The first natural hybrid of the genus Gongora is described for the department of Copán in Honduras, between the species Gongora truncata and Gongora batemanii (synonym: Gongora cassidea). The nothospecies described here presents intermediate characteristics between both species, such as setaceous projections on the lip, a large callus, spatulate epichile, and a cucullate hard dorsal sepal. The identity of a specimen from the Herbarium Jany Renz Botanical Institute, University of Basel, Switzerland, corresponds to the same hybrid described here and erroneously determined as Gongora saccata, a synonym of Gongora seideliana, is considered. The clarification of the synonymy of Gongora saccata and relevant aspects regarding the pollination mechanisms and reproductive barriers of both parent species are also discussed.

Two new species of Pleurothallis subsection Macrophyllae-Fasciculatae are described and illustrated. Both species were found in the central Andes of Colombia in the department of Tolima. The two species are compared and discussed with Pleurothallis applanata, Pleurothallis ariana-dayanae, Pleurothallis paquishae, and Pleurothallis scabrilinguis, which are the morphologically closest species. The two new species differ from their congeners mainly by lip morphology. Pleurothallis franciana is distinguished by having an oblong-lanceolate, acute, vesiculous lip with an obovate glenion, and Pleurothallis petroana is distinguished by the ovate-lanceolate, verrucose-papillose, slightly pilose lip, with a spathulate glenion.

This paper provides a comprehensive account of the orchid diversity in the Biligiri Rangaswamy Temple Tiger Reserve (BRTTR), Karnataka, India. A total of 97 orchid species belonging to 33 genera were documented. This includes 50 terrestrial and 47 epiphytic orchids, including one mycoheterotrophic orchid, Epipogium roseum, and a climbing leafless Vanilla walkerae. Additionally, 39 endemic orchids were documented during the study. The evergreen forests provide the most habitable conditions for the orchids in BRTTR. The present study adds 26 species to the orchid flora of BRTTR. About 49% of the orchid flora of Karnataka state and 32% of orchids of Western Ghats is found in BRTTR, making this area a microcenter for orchid diversity.

South Korean television fiction that portrays business life oscillates between soap opera drama, cartoons borrowed from the online cartoon or webtoon of origin, and realistic dramas that may or may not be crossed by other genres such as thrillers or melodrama. In this corporate fiction it is possible to observe models of leadership that may correspond to some of those described in corporate manuals (Pygmalion Competence, Integral Personalist Leadership) and also with proposals that from applied ethics do not renounce a normative ethics that is both minimum and maximum, such as the Ethics of Cordial Reason, Cordial Ethics (Cortina, 2009). Both models of leadership and ethical proposition will serve for the analysis of two recent South Korean television fictions - Night Lights (Bulyaseong, White Nights, 2016) and Search: WWW (Geomsaekeoreul Ibryeokhaseyo, 2019) - that bring to the table the increasing awareness in their society of the situation of the professional women whose lives they project. The moral profiling and increased realism in the characters’ characterisation from CEO Yi-Kiung Seo (Night Lights) to Ta mi Bae (Search) is due to the move from one screenwriter, Ji-hoon Han, to the breakthrough of more screenwriters in the hallyu industry such as Eun Sol Kwon. In addition, Search: WWW acknowledges the social change in the country after the Feminist Reboot that followed the Gagnam station murder, which has led all hallyu industries to rethink their gender equality conditions.

Since its publication in 2005, the UNE 153020 standard has remained the only official document in Spanish that regulates audio description, the communication support system that allows visually impaired people to enjoy art. Over time, the inclusion of these groups in the field of culture has expanded in very stimulating directions; advances that are not recognized in the standard, as it has been unchanged for more than seventeen years. In 2022, and with the entry into force of the new General Law on Audiovisual Communication, the Spanish Government mandates that audio-written films comply with the quality standards of the UNE standard, so this document has gained a new weight that affects the total of Spanish productions made with public subsidies. With the aim of offering a constructive review of this document, an analysis of its chapters dedicated to audio-description of audiovisual contents will be offered, as well as a comparison of the standard with other international guides and regulations related to the same subject.

The present work seeks to defend cinema as an artistic medium which can help current people to believe in the world again, namely, to reconnect with his own life and existence, rescuing a positive perspective of the reality where the human being can work and develop his life. We focus in part of Peter Weir’s filmography, more precisely in the movies Dead Poets Society and The Truman Show, and we will go in search of the mission entrusted by Gilles Deleuze to the cinema, whose objective is to film the connection between the human being and his world and if part of the cinema created in the past decades has responded to the said call. Finally we will review part of the fracture between the human beings and his world as an event occurred after the second world war.

Álex de la Iglesia is a filmmaker whose recognition has grown exponentially from the 1990s to the present. His style is ambiguous, placing himself in a hybrid position, between genre cinema and the Spanish tradition of the esperpento. This has given rise to many debates and reflections on the position it occupies in the national cinematographic panorama. This paper focuses on the analysis of the scenes of heights in his films, one of the characteristics present throughout his filmography, from El día de la bestia to Veneciafrenia. Thus, a journey through the films in which they appear is established, analyzing the type of meaning and sense they have, and accounting for the diversity of meanings and structures. The analysis will focus on the films that show this resource in the final part (in the climax), emphasizing its metaphorical character, which connects with a philosophical reading of heights as a filmic space. This connotation is rooted in the origins of western culture, in the thought of Plato, Aristotle and the Judeo-Christian tradition which, being very present in thought, also survives in literary and cinematographic narrative.