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Neo-Victorian fiction has been concerned with historically oppressed and traumatised characters from the 1990s onwards (Llewellyn 2008). More recently, neo-Victorianism on screen has shifted its attention to the figure of the perpetrator and their unresolved guilt, as in the TV series Penny Dreadful (Logan 2014-2016) or Taboo (Knight, Hardy and Hardy 2017-present). However, perpetrator trauma is an under-theorised field in the humanities (Morag 2018), neo-Victorian studies included. This article analyses Taboo as a neo-Victorian postcolonial text that explores the trauma of its protagonist James Delaney, an imperial perpetrator who transported and sold African slaves in the Middle Passage for the East India Company. Although the series is not set in the Victorian period, neo-Victorianism is here understood as fiction expanding beyond the historical boundaries of the Victorian era and that presents the long nineteenth century as synonymous with the empire (Ho 2012: 4). Thus, I argue that postcolonial texts like Taboo should be considered neo-Victorian since they are set in the nineteenth century to respond to and contest (neo-)imperial practices. However, neo-Victorian postcolonialism offers ambivalent representations of the British Empire, as it simultaneously critiques and reproduces its ideologies (Ho 2012; Primorac 2018). This article examines the ways in which Taboo follows this contradictory pattern, since it seemingly denounces the imperial atrocity of the slave trade through Delaney’s perpetrator trauma, while simultaneously perpetuating it through his future colonizing trip to the Americas. Hence, Delaney is portrayed as an anti-hero in the series, given that he is both the enemy and the very product of the British Empire.

(Neo-)Victorian literature offers contradictory conceptualisations of the nuclear family. While it usually revolves around traditional heteroparental households, at the same time it portrays them as fragmented and deeply flawed. Guillermo del Toro’s film Crimson Peak (2015) builds on domestic traumas, the dysfunctional family and the supernatural, three recurrent tropes in (neo-)Victorian Gothic fiction. My main aim is to explore how Del Toro exploits the incest plotline in order to subvert preconceived views on the idealised Victorian family. I first analyse the ancestral family house and the mother figure as the loci of family traumas. I then move on to examine the Sharpe siblings’ incestuous relationship from a threefold perspective involving ethics, aesthetics and psychoanalysis, thereby showing that Del Toro exposes nineteenth-century family traumas that are still present in contemporary societies, so that audiences may become aware of these social issues and even take an active stance against them. La literatura (neo)victoriana ofrece conceptualizaciones contradictorias de la familia nuclear, ya que generalmente gira en torno a hogares tradicionales heteroparentales pero los presenta como fragmentados y profundamente disfuncionales. La película Crimson Peak (2015) del director Guillermo del Toro se basa en tres motivos recurrentes en la ficción gótica (neo) victoriana, los traumas domésticos, la familia disfuncional y lo sobrenatural. Mi objetivo principal es explorar cómo Del Toro utiliza la trama del incesto para subvertir las visiones preconcebidas e idealizadas sobre la familia victoriana. En primer lugar, analizo la casa ancestral y la figura materna como origen de los traumas familiares, para a continuación examinar la relación incestuosa entre los hermanos Sharpe desde un enfoque triple: ético, estético y psicoanalítico. Sobre esta base, argumento que Del Toro representa traumas familiares del siglo XIX que continúan siendo relevantes en la sociedad actual, con el objetivo de que los espectadores puedan tomar conciencia de estos problemas sociales e incluso adoptar una postura activa contra los mismos.

Family occupies a central position in (neo-)Victorian fiction. Yet, the ideal nuclear family myth is often contested, since this institution tends to be portrayed as dysfunctional, broken and oppressive. By contrast, alternative reconfigurations of the heteronormative household in neo-Victorianism encourage an empathic and tolerant engagement to both Victorian and contemporary eccentric family models. The Netflix original series The Irregulars (2021) follows this pattern by placing a gang of Othered outcasts rejected by their families at the centre of the narrative. In this article, I analyse how the series subverts the traditional conceptualization of the Victorian family and proposes, instead, an alternative concept of community: the neo-Victorian family of choice.

Family occupies a central position in (neo-)Victorian fiction. Yet, the ideal nuclear family myth is often contested, since this institution tends to be portrayed as dysfunctional, broken and oppressive. By contrast, alternative reconfigurations of the heteronormative household in neo-Victorianism encourage an empathic and tolerant engagement to both Victorian and contemporary eccentric family models. The Netflix original series The Irregulars (2021) follows this pattern by placing a gang of Othered outcasts rejected by their families at the centre of the narrative. In this article, I analyse how the series subverts the traditional conceptualization of the Victorian family and proposes, instead, an alternative concept of community: the neo-Victorian family of choice.

La literatura (neo)victoriana ofrece conceptualizaciones contradictorias de la familia nuclear, ya que generalmente gira en torno a hogares tradicionales heteroparentales pero los presenta como fragmentados y profundamente disfuncionales. La película Crimson Peak (2015) del director Guillermo del Toro se basa en tres motivos recurrentes en la ficción gótica (neo) victoriana, los traumas domésticos, la familia disfuncional y lo sobrenatural. Mi objetivo principal es explorar cómo Del Toro utiliza la trama del incesto para subvertir las visiones preconcebidas e idealizadas sobre la familia victoriana. En primer lugar, analizo la casa ancestral y la figura materna como origen de los traumas familiares, para a continuación examinar la relación incestuosa entre los hermanos Sharpe desde un enfoque triple: ético, estético y psicoanalítico. Sobre esta base, argumento que Del Toro representa traumas familiares del siglo XIX que continúan siendo relevantes en la sociedad actual, con el objetivo de que los espectadores puedan tomar conciencia de estos problemas sociales e incluso adoptar una postura activa contra los mismos.

Jose Francisco Fernandez. (ed.). (2018). The Plays of Margaret Drabble: A Critical Edition. Syracuse, N.Y: Syracuse U.P.

A presente dissertação insere-se no domínio da Medicina Legal e CiênciasForenses e aborda, nos suplementos alimentares (Clorela e Spirulina), apesquisa/quantificação de cianobactérias, cianotoxinas e bactérias patogénicas.A importância desta investigação deve-se à presença de casos de intoxicaçãohumana em Portugal e a nível mundial. O grupo de trabalho do Professor VítorVasconcelos tem detetado toxinas de cianobactérias em suplementos alimentaresvendidos no nosso país o que traduz na necessidade de dar continuidade ao estudodesta problemática.Neste sentido, foram utilizadas doze amostras de suplementos adquiridas emdiferentes Ervanárias no Grande Porto. Nas amostras liofilizadas foram isoladascianobactérias em meios Z8 e Z8 com NaCl, feita a sua identificação através de análisemorfológica por microscopia ótica e molecular por PCR e sequenciação. Para pesquisade cianotoxinas, foi feita a pesquisa de genes envolvidos na sua produção e a suadeteção e quantificação por HPLC e ELISA.Por identificação morfológica e molecular foi possível detetar a presença dosgéneros Chlorella e Arthrospira.O uso de métodos moleculares foram imprescindíveis para detetar cianobactériase E. coli em amostras de Clorela bem como genes codificadores de microcistinas naSpirulina.Este trabalho laboratorial foi realizado no CIIMAR - Centro Interdisciplinar deInvestigação Marinha e Ambiental, no Laboratório de Ecotoxicologia, Genómica eEvolução (LEGE), sob a orientação do Professor Dr. Vítor Vasconcelos.

Biodeterioration of monumental complexes is in large part due to the proliferation of various microorganisms that attack the physical–chemical structures of support materials. Various conservation and restoration interventions use commercial biocides of synthetic origin, which exhibit some human and environmental toxicity and sometimes side effects on support materials. The main objective of this work is the assessment of new biocides obtained from endemic Mediterranean plants, to be used in the preservation of cultural heritage with the goal of contributing to the sustainable use of ecosystems and to the development of Mediterranean local communities. The biocidal potential of essential oils (EOs) and solvent extracts (SEs) (ethanol and n-hexane) obtained from four plants were evaluated: Thymus mastichina (Tm), Mentha pulegium (Mp), Foeniculum vulgare (Fv), and Lavandula viridis (Lv). Microorganisms collected at an emblematic site of Portuguese cultural heritage, the ruins of the Roman city of Conímbriga, were used to evaluate the biocidal activity of the EOs and SEs. It can be concluded that (i) SEs did not exhibit fungicidal nor bactericidal activity, except for one fungus specie; (ii) biocidal activity of EOs depends on the microorganism specie. The EOs showed a relative average biocidal activity (when compared to the commercial biocide Biotin T (1% v/v)) of 64%, 32%, 30%, and 25% for Mp, Fv, Lv, and Tm. On carbonate rocks, the application of Fv and Mp EOs up to 3 layers do not promote significant color/tonality changes in the surface of the rock. And the application of three layers of Lv and four layers of Fv, Mp, and Lv OEs only promote the occurrence of blurs or stains (variation of tonality) on rocks that presents very low porosity. It can also be noted that the EO of Mp has the broadest spectrum of activity. The results allow considering the use of Mp, Fv, Lv, and Tm EOs as valid alternatives to commercial biocides, providing a prospective application in the field of green conservation of building heritage.

Toxic heavy metals are priority pollutants in wastewater, commonly present in dangerous concentrations in many places across the globe. Although in trace quantities copper is a heavy metal essential to human life, in excess it causes various diseases, whereby its removal from wastewater is a necessity. Among several reported materials, chitosan is a highly abundant, non-toxic, low-cost, biodegradable polymer, comprising free hydroxyl and amino groups, that has been directly applied as an adsorbent or chemically modified to increase its performance. Taking this into account, reduced chitosan derivatives (RCDs 1–4) were synthesised by chitosan modification with salicylaldehyde, followed by imine reduction, characterised by RMN, FTIR-ATR, TGA and SEM, and used to adsorb Cu(II) from water. A reduced chitosan (RCD3), with a moderate modification percentage (43%) and a high imine reduction percentage (98%), proved to be more efficient than the remainder RCDs and even chitosan, especially at low concentrations under the best adsorption conditions (pH 4, RS/L = 2.5 mg mL−1). RCD3 adsorption data were better described by the Langmuir–Freundlich isotherm and the pseudo-second-order kinetic models. The interaction mechanism was assessed by molecular dynamics simulations, showing that RCDs favour Cu(II) capture from water compared to chitosan, due to a greater Cu(II) interaction with the oxygen of the glucosamine ring and the neighbouring hydroxyl groups.