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Holocene Environmental Changes Disclosed from Anoxic Fjord Sediments by Biomarkers and Their Radiocarbon Content
GEOLOGICA ULTRAIECTINA Mededelingen van de Faculteit Geowetenschappen Universiteit Utrecht No. 227 Holocene environmental changes disclosed from anoxic fjord sediments by biomarkers and their radiocarbon content Rienk H. Smittenberg Holocene environmental changes disclosed from anoxic fjord sediments by biomarkers and their radiocarbon content Holocene milieuveranderingen gereconstrueerd uit anoxische fjord sedimenten middels biomarkers en hun radio-aktief koolstof gehalte (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de Rector Magnificus, Prof. Dr. W.H. Gispen, ingevolge het besluit van het College voor Promoties in het openbaar te verdedigen op maandag 15 september 2003 des middags te 4.15 uur door Rienk Hajo Smittenberg geboren op 23 maart 1973 te Eck en Wiel Promotor: Prof. Dr. J.W. de Leeuw Department of Geochemistry Utrecht University Utrecht, The Netherlands Copromotores: Dr. Ir. J.S. Sinninghe Damsté Department of Geochemistry Utrecht University Utrecht, The Netherlands Dr. S. Schouten Department of Marine Biogeochemistry and Toxicology Royal Netherlands Institute of Sea Research Texel, The Netherlands The research described in this thesis was carried out at the Department of Biogeochemistry and Toxicology of the Royal Netherlands Institute of Sea Research, P.O. Box 59, 1790 AB Den Burg, The Netherlands. The investigations were supported by the Research Council for Earth and Life Science (ALW) with the financial support from the Netherlands -
Sea Monsters in Antiquity: a Classical and Zoological Investigation
Sea Monsters in Antiquity: A Classical and Zoological Investigation Alexander L. Jaffe Harvard University Dept. of Organismic and Evolutionary Biology Class of 2015 Abstract: Sea monsters inspired both fascination and fear in the minds of the ancients. In this paper, I aim to examine several traditional monsters of antiquity with a multi-faceted approach that couples classical background with modern day zoological knowledge. Looking at the examples of the ketos and the sea serpent in Roman and Greek societies, I evaluate the scientific bases for representations of these monsters across of variety of media, from poetry to ceramics. Through the juxtaposition of the classical material and modern science, I seek to gain a greater understanding of the ancient conception of sea monsters and explain the way in which they were rationalized and depicted by ancient cultures. A closer look at extant literature, historical accounts, and artwork also helps to reveal a human sentiment towards the ocean and its denizens penetrating through time even into the modern day. “The Sea-monsters, mighty of limb and huge, the wonders of the sea, heavy with strength invincible, a terror for the eyes to behold and ever armed with deadly rage—many of these there be that roam the spacious seas...”1 Oppian, Halieutica 1 As the Greek poet Oppian so eloquently reveals, sea monsters inspired both fascination and fear in the minds of the ancients. From the Old Testament to Ovid, sources from throughout the ancient world show authors exercising both imagination and observation in the description of these creatures. Mythology as well played a large role in the creation of these beliefs, with such classic examples as Perseus and Andromeda or Herakles and Hesione. -
The Trouble with Bulls: the Cacce Dei Tori in Early4modern Venice
The Trouble with Bulls: The Cacce dei Tori in Early-Modern Venice ROBERT C. DAVIS* The city of Venice has been historiographically identified with festival. Venetians staged regular symbolic enactments of the city’s piety, beauty, unity, military valour, connection with the sea, and sense of justice, usually exploiting Venice’s public squares, boats, bridges, and canals to give these occasions a unique character. One festival, however, the cacce dei tori or baiting of bulls, celebrated none of these virtues and had nothing to do with the sea. Usually found in cities with strong feudal and economic ties to the countryside, such events would seem out of place in a city with no such ties and an impractical environment for large animals. The roots of the cacce dei tori, however, lay more in Venice’s intense neighbourhood and factional rivalries than in urban-rural tensions. Sur le plan historiographique, on identifie la ville de Venise aux festivals. Les Vénitiens faisaient régulièrement des mises en scène symboliques de la piété, de la beauté, de l’unité, de la vaillance militaire, du lieu avec la mer et du sens de la justice de la ville, exploitant habituellement les places publiques, les bateaux, les ponts et les canaux de Venise pour conférer un cachet unique à ces occasions. Un festival, toutefois, le cacce dei tori, ou l’appâtage des taureaux, ne célébrait aucune de ces vertus et n’avait rien à voir avec la mer. De tels événements, qui se dérou- laient normalement dans des villes ayant de solides liens féodaux et économiques avec la campagne, paraîtraient incongrus dans une ville ne présentant aucuns liens de la sorte et offrant un milieu inhospitalier pour des animaux de grande taille. -
Oceans - Geography - Oxford Bibliographies
Oceans - Geography - Oxford Bibliographies http://www.oxfordbibliographies.com/view/document/obo-9780199... Oceans Philip E. Steinberg Introduction Until the beginning of the 21st century there were few studies of the ocean, or the world’s seas, in geography. Although cultural and political ecologists who studied coastal communities considered the watery spaces in which people worked, economic and transportation geographers considered the shipping routes that people (and commodities) crossed, and political and military geographers considered the ocean surfaces across which people fought, the ocean itself was generally conceived as a space beyond the boundaries of society, a space used by society, not of society. Physical geographers, meanwhile, while developing a robust literature in coastal geomorphology, tended to leave study of the deep sea to oceanographers. In recent years, physical geographers have made significant contributions to interdisciplinary oceanographic research, primarily through the application of remote sensing and GIS expertise and through climatological research on ocean-atmosphere interactions, but the explosion of ocean-related research in geography since the 1990s has primarily been in human and environmental geography. Much of the increase in human geographic studies of the ocean is due to influences from outside the discipline, including the turn in history to studying ocean basin–defined regions, the turn in cultural studies toward understanding the ocean as a space of cultural hybridity, and, more broadly, a growing environmental awareness of the ocean as a space that is exceptionally vulnerable to (and an indicator of) environmental transformation. Furthermore, as human geographers have turned their attention to such concepts as affect, mobility, nonterrestrial materialities, nonhuman agency, heterotopic spaces of resistance, and global spaces of exchange, the ocean has been embraced as an ideal space for thinking with, and thinking through the limits of, these emergent epistemologies. -
Vaughan Williams a Cotswold Romance • the Death of Tintagiles
VAUGHAN WILLIAMS A Cotswold Romance • The Death of Tintagiles London Philharmonic Choir Rosa Mannion soprano London Symphony Orchestra Thomas Randle tenor Matthew Brook baritone Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Ralph Vaughan Williams (1872 – 1958) premiere recordings A Cotswold Romance* 39:34 Adapted from Hugh the Drover by Maurice Jacobson (1896 – 1976) in collaboration with the composer 1 1 The Men of Cotsall 3:47 2 2 Sweet Little Linnet 1:27 3 3 Hugh’s Song of the Road 4:06 4 4 Love at First Sight 6:05 5 5 The Best Man in England 2:22 6 6 Alone and Friendless 2:24 7 7 The Fight and its Sequel 4:48 8 8 Hugh in the Stocks 1:51 9 9 Mary Escapes 4:28 10 10 Freedom at Last 7:52 3 The Death of Tintagiles 14:48 11 Prelude. Largo – Andantino – Adagio – 5:37 12 1 Lento – 1:10 13 2 Allegro – 0:42 14 3 Lento – Andante tranquillo – Lento – 2:51 15 4 Moderato – 1:09 16 41/2 Allegro – 1:00 17 5 Lento 2:15 TT 54:34 Rosa Mannion soprano (Mary)* Thomas Randle tenor (Hugh)* Matthew Brook baritone* London Philharmonic Choir* London Symphony Orchestra Richard Hickox 4 Vaughan Williams: A Cotswold Romance / The Death of Tintagiles Vaughan Williams composed his ‘ballad-opera’ and ‘The Roadside Fire’ from the earlier Hugh the Drover, from which A Cotswold setting of Robert Louis Stevenson’s poetry in Romance is adapted, between 1910 and 1914. Songs of Travel. Writing to his librettist, the journalist Harold Hugh the Drover was first performed in Child, in 1910, he said: public on 14 July 1924 by forces of the British I have an idea for an opera written to real National Opera Company at His Majesty’s English words, with a certain amount of Theatre, London, conducted by Malcolm real English music… Sargent. -
We Are TEN – in This Issue
RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more . -
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MARINE. ECOLOGY PROGRESS SERIES Vol. 188: 123-132,1999 Published November 3 Mar Ecol Prog Ser Tolerance of the barnacle Balanus amphitrite amphitrite to salinity and temperature stress: effects of previous experience Jian-Wen Qiu, Pei-Yuan Qian* Department of Biology. The Hong Kong University of Science and Technology, Clear Water Bay, Kowloon, Hong Kong ABSTRACT: We conducted 4 experiments to study the effects of salinity and temperature on the bar- nacle Balanus amphtrite amphitrite Darwin, with particular focus on the effects of stress experienced in one life-stage on the performance of the next Life-stage. At 1S0C,typical winter water temperature in Hong Kong, larvae exlubited low survivorship, adults molted infrequently, and only a low percentage of in&viduals had developing ovaries and embryos However, at 30°C, typical summertime tempera- ture in Hong Kong, larvae developed rapidly, survivorshp was hgh, adults molted frequently, and a high percentage of individuals had developing ovanes and embryos. These results suggest that low winter temperature may be a limiting factor responsible for cessation of recruitment, whereas high summer temperature is unlikely to be the cause for the dechne in recruitment. Salinity produced sig- nificant detrimental effects on both survival and development at 510%. In the 15 to 35% S range, how- ever, none of the stages tested exhibited signs of stress. Salinity is a limiting factor for the survival and development of B. a. amphrh.te in Hong Kong only during mid-summer when salinity in the surface water can drop to below look.Exposing embryos to different salinities produced differential effects on larvae. -
Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century. -
A Sea Full of Civilization the Value of the Sea in Time and History
A Sea full of Civilization The Value of the Sea in Time and History Unit 1st: Myths and Culture regarding the Sea Did you know that… Sea was deified by various ancient cultures. In Etruscan Mythology we find God Nethuns, who was incorporated into Roman mythology and the Greek one by the gods Neptune and Poseidon respectively. They appear to have common symbols: trident, horses, dolphins etc. These deities were the beacon of inspiration for many artists, in world famous monuments, which have survived to this day, testifying the importance of the sea in civilization. Goals Become acquainted with the value of the sea through ancient myths To meet world monuments with reference to the gods Linguistic or deities of the sea Arts Create original texts and stories Environmental studies Material Images from the Annex Recommended Activities δρ Ερ Activity 1st: Introductory: Travelling…… on paper 2 teaching hours We observe the photos of the monuments (see the Photographs Appendix). We locate on a map of Europe where we can find them. As we can see the same mythological person has been the source of inspiration for many artists. Can we recognize this figure? It’s Poseidon, the descendant of Nethuns and Neptune. It’s the God of the Sea. Poseidon Activity 2nd: Let me introduce you to Poseidon! We ask from the children to bring information about the history of Poseidon, his symbols, as well as other mythical figures associated with the sea (for example, Nereids, Oceanids, and others). In the case of cooperative learning, we assign each group to find information regarding a separate aspect of the subject: History groups - symbols - Gods and Sea - monuments and sea etc. -
Utilizing the Mosaic of Neptune and Amphitrite to Identify Its Patron's
Title: Utilizing the Mosaic of Neptune and Amphitrite to Identify its Patron’s Status Author: Isabella Jasas-Montinaro Source: Prandium - The Journal of Historical Studies, Vol. 8, No. 1 (Fall, 2019). Published by: The Department of Historical Studies, University of Toronto Mississauga Stable URL: http://jps.library.utoronto.ca/index.php/prandium/article/view/16211/ The House of Neptune and Amphitrite in Herculaneum displays one of the most eloquent and intact mosaics from the ancient world, preserved after the eruption of Mount Vesuvius in AD 79 (Figure 1), and is one of, “the best testimonies to the continuity of the art mosaic wall revetment from the Alexandrian and Roman periods to the Christian and Byzantine era”.1 The House of Neptune and Amphitrite is in the eastern part of the city, and is one of the few houses where the upper level has been preserved.2 The mosaic is found on the main floor, in the southeastern corner of the house, in a summer triclinium, depicting the sea god Neptune (otherwise known in the Greek world as Poseidon) standing beside his wife Amphitrite, a sea- goddess. 3 The mosaic from the House of Neptune and Amphitrite can inform us about the identity of the patron, based on: 1) the choice of depiction, 2) by looking at the construction details of the mosaic itself, 3) the context surrounding the mosaic, and 4) how the mosaic fits within public and private functions of a Roman house. While past scholarship elaborated on the aesthetic qualities of the mosaic, in order to identify the reason for this specific depiction and identify the status of the patron, I shall consider the importance of the historical context surrounding it. -
Arnold Böcklin's Paradigm Shift
WHEN THE NEREID BECAME MERMAID Arnold BöCklin’s Paradigm Shift [ReCeived 23rd February 2018, aCCepted 15th May 2018, DOI: 10.21463/shima.12.2.09] Han Tran University of Miami <[email protected]> ABSTRACT: Arnold BöCklin’s untraditional depiCtion of the Nereid as mermaid merges two strands that ClassiCal representations of the sea Creature endeavoured to keep separate and that Roman iconography yielded to: the Nereid as idealised, anthropomorphic representative of the Olympian order in the treaCherous realm that is the monster-breeding sea, and the erotiCally Charged objeCt of male attention. His intention, in his own words, was to fuse figure with setting and atmosphere, suCh that the Nereid was no longer simply a figure oCCupying the pictorial spaCe, but embodied in her sensual shape and expression the drawing power of the sea, as well as the vertiginous suggestion of its abysmal depths. BöCklin concludes that the Nereid’s fusion with her environment leads logically to her being conceived as a mermaid, with fishtail. The sea is now no longer, as was the case in ancient iconography, a medium where the Nereid takes gentle rides on the baCk of always Contrasting sea Creatures, without ever seeming to merge with, or be affeCted psyChologiCally by, their disturbing otherness, their difference from her. KEYWORDS: Mermaid, Nereid, Triton, BöCklin, Olympian, RoCk For Freud the unheimliCh is only “outside the house” (the house of the self, the house of culture, the house of the cosmos) insofar as it is hidden within the house. It is a revelation not of the wholly other but of a repressed otherness within the self. -
Sinfonia Antartica I Prelude R
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