The Composition of Holocene Aeolianites; Western Eyre Peninsula, Great Australian Bight, South Australia

The Australian southern continental margin is the world’s largest site of cool-water carbonate deposition, and the Great Australian Bight is its largest sector. The Eyre Peninsula is fringed by coastal beaches with aeolianites and marks the eastern edge of the Great Australian Bight. Five shoreline transects of varying lengths spanned a 150km longitudinal distance and at each the intertidal, beach, dune and secondary dune environments were sampled, for a total of 18 samples. Sediments are a mixture of modern, relict, and Cenozoic carbonates, and quartz grains. Carbonate aeolianites on the western Eyre Peninsula are mostly composed of modern carbonate grains: predominantly molluscs (23-33%) and benthic foraminifera (10-26%), locally abundant coralline algae (3-28%), echinoids (2-22%), and bryozoans (2-14%). Cenozoic grain abundance ranges from 1-6% whereas relict grain abundance ranges from 0-17%. A southward increase in bryozoan particles correlates with a nutrient element abundance and decrease in temperature due to a large seasonal coastal upwelling system that drives 2-3 major upwelling events per year, bringing cold, nutrient rich, Sub-Antarctic Surface Water (<12°C) onto the shelf. In southern, mostly wind protected locations, the beach and dune sediment compositions are similar, indicating that wind energy has successfully carried all sediment components of the beach into the adjacent dunes. In northern, exposed locations, the composition is not the same everywhere, and trends indicate that relative wind energy has the ability to impact grain composition through preferential wind transport. Aeolianite composition is therefore a function of both upwelling and the degree of coastal exposure.

British Romantic Criticism and the Fine Arts: A Study in Philosophical Theories of Literary Unity

This dissertation is an exploration of how a small but important group of Romantic critics, finding fault in the ideal of three unities developed by neoclassical Academicians and wrongly attributed to Aristotle, turned to the terminology and practices of the fine arts to emphasize their conception of organic unity in literature. The Romantic analogy to painting in particular enables a philosophical criticism of literature to present the aesthetic semblance of painting, the comprehension of a multitude of details in a harmonious whole that is a natural unity to its medium, as a paradigm of modern-romantic poetry and its aspirations to similar complexity, particularity, and imaginative colour. Further, in extension of the French Querelle des anciens et des modernes of the seventeenth century, the division of ancient and romantic art by Romantic critics like August Schlegel, Samuel Taylor Coleridge, and William Hazlitt not only establishes an ethnological and historical difference between the artistic productions of these two cultural periods but also allows, unlike the neoclassical unities, a non-anachronistic philosophical vocabulary of whole and parts or of the general and particular in the criticism of poetry, which involution provides a “rule” more consonant with the laws of the imagination rather than with the rhetorical and absolutist dicta that were thither available in the literary canon.