Spectral gamma-ray logs and palaeoclimate change? Permian – Triassic, Persian Gulf

Spectral gamma ray (SGR) logs are used as stratigraphic tools in correlation, sequence stratigraphy and most recently, in clastic successions as a proxy for changes in hinterland palaeoweathering. In this study we analyse the spectral gamma ray signal recorded in two boreholes that penetrated the carbonate and evaporate-dominated Permian–Triassic boundary (PTB) in the South Pars Gasfield (offshore Iran, Persian Gulf) in an attempt to analyse palaeoenvironmental changes from the upper Permian (Upper Dalan Formation) and lower Triassic (Lower Kangan Formation). The results are compared to lithological changes, total organic carbon (TOC) contents and published stable isotope (δ18O, δ13C) results. This work is the first to consider palaeoclimatic effects on SGR logs from a carbonate/evaporate succession. While Th/U ratios compare well to isotope data (and thus a change to less arid hinterland climates from the Late Permian to the Early Triassic), Th/K ratios do not, suggesting a control not related to hinterland weathering. Furthermore, elevated Th/U ratios in the Early Triassic could reflect a global drawdown in U, rather than a more humid episode in the sediment hinterlands, with coincident changes in TOC. Previous work that used spectral gamma ray data in siliciclastic successions as a palaeoclimate proxy may not apply in carbonate/evaporate sedimentary rocks.

Depicting Characters and danced Narratives: Handel, 'The Italian troupe', and Marie Sallé

Handel’s London career afforded opportunities for responding to dancers working in distinct styles of movement—most notably the Italian troupe resident at the King’s Theatre in 1726-27, and Marie Sallé at Covent Garden in 1734-35. By studying the dances from Admeto (1727) and Ariodante (1735), this paper will explore Handel's response to the serious and grotesque styles, as well as to the character and narrative modes.

Abrupt Climate Changes: Climate and Biogeochemical consequences

Hosted in a wide depression within the Berici Hills (Venetian Plain), outside the maximum extent reached by LGM glaciers, Lake Fimon preserves an almost continuous archive of landscape and climate changes from the penultimate glacial maximum onwards. The stratigraphic succession deposited at the lake bottom has been investigated in three deep cores by means of pollen analysis, petrographic composition, magnetic susceptibility, LOI, and geochronology. Tephra layers have been identified and are currently under study.
Pollen data provide the first continuous vegetation record in northern Italy for the last 150 ky. Terrestrial vegetation varied from interglacial warm-temperate broad leaved to oceanic mixed forests, from boreal conifer forests to open forest-steppes of colder climate. Phases of major forest expansion and reduction have been correlated to isotopic events described in ice (NGRIP), stalagmite (Antro del Corchia) and marine records. Persistent afforestation recorded in northern Italy even during cold phases of the full pleniglacial is consistent with mesoscale paleoclimate simulations suggesting that a sharp rainfall gradient across the Alps enabled the survival of woody species in the southern alpine foreland.
Integrating litho- and biostratigraphical data, we identified sedimentation regìmes, accumulation rates, sediment sources and supply both for the Lake Fimon cores and the adjacent Venetian Plain, allowing a direct comparison with major glacial advances in the Alpine area, deglaciation pulses, and glacio-eustatic displacements of the northern Adriatic shoreline.

Italian Canzone d'autore and Greek Entechno tragoudi: a comparative overview

‘Canzone d’autore’ is the name that a vast community of Italian music critics, authors, per-formers, producers agreed upon in the mid-1970s, to describe the Italian singer-songwriter genre. Singer-songwriters, who had been missing from Italian popular music – with very few exceptions – until the late 1950s, had become increasingly popular after 1958, and were dubbed ‘cantautori’ in 1960. The term, which propagated to Spain, Catalonia, and Latin Amer-ica, is still in use, but ‘canzone d’autore’ superseded it as a genre label, highlighting the con-nections between authorship and artistic value, implied in the already established notion of ‘Cinéma d’auteur’ from which it was derived.

The expression ‘entechno laiko tragoudi’ (‘art-folk song’) was coined in Greece by Mikis The-odorakis in the 1950s, to describe a new music genre combining the urban-folk musical idi-om with lyrics coming from high-art poetry. Although the origins of the genre are tied to the work of composers like Theodorakis and Hatzidakis who did not perform as singers, from the 1970s onwards entechno became the privileged field of new generations of Greek singer-songwriters. Dropping ‘laiko’ (folk) from its label, entechno expanded its musical influences outside the urban-folk repertory and transformed into the more all-encompassing contempo-rary ‘art song’.