The effect of dust obscuration in RR Telescopii on optical and IR long-term photometry and FeII emission lines

Aims. Infrared and optical photometric and spectroscopic observations of the symbiotic nova RR Tel are used to study the effects and properties of dust in symbiotic binaries containing a cool Mira component, as well as showing "obscuration events" of increased absorption, which are typical for such Miras. Methods. A set of photometric observations of the symbiotic nova RR Tel in different wavelength bands - visual from 1949 to 2002 and near-infrared (JHKL) from 1975 to 2002 - are presented. The variability due to the normal Mira pulsation was removed from the JHKL data, which were then compared with the American Association of Variable Star Observers' (AAVSO) visual light curve. The changes of the Fe II emission line fluxes during the 1996-2000 obscuration episode were studied in the optical spectra taken with the Anglo-Australian telescope. Results. We discuss the three periods during which the Mira component was heavily obscured by dust as observed in the different wavelength bands. A change in the correlations of J with other infrared magnitudes was observed with the colour becoming redder after JD 2 446 600. Generally, J-K was comparable, while K-L was larger than typical values for singleMiras. A distance estimate of 2.5 kpc, based on the IR data, is given. A larger flux decrease for the permitted than for the forbidden Fe II lines, during the obscuration episode studied, has been found. There is no evidence for other correlations with line properties, in particular with wavelength, which suggests obscuration due to separate optically thick clouds in the outer layers. Conclusions.

The present-day chemical composition of the LMC

High-resolution observations of five OB-type main-sequence stars in the Large Magellanic Cloud (LMC) have been obtained with the UCL echelle spectrograph on the 3.9-m Anglo-Australian Telescope. These spectra have been analysed using LTE model- atmosphere techniques, to derive stellar atmospheric parameters and chemical compositions. As these stars are located within the hydrogen burning main-sequence band, their surface abundances should reflect those of the present-day interstellar medium. Detailed line-by-line differential analyses have been undertaken relative to Galactic comparison stars. We conclude that there exists a general metal deficiency of - 0.31 +/- 0.04 dex within the LMC, and find no significant abundance variations between cluster and field stars. There is also tentative evidence to suggest a lower oxygen to iron abundance ratio, and an over-deficiency of magnesium relative to the other alpha-elements. These are discussed in terms of previous abundance analyses and models of discontinuous (or bursting) star formation within the LMC. Finally, there is some evidence to suggest a greater chemical enrichment of material within the H. region LH104.

A non-LTE abundance analysis of the post-AGB star ROA 5701

An analysis of high-resolution Anglo-Australian Telescope (AAT)/University College London Echelle Spectrograph (UCLES) optical spectra for the ultraviolet (UV)-bright star ROA 5701 in the globular cluster omega Cen (NGC 5139) is performed, using non-local thermodynamic equilibrium (non-LTE) model atmospheres to estimate stellar atmospheric parameters and chemical composition. Abundances are derived for C, N, O, Mg, Si and S, and compared with those found previously by Moehler et al. We find a general metal underabundance relative to young B-type stars, consistent with the average metallicity of the cluster. Our results indicate that ROA 5701 has not undergone a gas-dust separation scenario as previously suggested. However, its abundance pattern does imply that ROA 5701 has evolved off the asymptotic giant branch (AGB) prior to the onset of the third dredge-up.

‘‘An old quarrel between us that will never be at an end": Middleton’s Women Beware Women and Late Jacobean Religious Politics

In this article, I examine Thomas Middleton's Women Beware Women as a response to the particular religio-political context in the years surrounding 1621. The onset of the Thirty Years War in 1618 and the subsequent humiliation of James' son-in-law Frederick, Elector of Palatine, the vexed question of a possible Catholic marriage for Charles, Prince of Wales, the ever present difficulty of Anglo-Catholic relations, particularly with Spain, as well as growing religious factionalism within the Church of England between Calvinists and Arminians: all contributed towards a culturally febrile atmosphere, one to which, as I will argue, Middleton was well placed to respond. Given Middleton's Calvinistic beliefs, I suggest that Women Beware Women offers an acerbic examination of contemporary debates concerning human will, especially women's will, as well as promoting a sceptically apocalyptic anti-Catholic agenda throughout. I also examine the religious language and imagery used to construct Bianca as the whore of Babylon, and argue that her emergence and fall offer a political commentary on the precarious position of the English Church around 1621.

"Thought-Tormented Music": Joyce and the Music of the Irish Revival

"In this special issue's opening essay, Martin Dowling devotes almost half of "'Thought-Tormented Music': Joyce and the Music of the Irish Revival" to what he calls "the situation of music in the Irish literary revival." He focuses chiefly on 1904, which was both an intensely productive period for the revival movement and a year chock-full of crucial events and decisions for Joyce. Drawing on the works of Pierre Bourdieu and Jaques Lacan, Dowling explores the revivalists' efforts to "de-anglicize" Irish music, to remove foreign influences that distorted the "pure tradition of Irish song," and to achieve an improbable harmony between the music favoured by the disappearing Anglo-Irish aristocracy and the Irish-speaking peasantry. Inevitably, disputes occurred over what constituted "authentic" Irish music. Factions quarrelled over whether pristine Irish music existed in the Atlantic seaboard or more inland; whether "authentic" songs were sung with or without instrumental accompaniment; and whether the piano, rather than the traditional harp, was a legitimate instrument of accompaniment. Having delineated the historical and theoretical context, Dowling offers a richly detailed analysis of Joyce's story "A Mother." He reveals how almost every element in the story--from the Eire Abu Society to the Antient Concert Rooms, from the conflict between Mrs. Kearney and Hoppy Holohan to the plight of Kathleen Kearney--is charged with meaning by the subtextual conflicts of the revivalists' agenda. Dowling explains also the "authenticity" in Joyce's depiction of vocal performances of "The Lass of Aughrim" in "The Dead" and "The Croppy Boy" in "Sirens," which he calls two "true gems" of authentic Irish music." --Introduction by Charles Rossman and Alan W. Friedman, Guest Editors, pp. 409-410

Tongue-tied?: An Active Analysis of Brian Friel's Translations

This article has arisen from a research-led production of Translations by Brian Friel for Queen’s University’s Tyrone Guthrie Society in February 2010. Drawing partly on a review of the existing critical literature and also from questions left unresolved by a previous experience of directing the play, the production sought to address through ‘active analysis’ (Merlin 2001) a number of research questions relating to the embodied nature of the rehearsal process and the historicity of Friel’s play. The analysis invokes Bergson (1910), Lefebvre (1991) and Worthern (2006) in establishing a performative correlative for insightful but more literary studies by Connolly (1993), Lojek (1994) and McGrath (1989 & 1999). A detailed account of the rehearsal process helps reveal the extent to which the idea of failure of communication is embedded in the text and embodied in performance, while an experiment with the partial use of the Irish language casts further light on Friel’s extraordinary device of rendering two languages through the medium of one. The use of music to counterpoint, rather than underscore the action, together with an achronological sequence of projected historical images inspired by Andrews (1983) provided me as director a means to challenge the audience’s presuppositions about the play. The sense of palimpsest, of the layered histories, that this evoked also served to highlight Friel’s use of the wider stylistic palette of Anglo-Irish drama, revealing Translations as a forerunner for Stewart Parker’s more explicit formal experiments in Northern Star. In rehearsal and performance Friel’s place in the continuum of the Irish theatrical canon became clear, as stylistic allusions to O’Casey, Shaw, Wilde and Beckett were embodied by the actors on the rehearsal room floor.