Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

Paleobiogeographical extinction patterns of Permian brachiopods in the Asian-western Pacific region

Spatial and temporal variations in biological diversity are critical in understanding the role of biogeographical regulation (if any) on mass extinctions. An analysis based on a latest database of the stratigraphic ranges of 89 Permian brachiopod families, 422 genera, and 2059 species within the Boreal, Paleoequatorial, and Gondwanan Realms in the Asian–western Pacific region suggests two discrete mass extinctions, each possibly with different causes. Using species/family rarefaction analysis, we constructed diversity curves for late Artinskian–Kungurian, Roadian–Wordian, Capitanian, and Wuchiapingian intervals for filtering out uneven sampling intensities. The end-Changhsingian (latest Permian) extinction eliminated 87–90% of genera and 94–96% of species of Brachiopoda. The timing of the end-Changhsingian extinction of brachiopods in the carbonate settings of South China and southern Tibet indicates that brachiopods suffered a rapid extinction within a short interval just below the Permian/Triassic boundary.

In comparison, the end-Guadalupian/late Guadalupian extinction is less profound and varies temporally in different realms. Brachiopods in the western Pacific sector of the Boreal Realm nearly disappeared by the end-Guadalupian but experienced a relatively long-term press extinction spanning the entire Guadalupian in the Gondwanan Realm. The end-Guadalupian brachiopod diversity fall is not well reflected at the timescale used here in the Paleoequatorial Realm because the life-depleted early Wuchiapingian was overlapped by a rapid radiation phase in the late Wuchiapingian. The Guadalupian fall appears to be related to the dramatic reduction of habitat area for the brachiopods, which itself is associated with the withdrawal of seawater from continental Pangea and the closure of the Sino-Mongolian seaway by the and-Guadalupian.

End-Permian mass extinction pattern in the northern peri-Gondwanan region

The Permian-Triassic extinction pattern in the peri-Gondwanan region is documented biostratigraphically, geochemically and sedimentologically based on three marine sequences deposited in southern Tibet and comparisons with the sections in the Salt Range, Pakistan and Kashmir. Results of biostratigraphical ranges for the marine faunas reveal an end-Permian event comparable in timing with that known at the Meishan section in low palaeolatitude as well as Spitsbergen and East Greenland in northern Boreal settings although biotic patterns earlier in the Permian vary. The previously interpreted delayed extinction (Late Griesbachian) at the Selong Xishan section is not supported by our analysis. The end-Permian event exhibits an abrupt marine faunal shift slightly beneath the Permian-Triassic boundary (PTB) from benthic taxa- to nektic taxa-dominated communities. The climate along the continental margin of Neo-Tethys was cold before the extinction event. However, a rapid climatic warming event as indicated by the southward invasion of abundant warm-water conodonts, warm-water brachiopods, calcareous sponges, and gastropods was associated with the extinction event. Stable isotopic values of δ13Ccarb, δ13Corg and δ18O show a sharp negative drop slightly before and during the extinction interval. Sedimentological and microstratigraphical analysis reveals a Late Permian regression, as marked by a Caliche Bed at the Selong Xishan section and the micaceous siltstone in the topmost part of the Qubuerga Formation at the Qubu and Tulong sections. The regression was immediately followed by a rapid transgression beneath the PTB. The basal Triassic rocks fine upward, and are dominated by dolomitic packstone/wackestone containing pyritic cubes, bioturbation and numerous tiny foraminifers, suggesting that the studied sections were deposited during the initial stage of the transgression and hence may not have been deeply affected by the anoxic event that is widely believed to characterise the zenith of the transgression.

Project management practice in transition of old residential region

With the rapid urbanisation worldwide, the transitions of old residential regions inside or close to the urban districts have been challenging both governments and professionals. The sustainable maintenance, innovation and construction of these regions incorporate the history, culture, environment and policy factors into the economic objectives. Over the long and complex process of a transition project, the dedicated project management crew are frequently confronted with diversified novel issues and obliged to contribute appropriate solutions urgently. In this paper, the authors first analyse the state of the art of transition projects of old residential regions based on their practices in real projects. Furthermore, the authors explore the sustainable alternatives of transition projects from the reservation and development perspectives of culture, environment, society and infrastructure. Finally, the authors develop a multi-dimensional implementary framework for guiding the practices of management of transition projects.

Linshuichonetes gen. nov., a new rugosochonetid (Brachiopoda) genus from the Liangshan Formation (Early Permian) in Sichuan, China, and its ecology

A new genus and species, Linshuichonetes elfinis, belonging to the Rugosochonetidae, is described from the Early Permian (Late Artinskian or early Kungurian) Liangshan Formation of the Yangtze block. The new genus is defined externally by the presence of fine, but delayed, capillation and a weak or absent median sulcus and fold and by the presence of a distinct posteromedian sinus on the ventral umbo; and internally by a lack of median, lateral and accessory septa in the dorsal interior; absence of vascular trunks in the ventral interior and the presence of distinct radiating rows of papillae in the interior of both valves, particularly an unusual clustered arrangement of papillae on the posteromedian portion of the dorsal interior. The local environment during the deposition of the Liangshan Formation appears to have been a restricted tidal flat or lagoon which experienced frequent sealevel fluctuations associated with the onset of the Yanghsingian transgression. The new species, L. elfinis, appears to have several morphological adaptations enabling successful exploitation of this environment. It was typically a very small and thin-valved species with a high surface area to volume ratio, an advantage in an oxygen restricted environment. The small size and numerous body spinules would have aided individuals to remain suspended at the top of the fine, soft substrate. It also dominated the brachiopod assemblage in the Liangshan Formation, comprising up to 94%of specimens within a bed. These factors indicate that the new species appears to be an opportunistic species.

A biogeographically mixed late Guadalupian (late Middle Permian) brachiopod fauna from an exotic limestone block at Xiukang in Lhaze county, Tibet

A total of 17 brachiopod species belonging to 15 genera are recorded from a limestone block of about 3×4 km2 in the Indus–Tsangbo suture zone at Xiukang in Lhaze County of Tibet. The brachiopod fauna generally indicates a Late Guadalupian age (late Wordian–Capitanian, late Middle Permian) based on its association with the Timorites-bearing ammonoid fauna and the presence of the brachiopod Urushtenoidea crenulata. Palaeobiogeographically, the fauna exhibits transitional/mixed characters between the warm-water Cathaysian and cold to temperate Gondwanan faunas and may have developed on a carbonate build-up or seamount on the oceanic crust.

Physical activity behaviours of adults in the Greater Green Triangle region of rural Australia

Objective: To assess physical activity (PA) behaviours of adults in rural Australia.

Design and setting: Three cross-sectional surveys in the Greater Green Triangle area covering the south-east of South Australia (Limestone Coast), and south-west (Corangamite Shire) and north-west (Wimmera) of Victoria during 2004–2006.

Participants: A total of 1546 persons, aged 25– 74 years, randomly selected from the electoral roll.

Main outcome measures: Overall PA, leisure-time PA, occupational PA, active commuting and moderate-to-vigorous PA.

Results: Approximately 80% of participants, more women than men, engaged in 30 minutes or more of daily PA. Only 30% (95% CI 26.3, 33.0) of men and 21% (95% CI 18.3, 23.9) of women did moderate-to-vigorous PA for at least 20–30 minutes four or more times a week. In leisure time, most participants were moderately active; almost one-fifth were inactive and another fifth highly active. Two-thirds of men engaged in high-level occupational PA, compared with one-sixth of women. Only 30% of participants actively commuted to work. There was a tendency for a positive association between income level and leisure-time PA.

Conclusions: One-fifth of adults in rural Australia were inactive. While there was a high prevalence of participants who engaged in daily PA, few did so at moderate-to-vigorous intensity to achieve health benefits. As occupational PA is difficult to change, improvements in levels of PA are more likely during leisure-time and for some people by engaging in commuting PA.

Metaphoric use of the mountain symbol in painting

This paper consists of two parts. The focus of Part I is the symbol of the mountain and its metaphoric use in art history and in the mythology of many cultures. Part II links an examination of twentieth century contemporary artists and relevant issues, the mythology and historical references covered in Part I and the paintings that make up the body of the thesis. The study is concerned with the role of the symbol and the form of its interpretation in the expression of ideas and images that are relevant to it. These themes have been developed in order to place the paintings in a context of continuity and establish iconographic links with the past. One particular site has been chosen through which to examine the symbolic associations between the mountain and the metaphoric quest. The metaphor of pilgrimage to the site and of searching for a lost unity is implicit in this process. The realisation reached at the summit confirms the significance of this journey. Each painting is discussed and linked with the themes that are relevant to it, linking the research recorded in Part I with the execution of the paintings, aiming at a synthesis of theory and practice.