Granulometric characterization and evaluation of annually banded mid-Holocene estuarine silts, Welsh Severn Estuary (UK): coastal change, sea level and climate

Holocene silts (salt marshes) and highest intertidal-supratidal peats are superbly exposed on a 15 kin coastal transect which reveals two laterally extensive units of annually banded silts (Beds 3, 7) associated with three transgressive-regressive silt-peat cycles (early sixth-early fourth millennium BC). Bed 3 in places is concordantly and gradationally related to peats above and below, but in others transgresses older strata. Bed 7 also grades up into peat, but everywhere overlies a discordance. The banding in Bed 3 at three main and two minor sites was resolved and characterized texturally at high-resolution (2.5/5 mm contiguous slices) using laser granulometry (LS230 with PIDS) and a comprehensive scheme of data-assessment. Most of Bed 3 formed very rapidly, at peak values of several tens of millimetres annually, in accordance with modelled effects of sea-level fluctuations on mature marshes (bed concordant and gradational) and on marshes growing up after coastal erosion and retreat (bed with discordant base). Using data from the modern Severn Estuary, the textural contrast within bands, and its variation between bands, points to a variable but overall milder mid-Holocene climate than today. The inter-annual variability affected marsh dynamics, as shown by the behaviour of the finely divided plant tissues present. Given local calibration, the methodology is applicable to other tidal systems with banded silts in Britain and mainland northwest Europe. (c) 2006 Elsevier Ltd. All rights reserved.

Howard Barker’s ‘monstrous assaults’: eroticism, death and the antique text

Howard Barker is a writer who has made several notable excursions into what he calls ‘the charnel house…of European drama.’ David Ian Rabey has observed that a compelling property of these classical works lies in what he calls ‘the incompleteness of [their] prescriptions’, and Barker’s Women Beware Women (1986), Seven Lears (1990) and Gertrude: The Cry (2002), are in turn based around the gaps and interstices found in Thomas Middleton’s Women Beware Women (c1627), Shakespeare’s King Lear (c1604) and Hamlet (c1601) respectively. This extends from representing the missing queen from King Lear, who Barker observes, ‘is barely quoted even in the depths of rage or pity’, to his new ending for Middleton’s Jacobean tragedy and the erotic revivification of Hamlet’s mother. This paper will argue that each modern reappropriation accentuates a hidden but powerful feature in these Elizabethan and Jacobean plays – namely their clash between obsessive desire, sexual transgression and death against the imposed restitution of a prescribed morality. This contradiction acts as the basis for Barker’s own explorations of eroticism, death and tragedy. The paper will also discuss Barker’s project for these ‘antique texts’, one that goes beyond what he derisively calls ‘relevance’, but attempts instead to recover ‘smothered genius’, whereby the transgressive is ‘concealed within structures that lend an artificial elegance.’ Together with Barker’s own rediscovery of tragedy, the paper will assert that these rewritings of Elizabethan and Jacobean drama expose their hidden, yet unsettling and provocative ideologies concerning the relationship between political corruption / justice through the power of sexuality (notably through the allure and danger of the mature woman), and an erotics of death that produces tragedy for the contemporary age.

Spectacle/gender/history: the case of Gone with the Wind

The essay asserts that, since pioneering work in the 1970s and 80s (in Screen in particular), the study of classical Hollywood cinema has failed adequately to acknowledge and understand the role of spectacle therein. This essay outlines theoretical but, even more, practical understandings of particular kinds of spectacle; they are susceptible to the practice of close analysis. Seeking to discuss spectacle in precise terms and in particular contexts, I define two kinds of spectacle associated with the historical film: ‘the decor of history’ and ‘the spectacular vista’. The example of Gone with the Wind illustrates the interrelationship between these two kinds of spectacle and their associations with particular ideas of femininity and masculinity. This gendering of spectacle is related to ‘the historical gaze’, a performative gesture that exemplifies the wider rhetoric of historical films, in their seeking to address the historical knowledge of the film spectator and to uphold a vision of history as being driven by powerful men, aware of their own destiny. Over the course of the three famous hilltop scenes in Gone with the Wind, one can plot Scarlett O'Hara's increased access to this kind of foresight and fortitude coded as ‘masculine’. This character arc can also be traced through Scarlett's shifting place within the film's use of spectacle: she begins the film wholly preoccupied with the domestic world of lavish parties and beautiful gowns; however, after her encounter with cataclysmic history visualized as a vast, terrible spectacle (the fall of Atlanta), Scarlett assumes the role occupied by her broken and emasculated father.

Return of the 'Angry Woman': authenticating female physical action in contemporary cinema

In 1999, Elizabeth Hills pointed up the challenges that physically active women on film still posed, in cultural terms, and in relation to certain branches of feminist theory . Since then, a remarkable number of emphatically active female heroes have appeared on screen, from 'Charlie’s Angels' to 'Resident Evil', 'Aeon Flux', and the 'Matrix' and 'X-Men' trilogies. Nevertheless, in a contemporary Western culture frequently characterised as postfeminist, these seem to be the ‘acceptable face’ – and body – of female empowerment: predominantly white, heterosexual, often scantily clad, with the traditional hero’s toughness and resolve re-imagined in terms of gender-biased notions of decorum: grace and dignity alongside perfect hair and make-up, and a body that does not display unsightly markers of physical exertion. The homogeneity of these representations is worth investigating in relation to critical claims that valorise such air-brushed, high-kicking 'action babes' for their combination of sexiness and strength, and the feminist and postfeminist discourses that are refracted through such readings. Indeed, this arguably ‘safe’ set of depictions, dovetailing so neatly with certain postfeminist notions of ‘having it all’, suppresses particular kinds of spectacles in relation to the active female body: images of physical stress and extension, biological consequences of violence and dangerous motivations are all absent. I argue that the untidy female exertions refused in popular “action babe” representations are now erupting into view in a number of other contemporaneous movies – 'Kill Bill' Vols 1 & 2, 'Monster', and 'Hard Candy' – that mark the return of that which is repressed in the mainstream vision of female power – that is, a more viscerally realistic physicality, rage and aggression. As such, these films engage directly with the issue of how to represent violent female agency. This chapter explores what is at stake at a representational level and in terms of spectatorial processes of identification in the return of this particularly visceral rendering of the female avenger.

On the troublesome relationship of feminism and terrorism: representing the female terrorist in contemporary art

This paper analyses tendencies in debates about cultural representations of terrorism to assume that artists make critical interventions, while the mass media circulates stereotypes. Some recent feminist analyses of female terrorist acts have re-instituted essentialist arguments in which violence and terrorism is described as inherently masculine, while women are by nature pacifist, so that femininity is the antithesis of militarism. More progressive analyses mostly tend to expose the circulation of stereotypes and their gender bias, in order to protest the misrepresentation of women in violence. These analyses do not construct alternative accounts. Through an analysis of two works by artists Hito Steyerl and Sharon Hayes, the paper argues that some of the moves to re-image the question of women, violence and agency have already been made in contemporary art practices. Through analysing legacies of terrorism and feminism, it becomes possible to rethink the question of agency, militancy and the nature of political art. The paper appears in an edited interdiscplinary collection arising from a conference at Universität der Bundeswehr in Munich. It relates to wider projects involving collaborations with Birkbeck and Edinburgh on representations of terrorism and on violence and contemporary art.

Women in art: the last taboo

The intention of this paper is to explore traditions and current trends in art with particular reference to the depiction of female experiences such as pregnancy, abortion, birth and motherhood. The inclusion and exclusion of such images in art history over time and across societies reflects prevailing attitudes, whilst affirming various stereotypical and gendered constructions developed and sustained within those societies. These constructions in turn relate to criteria defined by class, access to education and notions of femininity. Work by artists which feature aspects of these experiences (particularly childbirth), is considered taboo by many in a Western society which continues to render the essentially female experience as private, invisible and stigmitised and confuses the natural with the sexual. The work of undergraduate art students, inspired by the artwork of women artists who make explicit or are influenced by essentially female experiences, is discussed and attempts made to connect their work to the issues outlined.

Sodomy laws and gender variance in Tahiti and Hawai‘i

In both Hawaiian and Tahitian, the central meaning of mahu denotes gender-variant individuals, particularly male-bodied persons who have a significant investment in femininity. However, in Hawai‘i, unlike Tahiti, the word mahu is now more commonly used as an insult against gay or transgender people. The negative connotation of the term in Hawaiian indexes lower levels of social acceptability for mahu identity on O‘ahu (Hawai‘i’s most populous island) as compared to Tahiti. The article argues that these differences are partly due to a historical legacy of sexually repressive laws. The article traces the history of sodomy laws in these two Polynesian societies and argues that this history supports the hypothesis that sodomy laws (in conjunction with such social processes as urbanisation and Christianisation) are partially to blame for the diminished social status of mahu on O‘ahu. A different social and legal history in Tahiti accounts for the fact that the loss of social status experienced by Tahitian mahu has been lesser than that of their Hawaiian counterparts.

Terrorist transgressions: gendered representations of the terrorist in visual culture

The aim of Terrorist Transgressions is to analyse the myths inscribed in images of the terrorist and identify how agency is attributed to representation through invocations and inversions of gender stereotypes. In modern discourses on the terrorist the horror experienced in Western societies was the appearance of a new sense of the vulnerability of the body politic, and therefore of the modern self with its direct dependency on security and property. The terrorist has been constructed as the epitome of transgression against economic resources and moral, physical and political boundaries. Although terrorism has been the focus of intense academic activity, cultural representations of the terrorist have received less attention. Yet terrorism is dependent on spectacle and the topic is subject to forceful exposure in popular media. While the terrorist is predominantly aligned with masculinity, women have been active in terrorist organisations since the late 19th century and in suicidal terrorist attacks since the 1980s. Such attacks have confounded constructions of femininity and masculinity, with profound implications for the gendering of violence and horror. The publication arises from an AHRC networking grant, 2011-12, with Birkbeck, and includes collaboration with the army at Sandhurst RMA. The project relates to a wider investigation into feminism, violence and contemporary art.

Deglacial changes of the southern margin of the southern westerly winds revealed by terrestrial records from SW Patagonia (52 degrees S)

Much of the ongoing discussion regarding synchrony or bipolar asynchrony of paleoclimate events has centered on the timing and structure of the last glacial termination in the southern mid- latitudes, in particular the southwestern Patagonian region (50�e55�S). Its location adjacent to the Drake Passage andnear the southern margin of the southern westerly winds (SWW) allows examining the postulated links between the Southern Oceane SWW coupled system and tmospheric CO2 variations through the last glacial termination. Results from two sites located in the Última Esperanza area (52�S) allow us to infer SWW-driven changes in hydrologic balance during this critical time interval. These findings indicate peatland development under temperate/wet conditions between 14,600 and 14,900 cal yr BP, followed by cooling and a lake transgressive phase that led to a shallow lake during the early part of the Antarctic Cold Reversal (ACR, 13,600-14,600 cal yr BP), followed in turn by a deeper lake and modest warming during Younger Dryas time (YD, 11,800-13,000 cal yr BP), superseded by terrestrialization and forest expansion at the beginning of the Holocene. We propose that the SWW (i) strengthened and shifted northward during ACR time causing a precipitation rise in northwestern and southwestern Patagonia coeval with mid- and high-latitude cooling and a halt in the deglacial atmospheric CO2 rise; (ii) shifted southward during YD time causing a precipitation decline/increase in NW/SW Patagonia, respectively, high-latitude warming, and invigorated CO2 release from the Southern Ocean; (iii) became weaker between 10,000 and 11,500 cal yr BP causing a precipitation decline throughout Patagonia, concurrent with peak mid- and high-latitude temperatures and atmospheric CO2 concentrations.

Determination of controls on Holocene barrier progradation through application of OSL dating: The Ilha Comprida Barrier example, Southeastern Brazil

Barrier development during the Holocene is studied using the example of the Ilha Comprida, Southeastern Brazil. Aerial photos, facies analysis, and optically stimulated luminescence dating are used to define the barrier emergence and evolution. Optically stimulated luminescence ages and facies successions indicate that the Ilha Comprida probably began as a Holocene transgressive barrier island 6000 years ago, just before the last relative sea-level maximum. Since then the barrier has progradated through the addition of curved beach ridges. Based on beach ridge alignments, six units of growth are identified with two growth directions, transverse and longitudinal. Rates of progradation with transverse growth vary from 0.13 to 4.6 m/year. Rates of longitudinal growth to NE range from 5.2 to 30 m/year. Variation in coastal progradation rates and sediment retention during the last 6000 years is compared with climate, physiography and relative sea-level changes. The physiography, represented by pre-Cenozoic hills, is the major control on sediment retention and alternation between longitudinal and transverse growth. Climate variations, such as the Little Ice Age event, apparently control the formation of ridges types: beach ridges, foredunes, and blowouts. These results allow the use of the Ilha Comprida Barrier as an example to analyze the major controls on barriers progradation. (C) 2011 Elsevier B.V. All rights reserved.

Late Quaternary sedimentation in the Paraiba Basin, Northeastern Brazil: Landform, sea level and tectonics in Eastern South America passive margin

Late Quaternary deposits in the northeastern Brazil have been scarcely investigated, despite their relevance to the discussion of the post-rift evolution of the South American passive margin within the context of landform, sea level and tectonic deformation. Sedimentological, stratigraphic and morphological characterization of these deposits, referred as Post-Barreiras Sediments, led to their distinction from underlying Early/Middle Miocene strata. Based on optically stimulated luminescence (OSL) dating, two sedimentary units (PB1 and PB2) were recognized and related to the time intervals between 74.8 +/- 9.3 and 30.8 +/- 6.9 ka, and 8.8 +/- 0.9 and 1.8 +/- 0.2 ka, respectively. Unit PB1 consists of indurated sandstones and breccias either with massive bedding or complex types of soft sediment deformation structures generated by contemporaneous seismic activity. Unit PB2 is composed of massive sands or sands related to structures developed by dissipation of dunes. The present work, focusing on the Post-Barreiras Sediments, discusses landform, sea level and tectonics of the eastern South American passive margin during the latest Quaternary. Non-deposition and sub-aerial exposure related to the Tortonian worldwide low sea level combined with tectonic quiescence followed the Miocene transgression. Tectonic deformation in the latest Pleistocene created space to accommodate unit PB1 in downthrown faulted blocks and, perhaps, also synclines produced by strike-slip deformation. Although deposition of this unit was simultaneous with the progressive fall in sea level that followed the Last Interglacial Maximum, punctuated rises combined with land subsidence led to marine deposition close to the modern coastline. Renewed subsidence in the Holocene gave rise to accommodation of the Post-Barreiras Sediments. Most of unit PB2 was deposited during the Holocene Transgression, but it is not composed of marine sediments, which suggests either an insignificant rise in relative sea level or aeolian reworking of thin transgressive sands. The data presented here lead to a review of the evolution of the South American passive margin based on assumptions of uniform sedimentation and undeformed planation surfaces over a wide coastal area of the northeastern Brazil. (C) 2011 Elsevier B.V. All rights reserved.

The development of blowouts and foredunes in the Ilha Comprida barrier (Southeastern Brazil): the influence of Late Holocene climate changes on coastal sedimentation

Middle to Late Holocene barriers are conspicuous landforms in southeastern and southern Brazilian regions. The barriers in the coastal zones of northern Santa Catarina, Parana and Sao Paulo states (27 degrees 19`-24 degrees 00`S) are formed mainly by beach ridge alignments and many barriers present foredune and blowout alignments in their seaward portion. The development of these eolian landforms appears to record a regional shift in coastal dynamics and barrier building. In this context, the Ilha Comprida barrier stands out for its well-developed and well-preserved foredunes and blowouts. Based on the presence or not and type of eolian landforms, the Ilha Comprida barrier can be divided seaward into inner, middle and outer units. The inner unit is formed entirely by beach ridges. The middle unit comprises a narrow belt of blowouts (up to 15 m high) aligned alongshore. Blowout lobes pointing NNW are indicative of their generation by southern winds. The outer unit is represented by low (<= 1 m high) active or stabilized foredunes and a small transgressive dunefield (similar to 1 km(2)). Twenty-seven luminescence ages (SAR protocol) obtained for the beach ridges, foredunes, and blowouts of these three units allow definition of a precise chronology of these landforms and calculation of rates of coastal progradation. The inner unit presents ages greater than 1004 +/- 88 years. The blowouts of the middle unit show ages from 575 +/- 47 to 172 +/- 18 years. The ages of the outer unit are less than 108 +/- 10 years. Rates of coastal progradation for the inner and outer units are 0.71-0.82 m/year and 0.86-2.23 m/year, respectively. The main phase of blowout development correlates well with the Little Ice Age (LIA) climatic event. These results indicate that southern winds in subtropical Brazil became increasingly more intense and/or frequent during the LIA. These conditions persist to the present and are responsible for the development of the eolian landforms in the outer unit. Thus, barrier geomorphology can record global climatic events. The sensitivity of barrier systems in subtropical Brazil to Late Holocene climate changes was favored by the relative sea level stillstand during this time. Luminescence dating makes it possible to analyze barrier geomorphology during Late Holocene climate changes operating on timescales of a hundred to thousand years. These results improve our knowledge of barrier building and will help in the evaluation of the impact of future climate changes on coastal settings. (C) 2008 Elsevier Ltd. All rights reserved.

Grain size and heavy minerals of the Late Quaternary eolian sediments from the Imbituba-Jaguaruna coast, Southern Brazil: Depositional controls linked to relative sea-level changes

The stratigraphic subdivision and correlation of dune deposits is difficult, especially when age datings are not available. A better understanding of the controls on texture and composition of eolian sands is necessary to interpret ancient eolian sediments. The Imbituba-Jaguaruna coastal zone (Southern Brazil, 28 degrees-29 degrees S) stands out due to its four well-preserved Late Pleistocene (eolian generation 1) to Holocene eolian units (eolian generations 2, 3, and 4). In this study, we evaluate the grain-size and heavy-mineral characteristics of the Imbituba-Jaguartma eolian units through statistical analysis of hundreds of sediment samples. Grain-size parameters and heavy-mineral content allow us to distinguish the Pleistocene from the Holocene units. The grain size displays a pattern of fining and better sorting from generation 1 (older) to 4 (younger), whereas the content of mechanically stable (dense and hard) heavy minerals decreases from eolian generation 1 to 4. The variation in grain size and heavy-mineral content records shifts in the origin and balance (input versus output) of eolian sediment supply attributable mainly to relative sea-level changes. Dunefields submitted to relative sea-level lowstand conditions (eolian generation 1) are characterized by lower accumulation rates and intense post-depositional dissection by fluvial incision. Low accumulation rates favor deflation in the eolian system, which promotes concentration of denser and stable heavy minerals (increase of ZTR index) as well as coarsening of eolian sands. Dissection involves the selective removal of finer sediments and less dense heavy minerals to the coastal source area. Under a high rate of relative sea-level rise and transgression (eolian generation 2), coastal erosion prevents deflation through high input of sediments to the coastal eolian source. This condition favors dunefield growth. Coastal erosion feeds sand from local sources to the eolian system. including sands from previous dunefields (eolian generation 1) and from drowned incised valleys. Therefore, dunefields corresponding to transgressive phases inherit the grain-size and heavy-mineral characteristics of previous dunefields, leading to selective enrichment of finer sands and lighter minerals. Eolian generations 3 and 4 developed during a regressive-progradational phase (Holocene relative sea level highstand). The high rate of sediment supply during the highstand phase prevents deflation. The lack of coastal erosion favors sediment supply from distal sources (fluvial sediments rich in unstable heavy minerals). Thus, dunefields of transgressive and highstand systems tracts may be distinguished from dunefields of the lowstand systems tract through high rates of accumulation (low deflation) in the former. The sediment source of the transgressive dunefields (high input of previously deposited coastal sands) differs from that of the highstand dunefields (high input of fluvial distal sands). Based on this case study, we propose a general framework for the relation between relative sea level, sediment supply and the texture and mineralogy of eolian sediments deposited in siliciclastic wet coastal zones similar to the Imbituba-Jaguaruna coast (C) 2009 Elsevier B.V. All rights reserved.

Bland amasoner och eunucker : En kvalitativ studie av patografier av kvinnor med bröstcancer och män med prostatacancer

Narratives about life-changing events like cancer have become more common in today’s society. The purpose of the present study was to investigate whether gender patterns in society can also be found in pathographies about cancer, and further to investigate how gender is expressed in these cancer related narratives. Questions were posed on characteristics of the autobiographical cancer narratives, how gender is constructed by the authors of these narratives, and what these narratives say about gender structures’ liability to change in the individuals affected by this disease. The material consisted of two Swedish pathographies about breast cancer, written by women, and two Swedish pathographies about prostate cancer, written by men. These works were published in the first decade of the present century. Narrative interpretation was used as the analysis method. The results show that gender patterns expressed in these narratives mainly follow conventional standards. Gender structures appear to be resistant to change in men and women diagnosed with cancer. The narratives by the women authors appear though to be somewhat more open to using the notions of manhood than was sees in narratives by the male authors regarding norms of femininity.

"Porque quiero casarme con un varón hermoso de la orilla del mar" Un análisis de lo grotesco femenino de María Josefa en La casa de Bernarda Alba

This essay is an analysis of the character María Josefa in the play 'The House of Bernarda Alba' (1936) by Federico García Lorca. It is hypothesized that the character of María Josefa can be considered a distorting mirror of the femininity presented in the play, and that through María Josefa this femininity is both revealed and problematized. The analysis adopts theories from the field of the (female) grotesque, using terminology both from Mikhail Bakhtin and Mary Russo. Throughout the analysis it is demonstrated how the character of María Josefa challenges the boundaries and norms which are dictated by Bernarda to control the women of the house. These conventions are challenged by María Josefa with the use of her loud speech, her dressed up appearance, and in her physical resistance. In this manner María Josefa is creating and embodying an alternate feminine view that is uncovered through her consistent provocation and by making herself into "a spectacle", a transboundary behaviour that is well interpreted within the theories of carnival, the grotesque body, and the spectacle of the female grotesque.