Drift from the use of handheld knapsack pesticide sprayers in Boyacá (Colombian Andes)

Offsite pesticide losses in tropical mountainous regions have been little studied. One example is measuring pesticide drift soil deposition, which can support pesticide risk assessment for surface water, soil, bystanders, off target plants and fauna. This is considered a serious gap, given the evidence of pesticide-related poisoning in those regions. Empirical data of drift deposition of a pesticide surrogate, Uranine tracer, within one of the highest potato producing regions in Colombia, characterized by small plots and mountain orography, is presented. High drift values encountered in our study reflect the actual spray conditions using handled knapsack sprayers. Comparison between measured and predicted drift values using three existing empirical equations showed important underestimation. However, after their optimization based on measured drift information, the equations showed a strong predictive power for this study area and the study conditions. The most suitable curve to assess mean relative drift was the IMAG calculator after optimization.

Muriel Rukeyser: poetry and the body

The human body occupies a central place in Rukeyser’s poetry. Her characters’ physical experiences inspire their search for an artistic form and a holistic vision that reconciles the corporeal and conceptual aspects of their life. My thesis deals with Rukeyser’s reconciliation of disparate aspects of existence through the image of the human body and the practical experiences she underwent in her personal life and incorporated in her poetry. I discuss her poetry of the 1940s, where a tension is observed between the artist’s personal life and her art, which she attempts to resolve by adopting an artistic form that accommodates her quotidian experiences. I study, mainly through her poetry of the 1950s, Rukeyser’s poetic technique in the light of her organicist poetics and the combination of tendencies to coercion and suggestiveness distinguishing her style. I examine her portrayal of the suffering body in her poetry of the 1960s and 1970s. By means of their physical experiences, the ill, her despised and the imprisoned protagonists undergo a process of development whereby they perceive the different aspects of their identity and attempt to broaden perspectives on their situation by reconciling them. I argue that Rukeyser’s engagement with physical encounters and with the poem as an inclusive, organic body enables her to reconcile disparate elements in her poetry, such as her personal life and her art, her individual existence and the public world, as well as the distinct aspects of her characters’ identity. Her vatic outlook, which integrates distinct aspects of experience, is consistent with Merleau-Ponty’s idea of human perception as characterised by the two interdependent positions of immanence and transcendence. Rukeyser’s poetry depicts her physical engagement with quotidian events of her life as a factor of artistic inspiration. These situations constitute shared human experiences that enable her to imagine the links binding her to other people and the world at large. The poet’s personal experiences inspire her search for an artistic form that accommodates them. Her perception of the concrete aspect of her individual existence gains significance when it is linked to social and political issues. Both the private and public are thus seen as interconnected, and they affect the existence of each other while retaining their distinctness.

The “Great Queen of Lightninge Flashes”: the transmission of female-voiced burlesque poetry in the early seventeenth century

The essay uncovers evidence for the construction of the ‘woman author’ in the largely male vogue for bawdy burlesque poetry by tracing the circulation of a pair of verses through seventeenth-century manuscript and print miscellanies. It argues that just as these verses are reworked and recontextualised through the process of transmission, so to their ‘authors’ are re-embodied and ascribed different identities in different publication contexts. Female-voiced bawdy poetry raises particular problems for authorial attribution, rather than searching for the real woman behind the text, the essay examines how the ‘authors’ of female-voiced bawdy poetry were produced and reproduced through shifting formal frameworks and socioliterary networks.

Unraveling an antique subduction process from metamorphic basement around Medellin city, Central Cordillera of Colombian Andes

In the surroundings of Caldas and El Retiro cities (Colombia) metamorphic rocks derived from basic and pelitic protoliths comprise the Caldas amphibole schist and the Ancon schist respectively. Subordinated metamorphosed granite bodies (La Miel gneiss) are associated to these units, and The El Retiro amphibolites, migmatites and granulites crops out eastwards of these units, separated by shear zones. The Caldas amphibole schist and the Ancon schist protoliths could have been formed in a distal marine reduced environment and amalgamated to the South American continent in an apparent Triassic subduction event. The El Retiro rocks are akin to a continental basement and possible include impure metasediments of continental margin, whose metamorphism originated granulite facies rocks and migmatites as a result of the anatexis of quartz-feldspathic rocks. The metamorphism was accompanied by intense deformation, which has juxtaposed both migmatites and granulite blocks. Afterward, heat and fluid circulation associated with the emplacement of minor igneous intrusions resulted in intense fluid-rock interaction, variations in the grain size of the minerals and, especially, intense retrograde metamorphic re-equilibrium. Thermobarometric estimations for the Caldas amphibole schist indicate metamorphism in the Barrovian amphibolite fades. The metamorphic path is counter-clockwise, but retrograde evolution could not be precisely defined. The pressures of the metamorphism in these rocks range from 6.3 to 13.5 kbar, with narrow temperature ranging from 550 to 630 degrees C. For the Ancon schist metapelites the P-T path is also counter-clockwise, with a temperature increase evidenced by the occurrence of sillimanite and the cooling by later kyanite. The progressive metamorphism event occurred at pressures of 7.6-7.2 kbar and temperatures of 645-635 degrees C for one sample and temperature between 500 and 600 degrees C under constant pressure of 6 kbar. The temperature estimated for these rocks varies between 400 and 555 degrees C at pressures of 5-6 kbar in the retrograde metamorphic path. The El Retiro rocks evidence strong decompression with narrow variation in temperature, showing pressure values between 8.7 and 2.7 kbar at temperatures of 740-633 degrees C. These metamorphic fragments of the basement in the Central Cordillera of the Colombian Andes could represent a close relationship with an antique subduction zone. (C) 2011 Elsevier Ltd. All rights reserved.

Deadly Desire : A Psychoanalytical Reading of Desire and Death in the Poetry of Dylan Thomas

Dylan Thomas' work is often explored in light of the poet himself, and he has been referred to as modernism's l'enfant terrible or even described as a late romanticist. The aim in this essay is to explore the poetry without regard to his personal life as well as highlight previously ignored oedipal elements in said poetry. The main goal is to assert Thomas' place amongst the modernist literati, of which most were heavily influenced by Freud, as well as to be an acknowledgement of his work without considering his biography.