Fragmentos de Soto de Rojas: a ‘new’ mythological fable of the Spanish Baroque

The twentieth-century poet Gerardo Diego’s commitment to the recovery of a ‘sub-genre’, the mythological fable, evident in his Fábula de Equis y Zeda (1930) has been acknowledged by Peinado Elliot (2006), among others. However a recent discovery in his archive has revealed a hitherto unknown aspect of the poet’s scholarly commitment to this endeavour. A transcription of a previously unpublished, and until recently, unknown Baroque mythological fable with the title ‘Fábula de Alfeo y Aretusa’ was recently found by his daughter Elena, alongside an unpublished study by the young poet of said fable entitled ‘Un poema manuscrito del siglo XVII de la biblioteca Menéndez Pelayo’. Rosa Navarro Durán (2012) is convinced that the correspondences with Soto de Rojas’ 'Los fragmentos de Adonis' and the clear imprint of Góngora’s 'Soledades' and his 'Fábula de Píramo y Tisbe' permit us to attribute it, with some confidence, to Pedro Soto de Rojas. This essay will consider the significance of this exciting discovery for our reading of Soto de Rojas’ existing corpus, exploring in particular the poem’s links with the dark eroticism of the Fragmentos de Adonis, (1652) and the early Fábula de la Naya.(1623)

Foucauldian Panopticism: The Gaze in Selected 19th Century Literature

Throughout history, women have often been perceived as hysterical and weak. This perception has been reflected through the representation of women in literature which has resulted in a limited scope of female normality and morality creating characteristics fundamentally different than male characters. Though these characteristics have been contributed as natural female characteristics, the theories of Jeremy Bentham, a 18th and 19th century Englishman, can be applied as a possible reason for these reactions. Bentham’s Panopticon, the theory of punishment wherein a constant unseen gaze peers at inmates theoretically creating paranoia and psychological breakdown, creates characteristics similar to those that women in literature seem to exhibit. In this paper, I will outline the characteristics of three various characters in novels. First, I will review the Panoptic literature that has been written on The Woman in Charlotte Perkins Gilman’s The Yellow Wallpaper, then I will conduct my own analysis on The Governess in Henry James’ The Turn of the Screw and Jane Eyre in Charlotte Bronte’s Jane Eyre . In this analysis, I will consider the “gaze,” the symbolic Panopticon implemented by society, and argue how characteristics present in stereotypical representations of women are not inherent in women due to gender or sex, but because women are most objectified and thereby most affected by the Panoptic gaze of society.

Glaciers and climate in northern Sweden during the 19th and 20th century

Our understanding of the climate of northern Sweden during the late Holocene is largely dependent on proxy-data series. These datasets remain spatially and temporally sparse and instrumental series are rare prior to the mid 19th century. Nevertheless, the glaciology and paleo-glaciology of the region has a strong potential significance for the exploration of climate change scenarios, past and future. The aim of this thesis is to investigate the 19th and 20th century climate in the northern Swedish mountain range. This provides a good opportunity to analyse the natural variability of the climate before the onset of the industrial epoch. Developing a temporal understanding of fluctuations in glacier front positions and glacier mass balance that is linked to a better understanding of their interaction and relative significance to climate is fundamental in the assessment of past climate. I have chosen to investigate previously unexplored temperature data from northern Sweden from between 1802 and 1860 and combined it with a temperature series from a synoptic station in Haparanda, which began operation in 1859, in order to create a reliable long temperature series for the period 1802 to 2002. I have also investigated two different glaciers, Pårteglaciären and Salajekna, which are located in different climatic environments. These glaciers have, from a Swedish perspective, long observational records. Furthermore, I have investigated a recurring jökulhlaup at the glacier Sälkaglaciären in order to analyse glacier-climate relationships with respect to the jökulhlaups. A number of datasets are presented, including: glacier frontal changes, in situ and photogrammetric mass balance data, in situ and satellite radar interferometry measurements of surface velocity, radar measurements, ice volume data and a temperature series. All these datasets are analysed in order to investigate the response of the glaciers to climatic stimuli, to attribute specific behaviour to particular climates and to analyse the 19th and 20th century glacier/climate relationships in northern Sweden. The 19th century was characterized by cold conditions in northern Sweden, particularly in winter. Significant changes in the amplitude of the annual temperature cycle are evident. Through the 19th century there is a marked decreasing trend in the amplitude of the data, suggesting a change towards a prevalence of maritime (westerly) air masses, something which has characterised the 20th century. The investigations on Salajekna support the conclusion that the major part of the 19th century was cold and dry. The 19th century advance of Salajekna was probably caused by colder climate in the late 18th and early 19th centuries, coupled with a weakening of the westerly airflow. The investigations on Pårteglaciären show that the glacier has a response time of ~200 years. It also suggests that there was a relatively high frequency of easterly winds providing the glacier with winter precipitation during the 19th century. Glaciers have very different response times and are sensitive to different climatic parameters. Glaciers in rather continental areas of the Subarctic and Arctic can have very long response times because of mass balance considerations and not primarily the glacier dynamics. This is of vital importance for analyzing Arctic and Subarctic glacier behaviour in a global change perspective. It is far from evident that the behaviour of the glacier fronts today reflects the present climate.

Initializing the DSSAT-Century model: inverse calibration of carbon pools from apparent soil N mineralization

The CENTURY soil organic matter model was adapted for the DSSAT (Decision Support System for Agrotechnology Transfer), modular format in order to better simulate the dynamics of soil organic nutrient processes (Gijsman et al., 2002). The CENTURY model divides the soil organic carbon (SOC) into three hypothetical pools: microbial or active material (SOC1), intermediate (SOC2) and the largely inert and stable material (SOC3) (Jones et al., 2003). At the beginning of the simulation, CENTURY model needs a value of SOC3 per soil layer which can be estimated by the model (based on soil texture and management history) or given as an input. Then, the model assigns about 5% and 95% of the remaining SOC to SOC1 and SOC2, respectively. The model performance when simulating SOC and nitrogen (N) dynamics strongly depends on the initialization process. The common methods (e.g. Basso et al., 2011) to initialize SOC pools deal mostly with carbon (C) mineralization processes and less with N. Dynamics of SOM, SOC, and soil organic N are linked in the CENTURY-DSSAT model through the C/N ratio of decomposing material that determines either mineralization or immobilization of N (Gijsman et al., 2002). The aim of this study was to evaluate an alternative method to initialize the SOC pools in the DSSAT-CENTURY model from apparent soil N mineralization (Napmin) field measurements by using automatic inverse calibration (simulated annealing). The results were compared with the ones obtained by the iterative initialization procedure developed by Basso et al., 2011.

RELIGIOUS SCULPTURE OF THE CHILOÉ ARCHIPELAGO, FROM THE 17TH TO THE 21ST CENTURY

Despite its central role in religious life of the region, the sculptural tradition of the Southern Chilean Chiloé Archipelago, ranging from the 17th century to the present day, has been vastly understudied. Isidoro Vázquez de Acuña’s 1994 volume Santeria de Chiloe: ensayo y catastro remains the only catalogue of Chilote sculpture. Though the author includes photographs of a vast array of works, he does not attempt to place the sculptures within a chronology, or consider their place within the greater Latin American context. My thesis will place this group of works within a chronological and geographical context that reaches from the 16th century to the present day, connected to the artistic traditions of regions as far afield as Paraguay and Lima. I will first consider the works brought to the Archipelago by religious orders – the Jesuits and Franciscans – as well as influences on artistic style and religious culture throughout the 17th, 18th and 19th centuries. I will focus in particular on three works generally considered to be from the 17th and 18th centuries – the Virgin of Loreto at Achao, the Saint Michael at Castro, and the Jesus Nazareno of Caguach – using visual analysis and sifting through generations of primary and secondary sources to determine from where and when these sculptures came. With this investigation as a foundation, I will consider how they inspired vernacular sculptural expression and trace ‘family trees’ of vernacular works based on these precedents. Vernacular artistic traditions are often viewed as derivative and lacking in skill, but Chilote sculptors in fact engaged with a variety of outside influences and experimented with different sculptural styles. I will conclude by considering which aspects of these styles Chilote artists chose to incorporate into their own work, alter or exclude, artistic decisions that shed light on the Archipelago’s religious and cultural fabric.

A picture of the manners, customs, sports, and pastimes, of the inhabitants of England, from the arrival of the Saxons down to the eighteenth century. Selected from the ancient chronicles, and rendered into modern phraseology.

Based on Joseph Strutt's "Manners and Customs". For the use of children.

Reimagining the Baroque in Italian Modernism. From the fin-de-siècle to Lucio Fontana

While Italian art of the twentieth century is usually associated with either the avant-garde practices of Futurism or the classicism of Fascist visual culture, the Italian modernists' complex engagement with concepts of the ‘Baroque’ has yet to be explored. Through an extensive analysis of paintings, sculptures, publications, collecting practices, and exhibitions, my dissertation addresses this lacuna by investigating how the Baroque was discursively constructed and visually represented in Italian modernist artistic and cultural debates between 1880 and 1945. I study how artists and critics such as Umberto Boccioni, Giorgio De Chirico, Adolfo Wildt, Lucio Fontana, and Roberto Longhi championed or disparaged the Baroque in the context of heated debates over the import of Italy’s rich cultural heritage, its status in modern Europe, and the potential role of avant-garde art as a catalyst for national regeneration. In contrast to previous scholars I argue that the development of modern art in Italy was actively shaped by cultural perceptions about the Baroque. My dissertation therefore sheds new light on the role of style in the cultural politics of Italy, which in turn will transform our understanding of visual culture in modern Italy, and of twentieth-century representations of the Baroque in art, literature, and aesthetics.

RELIGIOUS SCULPTURE OF THE CHILOÉ ARCHIPELAGO, FROM THE 17TH TO THE 21ST CENTURY

Despite its central role in religious life of the region, the sculptural tradition of the Southern Chilean Chiloé Archipelago, ranging from the 17th century to the present day, has been vastly understudied. Isidoro Vázquez de Acuña’s 1994 volume Santeria de Chiloe: ensayo y catastro remains the only catalogue of Chilote sculpture. Though the author includes photographs of a vast array of works, he does not attempt to place the sculptures within a chronology, or consider their place within the greater Latin American context. My thesis will place this group of works within a chronological and geographical context that reaches from the 16th century to the present day, connected to the artistic traditions of regions as far afield as Paraguay and Lima. I will first consider the works brought to the Archipelago by religious orders – the Jesuits and Franciscans – as well as influences on artistic style and religious culture throughout the 17th, 18th and 19th centuries. I will focus in particular on three works generally considered to be from the 17th and 18th centuries – the Virgin of Loreto at Achao, the Saint Michael at Castro, and the Jesus Nazareno of Caguach – using visual analysis and sifting through generations of primary and secondary sources to determine from where and when these sculptures came. With this investigation as a foundation, I will consider how they inspired vernacular sculptural expression and trace ‘family trees’ of vernacular works based on these precedents. Vernacular artistic traditions are often viewed as derivative and lacking in skill, but Chilote sculptors in fact engaged with a variety of outside influences and experimented with different sculptural styles. I will conclude by considering which aspects of these styles Chilote artists chose to incorporate into their own work, alter or exclude, artistic decisions that shed light on the Archipelago’s religious and cultural fabric.

Lady Nugent and Tom Cringle on the veranda : early nineteenth century observations on a Caribbean architectural feature

This study of the veranda as seen through the eyes of Lady Maria Nugent and Michael Scott, alias Tom Cringle, clearly demonstrates the important role that the piazza, as it was then more commonly known, played in the life of early nineteenth century Caribbean colonial society. The popularity of the veranda throughout the region, in places influenced by different European as well as African cultures, and among all classes of people, suggests that the appeal of this typical feature was based on something more than architectural fashion. A place of relative comfort in hot weather, the veranda is also a space at the interface of indoors and outdoors which allows for a wide variety of uses, for solitary or small or large group activities, many of which were noted by Nugent and Scott. Quintessentially, the veranda is a place in which to relax and take pleasure, not least of which is the enjoyment of the prospect, be it a panoramic view, a peaceful garden or a lively street scene. Despite the great changes in the nature of society, in the Caribbean and in many other parts of the world, the veranda and related structures such as the balcony continue to play at least as important a role in daily life as they did two centuries ago. The veranda of today’s Californian or Australian bungalow, and the balcony of the apartment block in the residential area of the modern city are among the contemporary equivalents of the lower and upper piazzas of Lady Nugent’s and Tom Cringle’s day.

Can IT Security be improved with better IT Leadership in the 21st Century University?

Organizations generally are not responding effectively to rising IT security threats because people issues receive inadequate attention. The stark example of IT security is just the latest strategic IT priority demonstrating deficient IT leadership attention to the social dimension of IT. Universities in particular, with their devolved people organization, diverse adoption of IT, and split central/local federated approach to governance and leadership of IT, demand higher levels of interpersonal sophistication and strategic engagement from their IT leaders. An idealized model for IT leaders for the 21st century university is proposed to be developed as a framework for further investigation. The testing of this model in an action research study is proposed.