Geochemistry on interstitial water of 5 sediment profiles from the Persian Gulf

The landward part of the 7 km wide sabkha at Umm Said, SE Qatar, is filled with a stagnant brine virtually saturated with halite. Recent dolomite occurs in the sabkha sediments, the quantity being fully accounted for by the amount of Mg++ ions lost from the interstitial brine. The existence of a reflux system in the seaward parts of the sabkha was established. It was not, however, possible to gi ve any unequivocal demonstration of the effect of this potential system for dolomitization . Although both a reflux mechanism and Recent dolomite formation occur in this tidal flat, the first process has apparently not influenced the second sufficiently to permit the demonstration of reflux dolomitization.

Epigrammata, Greek inscriptions in verse from the beginnings to the Persian Wars /

Bibliographical footnotes.

Translations of Eastern poetry and prose,

Mode of access: Internet.

Select translations from Old English poetry,

--Index of media.--Index of titles.

Carbon14 ages of surface sediment samples from ther Persian Gulf

A simplified classification of the Holocene sediments based on textures and grain type results in fourteen major units, twelve of which are essentially carbonate in composition. A brief description and photographic illustration of these units, together with the sedimentary and diagenetic processes which have contributed to their formation, is designed to give the reader a broad but valid impression of Persian Gulf sediments. The distribution of the fourteen sediment units throughout the Arabian parts of the basin, although complicated by numerous local bathymetric highs and depressions, is relatively simple. Because the Arabian sea floor slopes progressively from a windward shoreline to the basin center there is increasing protection from wave action towards the center of the basin. As a result sediments grade from skeletal, oolitic and pelletoidal sands (and muds in coastal lagoons) and fringing reefs, through an irregular zone of compound grain sands,into widespread skeletal muddy sands, and finally into basin center muds. These simple relationships vary laterally around the Arabian side of the gulf. Lateral variation is dependant upon orientation of the regional slope with respect to the prevailing NW wind-driven waves, angle of slope, and presence or absence of regional, structurally based barriers.

C14 Ages of sediment from the Rud Hilla delta area, Persian Gulf

Six sediment cores from the submarine delta of the Rud Hilla River in the northern part of the Persian Gulf consist of fine grained,homogeneous Holocene marls. The coarse (> 63 ~) fraction varies from 0.3 - 3.5 %. The cores are 2 - 4 m long and were taken in water depths of 8 - 56 m. In spite of the great similarity and homogeneity of the cored sediments, correspondence analysis (an extension of factor analysis) of the coarse fraction reveals the presence of four distinctive sedimentary facies: (1) a minerogenic facies, 10 km from the estuary; (2) an ophiuroidostracod facies near a lateral margin of the delta, 12 - 15 km from the estuary, (3) a benthic foraminiferal-molluskan facies, in the central part of the delta 20 km from the estuary, and near its seaward margin 120 km from the estuary, (4) a gastropod-epibiotic facies, in an area of relatively slow sedimentation on the border of the delta, 90 km from the estuary. A seventh core, taken near the seaward margin of the delta of the Rud Hilla River, penetrated homogeneous, aragonite-rich mud of late Pleistocene age. Correspondence analysis of the sand fraction of the Pleistocene sediments leads to the definition of two facies that can be readily compared with the facies identified in the Holocene cores.

Epic too large for the stage [REVIEW]

Review of 'The White Earth', La Boite Theatre Company, published in The Australian, 25 February 2009.

Formalin fixation affects equilibrium partitioning of an ionic contrast agent-microcomputed tomography (EPIC-[mu]CT) imaging of osteochondral samples

Equilibrium Partitioning of an Ionic Contrast agent with microcomputed tomography (EPIC-[mu]CT) is a non-invasive technique to quantify and visualize the three-dimensional distribution of glycosaminoglycans (GAGs) in fresh cartilage tissue. However, it is unclear whether this technique is applicable to already fixed tissues. Therefore, this study aimed at investigating whether formalin fixation of bovine cartilage affects X-ray attenuation, and thus the interpretation of EPIC-[mu]CT data.Design Osteochondral samples (n = 24) were incubated with ioxaglate, an ionic contrast agent, for 22 h prior to [mu]CT scanning. The samples were scanned in both formalin-fixed and fresh conditions. GAG content was measured using a biochemical assay and normalized to wet weight, dry weight, and water content to determine potential reasons for differences in X-ray attenuation.Results The expected zonal distribution of contrast agent/GAGs was observed for both fixed and fresh cartilage specimens. However, despite no significant differences in GAG concentrations or physical properties between fixed and fresh samples, the average attenuation levels of formalin-fixed cartilage were 14.3% lower than in fresh samples.Conclusions EPIC-[mu]CT is useful for three-dimensional visualization of GAGs in formalin-fixed cartilage. However, a significant reduction in X-ray attenuation for fixed (compared to fresh) cartilage must be taken into account and adjusted for accordingly when quantifying GAG concentrations using EPIC-[mu]CT.

Australian eco-pastoral poetry

Les Murray and Judith Wright are two Australian poets who are widely read as landscape poets. While this framing offers valuable insights into their work it often fails to bring the importance into a contemporary context or to recognise the long tradition Australia has had with , to use Leo Marx’ term, “the complex pastoral”. As Ruth Blair reminds us in her chapter “Hugging the Shore: The Green Mountains of South-East Queensland” in The Littoral Zone: Australian Contexts and their Writers it is accepted that North America has a tradition of the complex pastoral mode but it should be remembered that Australia also has a long history of this form. Both Judith Wright’s and Les Murray’s poetry encourages active campaigning for the environment .These Australian poets are eco-pastoral poets whose poetry encourages active reading rather than passive reflections. Their poetry speaks to the strong connection between the lived everyday landscape and the imagination of past, present and future. Their work is imbued with a strong sense of ecocritical awareness while at the same time drawing on pastoral conventions. These two Australian poets do not offer idealistic pastoral notions but rather reveal the complexities of lived human/nonhuman relationships. This paper will discuss these complexities and how poetry can be experienced as literature in action—ways for readers to connect with and negotiate with the land they inhabit. The research for this paper was, in part, drawn from the responses that local community library groups offered after reading the works of these poets. What became evident from this research was the way the poetry made the readers think not only of landscape as a place of refuge from the urban technological world but also as a contemporary place with connection to agency that motivates readers into active change.

Joy fear and poetry

Joy Fear and Poetry is an original performance work written, designed and directed by Natasha Budd in collaboration with 15 performers aged 7-12 years. It was performed in Brisbane as part of La Boite Theatre’s 2013 Indie Season. The production employs contemporary performance, postdramatic and constructivist methodologies to make an intervention into habituated patterns of positioning children in society. It embodies a model of practice that moves beyond participant empowerment toward a more nuanced process of co-artists creating intersubjective ‘composite texts’ (McCall 2011) for mainstream audiences. Joy Fear and Poetry experiments with techniques for performance making that create conditions conducive to authentic theatre making with children. These focus on dramaturgical, directorial and design strategies harnessed to maintain the performers’ focus, motivation and cognitive engagement within a reflexive, collaborative process.