Sharing the Eucharistic Bread: The Witness of the New Testament

Reviewed Book: Léon-Dufour, Xavier. Sharing the Eucharistic Bread: The Witness of the New Testament. Mahwah, NJ: Paulist Press, 1987

Sedimentary lithofacies, petrography and diagenesis of the Kapuni group in the Kapuni Field, Taranaki Basin, New Zealand : a thesis presented in partial fulfilment of the requirements for the degree of Master of Science with Honours in Earth Science at Massey University, Palmerston North, New Zealand

The reservoir architecture and quality of the Kapuni Group sandstones in seven wells (Kapuni−1, −3, −8, −12, Deep−1, 14 and −15) in the Kapuni Field are characterised using available core and digital geophysical log data. The study focused primarily on the Eocene Mangahewa Formation, but where limited core permits the older Kaimiro and Farewell formations are also examined. Eleven lithofacies in the Kapuni Group, identified and defined in core on the basis of colour, lithology, bedding, texture and sedimentary structures, are interpreted to represent tidal sand bar, tidal-inlet channel, fluvial-tidal channel, spit platform, sand flat, shallow marine, tidal channel, meandering tidal channel, mud flat, swamp and marsh environments. Correlation of core lithofacies with geophysical log motifs enabled lithofacies identification where core data are not available. Log motifs representing each of the lithofacies were then extrapolated to uncored sections of the Mangahewa Formation in the Kapuni Field wells. Interpretation of lithofacies in core and geophysical log motifs indicate that the Mangahewa Formation was deposited in an estuarine setting. During initial deposition of the Mangahewa Formation tide-dominated estuarine lithofacies were deposited. A major coal horizon, the K20 coal, in the field represents a period of maximum infilling. Above this coal core and log data indicate a wave-dominated estuary exhibiting a clearly- defined, "tripartite" (coarse-fine-coarse) distribution of lithofacies. Provenance studies suggest that low-grade metamorphic and granitic rocks are the dominant source for the Kapuni Group sandstones. Minor input from sedimentary and acid volcanic source rocks are also identified. A volcanic source, however, is more important in sandstones from the Farewell Formation, than in the younger Kapuni Group formations. Probable sources include the low-grade metamorphic rocks of Lower Cambrian to Permian age, Permian to Carboniferous Karamea Granite, Triassic and Jurassic greywacke-argillite sediments. Upper Cretaceous Pakawau Group sediments and Pre Cambrian to Upper Cretaceous acid volcanics. Reservoir quality variations in the Kapuni Group sandstones are directly related to environmental and diagenetic processes that have controlled porosity reduction and enhancement. Porosity has been reduced mainly by mechanical and chemical compaction, clay formation (predominantly kaolinite and illite in the Mangahewa and Kaimiro formations and smectite in the Farewell Formation), carbonate precipitation (primarily siderite and calcite), quartz and feldspar overgrowths and pyrite precipitation. While, porosity has been enhanced primarily by carbonate dissolution and subordinately by grain and clay dissolution and minor grain fracturing. The Mangahewa Formation sandstone lithofacies of tidal sand bar and tidal channel environments exhibit the best reservoir characteristics. Future reservoir development in the Kapuni Field and exploration in the Kapuni Field should focus on identifying and exploiting these lithofacies

Chinese cinema and transnational cultural politics : reflections on film festivals, film productions, and film studies

This study situates Chinese cinema among three interconnected concerns that all pertain to transnational cultural politics: (1) the impact of international film festivals on the productions of Chinese films and their reception in the West; (2) the inadequacy of the “Fifth Generation” as a critical term for Chinese film studies; and (3) the need to address the current methodological confinement in Western studies of Chinese cinema. By “transnational cultural politics” here I mean the complicated——and at times complicit—ways Chinese films, including those produced in or coproduced with Hong Kong and Taiwan, are enmeshed in “a larger process in which popular- cultural technologies, genres, and works are increasingly moving and interacting across national and cultural borders” (During 1997: 808). Designating this process as “transnationalization” rather than “globalization,” Simon During calls on scholars to investigate the challenge that commercial cultural production, or what he terms “the global popular,” poses to “current cultural studies’ welcome td difference, hybridicity, and subversion” (During 1997: 809). Before embarking on the transnational and cross-cultural issues, I would like to start with a personal observation. When I completed my first essay on Chinese cinema in the summer of 1989 (Zhang 1990), I had practically no idea that Chinese film would gain such unprecedented popularity in the world within such a short period of time. Despite the facts that Zhang Yimou’s Red Sorghum (1987) had just won the first Golden Bear for Chinese film at the 1988 Berlin International Film Festival and that Chen Kaige\u27s Yellow Earth (1984) had attracted critical attention from the West, China\u27s turbulent political situation in 1989 prevented anyone from making an optimistic prediction. Nevertheless, political setbacks notwithstanding, China’s economy has enjoyed a high rate of growth, and Chinese film has continued to develop its particular type of global appeal. Less than a decade after my initial essay, one is overwhelmed if one attempts to count every major award Chinese films have won in recent film festivals around the world.1 To be sure, this spectacular international success has provided ample opportunities, for scholars of Chinese film and culture, but it has also created problems in Chinese film studies. In what follows, I will examine a number of issues under the headings of screening, naming, speaking, and mapping, and I will reflect on film festivals, film productions, and film studies from the perspective of transnational cultural politics

University High Highlights 3/19/1958

This is the student newspaper from University High School, the high school that was on the campus of Western Michigan University, then called University High Highlights, in 1958

Introduction

No abstract available

Interacting staggered domain wall fermions

The behavior of staggered domain wall fermions in the presence of gauge fields is presented. In particular, their response to gauge fields with nontrivial topology is discussed.Comment: Lattice2002(Chiral) proceedings, LaTeX, 3 pages 2 eps figure

The Substance of Gloup

An essay on Gloup, the Gloucestershire group of concrete poets, including dom sylvester houedard (dsh), Ken Cox, John Furnival, concentrating in particular on the relationship between Cox and houedard and looking at the implications of this radical legacy for contemporary thought and practice. INDEX|press is a small artist run magazine and gallery programme based in Stroud with a radical international programme

Diversity & Inclusion Update - Spring 2019

The Spring 2019 newsletter discusses ongoing campus initiatives to facilitate diversity and inclusion efforts on campus. Topics discussed include: The First Generation Campaign; the growth of Latinx house; faculty training around diversity and inclusion in teaching; the Trustee-led advisory group on the new campus renaming policy; the development of Breathe Gettysburg ; the continued development of Our Voices , which will be replacing the Vagina Monologues; as well as continuing to address concerns from the Campus Climate Study