The Composition of the Modernist Book: Ulysses, A Draft of XXX Cantos and The Making of Americans.

This is a study of the composition of three Modernist first editions: Ulysses (1922), The Making of Americans (1925) and A Draft of XXX Cantos (1930). The bibliographical and figurative commitments made to being in print by Ulysses, A Draft of XXX Cantos and The Making of Americans set a coherent program for reading Modernist texts in their perfected form: in print. The editorial reception of the Modernist book has proceeded, however, with reference to the editorial and bibliographical principles established by the New Bibliographers. In deferring to the authors and manuscripts of Modernist books as the highest source of textual authority, the vital significance of being in print to literary Modernism is obscured. The figure of the ideal Book concentrates the central aesthetic, intellectual and bibliographic problem posed the Modernist book: the making of literature. The rhyme with The Making of Americans is appropriate: this book intensifies and consolidates the propositions made about objective and autonomous composition made more hesitantly by Ulysses and A Draft of XXX Cantos. These three books display a gradual refusal to equate inscription and intention; their composition effaces all traces of a sovereign creative subjectivity. The vision of the book guides Modernist composition, and requires a critical distinction be drawn between manuscripts and printed letters. Modernism must be read in print. The vestigial nostalgia for Romantic modes of textual production and creation in Ulysses is repeated on the placards and proof-pages for the book. Printed drafts are revised and reformed by the pen of the author. The finality asserted by the printed letter is only reluctantly ceded on the publication of Ulysses. The composition of A Draft of XXX Cantos represents a further transition away from the script economy of Romanticism. The interplay between authorial typescripts, early publications and the first edition of A Draft of XXX Cantos assert an intermediate order of Modernist textuality which takes the printed page as its foundation. The Making of Americans relies on the absolute objectivity and anonymity of its composition for the effect of its narrative. Objectivity is the intellectual and aesthetic strategy which produces literature rather than the personality and memory of the author. The impersonality of the apparently automatically written manuscripts and scarcely revised typescripts for The Making of Americans severs the visible links between the writing author and her page. In their unwillingness to corroborate the modes of textual generation described by the New Bibliographers, these three books thematise their own composition as the exemplary Modernist and modern mode of textual generation. The Modernist book attenuates or denies a Romantic connection between the creative hand of the author and the surface image of the page: the mechanisms of print deliberately detach the author from the literary text. The distance of the author from the scene of textual reproduction is measured by the printed book. The composition of this analytical object is not a fallacy but an actuality, commemorated in the archive, enacted by the book. Modernism is the literature of the imprimatur rather than of authorial inscription and accordingly it is towards the first editions of Modernist texts that the attentions of editors and textual scholars must be directed

Spatial variation of subduction zone fluids during progressive subduction: Insights from Serpentinite Mud Volcanoes

Geological processes at subduction zones control seismicity, plutonism and volcanism, and geochemical cycling between the oceans, crust, and mantle. The down-going plate experiences metamorphism, and the associated dehydration and fluid flow alters the physical properties of the plate interface and mantle wedge, as well as controlling the composition of material descending into the mantle. Any direct study of slab evolution during subduction is inhibited by the prohibitive depths at which these processes occur. To examine these processes we use serpentinite mud volcanoes in the Mariana forearc, that permit sampling of serpentinite materials and their pore waters that ascend from the subduction channel. We present new pore water chemical data from the summit and flanks of three serpentinite mud volcanoes that were drilled during International Ocean Discovery Program Expedition 366 which are reflective of reactions within the crust and mantle during the early, shallow (<20 km) stages of subduction. We show, via thermodynamic modelling, that our new data on the evolution of pore water chemical compositions reflect mineralogical characteristics of a predominately basaltic source from the downgoing Pacific Plate. However, a component from sedimentary sources is likely, especially for those mud volcanoes near the trench. Other potential slab-derived constituents, such as lithospheric serpentinite, carbonate-rich sediments, or seamount basalts with an intraplate geochemical character, are not required to explain our results. Our results indicate that with progressive subduction the lawsonite-epidote mineral transformation boundary at ∼250 °C may help drive slab carbonate destabilisation, despite its apparent thermodynamic stability at such temperatures and projected pressures (∼300 °C and ∼0.6 GPa). New dissolved gas data also point to primary thermodynamic controls over methane/ethane production within the subduction channel as depths-to-slab increase. Our findings provide direct evidence for the progressive mineralogical and chemical evolution of a subducting oceanic plate, which liberates a progressively evolving fluid phase into the subduction channel

Carbon dioxide generation and drawdown during active orogenesis of siliciclastic rocks in the Southern Alps, New Zealand

C.D.M. was supported by NERC CASE PhD studentship award NE/G524160/1 (GNS Science, NZ, CASE partner). D.A.H.T. acknowledges support from research grants NE/H012842/1 and NE/J022128/1 and a Royal Society Wolfson Research Merit Award (WM130051). S.C.C. was funded under GNS Science's “Impacts of Global Plate Tectonics in and around New Zealand Programme” (PGST Contract CO5X0203). J.C.A. was supported by NSF OCE1334758. We also thank Matthew Cooper, Andy Milton, Darryl Green and Lora Wingate for laboratory assistance. We thank Mike Bickle for editorial advice and comments, and reviews from two anonymous reviewers that improved this manuscript.Peer reviewedPublisher PD

Mariana serpentinite mud volcanism exhumes subducted seamount materials: implications for the origin of life

The subduction of seamounts and ridge features at convergent plate boundaries plays an important role in the deformation of the overriding plate and influences geochemical cycling and associated biological processes. Active serpentinization of forearc mantle and serpentinite mud volcanism on the Mariana forearc (between the trench and active volcanic arc) provides windows on subduction processes. Here, we present (1) the first observation of an extensive exposure of an undeformed Cretaceous seamount currently being subducted at the Mariana Trench inner slope; (2) vertical deformation of the forearc region related to subduction of Pacific Plate seamounts and thickened crust; (3) recovered Ocean Drilling Program and International Ocean Discovery Program cores of serpentinite mudflows that confirm exhumation of various Pacific Plate lithologies, including subducted reef limestone; (4) petrologic, geochemical and paleontological data from the cores that show that Pacific Plate seamount exhumation covers greater spatial and temporal extents; (5) the inference that microbial communities associated with serpentinite mud volcanism may also be exhumed from the subducted plate seafloor and/or seamounts; and (6) the implications for effects of these processes with regard to evolution of life.Copyright 2020 The Authors. Published by the Royal Society under the terms of the Creative Commons Attribution License http://creativecommons.org/licenses/ by/4.0/, which permits unrestricted use, provided the original author and source are credited

Petrophysical, Geochemical, and Hydrological Evidence for Extensive Fracture-Mediated Fluid and Heat Transport in the Alpine Fault's Hanging-Wall Damage Zone

International audienceFault rock assemblages reflect interaction between deformation, stress, temperature, fluid, and chemical regimes on distinct spatial and temporal scales at various positions in the crust. Here we interpret measurements made in the hanging‐wall of the Alpine Fault during the second stage of the Deep Fault Drilling Project (DFDP‐2). We present observational evidence for extensive fracturing and high hanging‐wall hydraulic conductivity (∼10−9 to 10−7 m/s, corresponding to permeability of ∼10−16 to 10−14 m2) extending several hundred meters from the fault's principal slip zone. Mud losses, gas chemistry anomalies, and petrophysical data indicate that a subset of fractures intersected by the borehole are capable of transmitting fluid volumes of several cubic meters on time scales of hours. DFDP‐2 observations and other data suggest that this hydrogeologically active portion of the fault zone in the hanging‐wall is several kilometers wide in the uppermost crust. This finding is consistent with numerical models of earthquake rupture and off‐fault damage. We conclude that the mechanically and hydrogeologically active part of the Alpine Fault is a more dynamic and extensive feature than commonly described in models based on exhumed faults. We propose that the hydrogeologically active damage zone of the Alpine Fault and other large active faults in areas of high topographic relief can be subdivided into an inner zone in which damage is controlled principally by earthquake rupture processes and an outer zone in which damage reflects coseismic shaking, strain accumulation and release on interseismic timescales, and inherited fracturing related to exhumation

Bedrock geology of DFDP-2B, central Alpine Fault, New Zealand

<p>During the second phase of the Alpine Fault, Deep Fault Drilling Project (DFDP) in the Whataroa River, South Westland, New Zealand, bedrock was encountered in the DFDP-2B borehole from 238.5–893.2 m Measured Depth (MD). Continuous sampling and meso- to microscale characterisation of whole rock cuttings established that, in sequence, the borehole sampled amphibolite facies, Torlesse Composite Terrane-derived schists, protomylonites and mylonites, terminating 200–400 m above an Alpine Fault Principal Slip Zone (PSZ) with a maximum dip of 62°. The most diagnostic structural features of increasing PSZ proximity were the occurrence of shear bands and reduction in mean quartz grain sizes. A change in composition to greater mica:quartz + feldspar, most markedly below c. 700 m MD, is inferred to result from either heterogeneous sampling or a change in lithology related to alteration. Major oxide variations suggest the fault-proximal Alpine Fault alteration zone, as previously defined in DFDP-1 core, was not sampled.</p

MecÌŒiarism and the HZDS (Movement for a Democratic Slovakia), 1992-1998 : the ideology of a post-communist political party

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Sofia Laguna : 'There is no reader in the room'

Sofie Laguna is the author of over twenty books for children and young adults – and two acclaimed novels for adult readers. She won the 2015 Miles Franklin Award for her novel The Eye of the Sheep (2014). We meet the narrator of this book, Jimmy Flick, when he is a young child and stay with him as he grows up in an unstable and violent family environment. Her first novel, One Foot Wrong (2008), was longlisted for the Miles Franklin and shortlisted for the Prime Minister’s Literary Awards. It is a disturbing narrative of abuse and adolescence at the centre of which sits a traumatised girl named Hester. In Laguna’s words, these books ‘express very primal emotions and they explore primal urges’. This is the first in what will be a regular series on the Sydney Review of Books of interviews with Australian writers. I spoke to Laguna about how the characters in her novels emerge and about her formation as a writer. Our conversation started in the theatre – and ended on the practicalities of the writer’s life