I-Xe analysis of a magnetic separate from Lodranite GRA95209

I-Xe dating of a magnetic mineral separate from lodranite GRA95209 suggests that peak temperatures (and therefore melt migration) occurred early, at least a few million years before closure of the I-Xe system in phosphates from Acapulco

Fiancées and widows: women’s encounters with death in the silent films of Fritz Lang

Kłys Tomasz, Fiancées and widows: women’s encounters with death in the silent films of Fritz Lang. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 155–162. ISSN 1731-450X. DOI 10.14746/i.2019.34.10. In the silent Weimar films of Fritz Lang, the heroines have sudden encounters with Death, conceived both as an allegorical figure and as an unexpected violent end of the life of their fiancé, husband or loved one. The nameless Maiden, the main heroine of Der müde Tod (The Weary Death, known in English-language countries as Destiny, 1921), while looking for her fiancé, who was kidnapped by Death, tries three times to regain his life and finally, overcome by Death, commits suicide. Two queens of Burgundy in Die Nibelungen (The Nibelungs, 1924), Kriemhild and Brunhild, motivated by resentment and vengeance, as well as by unfulfilled love, finally appear to be zombie-like self-destructive monsters, destroying the social and political order, and the lives of many human beings. The paper, with the use of the psychoanalytic concepts of melancholy and the mourning “not-worked-out” by the persons who have lost their loved ones, analyses the ambiguous attitudes and self-destructive acts of these “women in black”..Kłys Tomasz, Fiancées and widows: women’s encounters with death in the silent films of Fritz Lang. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 155–162. ISSN 1731-450X. DOI 10.14746/i.2019.34.10. In the silent Weimar films of Fritz Lang, the heroines have sudden encounters with Death, conceived both as an allegorical figure and as an unexpected violent end of the life of their fiancé, husband or loved one. The nameless Maiden, the main heroine of Der müde Tod (The Weary Death, known in English-language countries as Destiny, 1921), while looking for her fiancé, who was kidnapped by Death, tries three times to regain his life and finally, overcome by Death, commits suicide. Two queens of Burgundy in Die Nibelungen (The Nibelungs, 1924), Kriemhild and Brunhild, motivated by resentment and vengeance, as well as by unfulfilled love, finally appear to be zombie-like self-destructive monsters, destroying the social and political order, and the lives of many human beings. The paper, with the use of the psychoanalytic concepts of melancholy and the mourning “not-worked-out” by the persons who have lost their loved ones, analyses the ambiguous attitudes and self-destructive acts of these “women in black”.

Confronting the Past. Trauma, History and Memory in Wajda’s film

Confronting the Past. Trauma, History and Memory in Wajda’s filmHistorical films are important carriers of collective memory, and as a genre historical films can activate both strong feelings and strong debate. Historical fiction films often tell very accurate and almost documentary stories, but fictional films have the freedom to make historical reality in quite another way than factual historical films. This article deals with some of the most important historical film genres and uses a general theory of genres, emotions, memory and history to analyse the historical films of Polish film director Andrzej Wajda, especially those made post 1989. Dealing with both his heritage drama Pan Tadeusz (1999) and critical historical drama Katyń (2007), the article analyses the ways in which Wajda uses historical narratives to comment on both history and contemporary society, and how this strategy is reflected in all his historical films. The article argues that the traumatic and contrast-filled history of Poland makes historical films especially important and interesting as a critical part of public debate and the reframing and reinterpretation of the past

Synagogue paintings as indicating a!developing conception of national redemption

Abstract. Orgad Zvi, Synagogue paintings as indicating a developing conception of national redemption. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 15–27. ISSN 1731-450X. DOI 10.14746/i.2019.34.01. This article compares the interior paintings in the ‘Ades and Ohel Moshe synagogues, both of which are non-Ashkenazi, in the Naḥlaot neighborhood in Jerusalem. Although the synagogues were decorated 50 years apart, there are similarities in the painted motifs and drawing schemes, but also some differences. I suggest that these differences reflect the development of a Jewish concept of national redemption during the 50 years that elapsed between the adornment of the two synagogues.Abstract. Orgad Zvi, Synagogue paintings as indicating a developing conception of national redemption. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 15–27. ISSN 1731-450X. DOI 10.14746/i.2019.34.01. This article compares the interior paintings in the ‘Ades and Ohel Moshe synagogues, both of which are non-Ashkenazi, in the Naḥlaot neighborhood in Jerusalem. Although the synagogues were decorated 50 years apart, there are similarities in the painted motifs and drawing schemes, but also some differences. I suggest that these differences reflect the development of a Jewish concept of national redemption during the 50 years that elapsed between the adornment of the two synagogues

An ashy septingentenarian: the Kaharoa tephra turns 700 (with notes on its volcanological, archaeological, and historical importance)

Most of us are aware of the basaltic Tarawera eruption on 10th June 1886: the high toll on life (~120 people), landscape devastation, and loss of the Pink and White Terraces. But this was not the first time that Mt Tarawera produced an eruption of importance both to volcanology and human history. This edition of the GSNZ Newsletter marks the 700th anniversary of the Kaharoa eruption – its septingentenary to be precise – which occurred at Mt Tarawera in the winter of 1314 AD (± 12 years) (Hogg et al. 2003) (Fig. 1). The importance of the Kaharoa eruption is at least threefold. (1) It is the most recent rhyolite eruption in New Zealand, and the largest New Zealand eruption volumetrically of the last millennium. (2) The Kaharoa tephra is an important marker horizon in late Holocene stratigraphy and geoarchaeology (Lowe et al. 1998, 2000), and in particular helps to constrain the timing of settlement of early Polynesians in North Island (Newnham et al. 1998; Hogg et al. 2003; Lowe 2011). (3) There is a link between the soils that developed on the Kaharoa tephra, the animal ‘wasting’ disease known as ‘bush sickness’, and the birth of a government soil survey group as an independent organisation (Tonkin 2012)

Art as a laboratory – Guy Ben-Ary’s work

Szykowna Sylwia, Art as a laboratory – Guy Ben-Ary’s work. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 115–124. ISSN 1731-450X. DOI 10.14746/i.2019.34.07. The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality.  Szykowna Sylwia, Art as a laboratory – Guy Ben-Ary’s work. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 115–124. ISSN 1731-450X. DOI 10.14746/i.2019.34.07. The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality

Last resting place and legacy of Charles Heaphy, VC

Charles Heaphy is now recognised as a significant figure in the early European settlement of New Zealand and he also has an interesting geological connection that deserves wider recognition. Heaphy arrived in New Zealand on the Tory together with Ern(e)st Dieffenbach on 18th August, 1839, aged around 19. Employed then by Wakefield's New Zealand Company as a draughtsman, Heaphy was described by Sharp (2008. p. 25) as being a "general roustabout, explorer, surveyor, assistant naturalist, courier and verbal as well as visual propagandist". He went on to become best known as an excellent watercolour landscape artist (his early work showing "sensitivity to the clarity of the New Zealand light") (Sharp, 2008, p. 205), an explorer and surveyor, a parliamentarian, and for winning the Victoria Cross for his actions in the New Zealand (Maori land) wars

A Study of the Film Adaptations of Marek Hłasko's Prose by the Students of the Film School in Łódź

A Study of the Film Adaptations of Marek Hłasko's Prose by the Students of the Film School in ŁódźThe works of Marek Hłasko have proved a reliable source of content and inspiration in Polish culture from the time of their writing to the current day, and this is demonstrated by the number of film adaptations of his literature. This article will look at Hłasko’s short stories that were written while the author lived in Poland and are collected in the book The First Step in the Clouds published in 1956. It will consider the subject matter and themes of the text, overview some examples of adaptations made by the students of the celebrated Łódź Film School, reflect as to how these have remained faithful or deviated from Hłasko’s original works, before concluding as to the reasons why the students may have been drawn to this particular source

Dark memories in the provincial words of Ingmar Bergman's Fanny and Alexander and Federico Fellini's Amarcord

Dark memories in the provincial words of Ingmar Bergman's Fanny and Alexander and Federico Fellini's AmarcordThis article about Federico Fellini’s Amarcord (1973) and Ingmar Bergman’s Fanny and Alexander (1982) concerns one aspect of the directors’ childhood memories, namely how authoritarian institutions are used to disrupt otherwise fairly idyllic and nostalgic lives and worlds. The films blend detailed memories with playful fantasies, combine experiences of the directors’ alter egos, Titta and Alexander, with rituals of family and larger communities in the provincial cities of Rimini and Uppsala. In each film, bitter memories are given a central role. This article explores the similarities of these bitter memories, as they are imagined in the mature auteurs’ last exceptionally successful films