Long-term landscape evolution, cooling and exhumation history of the South American passive continental margin in NE Argentina & SW Uruguay

Passive continental margins are extraordinary geo-archives that result from processes related to continental rifting, breakup, sea-floor spreading, post-breakup, and climate changes. Whereas the South Atlantic passive continental margins (SAPCM’s) in Brazil, Namibia, and South Africa are partly high-elevated margins (~2,000m a.s.l.), the SAPCM in Argentina and Uruguay is of low elevation. The northern part of the Argentinean passive margin is represented by the Sierras Septentrionales (Tandil Hills or Sierras Tandil) and the Sierras Australes (Ventana Hills or Sierra de la Ventana). They are key areas to unravel the thermal and exhumation history of the low-elevation SAPCM. In addition, this area has been part of the Gondwanides Orogeny. During the Permo-Triassic both areas were influenced by compressive deformation and diagenetic to low grade metamorphism. Thermochronological data from the Sierras Australes are characterized by apatite (U-Th-Sm)/He ages between 107.4 (3.5) Ma and 163.0 (9.8) Ma. Apatite fission-track ages range from 129.2 (9.3) Ma to 242.7 (17.1)Ma, zircon (U-Th-Sm)/He ages show values from 206.6 (16.5) Ma to 343.6 (27.5) Ma. AHe-ages from the Sierras Septentrionales range between 121.2 (7.3) Ma and 163.0 (9.8) Ma, AFT-ages between 104.0 (7.1) Ma and 228.9 (22.3) Ma, ZHe-ages between 167.8 (10.1) and 272.7 (16.4) Ma and ZFT-ages between 218.1 (79.4) Ma and 262.4 (36.1) Ma. The AFT-ages from SE-Uruguay range between 200.2 (19.3) Ma and 325.7 (24.8) Ma. This indicates that all dated samples are younger than the corresponding formation-, intrusion- or sedimentation-age. The Time-Temperature models from the Sierras Australes lead to a differentiated thermal evolution throughout the region, whereas the thermal history in the Sierras Septentrionales, seems to be very homogeneous. Thermal overprint related to Jurassic volcanism is very reasonable and supported by thermokinematic HeFTy-models. Thermal modelling for SE-Uruguay revealed, that also this area was covered by thick late Jurassic extrusive layers (depending on the assumed geothermal gradient 1000 to 2000 m)

Semiempirical Calculations on Heterodiene-Heterocumulene Cycloadditions

4-Benzoyl substituted five-membered heterocyclic 2,3-diones (e.g. furan- diones or pyrrolcdiones) add various hclcrocumulcncs giving bicyclic hctcro- cyclcs. The structures of the products obtained in these reactions can be rationalized by assuming an initial [4 + 2] cycloaddition between the heterodiene system formed from the benzoyl group and the cndocyclic C = C double bond of the heterocyclic ring and the hctcrocumulcnc, followed by special and novel furandione rearrangements. Although some formal [4 + 2] cycloadditions of kctcncs are known, their reactivity is dominated by [2 + 2] cycloadditions. For kctcnimincs, this reaction appears to be the first example of a [4 + 2] cycloaddition. Afier presenting some pertinent experimental observations semi- empirical (AMI) calculations on reactants, rcgioisomeric products and possible intermediates are discussed. As the simplest model, cycloadditions between acrolein and ketenimine arc used to locate transition states of the twelve possible peri-, site-, and rcgioisomeric products. Finally, the reliability of these calculations is discussed and some prospects for future work are given

On the chemistry of stable alpha-oxoketenes

This short review describes the preparation and chemistry of sterically stabilized α-oxoketenes, which can be isolated and handled as true neat compounds. Their reactions with dienophiles afford [4+2] - as well as [2+2] cycloadducts depending on their ability to adopt that conformation suitable for each type of cycloaddition reactions. Addition of nucleophiles leads either to dipivaloylacetic acid derivatives as expected products or to the rare molecular skeleton of mono-or bifunctionalized bridged bisdioxines, which exhibit axial chirality. The bifunctionalized derivatives may serve as novel spacer units in several macrocyclic systems

Historic roots and socio-economic consequences of the separatist movement in Quebec

The objective of this work is to determine whether the political instability has had a significant impact on the development of Quebec during the last 35 years. The method of approach is to examine whether there is a correlation between economic indicators and political instability. In the first part the history of French Canadians, from the first settlements to the crucial political events of the 20th century are examined. Since this study is based on a time-correlation between political events and changes in socio-economic indicators, special attention is paid to the reception and interpretation of events by historians, the media and opinion leaders. As a next step the development of economic and socio-demographic indicators during the last 40 years is examined. Factors studied include gross domestic product, investment, consumption, and unemployment as well as demographic and demolinguistic indicators. In order to ensure that changes in factors are linked to political instability comparisons with other provinces, notably with Ontario, and other countries are made in the conclusion it will be summarized that a direct relation between separatism and Quebec's long-term economic development cannot be demonstrated by examining macro-economic indicators. However, the October crisis of 1960 and the referendum of 1995 had short-term negative impacts on Quebec's economic development. Other factors such as the French language legislation of 1977, which further accentuated Quebec's special linguistic status in North America and the historical differences between the development of the French, Catholic society and the English, Protestant one better explain the existing differences between Quebec and the rest of Canada

Carl Maria von Webers Anspielungen auf eigene Opern und patriotisch konnotierte Werke in der Kantate "Kampf und Sieg (Op. 44)"

Friedrich Wilhelm Jähns weist in seinem Werkverzeichnis Carl Maria von Weber in seinen Werken. Chronologisch – thematisches Verzeichniss seiner sämmtlichen Compositionen […], Berlin: Schlesinger 1871 (dort auf Seite 207) darauf hin, dass Carl Maria von Webers Kantate Kampf und Sieg. Cantate zur Feier der Vernichtung des Feindes im Juni 1815 bei Belle-Alliance und Waterloo (Op. 44) musikalische Bezüge auf seine Opern Silvana, Abu Hassan und auf das Lied „Lützows wilde Jagd“ aus Leyer und Schwert (Op. 42, Nr. 2) aufweist, aber auch in seiner Jubel-Ouvertüre sowie in der Oper Euryanthe Bezug auf Op. 44 genommen wird. Basierend auf diesen Erkenntnissen Jähns', die um das Lied „Gebet vor der Schlacht“ (ebenfalls aus Leyer und Schwert, Op. 42, Nr. 3) ergänzt werden, wird in vorliegender Masterarbeit der Frage nachgegangen, welcher Art diese musikalischen Bezüge sind: Handelt es sich um Allusionen, wie im Titel angekündigt? Oder doch um musikalische Topoi oder gar Zitate? Der Überblick über die Definitionen der Begriffe kontrastive und assimilative Allusion bzw. Anspielung, Zitat, Anleihen, Ähnlichkeiten, aber auch des Topos, die Berücksichtigung der Entstehungsgeschichten und insbesondere der musikanalytische Vergleich sollen dabei helfen, Antworten auf die Fragen nach der Art der musikalischen Bezugnahmen, deren Bedeutungen und Funktionen zu erhalten. Ebenso wird auf den Aspekt des Stellenwertes der Werke als auch auf die Frage, ob in den Liedern „Gebet vor der Schlacht“ und „Lützows wilde Jagd“ aus Leyer und Schwert und in der Kantate Op. 44 ein „idealer“ oder „realer“ Verlauf einer Schlacht dargestellt werden, eingegangen. Die vorliegende Arbeit zeigt, dass Jähns' Beobachtungen an musikalischen Bezügen um weitere ergänzt werden können. Darüber hinaus können diese mithilfe des musikanalytischen Vergleichs als assimilative Allusionen, Topoi, Zitate, aber auch als Allusionen mit gleichzeitig vorhandenem Topos benannt werden. Welch bedeutenden Einfluss die Aufführungen auf die Wahrnehmung und Benennung von musikalischen Bezügen haben können, wird im Zuge der Diskussion um eine assimilative Allusion innerhalb des Vergleichs von „Gebet vor der Schlacht“ aus Leyer und Schwert mit Nr. 4 der Kantate Op. 44 deutlich. Was den Topos betrifft, so werden verschiedene Ausprägungen und daneben auch Grade an Individualisierungen zu beobachten sein, die (genauso wie Zitat und Allusion) Hinweise auf die Arbeitsweise C. M. v. Webers geben können. Im Bezug auf die Arbeitsweise, aber auch auf den Stellenwert wird zu sehen sein, dass C. M. v. Weber die Vorlage(n), auf die er sich im jeweiligen „neuen“ Werk bewusst bezog, grundsätzlich je nach Aktualität, Popularität bzw. Erfolg des „alten“ Werkes auswählte (sozusagen, um die Chance auf den Erfolg des neuen Werkes zu erhöhen) und danach, ob es sich bei dem neuen Werk um ein Widmungs- und/ oder Auftragswerk handelte; auch das berufliche Vorhaben dürfte bei der Wahl der Vorlage eine entscheidende Rolle gespielt haben.In his catalogue of Carl Maria von Weber's works (Carl Maria von Weber in seinen Werken. Chronologisch – thematisches Verzeichniss seiner sämmtlichen Compositionen […], Berlin: Schlesinger 1871, see page 207) Friedrich Wilhelm Jähns points out the musical connections between Weber's cantata Kampf und Sieg. Cantate zur Feier der Vernichtung des Feindes im Juni 1815 bei Belle-Alliance und Waterloo (op. 44) and his operas Silvana, Abu Hassan, to the song „Lützows wilde Jagd“ from Leyer und Schwert (op. 42, Nr. 2), as well as to the musical references between the Jubel-Ouvertüre and his opera Euryanthe to op. 44. To this list of works the song „Gebet vor der Schlacht“, which ist part of Leyer und Schwert (op. 42, Nr. 3) too, can be added. Based on these findings of musical references the central question of the present master thesis is, whether these references could be referred to as (assimilative or contrastive) allusions (as mentioned in the title), musical topoi or quotations. The overview of the definition of the terms allusion (divided in to contrastive and assimilative), quotation, borrowing, resemblances and topos as well as the consideration of the development of these works and most notably the analytical comparison should help deriving the answers to the question about what kind of musical references are found, and about their meanings and functions. The aspect of the significance of the works discussed in the analysis as well as the question about whether the songs „Gebet vor der Schlacht“ and „Lützows wilde Jagd“ from Leyer und Schwert and the cantata op. 44 represent an „ideal“ or „real“ progress of a battle will be considered too. This master thesis shows that to Jähn's list of observations of musical references some more can be added. Furthermore by means of the analysis they can be identified as assimilative allusions, topoi, quotations and even as allusions co-occurring with a topos. The discussion about the assimilative allusion within the comparison of „Gebet vor der Schlacht“ from Leyer und Schwert with nr. 4 of the cantata op. 44 will demonstrate the performances' wide influence on perception and identification of musical references. As for the topos various manifestations can be seen aside from the grades of individualisations, which (just like quotation and allusion) can give indications of C. M. v. Weber's way of working. Referring to C. M. v. Weber's way of working, as well as the significance of the works discussed in the analysis, it can be seen that C. M. v. Weber chose his model, to which he was referring intentionally in the „new“ work, mainly depending on their actuality, popularity respectively success (so to say, to increase chances for the new work's success), but also on the question if the new work is a dedicated or a commissioned piece