Madness in Linda Bouchard’s Black Burned Wood

With its images of paranoia, anger, resignation, and infantilism, Linda Bouchard’s Black Burned Wood may easily be aligned with musical representations of madwomen. The text, a cycle of eleven poems collected under the title “Sara Songs” takes the form of a rambling monologue in which Sara struggles to come to grips with her role in an unspecified but horrible act. Although the syntactic structure and verbal content of the poems place Sara in a state of derangement, it is the musical setting that is responsible for the instantaneous and overwhelmingly raw portrayal of Sara’s madness. This paper explores the use of fragmentation, non-linearity, musical fixation, and dissonance to musically represent Sara’s madness.Par ses images de paranoïa, de colère, de sacrifice et d’infantilisme, Black Burned Wood de Linda Bouchard peut facilement s’inscrire dans le sillage des représentations musicales de la folie féminine. Le livret, un cycle de 11 poèmes réunis sous le titre de « Sara Songs », prend la forme d’un monologue décousu dans lequel le personnage de Sara peine à accepter son rôle dans un acte incertain mais horrible. Bien que la structure syntaxique et le phrasé des poèmes montrent le déséquilibre mental de Sara, c’est la musique qui est responsable de la description instantanée et incroyablement à vif de sa folie. Cet article explore l’utilisation de la fragmentation, de la non-linéarité, de la fixation musicale et de la dissonance pour représenter musicalement la folie de Sara

Medievalism and Exoticism in the Music of Dead Can Dance

In 1991, the alternative rock band Dead Can Dance released an album that caught the attention of music reviewers by constructing an aural allegiance to the Middle Ages. Suitably called A Passage in Time, the album was described as imitating medieval chant, troubadour music, Latin hymns and courtly songs and included Dead Can Dance's hybrid medieval songs as well as performances of actual medieval repertoire. In modeling their songs and sounds after historical recordings of medieval music, Dead Can Dance also adopted some of the ideological parameters of these performances and historical reconstructions. Examining the output of Dead Can Dance against these performance practices reveals similar preoccupations with the Middle Ages as simultaneously "naive," "pure," and "uncorrupted" by modern conventions, or "distant," 'exotic," and strangely unfamiliar or "archaic"

Medievalism and Exoticism in the Music of Dead Can Dance

In 1991, the alternative rock band Dead Can Dance released an album that caught the attention of music reviewers by constructing an aural allegiance to the Middle Ages. Suitably called A Passage in Time, the album was described as imitating medieval chant, troubadour music, Latin hymns and courtly songs and included Dead Can Dance’s hybrid medieval songs as well as performances of actual medieval repertoire. In modeling their songs and sounds after historical recordings of medieval music, Dead Can Dance also adopted some of the ideological parameters of these performances and historical reconstructions. Examining the output of Dead Can Dance against these performance practices reveals similar preoccupations with the Middle Ages as simultaneously “naive,” “pure,” and “uncorrupted” by modern conventions, or “distant,” ‘exotic,” and strangely unfamiliar or “archaic.

Determining the effects of non-native brook stickleback (Cualea inconstans) on the lentic systems at Turnbull National Wildlife Refuge, Cheney, WA

The introduction of non-native fishes can cause trophic cascades in freshwater habitats; these effects may be amplified in ephemeral/temporary habitats. Non-native brook stickleback fishes (Culaea inconstans) were first documented on the Turnbull National Wildlife Refuge (WA) in 1999 and are now present in many portions of the refuge. The consequences of their presence on the refuge\u27s perennial/permanent and temporary habitats are poorly understood. Therefore, the purpose of my project was to determine if brook stickleback are affecting habitat characteristics that are important for waterfowl nesting success. From April-August 2015, I compared the macro invertebrate and macrophyte community characteristics, fingernail clam population and stress metrics, and water quality parameters in twelve lentic systems on the refuge; those that contain brook stickleback or are fish free, and are either temporary or permanent. The fish free, permanent lentic systems had more macroinvertebrate and macrophyte taxonomic/species variety, more macroinvertebrates and macrophyte dried biomass (abundance), the highest fingernail clam condition index, and the highest clam brood sizes. Macroinvertebrate taxonomic assemblages were additionally influenced by lentic system category and size. The macrophyte abundance and diversity was influenced more by the permanent or temporary status. Fingernail clam condition index, clam length, chlorophyll, transparency, nitrate, and pH were influenced by the compounding effects of brook stickleback presence and permanent or temporary status. Overall, it appears that the presence of brook stickleback most likely affects habitat quality characteristics in the lentic systems that are temporary, especially those that also are smaller in size. This is of particular concern for the refuge because these changes, if they persist, may impact waterfowl nesting success --Leaf 4

Decolonizing Higher Education in Norway: Critical Collaborative Autoethnographic Reflections on a University Pedagogy Course

Globally, there is a trend in academic development to centralize the importance of decolonizing curriculum and pedagogical practice in higher education (HE). In Norway, despite internationalization, diversity and inclusion being highly regarded values in HE policy documents, efforts towards decolonial change and transformation of curriculum and pedagogical practice in HE seem to be largely ignored. Understanding university teacher education as a driver of institutional educational transformation, this article contributes to the effort of decolonizing HE in Norway. Utilizing critical collaborative autoethnographic methodology, we reflect on our own roles in our early attempts to decolonize a course on decolonization and pedagogical practice offered to teaching staff at a Norwegian university college. Taking our point of departure in decolonial theory and the concept of modernity/coloniality, we critically discuss and question the potency of our own roles—as two middle-aged white cis-men and one middle-aged cis-woman, all lecturers with expertise mainly in decolonial theories, decolonial learning and teaching practices, and critical whiteness and critical discourse analysis perspectives—in transforming the ways that Western epistemology prevail in our pedagogical practices. We also address the implications for university pedagogy courses with respect to future decolonizing efforts in HE in Norway

Filterbedanlegg som renseløsning - mindre avløpsrenseanlegg (<50 pe)

Et filterbedanlegg (konstruert våtmark) er et plassbygd renseanlegg bestående av prefabrikkerte kummer og filterbasseng med tilkjørt filtermasse. Anlegget etableres i stedlige masser og består av slamavskiller, pumpekum, vertikalstrømmende biofilter med filtermasse, tett filterbasseng med tilkjørt filtermasse og utløpskum med muligheter for prøvetaking av renset avløpsvann. Filterbedanlegg krever et visst tilgjengelig areal for etablering av filterbassenget. Anleggstypen har imidlertid svært god renseevne både med hensyn til fosfor, organisk stoff og sykdomsfremkallende organismer og kan anbefales i de fleste områder.publishedVersio