3,444 research outputs found
The Environment Agency/DEFRA Evidence and Measures Project: Practical Solutions - Moston Brook
This is the final presentation from the Moston Brook Evidence and Measures project which ran from September 2012 to March 2013. Moston Brook water body is part of the River Irwell Pilot Catchment and the objective of the project was to devise reliable measures (actions) which were based on existing evidence and that could be implemented in years 2 and 3 by the Environment Agency and its partner to help meet Water Framework Directive (WDF) requirements and community aspirations. The presentation summarises the main suspected causes of WDF failure, the evidence for this, the main causes for failure in the sub-catchments resulting from the evidence found, and identifies measures to carry out, which will address the WDF failures and improve the quality of the water. This presentation can be used to inform others on how to improve the water quality of Moston Brook, and also to support other similar initiatives
Graham Greene and Cuba: Our man in Havana
Graham Greene?s novel Our Man in Havana was published on October 6, 1958. Seven days later Greene arrived in Havana with Carol Reed to arrange for the filming of the script of the novel, on which they had both been working. Meanwhile, after his defeat of the summer offensive mounted by the Cuban dictator, Fulgencio Batista, in the mountains of eastern Cuba, just south of Bayamo, Fidel Castro had recently taken the military initiative: the day after Greene and Reed?s arrival on the island, Che Guevara reached Las Villas, moving westwards towards Havana. Six weeks later, on January 1, 1959, after Batista had fled the island, Castro and his Cuban Revolution took power. In April 1959 Greene and Reed were back in Havana with a film crew to film Our Man in Havana. The film was released in January 1960. A note at the beginning of the film says that it is ?set before the recent revolution.? In terms of timing, Our Man in Havana could therefore hardly be more closely associated with the triumph of the Cuban Revolution. But is that association merely accidental, or does it involve any deeper implications? On the fiftieth anniversary of novel, film, and Revolution, that seems a question worth investigating, not with a view to turning Our Man in Havana into a serious political novel, but rather to exploring the complexities of the genre of comedy thriller and to bringing back into view some of the local contexts which might be less visible now than they were when the novel was published and the film released
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