Oceanic Core Complex die off and generation of enhanced mantle upwelling on the Mid-Atlantic Ridge - 22° N

EGU2011-13199 Images of crustal construction provide a key to understand the interplay of magmatism and tectonism while oceanic crust is build up. Bathymetric data show that the crustal construction is highly variable. Areas that are dominated by magmatic processes are adjacent to areas that are highly tectonised and where mantle rocks were found. The Mid-Atlantic Ridge at 22°N shows this high variability along the ridge axis, within the TAMMAR segment, and from segment to segment. However, this strong variability occurs also off-axis, spreading parallel, representing different times in the same area of the ridge. A fracture zone, with limited magma supply, has been replaced by a segment centre with a high magmatic budget. Roughly 4.5 million years ago, the growing magmatic active TAMMAR segment, propagated into the fracture zone, started the migration of the ridge offset to the south, and stopped the formation of core complexes. We present data from seismic refraction and wide-angle reflection profiles that surveyed the crustal structure across the ridge crest of the TAMMAR segment. These yield the crustal structure at the segment centre as a function of melt supply. The results suggest that crust is ~8 km thick near the ridge and decreases in thickness with offset to the ridge axis. Seismic layer 3 shows profound changes in thickness and becomes rapidly one kilometre thicker approx. 5 million years ago. This correlates with gravimetric data and the observed “Bull’s eye” anomaly in that region. Our observations support a temporal change from thick lithosphere with oceanic core complex formation to thin lithosphere with focussed mantle upwelling and segment growing. The formation of ‘thick-crust’ volcanic centre seems to have coincided with the onset of propagation 4.5 million years ago

More than a window dressing?: A critical race institutional ethnography of a multicultural student services administrator at a PWI

Multicultural student services (MSS) emerged on predominantly white institutions (PWIs) as a result of student of color movements demanding equitable access, representation, and culturally relevant support systems. Over time, the goal and purpose of MSS has shifted away from its political roots and these offices are now expected to provide diversity education for all students thus limiting their ability to serve as advocates for racial equity. The purpose of this study was to gain a deeper understanding of how the policies, unwritten rules, and practices of institutions of higher education shape the work of MSS and influence the overall access and success of students of color in American higher education. Through the use of institutional ethnography and critical race theory, this study mapped out how organizations, policies, unwritten rules, and practices shape the everyday work life of a MSS administrator at a public, land-grant, Midwestern university. The organizations that emerged were Midwestern State, Midwestern University, the College of Innovation, and Joshua as the MSS administrator for the College of Innovation. A series of master and counternarratives bring forth how racism shapes the policies, practices, and unwritten rules in each organization that mediate Joshua\u27s work as a MSS administrator. Implications for practice and research aim to challenge institutions to examine how they define and practice racial equity and encourage colleges and universities to do more than simply decorate their windows with diversity

Patriarchal Colonization of the Female Body in Machinal and Clit Notes

Machinal written by Sophie Treadwell in 1928 and Clit Notes written by Holly Hughes in 1996 are two plays half a century apart yet bring forth the female body upstage and center. I see Machinal bringing attention to the societal machine that takes control of the focal character, Helen, from the first act. Clit Notes shows how a woman’s body could be removed from its first society, her parental home, simply for existing in a body that refuses to fit in a patriarchal box that is designed according to its perception of what that body should be doing. Regarding the patriarchy in both texts and performances, Clit Notes and Machinal becomes a lurking evil in the background of both plays. Both have the traditional gender role whip over the female body; one as a wife and a mother, and one as a daughter. My colonial reading of these two plays exposes the patriarchal control over the female body even though there is half a century between the two. Treadwell’s Machinal offers a nuclear family setting where the female body is abused and oppressed through the presentation on stage and in the text. As for Hughes’ Clit Notes, I will focus on her argument of gender representation and oppression on the female body from her unique, lesbian perspective. Hughes outs misogyny and the patriarchy and took it as far as pointing the finger at the absurdity in not only society but also the medical field and politics of course. In Machinal, the only way Treadwell can fight back after witnessing many injustices as a reporter, is by showing how toxic the patriarchy is to women. In both plays, colonizing the female body through violence and abuse be it physical, emotional, and/or psychological is the foundation these plays are built. Oppression is evident in both works. My approach to this reading and analysis will use resources regarding violence against women, colonial theory, which I will apply to the focal female characters in both plays, and the use of staging

Anne Enright’s Reply to James Joyce: A Nation’s Tale Told Through The Gathering

Particular to the Irish gothic, a postcolonial history seems to repeat itself in Anne Enright’s The Gathering. The victims of an atrocious sexual crime seem to circulate this hidden secret that all tragedy revolves around, yet no one is willing to speak about it. Enright suggests that the same oppressed past of Ireland’s history keeps creeping up to the surface, even in the twenty-first century. Veronica and Liam Hegarty, Enright’s main characters, demonstrate one of the main tropes of the gothic where no matter how long one might suppress a memory, it is bound to come back and reveal the truth behind the suffering. Veronica’s memory loss is where she seems to be pushing past secrets deeper into her psyche everything comes back to the surface. Through the intergenerational sexual trauma that the reader witnesses in the family home, we see that silence is inherited from Veronica’s mother and grandmother. Veronica’s oppression can no longer be contained within the domestic interior of the family when she learns that the oppressor, Lambert Nugent is the landowner of the family’s home where the sexual crime occurs. Ownership of the land is at the heart of many Irish narratives, particularly those that pursue a gothic framework. As gothic novels depend on readers to question everything, Enright made sure we ask those questions as she creates an unreliable narrator in Veronica, whose memory keeps us questioning the doomed events that led this family to close in on itself, particularly the intergenerational sexual assault. In a way that mirrors Ireland’s colonialism and the “rape” of its nation one generation after the other, history eventually lands on Veronica, pushing her to release that oppression and begin to make sense of her family history and, therefore, the nation. When it comes to Irish literature where a reader can, almost always, read the nation in its pages, can one separate between the postcolonial and the gothic? Is it possible that in both categories, postcolonial reading imposes its presence in the texts and in return manifests itself as it starts fitting into many gothic tropes? I believe both exist simultaneously at the heart of Enright’s The Gathering

La hospitalidad en “Abraham y los tres ángeles”, obra de Juan Van der Hamen. v.1

Se analiza el cuadro Abraham y los tres ángeles, de Juan de Van der Hamen y León para destacar sus características estilísticas y el interés iconográfico de la escena pintada por la forma en que este artista ha interpretado el tema bíblico de la aparición de los tres ángeles en casa de Abraham para anunciarle que Sara concebirá un hijo. Esta misma escena se ha convertido en paradigma de la hospitalidad en la religión judía, musulmana y cristiana, representada recurrentemente desde el románico hasta el siglo XX. ABSTRACT: The hospitality theme in the work of Juan Van der Hamen y León, Abraham and the three angels. This paper analyses the painting Abraham and the three angels by Juan de Van der Hamen y Leon for highlight the stylistic characteristics and the iconographic interest of the scene, a special way by which the artist interpreted the Biblical theme of the apparition of the three angels in the house of Abraham to announce that Sara would conceive a son. This same scene has been convert as a paradigm of hospitality in the Jewish, Muslims and Christian religion, represented recurrently from the Romanic period to the 20th century

Sibilant harmony in Santiago Tz’utujil (Mayan)

We analyze sibilant harmony in the Santiago Atitlán dialect of Tz’utujil (Mayan), a phenomenon that was briefly described by Dayley (1985). Novel data show that the obligatory harmony process (i) is asymmetrical (triggered only by [+ant] sibilants), (ii) progressive, and (iii) applies long-distance. Furthermore, we argue that the process is not stem-controlled. In contextualizing the phenomenon within the typology of sibilant harmony (Hansson 2010), we conclude that it is unique. Finally, we suggest that Santiago Tz’utujil sibilant harmony has been stable diachronically because the target segment /ʃ/ is always in the stressed syllable, thus being salient in the input during acquisition