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Analysis and Description of the Iridescent Film on Calcites in Eastern Iowa
Full text linkDuring the Devonian Period, eastern to central Iowa experienced multiple transgressive and regressive intervals. This study focuses on the Cou Falls and Gizzard Creek Members of the Coralville Formation, deposited during the Eifelian Stage. Sometime after the formation of the limestone, the interiors of various brachiopods, gastropods, and other fauna began to weather out, creating vugs within the limestone, which gave rise to the first of three growth phases of calcite in the form of rhombohedrons and scalenohedrons. After these primary calcites were formed, new fluids flowed through these vugs, depositing a previously misidentified iridescent film on the calcite crystals, observed in multiple locations in the region. Prior to this study, this iridescent film was being classified as stilpnosiderite, a pseudomorph of limonite. After the thin-film formed, two more phases of calcites grew: a secondary growth of large, white rhombohedrons and a tertiary growth of large scalenohedrons. These differences in morphologies are probably related to progressive changes in elemental concentrations of the groundwater. The focus of this research is to determine the thin-film composition and identify geochemical conditions of precipitation on the primary crystals. Based on SEM analysis, the film’s composition is a mix of aluminum, calcium, nitrogen, silicon, and sulfur. When vugs are exposed to the natural elements (sunlight, rain, and groundwater), the film begins to disappear. Through experiments to simulate the natural environments of sunlight, rain, and groundwater for 100 days, it is evident that the film does not deteriorate within that time frame
The Cycle of Control: How Men Convince Women to Doubt Their Minds and Bodies
Full text linkIn ultra-conservative religious communities, men in positions of power will often use tactics that cause women to doubt their thoughts, emotions, and bodies. Women are gaslighted into believing they are failing in some way when they feel anxious or depressed, as though they have not trusted God enough. While these practices are archaic and are seen less often in modern churches, there are still instances which give cause for concern. In order for women to be more confident in their understanding of the signals their bodies and minds give them, they must be aware of the help that is offered to them, both religiously and non religiously
A Cultural Patchwork
No full textQuilting is an artform that has gone through many changes from utilitarian blankets made from scraps designed to keep a family warm, to artistic masterpieces pushing the boundaries of what can be created with fabric. While people of all genders can and do quilt, it has traditionally been associated with women and the work they do to keep a household functional. These traditions get passed down from mother to daughter, and demonstrate the deep social and economic networks that Appalachian women construct with each other. In a patriarchal society that diminishes the accomplishments and immense skills of women, it is important to honor these practices and recognize the skills and anthropological significance of the work these women do.
This quilt was made as part of an anthropological project on the cultural impact of quilting in Appalachia. This quilt represents nine different styles of quilting in the region, shown in each quilt block. The Radical Rose on the top left, marked by its black center, was used as a symbol for abolitionist beliefs. The string quilt on the top right, was common among Black populations in the region, and is an example of the resourcefulness of quilters, as it makes use of primarily scrap material. The center, Grandmother’s Flower Garden, is another common pattern in the Appalachian region. The applique in the middle right, is Sunbonnet Sue, a popular applique pattern and an homage to my Great Great Grandmother from West Virginia. She made a quilt using that pattern that is still in my family and was the inspiration for this project. The crazy quilt on the bottom right was very common among Appalachian quilters during the Victorian era, and is still representative of the region’s history.
This quilt is made to honor the long and rich history of women and quilting. I felt the best way to truly understand the skill that so many women have developed was to take on the artform myself. I felt connected to the past and to a greater network of women using their skills to connect with one another and keep their families warm