651 research outputs found
Lumineszenz-Datierung der Löss-Paläoboden-Sequenz in der Kiesgrube Gaul/Weilbach, Südhessen
No full textA thick Middle and Late Pleistocene loess/palaeosol sequence is exposed at the gravel quarry Gaul located east of Weilbach in the southern foreland of the Taunus Mountains. The loess/palaeosol sequence correlates to the last three glacial cycles. Seven samples were dated by luminescence methods using an elevated temperature IRSL (post-IR IRSL) protocol for polymineral fine-grains to determine the deposition age of the sediment and to set up a more reliable chronological framework for these deposits. The fading corrected IR50 and the pIRIR225 age estimates show a good agreement for almost all samples. The fading corrected IRSL ages range from 23.7 ± 1.6 ka to >350 ka indicating that the oldest loess was deposited during marine isotope stage (MIS) 10 or earlier and that the humic-rich horizon (Weilbacher Humuszone) was developed during the late phase of MIS 7. Loess taken above the fCc horizon most likely accumulated during MIS 6 indicating that the remains of the palaeosol are not belonging to the last interglacial soil. The two uppermost samples indicate that the youngest loess accumulated during MIS 2 (Upper Würmian). Age estimates for the loess-palaeosol sequence of the gravel quarry Gaul/Weilbach could be obtained up to ~350 ka using the pIRIR225 from feldspar. Keywords: loess, luminescence dating, IRSL, fading, Weilbach, chronostratigraphyLumineszenz-Datierung der Löss-Paläoboden-Sequenz in der Kiesgrube Gaul/Weilbach, Südhessen Kurzfassung: Eine mächtige Löss-Paläoboden-Sequenz des Mittel- und Spätpleistozäns ist in der Kiesgrube Gaul östlich von Weilbach im südlichen Taunusvorland aufgeschlossen. Lösse der letzten drei Glazialzyklen, mit zwischengeschalteten Paläoböden, sind aufgeschlossen. Sieben Proben wurden mit der Lumineszenz-Datierungsmethode, basierend auf einem post-IR IRSL Messprotokoll, untersucht, um einen verlässlicheren chronologischen Rahmen für diese Sedimente zu etablieren. Die „fading“ korrigierten IR50 und die pIRIR225 Alter sind für fast alle Proben in guter Übereinstimmung. Die IRSL Alter reichen von 23.7 ± 1.6 ka bis >350 ka und deuten an, dass der älteste Löss während des marinen Isotopenstadiums (MIS) 10 oder früher abgelagert wurde, und dass die Weilbacher Humuszonen sehr wahrscheinlich während einer späten Phase des MIS 7 gebildet wurden. Lösse über dem fCc Horizont wurden sehr wahrscheinlich während des MIS 6 abgelagert, was darauf hindeutet, dass die Reste des Paläobodens nicht mit dem letzten Interglazial korrelieren. Die beiden obersten Proben deuten darauf hin, dass der jüngste Löss während dem letzten Pleniglazial (Oberwürm, MIS 2) abgelagert wurde. Mit dem pIRIR225 Signal konnten Alter bis ~350 ka für die Proben der Löss-Paläoboden-Sequenz in der Kiesgrube Gaul gemessen werden
A Volcanic Tuff Similar to the Eltviller Tuff in the Loess of Hesbaye (Belgium) and Limburg (Netherlands)
No full textUn tuf volcanique a ete mis en evidence dans trois profils de loess de Hesbaye (Rocourt et Lixhe) et du Limbourg neerlandais (Nagelbeek). Ce tuf correspond probablement ä l'Eltviller Tuff connu en Hesse (SEMMEL 1967). En consequence, cette decouverte permet de comparer directement une partie de la sequence des loess du Pleistocene superieur propre ä chaque regionEin vulkanischer Tuff ist in drei Lößprofilen von Ostbelgien (Rocourt und Lixhe) und niederländisch Limburg gefunden worden. Dieser Tuff kann mit dem Eltviller Tuff (Semmel 1967) korreliert werden. Daher können die Lößprofile von Ostbelgien, niederländisch Limburg (Nagelbeek) und Hessen parallelisiert werden.A volcanic tuff has been found in three loess profiles of Hesbaye (Rocourt and Lixhe) and of Limburg in Netherland (Nagelbeek). This tuff corresponds probably with the Eltviller Tuff of Hessen in West Germany (SEMMEL, 1967).This key-bed permits to compare both loess stratigraphies
George Eliot and the Politics of National Inheritance
No full textThis is a study of George Eliot\u27s political imagination which traces the theme of inheritance through her fiction, taking it both in its ordinary sense of property bequeathed from one generation to another and in the extended sense of the transmission of a nation\u27s culture and traditions. The theme is important in that it shows George Eliot\u27s response to the alienating conditions of modem society and defines her - with \u27her deep sense of dependence on the past, her commitment to the English political tradition, and her vision of English nationality\u27 - as an essentially conservative thinker in the tradition of Burke and Coleridge. If there is in Silas Marner and Felix Holt a recognition that individuals may be justified in rejecting their inheritance, the emphasis in late works such as Daniel Deronda falls on the binding and sustaining power of cultural traditions inherited from the past.
The author is an historian of ideas and the strength of his study lies in the way that he elucidates George Eliot\u27s thinking and relates it to its wider intellectual context. He points out how her admiring essay on Riehl, \u27The Natural History of Gennan Life\u27, is designed to persuade a cosmopolitan liberal audience of the importance of national character, and that this explains why she excludes any mention of Riehl\u27s anti-Semitism from her summary of his work. It must be, Semmel argues, a tactical omission rather than an oversight. He also sets out clearly the combination of attraction and repulsion which characterizes her relationship to Comte\u27s Positivism: she accepts its moral teaching but rejects the authoritarianism and utopianism involved in Comte\u27s model of a new society. The fact that the English Positivists in the 1860s and 1870s were far more radical than Comte, believing in the need for revolutionary class warfare, could only increase her disaffection. Both Romola and Middlemarch are seen as challenging Comtean doctrines, the one by showing Savonarola\u27s utopian, proto-Comtean state to be the enemy of freedom and individual happiness, the other by promoting the politics of compromise and taking a meliorist view of the British parliamentary state. Increasingly George Eliot comes to stress the importance of the national culture and its inherited traditions, and in so doing she is closer, Semmel suggests, to pisraeli than to Gladstone and his liberal cosmopolitanism \u27(although I am not persuaded that the young Disraeli served as a model for Ladislaw). And in an interesting epilogue he compares her view of the national tradition to the patriotic beliefs expressed by George Orwell during the Second World War - his \u27devotion to a particular place and a particular way of life\u27 and his view of English civilization as continuous, persisting and organic. Like Orwell George Eliot is not a nationalist who believes in imposing on other peoples, but a patriot who holds to the inherited values of her own culture as opposed to the levelling uniformity of cosmopolitanism
Greetings from the Civil War Intern!
No full textHello everyone! I would like to welcome you to Musselman Library’s intern blog. I’m Steven Semmel (the big goofy guy at the bottom of the current intern’s section) and I am the Brian C. Pohanka Civil War Institute intern at Special Collections for the summer of 2015. I will primarily be working with anything that deals with the Civil War in Special Collections. This includes diary transcriptions, digitizing, cataloging, creating displays, you name it! I am having a wonderful time so far this summer and currently working on transcribing three years’ worth of diary entries from Hoadley G. Hosford. Hosford is a soldier from the 44th New York and the 146th New York during the war. He wrote diaries from almost the entirety of his service. [excerpt
Desnudo e identidad en la obra de Anita Steckel y Joan Semmel
No full textSe analiza la obra de dos figuras destacadas del movimiento feminista americano: Anita Steckel y Joan Semmel, vinculadas no sólo cronológicamente, sino a través de su pertenencia a un grupo reivindicativo: el Fight Censorship Group. Este grupo expresa la convergencia de toda una serie de movimientos socioculturales que tuvieron lugar en los Estados Unidos durante las décadas de los 60 y 70 y que se expresaron artísticamente durante las dos décadas siguientes. Su único elemento formal aglutinante fue la expresión libre de un desnudo sexualizado, protagonizado por la mujer.
La obra de Steckel fusiona un dibujo sobre un fondo fotográfico, generando así collages al modo dadaísta, que provocan una recontextualización de los elementos fotográficos para hablarnos de las relaciones de poder dominadas por lo masculino. Presenta poca variación temática y formal a lo largo del tiempo. La obra de Semmel se caracteriza por una pintura realista, de colores intensos, en el que se muestra la sexualidad femenina desde la propia óptica de la mujer, con una gran componente de autorrepresentación. Con mayores variaciones cronológicas que las de Steckel (la artista vive actualmente).
El presente trabajo pretende mostrar como estas diferencias temáticas y formales son fruto de un discurso identitario configurado a través de las vivencias personales de estas artistas, diferencias relacionadas con la identidad judía, y con las distintas corrientes presentes dentro de un movimiento feminista, este último muy influenciado por los movimientos revolucionarios que afectaron a la sociedad americana de la postguerra.S'analitza l'obra de dues figures destacades del moviment feminista americà: Anita Steckel i Joan Semmel, vinculades no sols cronològicament, sinó a través de la seva pertinença a un grup reivindicatiu: el Fight Censorship Group. Aquest grup expressa la convergència de tota una sèrie de moviments socioculturals que van tenir lloc als Estats Units durant les dècades dels 60 i 70 i que es van expressar artísticament durant les dues dècades següents. El seu únic element formal aglutinant va ser l'expressió lliure d'un nu sexualizado, protagonitzat per la dona. L'obra de Steckel fusiona un dibuix sobre un fons fotogràfic, generant així collages a la manera dadaista, que provoquen una recontextualización dels elements fotogràfics per a parlar-nos de les relacions de poder dominades pel masculí. Presenta poca variació temàtica i formal al llarg del temps. L'obra de Semmel es caracteritza per una pintura realista, de colors intensos, en el qual es mostra la sexualitat femenina des de la pròpia òptica de la dona, amb una gran component de autorrepresentación. Amb majors variacions cronològiques que les de Steckel (l'artista viu actualment). El present treball pretén mostrar com aquestes diferències temàtiques i formals són fruit d'un discurs identitari configurat a través de les vivències personals d'aquestes artistes, diferències relacionades amb la identitat jueva, i amb els diferents corrents presents dins d'un moviment feminista, aquest últim molt influenciat pels moviments revolucionaris que van afectar la societat americana de la postguerra.The work of two prominent figures in the American feminist movement is analysed: Anita Steckel and Joan Semmel, who are linked not only chronologically but also through their membership of a group with a strong claim to fame: the Light Censorship Group. This group expresses the convergence of a whole series of socio-cultural movements that took place in the United States during the 1960s and 1970s and that were expressed artistically during the following two decades. Their only formal unifying element was the free expression of a sexualized nude, starring women. Steckel's work fuses a drawing on a photographic background, thus generating Dadaist style collages, which provoke a recontextualization of the photographic elements to tell us about the male-dominated power relations. It presents little thematic and formal variation over time. Semmel's work is characterized by a realistic painting, with intense colors, in which female sexuality is shown from the woman's own point of view, with a great component of self-representation. With greater chronological variations than those of Steckel (the artist lives today).
The present work aims to show how these thematic and formal differences are the result of an identity discourse shaped by the personal experiences of these artists, differences related to Jewish identity, and to the different currents present within a feminist movement, the latter strongly influenced by the revolutionary movements that affected post-war American society
The use of the laryngeal tube disposable (LT-D) by paramedics during out-of-hospital resuscitation-An observational study concerning ERC guidelines 2005
No full textIn the current guidelines of the European Resuscitation Council (ERC), tracheal intubation. as an instrument for securing the airway during resuscitation, has become less important for persons not trained in this method. For those persons, different supraglottic airway devices are recommended by the ERC. The present investigation deals with the application of the laryngeal tube disposable (LT-D) during pre-hospital resuscitation by paramedics. Methods: During a period of 2 years (2006-2008), we registered all cardiac arrest situations in which the LT-D had been applied according to the ERC guidelines 2005. Therefore, we investigated one emergency medical system in Germany. Results: During the defined period, 92 resuscitation attempts, recorded on standardised data sheets, were included. The LT-D was used in 46% of all cardiac arrest situations. Overall, the LT-D was successfully inserted in more than 90% of all cases on first attempt. In 95% of all cases, no problems concerning ventilation of the patient were described. Conclusion: As an alternative airway device recommended by the ERC in 2005, the LT-D may enable airway control rapidly and effectively. Additionally, by using the LT-D, a reduced "no-flow-time" and a better outcome may be possible. (c) 2008 Elsevier Ireland Ltd. All rights reserved
The use of the laryngeal tube disposable by paramedics during out-of-hospital cardiac arrest: a prospectively observational study (2008-2012)
No full textThe Summary In the previous and the current guidelines of the European Resuscitation Council (ERC), endotracheal intubation (ETI), as an instrument for ventilation during resuscitation, was confirmed as less important for paramedics not trained in this method. For those, during resuscitation, the laryngeal tube is recommended by the ERC as a supraglottic airway device. The present study investigated prospectively the use of the laryngeal tube disposable (LT-D) by paramedics in prehospital emergency cases. Methods During a 42-month period (Sept 2008-Feb 2012), we prospectively registered all prehospital cardiac arrest situations in which the LT-D had been applied by paramedics (from one emergency medical service in Germany). Results During the defined period, 133 attempts, recorded on standardised data sheets, were enrolled into the investigation. Three were excluded from the study because of use during a trauma situation. Therefore, 130 patients were evaluated in this study. For this, the LT-D was used in 98% of all cases during resuscitation, and in about 2% of other emergencies (eg, trauma). With regard to resuscitation, adequate ventilation/oxygenation was described as possible in 83% of all included cases. In 66% of all cases, no problems concerning the insertion of the LT-D were described by the paramedics. No significant problems were reported in 93%. In 7% (n=9 cases), no insertion of the LT-D was possible. Instead of bag-mask-valve ventilation, the LT-D was used as a first-line airway device in about 66%. Between the two defined groups, no statistically significant differences were found (p>0.05). Conclusions As an alternative airway device during resuscitation, recommended by the ERC in 2005 and 2010, the LT-D may enable ventilation rapidly and, as in most of our described cases, effectively. Additionally, by using the LT-D in a case of cardiac arrest, a reduced 'hands-off time' and, therefore, a high chest compression rate may be possible. Our investigation showed that the LT-D was often used as an alternative to bag-mask-ventilation and to ETI as well. However, we were able to describe more problems in the use of the LT-D than earlier investigations. Therefore, in future, more studies concerning the use of alternative airway devices in comparison with ETI and/or video-laryngoscopy seem to be necessary
A rhetorical analysis of Pink Floyd's The wall
No full textThrough an examination of the album The Wall by the group Pink Floyd, the intention of this study was to answer questions such as tale following in hopes that a clearer understanding of The Walls popularity might be obtained. What are the major and minor events in this musical narrative? Who are the main characters in -111ne narrative? What cause-and-effect relationships are established in the narrative? now did The Wall function rhetorically in achieving a sense of identification with contemporary listeners?The study found that The Wall achieved identification through the use of its themes which centered around war, derisive school systems, parental overprotection. collapse, and extreme alienation.The study notes that The Wall contained substantial social commentary, and states that the rock music form, often belittled as nothing more than hedonistic escapism, is capable of producing work worthy of scholarly examination.Thesis (M.A.)Department of Speech Communicatio
All in the family : a television breakthrough and a comedic success : [an honors thesis (HONRS 499)]
No full textThere is no abstract available for this thesis.Thesis (B.?.)Honors Colleg
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