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Scaled experimental models of gravitational collapse: analysis of structures formed during creation and retreat of erosional scarps
No full textThis thesis presents the results of scaled experimental models of gravitational collapse, the non-catastrophic failure of an oversteepened cliff. The main modeling material is wet clay, which simulates typical lithified, upper-crustal rocks; the nature-to-model scaling factor for size is ~105. Silicone polymer in one model simulates a highly ductile layer (e.g., salt). In all models, scarp creation involves gradual downcutting along a vertical surface. In the standard model (6 cm of clay with a density of 1.60 g/cm3), faults lengthen and link to form a main normal fault that dips towards and strikes parallel to the erosional scarp; the zone of deformation is narrow. Cross sections of the standard model show that the main fault is listric, most minor faults are listric and dip toward the erosional scarp, shallow layers dip toward the scarp whereas deep layers dip away from the scarp, and the base of the scarp bows out. Fault-heave analyses show that differential iii extension (increasing with depth and with proximity to the erosional scarp) accounts for these features. Geometric models of listric faults do not incorporate differential extension, and thus do not predict the layer geometries observed in the standard model. Models with stronger (denser) clay require taller scarp heights to initiate gravitational collapse. In the model with silicone polymer, deformation (conjugate faults and grabens) is distributed over a larger area compared to the standard model. Faults that form during scarp retreat (lateral removal of clay) evolve similarly to faults formed during scarp creation. A preliminary model with a curved erosional scarp yields a deformation zone that closely parallels the scarp. The Statfjord field (Norway), the Sirikit field (Thailand), and the Fairy Dell sea cliffs (Dorset, England) share some similarities with the standard model: listric faults that strike parallel to and dip towards the erosional scarp and layers rotated away from the erosional scarp; however, they do not have layers rotated toward the erosional scarp. Deformation in Canyonlands National Park is similar to that in the model with silicone polymer: conjugate faults and grabens are related to flow of a ductile unit toward the erosional scarp.M.S.includes bibliographical referencesIncludes abstractby Emily Rose Poorvi
Memorialising the (Un)Dead Jewish Other in Poland: Spectrality, Embodiment and Polish Holocaust Horror in Władysław Pasikowski’s Aftermath (2012)
No full textThis article analyses the function and symbolic currency of Poland’s recent literary and artistic motif of the returning Jew, which brings the nation’s Jewish Holocaust victims back to their homes as ghosts, spectres and reanimated corpses. It explores the ability of this trope—the defining feature of what I call ‘Polish Holocaust horror’—to cultivate the memory of complicitous and collaborative Polish behaviour during the Holocaust years, and to promote renewed Polish-Jewish relations based upon a working-through of this difficult history. In the article I explore Władysław Pasikowski’s 2012 film Aftermath as a self-reflexive product of this experimental genre, which has been considered ethically ambiguous for its necropolitical treatment of Jews and politically controversial for its depiction of Poles as perpetrators. My analysis examines haunting as central to these popular cultural constructions of Holocaust memory—a device that has been used within the genre to mourn but also expel guilt for the previously forgotten or supressed dispossession and murder of Jews by some of their Polish neighbours
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The exorcism of Emily Rose /
No full textIn an extremely rare decision, the Catholic Church officially recognized the demonic possession of a 19 year-old college freshman. Told in terrifying flashbacks, it chronicles the haunting trial of the priest accused of negligence resulting in the death of the young girl believed to be possessed. Middle-aged single lawyer defends Father Moore, a priest on trial for the negligent homicide of a young girl named Emily Rose
It looks pretty from a distance : eco-memory and the vitality of Holocaust landscapes in Poland
No full textHolocaust scholarship of the post-witness era has turned increasingly to environmental histories of the event as a means of implicating ecological sites and more-than-human lifeforms as powerful agents of memory. In this context, emergent concepts such as ecological memory and witnessing become useful paradigms for representing and remembering the Holocaust in places marked by the absence or erasure of human voices in particular. This article examines the role and representation of these concepts in Polish directors Anka and Wilhelm Sasnal's film It Looks Pretty from a Distance ( Z daleka widok jest piekny, 2011), in which ecological sites and landscapes bring the repressed local history of wartime Jewish murder and Catholic Polish collaboration to the surface of a provincial Polish community
Roberto Frankenberg’s Traces: Locating the Holocaust in the Landscapes of Central-Eastern Europe
No full textConcentrationary art: Jean Cayrol, the Lazarean and the everyday in post-war film, literature, music and the visual arts
No full textMatilda Mroz (2020). Framing the Holocaust in Polish aftermath cinema: posthumous materiality and unwanted knowledge
No full textEffective use of integration mechanisms for complex projects : an empirical analysis of building projects
Full text linkThesis (S.M.)--Massachusetts Institute of Technology, Dept. of Civil and Environmental Engineering, 1999.Includes bibliographical references (p. 207-212).by Emily Rose Dodd.S.M
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