The North

Comme bon nombre d’auteurs canadiens, Aritha van Herk se tourne vers le Nord, mais elle l’utilise pour donner aux femmes un espace privilégié. Ses romans, ses récits, ses essais cherchent à redresser l’état des choses et à donner aux femmes une emprise dont elles ne jouissent pas habituellement dans les écrits des écrivains canadiens de l’Ouest. Pour ce faire, elle s’attache à proposer une représentation sexuée de la nordicité, créant un espace où les femmes peuvent accéder a une subjectivité féminine en entrant en contact avec les elements naturels.

The British-American poet W.H. Auden (1907-1973) was one of the most influential literary figures of the twentieth century. With extensive reference to the medieval sources themselves, this thesis traces the use of Old Norse literature in his poetry. Unlike other prominent twentieth-century medievalist poets, Auden does not use this literature to develop a historical connection between his own locality and other Norse diasporic areas. Providing context from other elements in his work, this thesis demonstrates instead that Auden’s use of Old Norse literature was as a part of his wider idea of “the North”, incorporating the north of England as well as the real landscape of Iceland. Ultimately, he articulated this idea of North as “barbaric”, a refuge from the implied “civilisation” of the south. This thesis adds to knowledge about the continued reception of Iceland’s medieval literature by demonstrating how creative engagement with Old Norse literature played a significant role in the work of one of the most important poetic voices of the twentieth century.

We examine herein the golden plaque identified in the looted
Sarmatian grave identified at Dunaharaszti. On its surface are rendered three
wolves (?) running left and a tamga, all in relief. The tamga is in the shape of
two adjoining volutes. The loops are waving inward on the first, and outward
on the second. The symbol is believed similar to that ascribed to king Farzoios
for whom Olbia struck golden coin grosso modo by the end of AD the 50’ies
– end of the 70’ies. Tamga symbols of king Farzoios are mainly known from
coins and are in the shape of two half-circles set by the extremities and joined
by a vertical line.
Upon the examination of the symbol on the plaque from Dunaharaszti it was
noted that parallels mentioned for it differ much, while its’ ascribing to king
Farzoios farfetched. The author agrees that tamgas with certain deviations
from those on the coins for Farzoios had belonged to other individuals, likely,
from amongst the group led by this king or from within a group of Sarmatians
under the control of the kingdom of Farzoios.
The author mentions for the tamga on this plaque a few analogies identical
or similar from the north-Pontic area, arguing that some are specific to the
region on the right bank of the Dniper. In terms of dating, it is noted they are
specific mainly to the period comprised between mid 1st century AD and mid
2nd century AD. It is further mentioned that in the north-Pontic area tamgas
with parts similar with that from Dunaharaszti are numerous (in particular,
the volutes with loops waving inwards), yet, these are not parallels with the
tamga discussed here, according to the author.
Last but not least it was noted that the tamga on the plaque at Dunaharaszti is
practically the single authentic symbol on a valuable object from the Sarmatian
Iazyges environment of the Great Hungarian Plain. Another observation is
related to the fact that the tamgas in the Sarmatian Iazyges environment of
the Great Hungarian Plain come from a series of finds that span over a period
of ca. three centuries, while their number is insignificant. The small number
of the tamgas in the Sarmatian Iazyges environment confirms they were
used by a restricted number of Sarmatian tribes, the Iazyges from the Great
Hungarian Plain not included. This furt
her underlines also that tamgas in the Germanic environment were not
adopted from the Iazyges, but reached the Germanic peoples upon contacts
and military conflicts with the Sarmatian world from the north-west Pontic
area.
The plaque at Dunaharaszti dates most likely to the second half of the 1st
century AD and reached the Great Hungarian Plain sometime towards the
end of the 1st century AD (AD 80’ies) when very likely another Sarmatian
migration occurred in the area. The tamga on the plaque evidences, according
to the author, the presence in this area of the elites and is evidence, given the
approximate period of Farzoios’s rule, that not those Sarmatians in the first
wave carried the plaque to the Great Hungarian Plain. This confirms, together
with other finds, that the Sarmatians entered this area in a few waves over the
second half of the 1st century AD, possibly even by its end. Also, it is concluded
that part of those migrating to the area were connected or even formed part for a short while from the Sarmatian group led by Farzoios and Inismeos.
Lastly, it is not excluded that the plaque from Dunaharaszti indicates, beside a
series of artefacts and elements from several archaeological finds, the presence
within the wave of Sarmatians that entered the Great Hungarian Plain of
individuals from the elites of the Sarmatians (Alani/Aorsi) who settled the
north-west Pontic area starting with mid 1st century AD. This is possible,
according to the author, should one keep in mind also that such elite might
have been involved in the Iayzgian aristocracy from the north-west Pontic
area. Regardless the facts, it is very likely that its representatives played an
important role within this wave.

Abstract A new benthic freshwater diatom, Cymbella tridentina sp. nov., was identified with the aid of light and scanning electron micrographs. The most characteristic morphological features are the valve outline (in particular, the shape of the ventral margin), the number of ...

The many incarnations of Glenn Gould often appear disconnected, treated as notches to tick off along the road of biography: young virtuoso, concert pianist, revolutionary Bach interpreter, recording artist, writer and critic, radio producer, a highly eccentric recluse whose shroud of self-created mystery was—and still is—nearly as famous as his brilliant playing. Underlying the seemingly disparate factions of his life, however, was an unflinching aesthetic that permeated Gould’s work from beginning to end, an aesthetic of solitude, purity, and spiritual transcendence rooted in the geographical and metaphorical north of his native Canada. This article traces Gould’s conception of North from his childhood to his radical thoughts on performance, his studio recordings, and his radio documentaries, and seeks to show how Gould’s aesthetic not only belongs to the philosophy of the sublime but indeed continues this historical discourse, reinventing it for the technological age.

... Physical and biological processes together make this first metre of sediment an efficient filter for organic matter. Key words: dissolved organic carbon, biodegradable DOC, refractoryDOC, bacteria, interstitial habitats, large river, bank filtration. ...