Rb-Sr studies of the Sept Iles anorthosite complex show that it was emplaced during the Cambrian and that it is unrelated to the Grenville province. The age of this complex is very similar to that of other igneous rocks associated with the St. Lawrence graben system. Both the acidic and basic components of the complex have similar ages and originated from magmas with similar, low('87) Sr/('86) Sr initial ratios. There is no evidence that crustal contamination played an important role in the generation of the acidic magmas. The earliest rocks of the complex exposed at Sept Iles are now observed on the mainland. They consist of cumulates rich in oxide minerals, mafic minerals and plagioclase. These rocks are thought to have been formed at the base of the complex. Further south, across the fault that defines the St. Lawrence graben in this area, the top of the complex is exposed on six islands and Presque-Ile Marconi. This part of the complex is thought to have formed by multiple injection of the magma differentiating at depth in the main chamber into the already solidified roof of the complex. Plagioclase cumulates, the earliest rocks exposed here, are cut by later, more differentiated gabbros. Syenite commonly overlies the basic rocks and is in turn overlain by granite. Geochemical and petrographic evidence indicate that the syenite was intruded as a magma and was not formed by accumulation of perthite precipitated from the granite. Geochemical studies show that all the rocks exposed at Sept Iles could have been formed by differentiation of a single gabbroic magma.

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Texte remanié de: Tesis Dr.--La Laguna de Tenerife--Universidad de La Laguna, [1988?]. / Notes bibliogr.

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Loin d’être une nouveauté, les revendications fascistes autour de « l’italianité » de la Corse et de Malte prennent la suite des campagnes irrédentistes de l’époque crispienne. A partir de 1923, les mêmes arguments d’ordre géographique, historique, linguistique ou ethnographique, tout comme les supposés liens culturels entre les élites italiennes, corses et maltaises du XIXe siècle, furent à nouveau au coeur du débat. Cette défense d’une l’italianité corse et maltaise, tout comme le mythe du Risorgimento méditerranéen, ne constitue cependant qu’une réactualisation de la politique impérialiste de la Rome antique dans le Lebensraum italien qui se concrétise autour du concept de Mare Nostrum.Cette recherche a ainsi permis de combiner l’étude des structures de sociabilité culturelle et scientifique liés à la valorisation linguistique avec une nouvelle l’analyse de la politique méditerranéenne de l’Italie fasciste, tout en gardant une approche sociale et politique des réseaux et vecteurs internes de l’autonomisme corse et du nationalisme maltais. En abordant la question de l’irrédentisme en Corse et à Malte émerge alors le problème de la proximité linguistique des idiomes locaux avec la langue italienne. Dans les deux cas, nous nous heurtons à une des plus délicates questions de l’histoire corse et maltaise: le désir d’autonomie et indépendance. Les fascistes, en s’appuyant sur des arguments d’ordre culturel et en faisant appel aux revendications des populations issues des mauvaises conditions économiques, ont cherché à rallier à la cause irrédentiste les plus fervents opposants aux gouvernements français et anglais: les membres du Parti Corse d’Action (PCA) et du Parti Nationaliste Maltais. Ce problème linguistique qui aurait dû se cantonner à un débat purement scientifique, a ainsi été dévoyé sur le terrain politique au profit des irrédentistes fascistes et des nationalistes corses et maltais. / In 1923 the Fascist regime began a propaganda campaign by claiming the territories of Corsica and Malta, held by France and Great Britain, that were deemed to be Italian lands. The Fascist regime produced literature on Corsica and Malta that justified that both islands were Italian lands based on historic, ethnic, and linguistic grounds. The Fascists quoted historical, geographical, linguistic, ethnographic and cultural relations between the Italian peninsula and the island elite during the nineteenth century, in order to present evidence of the Italianità of Corsica and Malta. The Fascist regime activate cultural institutions and the majority of the Italian intellectuals in order to justify, on the ideological level, the irredentist and imperial ambitions in the Mediterranean basin. This research aims to investigate the myth of the Risorgimento Mediterranean, a myth that was created in order to explain to Italian public opinion the Mussolini's foreign policy regarding Corsica and Malta. The myth of the Risorgimento Mediterranean created a strong link between the imperial mission of ancient Rome and the "Mediterranean destiny" of the House of Savoy. It gradually became a prevalent subject in Fascist publications and writings of personalities of the Italian cultural life. This study aims to examine the distance and the convergence between the mythological construction of the Risorgimento Mediterranean and the reality of the Fascist territorial claims in the Mediterranean, in particular on Corsica and Malta.

abstract: The ability of musicians to perform well in multiple musical styles is increasingly common and necessary. This paper profiles two trombonists who have gone well beyond the ability to function in multiple genres, and are instead considered significant artists. Tony Baker and Alex Iles were chosen to be profiled for this project because both have achieved recognition as solo artists in the genres of classical music and jazz and have performed on international stages as soloists. They also have significant ensemble experience in both classical and jazz settings and are active teachers as well. Both hold-high profile positions that have helped grow their reputations as performers: Mr. Baker as a professor at one of the largest music schools in the United States, the University of North Texas, and Mr. Iles as a highly in-demand freelance musician in Los Angeles. This paper presents interviews with both trombonists that investigate their development as musicians and soloists in both classical music and jazz. They are asked to describe the benefits and challenges of performing at a high level in both styles, and how these have affected their musical voices. Common traits found in their responses are examined, and recommendations are created for musicians seeking stylistic versatility. / Dissertation/Thesis / D.M.A. Music 2012

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Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished