acase@tulane.edu

acase@tulane.edu

The Lares Limestone and Montebello Member of the Cibao Formation form the lower confined aquifer system of the Puerto Rico North Coast. These extensively cored Neogene limestone units dip from 4° to 6° toward the north, are exposed over a broad area, and have a relatively well-known geologic setting and history Dolomite is absent in the exposed sections of the units but is abundant in the subsurface. Dolomitization was apparently limited to the subsurface and seaward portions of the units Petrography indicates the following paragenetic sequence: (1) shallow submarine diagenesis, (2) extensive dissolution and/or neomorphism of calcitic and aragonitic allochems, (3) burial compaction and pressure solution, (4) dolomitization, (5) dolomite dissolution and generation of coarse calcite cements. Dolomites are not affected by pressure-solution features, indicating dolomitization after at least 300 m burial. Modern aquifer water is undersaturated with respect to dolomite and high Mg2+ content in the water indicates dissolution of dolomite is occurring, therefore dolomitization occurred after some burial (middle Miocene) and before modern aquifer conditions developed (late Miocene). The dolomites are calcian with CaCO3 mean mole percentage of 56. Average delta18O and delta13C values relative to PDB are +1.0‰ (+/-0.4‰) and +0.2‰ (+/-0.5‰) respectively. Mean dolomitic Sr concentration is 360 ppm. Fe and Mn mean concentrations in the dolomites are 266 ppm and 25 ppm respectively. 87Sr/86Sr ranges from 0.708276 to 0.708509 +/- 0.000008 in the dolomites and from 0.708199 to 0.708295 +/- 0.000008 in the aquifer waters These geochemical data are consistent with dolomitization by both marine waters or a mixture of marine and aquifer waters. High concentrations of Fe and Mn indicate non-marine waters. Meteoric fabrics before and after dolomitization suggest meteoric water influences. Sr isotopic ratios are consistent with mixing of marine and aquifer waters Although there are other viable explanations, mixing-zone dolomitization in a deep confined aquifer provides the best way to explain all the data obtained. Miocene eustatic sea-level fluctuations probably maintained flow and movement of the mixing zone producing thick dolomitic intervals / acase@tulane.edu

acase@tulane.edu

acase@tulane.edu

acase@tulane.edu

Relieved that the beneficent spirit of his dead mother has ceased possessing him, the narrator of Margaret Oliphant's 'The Portrait' confesses that 'flesh and blood is not made for such encounters.' Though flesh and blood may indeed not be 'made for' encounters with the unreal, Gothic fiction repeatedly forces human beings and the world they inhabit into such confrontations. This study focuses on key questions that Victorian Gothic short stories raise when they locate the site of these encounters in the home. Constructing the home as a sanctuary from the competitive world outside it, Victorian domesticity located the means of maintaining that separation in women's supposed authority in the realm of emotions and morality. While domesticity thereby contained the middle-class woman in a limited mundane place, it also granted her a kind of power there, a power uncovered as a source of irrevocable tension in Gothic short stories predominantly featuring a home My analyses of five stories--Dickens's 'The Haunted Man,' Gaskell's 'The Old Nurse's Story,' LeFanu's 'Carmilla,' Hardy's 'The Fiddler of the Reels,' and 'The Portrait'--examine the conflicts at work in the juncture of Gothic and domesticity. In these stories, women characters who are denied domestic power open the home up to the destructive force of unregulated emotions, while women wielding authority become imbued with a disturbing unearthliness. With neither the absence nor the presence of women's power in the home insuring its invulnerability against forces of the 'unreal' and 'unnatural'--forces representing class conflicts as well as sexual tensions--an alien, unsettling presence permeates the middle-class home, destabilizing it as a haven of the known and safe. The Gothic short story thus defamiliarizes domesticity and its place: both its literal place in the Victorian home and its figurative place in the ideologies that prescribe values and norms according to gender / acase@tulane.edu

acase@tulane.edu

Stendhal's splendid imagination gives life to a myriad of fictional characters who reflect the particular vision of their creator. His heroes are idealized projections of himself wherein he realizes a dream. Handsome, energetic, and vigorous, they hold in common a sensitive soul and a quivering heart. Like Stendhal, they share a need to conceal their ambition or their passion from the vulgar herd, and of necessity are seen to play roles. To masquerade is to be granted the freedom to transcend societal barriers, to reach beyond to a purer sphere where the only law is to seek one's own happiness A female version of the male hero is to be found in the amazonian heroine who is first and foremost characterized by self-interest. In a world too heavily populated with ordinary people, this aggressive heroine is bored and dreams of distinguishing herself through action. She is a revellious creature who refuses to assume the role of an empty-headed beauty and make a placid, conventional marriage. Stendhal refers to these spirited adolescents as singuliere to show his fondness for kindred souls of a Lamiel, a Vanina or a Mathilde Unlike the amazons, the heroines who would fulfill Stendhal's fantasy were very womanly and are known by their timidity and reserve. This is the sort of heroine Stendhal would have as his beloved, the woman who remains forever inaccessible to him, and likewise to his heroes Whereas the heroes in Stendhal's short prose are most often presented as round characters who may or may not change in the course of the narrative, his secondary characters tend to be flat and static. They interact closely with one or more protagonists, to assist or to oppose their desires, their ambitions, or their goals In short, Stendhal achieves a delicate balance in his dramatis personae, whether he touches upon the surface to draw a flat yet memorable character, or whether he plunges into a heart, soul and mind to create a fully-developed and lifelike figure / acase@tulane.edu

Many critics have noted Perez de Ayala's fondness for contrasts and paired opposites. We believe that his Jesuit training and education in the classics of both Greece and Spain helped form the author's dualistic frame of mind. But, in his novels, we notice a progression from clear-cut dualisms to a more polaristic view and, finally, to integration in the person of Tigre Juan The early novels are replete with paried opposites but, later, the oppositions begin to be between major themes such as, for example, the dualisms of spectator vs. actor, 'voluntad' vs. 'abulia,' the ideal vs. the real and, finally, the most basic dualism of all--the male and the female. The characters of the early novels are extreme examples of one dualism or another but, in the later novels, the characters become polaristic. The best example of this is, of course, the meshing of the personalities of Belarmino and Apolonio. In like manner, Urbano is able to change from 'abulia' to 'voluntad,' thus showing that the two are not irreconcilable opposites but, instead, poles that can be interchanged depending on the circumstances. When we reach the two volumes dedicated to Tigre Juan, the dualisms have all been integrated: the protagonist is a harmonious blend of spectator and actor, and the dualism of 'voluntad' and 'abulia' has disappeared. Moreover, he is also able to integrate the dualism of the ideal vs. the real by humanizing the Don Juan and the 'honra' traditions of Spanish culture Starting with Belarmino y Apolonio, we notice an increase in personages that combine contradictory characteristics and, in particular, increasing use of the androgynous character. Again, Tigre Juan serves as an example of the harmonious blend of male and female elements into one integrated whole The first attempt at unification was by the use of circles in La ca(')ida de los Limones. Later, in Belarmino y Apolonio, we observed the use of language as a unifying factor and, in the last novels, the great integrating force is love. El curandero de su honra ends with Tigre Juan's song which symbolizes the harmony of the universe / acase@tulane.edu