No / As this volume, the final monograph of the SPLASHCOS network, was being finalised, the European Research Council agreed to fund a major new project relating to the marine palaeolandscapes of the southern North Sea. Emerging from the earlier work of the North Sea Palaeolandscapes Project (NSPP), the Lost Frontiers project seeks to go beyond the maps generated by that ground-breaking research. Led by researchers in the fields of archaeogeophysics, molecular biology and computer simulation, the project seeks to develop a new paradigm for the study of past environments, ecological change and the transition between hunter gathering societies and farming in North West Europe. Following from earlier work, the project will seek to release the full potential of the available seismic reflectance data sets to generate topographical maps of the whole of early Holocene Doggerland that are as accurate and complete as possible. Using these data, the study will then reconstruct and simulate the emerging palaeoenvironments of Doggerland using conventional palaeoenvironmental data, as well as ancient DNA extracted directly from sediment cores along the routes of two submerged river valleys. Using this base data, the project aims to transform our understanding of the colonisation and development of floral, faunal and human life, to explore the Mesolithic landscapes and to identify incipient Neolithic signals indicating early contact and development within the region of Doggerland. / European Research Council’s support for the Lost Frontiers Project through the provision of an Advanced Grant (Grant Agreement 670518 ERC-2014-ADG/ERC-2014-ADG).

This thesis concerns questions of being in good relation, with others and the created world, in John Milton’s Paradise Lost, which shows interdependent and positive self-other relationships in Eden, as well as a mutual, constructive, and enduring relationship between God and humanity. Working with Lee Morrissey’s suggestion that “subjectivity requires difference, not, as Adam had assumed, similarity” (“Eve’s Otherness” 340), my thesis not only suggests that Milton’s poem esteems relationships that recognize others as welcome additions to the self – hence, Milton’s “other self” (8.450, 10.128) – rather than subtractions or even self-absorptions, but also explores what specific differences emerge across relationships (e.g., God the Father, God the Son, and God the Holy Spirit versus Satan, Sin, and Death) and how they might fulfill or, conversely, upend God’s plan for His original created good to continue as such. I argue that within Paradise Lost, both earthly and divine self-identity develops and becomes fully realized only through relationships with others. And further, because the good in the created world of Paradise Lost comes from humanity’s relationship with God, this relationship is the basis of all relationships that are good. / Dissertation / Doctor of Philosophy (PhD) / This dissertation studies relationships in John Milton’s Paradise Lost, a poem that shows interdependent and positive self-relationships in Eden, as well as a mutual, beneficial, and enduring relationship between God and humanity. My thesis not only suggests that Milton’s poem extols relationships that recognize others as welcome additions to the self rather than subtractions or even self-absorptions, but also explores what specific differences emerge across relationships (e.g., God the Father, God the Son, and God the Holy Spirit versus Satan, Sin, and Death) and how they might help or impede God’s plan for His original created good to continue for all time. I argue that within Paradise Lost, both earthly and divine self-identity develops and becomes fully realized only through relationships with others. Further, because the good in the created world of Paradise Lost comes from humanity’s relationship with God, this relationship is the basis of all relationships that are good.

<p> Recent scholarship has added to our knowledge about the court masque, reinforcing its significance for the literature of the sixteenth and seventeenth centuries. Milton's Comus has profited from such re-assessment so that its high valuation as dramatic literature need no longer be regarded as incompatible with its success as a court masque. The new seriousness of approach to the court masque in general and Milton's Comus in particular provides the impetus for an examination of the rest of Milton's poetic output for the purpose of tracing there the influence of his experience with the complimentary court entertainment.</p> <p> The court entertainment was encomiastic in intent, this encomium being patterned according to certain conventions. Paradise Lost, which praises God, uses a number of these conventions. Contrary to usual epic practice, Milton does not immortalize worldly conquests and compliment the statesmanship of his nation's leaders. Early notions of a British epic, to use the Arthurian or other indigenous material, were abandoned in favour of a work to celebrate the heavenly king and the spiritual kingdom. In the finished poem epic structures are interpreted in ways suggestive of the influence of court pageantry. Encomium of the heavenly king is expressed in the God-centred structure of Paradise Lost. The whole action of the poem focusses on the throne of the omniscient viewer. The angels sing and dance about this throne as the court danced before royalty in the court entertainment, and even creation is the setting for "a Race of Worshippers" (VII.630). A foil to the glory of Heaven, provided in the parodic activities of the fallen angels in Hell, suggests the conventions of the antimasque and the comedy of misrule. The victorious reign of Christ is celebrated, as many a pageant celebrated the reign of a seventeenth-century king, in a tournament. A mock battle in which no one is maimed, this culminates in the triumphal entry of Christ himself in a pageant chariot, symbolically banishing, rather than waging battle with, the forces of evil. In Satan's pilgrimage to earth even the traditional epic wanderings are transformed into an allegoric progress. The devices of the court entertainment inform the action of the poem, which is made up of processions, ceremonies and masques. The scenic spectacle, too, is influenced by the theatrical effects and iconography of royal pageantry.</p> <p> One might expect Heaven and Hell to be presented in terms of allegoric theatre, but in Paradise Lost even the garden itself is a golden world which works according to the pastoral conventions that so often informed court entertainments. Adam and Eve are the poem's legendary rulers. As he describes the pomp of the prelapsarian kingdom, Milton relies on a knowledge of contemporary pageantry. Here such pageantry expresses the perfection of the most perfect earthly kingdom of all. Referring to a legend often used to glorify the British court, Milton says of Paradise: "Hesperian Fables true, / If true, here only" (IV.250-51). To see Paradise Lost in the context of the contemporary pageantry and masque theatre is to see it not as history reconstructed, but as historic incident transmuted through the use of a series of literary devices into encomiastic fiction. The fictional world of the poem is designed to justify the workings of God's creation; it glorifies the providence of the omnipotent creator.</p> / Thesis / Doctor of Philosophy (PhD)

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ohn Milton (1608-1674) lived in an age marked by religious discussion. The English Civil War (1640) had one of its supporters involving religion, literary texts were composed with biblical allegories, and Milton, following the habits of his own time, created literary works with sacred influence. For this reason and for a long time, Paradise Lost has been seen under the biblical myth that served as material basis for the composition of the epic. Before the Romantics, few critics had dared to leave the comfort zone and had rehearsed an analysis that took care of other aspects besides the contributions of classical authors and literary works or the biblical myth itself. The Romantics opened up a new critical line which was concerned with the characters of Paradise Lost, in special Satan. They heard the voices that bring to life the epic narrative and they had found a model for their own age. The heroic noble Satan of the Romantics, however, does not respond to the complexity of the character. Far from being a mere embodiment of evil, an element that can be blamed for all misfortune, the Miltonic Satan has in himself traces from the anterior good. He is victimized by the understanding of his present and slaughtered with the memories of his past; the character is placed between the image of a great leader externalized to the other angels, and the doubts that overcome his thoughts. This thesis aims to counteract these two parts of the character. / John Milton (1608-1674) viveu em um período marcado pela discussão religiosa. A guerra civil inglesa (1640) tivera um de seus suportes envolvendo a religião, textos literários foram compostos com alegorias bíblicas, e Milton, seguindo os hábitos de seu tempo, criou obras com influência sacra. O Paradise Lost, por causa disso, foi, durante muito tempo, observado à luz do mito bíblico que serviu de matéria base para a composição do épico. Antes dos românticos, poucos críticos ousaram sair da zona de conforto e ensaiaram uma análise que cuidava de outros aspectos além da contribuição de autores e obras clássicas ou do mito bíblico. Com os românticos, abriu-se definitivamente uma linha crítica atenta às personagens do Paradise Lost, em especial de Satã. Eles ouviram as vozes que dão vida à narrativa épica e descobriram um modelo para o seu próprio tempo. O Satã heróico e nobre dos românticos, no entanto, não responde à complexidade da personagem. Longe de ser uma mera materialização do mal, um elemento que possa ser culpado por todo o infortúnio, o Satã de Milton abriga em si vestígios do bem anterior. Vitimado pela compreensão de seu presente e abatido com as memórias do passado, a personagem coloca-se entre a imagem de grande líder exteriorizada aos outros anjos e as dúvidas que dominam os seus pensamentos. Esta dissertação tem por objetivo contrapor essas duas partes da personagem.

The Myth of the Lost Cause is an inaccurate account of the Civil War that remains prominent in American society. The myth alters key aspects of the war such as its cause, participants, and outcome. It is my hypothesis that one reason many Americans misunderstand the war is because they learned inaccurate information as children. Most children first learn of the war in school textbooks. I became curious as to the accuracy of Civil War information. As there is little research on this topic, this paper begins the process of bridging the gap between education curriculum and the Lost Cause. I examined textbooks used in Tennessee schools between 1889-2002. I discovered that the Lost Cause is most prominent in textbooks used in the late nineteenth and early twentieth century but remains present in modern textbooks. I conclude that material will continue to correct itself as the twenty-first century continues.

Specially designed non-damaging lost circulation pills (LCP) are being effectively applied for drilling depleted zones worldwide. Optimizing the LCP compositions stop the lost circulation effectively and protect the production zone from liquid and solids invasion significantly. Shape, particle size distribution and concentration of the lost circulation materials (LCM) are key parameters determining the effectiveness of LCP. In this study, the Permeability Plugging Apparatus (PPA) is utilized to evaluate effectiveness of various LCM&rsquo / s in curing the lost circulation. Sized calcium carbonates are used as LCM in different concentrations and in different particle size distribution. Lost circulation zones are simulated using the ceramic disks and slotted disks. Ceramic disks with nominal pore sizes 20, 35, 60, 90, and 150 microns are characterized in terms of pore size distribution using the computerized image analysis technique. Filter cake quality, spurt loss and filtrate volume are basic parameters to be evaluated in this study. Tests are performed at 75 F and 300 psi of differential.

Det här examensarbetet behandlar frågeställningen hur en testrigg kan utformas för att testa planetväxlar avsedda för industrirobotar. Ett sekundärt mål för testriggen är att i så stor utsträckning som möjligt vara modulär för att kunna testa olika storlekar av planetväxlar i samma testrigg. Arbetet presenterar en testrigg för att undersöka växlarnas enskilda egenskaper så som lost motion, hysteres, vridglapp, böj- och vridstyvhet samt verkningsgrad och livslängd. Slutligen genomförs beräkningar och konstruktion av det framtagna konceptet. Slutsatsen av arbetet är att det sannolikt går att tillverka en modulär testrigg som klarar av att testa samtliga egenskaper hos planetväxlar.

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Samples of cave water were analyzed for volatile organic compounds during four separate storm events. The major compounds detected were toluene, 1,1,1-trichloroethane, trans-1,2-dichloroethylene, methylene chloride, and 1,1-dicloroethane. Minor compounds detected were trichloroethylene, tetrachloroethylene, 1,1-dichloroethylene, and ethylbenzene. These compounds were detected in varying amounts at each of the three study sites. During a storm event, the levels of each contaminant changed significantly at all three sites studied. Two effects were observed when a storm event occurred. The first effect was the dilution of the volatile organic compounds during the storm event. These effects were related to the amount of rainfall and the rate at which the rainfall occurred during a given storm event. The second effect was the drastic increase in the level of all contaminants after the storm event.