The Bridal Veil Falls Limestone (lowest 400 meters of the Permo-Carboniferous Oquirrh Group) is well exposed on the flanks of Cascade Mountain (Wasatch Front and adjacent mountain ranges) near Provo, Utah. Because of its excellent exposure and location in the heart of the Oquirrh depocenter, this area was selected to develop a sequence stratigraphic framework for Morrowan rocks that may be applied throughout the Oquirrh basin (NW Utah and southern Idaho) as well as the adjacent Ely and Bird Springs troughs. Eleven partial to complete sections of the Bridal Veil Falls Limestone were measured along the west and north flanks of Cascade Mountain and the south end of Mt. Timpanogos. There the limestone is comprised principally of mud-rich carbonate lithofacies punctuated by thin, and sometimes discontinuous quartzose sandstone beds. The predominance of muddy to grain-rich heterozoan limestone microfacies suggests deposition on a west-dipping low energy carbonate ramp that prograded westward throughout Morrowan time. Sandstones reflect transport of siliciclastics from the incipient Weber shelf (located to the NE) during episodes of sea-level lowstand. The Bridal Veil Falls Limestone is subdivided into 21, third and fourth order depositional sequences ranging in thickness from 3 to 60 meters, and 62 parasequences. Parasequences are commonly asymmetrical, reflecting rapid flooding followed by protracted shoaling and/or sea level drop. Selected cycles are recognized in the Lake Mountains, Thorpe Hills, and the southern Oquirrh Mountains to the west of Cascade Mountain indicating that Parasequences delineated at Cascade Mountain are regionally extensive over an area of at least 300 square kilometers.

In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.

No description available.

No description available.

No description available.

No description available.

No description available.

[ES] Robert Venturi y Denise Scott Brown no sólo fueron transgresores con sus teorías en los años 60, también con sus obras. La Guild House fue una de ellas, "ordinaria" y "extraordinaria" a la vez. Un edificio de transición, ni sólo moderno, ni sólo posmoderno, sino complejo y contradictorio, que fue más allá de las convenciones del Movimiento Moderno, transgrediéndolo y apostando por su superación, sin dirigir la mirada a los grandes maestros, sino al presente y el futuro. Un ejercicio de experimentación en un edificio de viviendas sociales para personas mayores con pocos recursos, que incluye un programa complejo, repleto de simbolismos históricos y ordinarios a favor de la semántica de los elementos convencionales, las distorsiones y los distintos tipos de ornamento, con el que volvieron su mirada hacia el pasado para mirar al futuro, acercándose a la realidad social a través de la aceptación de los gustos populares americanos. Apoyados en la ironía, promovieron una arquitectura aparentemente ordinaria, aunque compleja y culta en esencia, arquetipo de la arquitectura de "lo feo y lo ordinario" frente a lo "heroico y original", manifiesto del "decorated shed", y probablemente, el primer gran edificio "posmodernista". / [CA] Robert Venturi i Denise Scott Brown no només van ser transgressors amb les seves teories en els anys 60, també amb les seves obres. La Guild House va ser una d'elles, "ordinària" i "extraordinària" alhora. Un edifici de transició, ni només modern, ni només postmodern, sinó complex i contradictori, que va anar més enllà de les convencions del Moviment Modern, transgredint-lo i col¿laborant en la seva superació, sense dirigir la mirada als grans mestres, sinò al present i el futur. Un exercici d'experimentació en un edifici d'habitatges socials per a gent gran amb pocs recursos, que inclou un programa complex, ple de simbolismes històrics i ordinaris a favor de la semàntica dels elements convencionals, les distorsions i els diferents tipus d'ornament, amb el qual van tornar la seva mirada cap al passat per mirar al futur, acostant-se a la realitat social a través de l'acceptació dels gustos populars americans. Recolzats en la ironia, van promoure una arquitectura aparentment ordinària, encara que complexa i culta en essència, arquetip de l'arquitectura de "el lleig i l'ordinari" davant el "heroic i original", manifest del "decorated shed", i probablement, el primer gran edifici "postmodernista". / [EN] Robert Venturi and Denise Scott Brown were not only transgressors with their theories in the 1960s, but also with their works. The Guild House was one of them, "ordinary" and "extraordinary" at the same time. A transitional building, neither only modern nor only postmodern, but complex and contradictory, that went beyond the conventions of the Modern Movement, transgressing it and collaborating in its overcoming, without looking to the great masters, but to the present and the future. An exercise of experimentation in a social housing building for old people with few resources, which includes a complex program, full of historical and ordinary symbolism in favor of the semantics of conventional elements, distortions and different types of ornamentation, with which they turned their gaze to the past to look to the future, approaching social reality through the acceptance of popular American tastes. Supported by irony, they promoted an apparently ordinary architecture, although complex and cultured in essence, an archetype of the architecture of "the ugly and the ordinary" as opposed to the "heroic and original", a manifesto of the "decorated shed", and probably, the first great "post-modernist" building. / Arnau Orenga, PI. (2022). GUILD HOUSE. La idea de transgresión en la arquitectura de Venturi, Rauch & Scott Brown [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/181230

Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.

This research uses the ‘demand-side thesis’ to examine the decline of the Dundee jute industry. In particular, it examines the effect of international competition and the strategic response of the industry during the inter-war (1919-1939) and the post-war (1945-1960s) period to counter this challenge. The strategic response is studied by examining strategies employed at the firm and the industry level. Strategy at the firm level is studied in the form of capability development using the capabilities approach. The thesis also makes an attempt to redress the issue of determinism in the capabilities approach which suggests that the pattern of capability development is governed by path-dependency. By drawing on the techniques employed in the history literature, this research identifies strategic options that were being considered by firms at the time of capability development and examine why certain alternatives were not pursued. This will bring to light aspects other then those associated with path-dependency that played a role in the pattern of capability development. The capabilities developed by firms during the two periods are compared and contrasted in order to understand the pattern over this period. These findings are juxtaposed with the British cotton textile industry, a related sector, to examine the effectiveness of the demand-side thesis in explaining the decline of the jute industry in particular and the textile industry in general. This thesis makes contribution to three areas of literature: First, the thesis helps to further develop the demand-side framework by introducing a new case (Dundee jute industry) and developing a better understanding of strategic response within the jute and textile industry in general. Second, this thesis contributes to the theoretical development of capabilities approach in two specific areas: a) it helps to address the issue of determinism inherent in the capabilities approach through the notion of path-dependency. This was done by also examining the strategic options that were available to firms while developing their capabilities and underlining the reasons for not pursuing them. b) the analysis sheds new light on the nature of branching of capabilities in an industry over a long period. Third, this research makes significant contribution to the existing literature on the business history of the Dundee jute industry, which is sparse. The contributions can be categorised into four key aspects which have not been examined in the current literature: a) period (inter-war and post-war), b) issue (systematic examination of the Dundee jute industry’s decline, strategic response and role of collective strategies), c) method (detailed study of individual firm’s strategies), and d) cross comparison of industry’s experience with related sectors (for example, the cotton industry). Focusing on these issues has helped to throw new light on the challenges, especially technological, facing the industry in developing its strategic response.