Thesis (Ph. D.)--University of Hawaii at Manoa, 1995. / Includes bibliographical references (leaves 207-215). / Microfiche. / xiii, 215 leaves, bound maps (some col.) 29 cm

Thesis (M.S.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 75-80). Also available online.

Iceland possesses numerous subglacial volcanoes (tuyas and tindars) that act as geological records of the thick ice sheets that once spanned across the country. Flat topped volcanic summits, which were able to penetrate through the covering ice, provide an estimate of the ice sheet's minimum thickness at the time the volcano was in its final eruptive stage. Iceland not only provides a large number of potential subglacial edifices to sample but is geologically interesting as it sits above a magmatic hotspot and spreading ridge, providing a long term record of volcanism during considerable climate variability. However, it is unknown exactly in which glacial cycle these volcanic edifices formed, due to the lack of accurate and reliable eruption ages. Helium isotopes are valuable tracers of the mantle source for the origin of volcanic rocks. Helium isotopes are comprised of a mixture of magmatic helium trapped whilst in the mantle, cosmogenic helium built up by interaction with cosmic rays during surface exposure and radiogenic helium produced from the in situ decay of U and Th. These helium components yield invaluable information on the mantle source, time of eruption and length of exposure respectively. The principle aim of this study is to determine whether reliable and accurate eruption ages of basaltic subglacial volcanoes in Iceland are possible, by applying a relatively new geochronological tool: U-Th/He dating. These eruption ages combined with cosmogenic derived 3He surface exposure ages of the summits helps to establish ice surface elevation and thickness fluctuations over time. Olivine bearing basalt samples were acquired from 14 tuyas, 4 tindars and 1 shield volcano across the Western and Northern Volcanic Zones in Iceland (WVZ and NVZ). Samples were collected from the base of each edifice for U-Th/He dating and the summits of 3 tuyas for cosmogenic 3He surface exposure dating. Olivine phenocrysts were hand-picked and analysed on two noble gas mass spectrometers (VG5400 and Helix-MC instruments). As part of the analytical procedure for these techniques, magmatic helium trapped in the olivine grains is also analysed. The mantle helium isotope ratios indicate that nearly all edifices sampled obtain a MORB-like source (1-18RA) except for an OIB-like (24RA) centrally located tuya, Bláfell. The helium ratios acquired in the NVZ are lower (4-11RA) than those in the WVZ (8-20RA). There are no significant differences seen in the mantle components between the different types of edifice sampled. Mantle helium isotope ratios confirm the heterogeneity of the mantle beneath Iceland. The cosmogenic 3He exposure ages of Hlöđufell and Bláfell in the WVZ and Gaesafjöll in the NVZ are determined as 0.5±7.4ka, 67±0.7ka and 108±46ka respectively. This study presents the first 3He cosmogenic exposure age determined to be over 20ka in Iceland. The low concentrations of U and Th observed in Icelandic olivines (0.002-0.04 nmol/g and 0.01-0.1 nmol/g respectively) prevent any reliable disequilibrium ages to be established. Minimum secular equilibrium U-Th/He ages are determined and provide a range of erroneously large eruption ages (0.4 - 80.4 Ma), due to potential helium implantation and under-detection of 3He released during sample analysis. Progress can be made towards determining accurate eruption ages for Icelandic basalts if certain factors are adhered to and various sources of helium are separated effectively.

Since its publication in 1947, Malcolm Lowry’s novel Under the Volcano has been gaining in reputation until it has come to be regarded as one of the masterworks of this century. The aim of this thesis is to consider Under the Volcano in the light of the Romantic and Symbolist tradition in which it belongs, and to provide an interpretation of the novel through an exploration of its structure, symbolism and theme. Chapter I attempts to demonstrate that an understanding of the world view which Lowry adopts in Under the Volcano - the doctrine of universal analogy, which had such a profound influence on the nineteenth-century Romantic and Symbolist writers - is essential to an appreciation of the formal design and the theme of the novel. Chapters II and III examine the implications of two of the major symbols of Under the Volcano - the wheel and the abyss — and attempt to show how these symbols function on several levels to support both the narrative sequence and the mythic framework of the novel. Some attention is paid to the metaphorical identification of the protagonist with the archetypal ‘suffering hero,’ especially in relation to the Promethean and Orphic imagery employed in the novel. Chapter IV is concerned with the tragic stature of the hero, particularly as it is revealed in the culminating scenes of the novel, and with an examination of the paradoxical resolution of the central conflict - the struggle between love and death. The Conclusion contains a brief review of some critical comments on the novel and modern literature in general, which may contribute to an appreciation and understanding of Lowry’s achievement in writing Under the Volcano. / Arts, Faculty of / English, Department of / Graduate

Between 1936 and 1946 Malcolm Lowry produced a succession of versions or revisions of Under the Volcano. He began this lengthy undertaking in Cuernavaca, Mexico, and continued it in Los Angeles—where he moved in 1938—and Vancouver, British Columbia to which he moved just prior to the outbreak of war in 1939. In 1940 he submitted what he considered at the time to be the final version to a number of major and minor publishers, all of whom had rejected it by 1941. During the same year, having moved out of the city of Vancouver to the nearby squatter's settlement at Dollarton, Lowry re-commenced to revise the novel. By Christmas of 1944, after thousands of pages of revisions, he had more-or-less completed another "final" version, and a retyped copy of this was accepted in 1945 for publication early in 1947. In general, the many successive post-1940 versions of the novel show only minor alterations to the basic story or plot of the rejected version. But Lowry re-presented this fundamental story in such a way that the overall effect of the novel published in 1947 was extremely different from that of the rejected 1940 version. In the course of this post-1941 revising of the novel, Lowry made a great many marginal annotations. As a rule they recorded his immediate feelings or thoughts about some aspect of the draft version he was considering at the time. Examination of these notes reveals a pattern of motivation lying behind Lowry's gradual representation of the novel's basic story. On the one hand, his critical notes ultimately expressed dissatisfaction with a melodramatic and allegorical view of the world implicitly held by the narrator of the pre-1941 versions of the novel; on the other, his strategic notes complemented this criticism by recording his local attempts to represent the novel's basic story from a philosophically and psychologically more complex point-of-view. It also becomes clear during examination of Lowry's marginalia that the earlier narrator's implied view of the world was profoundly neurotic. And the structure of this neurosis precisely paralleled a neurosis evident in Lowry's own view of the people around him prior to 1941 and his move to Dollarton. Regarded in this light, Lowry's marginal notes appear to record not only a creative aesthetic development but also a creative re-vision of his own personality—a movement away from his own neurosis that he achieved by means of his literary engagement. In the final analysis the personal and literary undertakings must be understood as a single integrated process; the record of Lowry's revision of Under the Volcano is thus an extremely detailed example of precisely how literary creativity can be understood as therapy. / Arts, Faculty of / English, Department of / Graduate

Twenty Four samples of xenoliths and country rocks from the 1961 lava flow of Calbuco volcano have been studied. Fourteen samples have been analyzed for major elements and P, Ni, Ba, Cr, V, Zr, Sc, Y, and Sr. Five of these samples were further analyzed for Sm, Nd, Sr, and Pb isotope ratios. Seventeen samples were studied under the microscope and three samples were analyzed by microprobe for their pyroxene compositions. Based on petrographic studies xenoliths were divided into three groups. Fine grained xenoliths (groups I and II) probably formed from metamorphosed MORB-like basalts, whereas coarse grained xenoliths (group III) were apparently derived from cumulate minerals that crystallized from the Calbuco magma. The fine grained xenoliths were probably entrained in magma at intermediate levels of the crust, near the stability limit of amphibole to form pyroxene and plagioclase. In the coarse grained xenoliths amphibole that formed at depth dehydrated as the xenoliths were brought to the surface. The country rocks are apparently unrelated to the xenoliths.

<p> Altered olivine tholeiite basalt on Mauna Ulu Volcano, Hawaii was examined petrographically and chemically to determine the mineralogy of the alteration products. Colour plays an important role in determining a general trend of alteration. </p> <p> The processes involved in the formation of Mauna Ulu have little effect on the alteration. The major influence is the type of volcanic gas and its constant interaction with the basaltic lava over an eight year period. The gas is oxidized as it cools, resulting in a zoning of different alteration products in a variety of colours and compositions. </p> <p> The major alteration phase was determined to be amorphous opaline silica. Other species present are hematite and sulphur, with minor halides, sulphates and sheet silicate (chlorite). </p> / Thesis / Bachelor of Science (BSc)

Symphony: Tambora is a piece for chamber orchestra that is inspired by the 1815 eruption of Mount Tambora in the Lesser Sunda Islands of the Phillipines. Its three movements deal with the genesis of Mount Tambora, the magma chambers filling up and spilling over, and the series of eruptions that resulted in some of the worst climate crises in recorded history. The thesis includes a score of the work, and an accompanying analysis.

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