Evaluating copper isotope fractionation in the metallurgical operational chain: An experimental approach

Until today, raw material information of copper (Cu) objects is mostly gained from impurities and trace elements and not from the Cu itself. This might be obtained using its stable isotopes. However, isotopic fingerprinting requires the absence of fractionation during the smelting process. The Cu isotope evolution during outdoor smelting experiments with Cu sulphide ore was investigated. It is shown that external materials, in particular furnace lining, clay, manure and sand, alter the isotopic composition of the smelting products. Cu isotopes are fractionated within low viscosity slag derived from matte smelting. The produced metallic Cu has a Cu isotope signature close to the ore.     

‘Startling; Nay,Almost Repulsive’: Light Effects and Nascent Sensation in John Everett Millais’s The Rescue

Taking Pre-Raphaelite painter John Everett Millais’s The Rescue (1855) as a case study of shifting aesthetic and moral frameworks, the essay investigates the ways in which mid-century British debates regarding the proper representation of light effects illuminate anxieties about a physically embodied viewer, one who encountered pictures in individualized ways that required regulation and guidance. Represented light, as an element that had a measurable effect on the senses, clearly stimulated a physical response and therefore brought the body to the fore in the art encounter. Types of painting that forcefully engaged the somatic self could become suspect and consequently subject to a process by which they were designated as ‘sensation’, a category in fraught relation with the disappearing ‘sublime’. Combining close visual analysis, a discussion of The Rescue’s novel subject matter, remarks by its first beholders, and nineteenth-century aesthetic theory, the article reflects on the ways in which discourses of art revealed anxieties about the formation of the modern subject and argues that The Rescue is a node in which the death of the sublime meets the birth of sensation.     

Living through,living with and living on from breast cancer in the UK: creative cathartic methodologies,cancerous spaces and a politics of compassion

This paper contributes to a growing literature exploring the embodied emotions involved in death studies. It does so through a creative cathartic autobiographical account of living through and on from breast cancer. In presenting this ‘storifying experience’, this UK-based paper has three key aims: first, it attempts to counter the disjuncture between the fleshy and emotional cancer journey I have travelled through and the sometimes abstract, disembodied accounts of cancer circulating in some geographical texts; second, it reveals some geographical insights that are uncovered through the use of creative cathartic methodologies which unsettle commonly held discourses about dying and surviving; and third, it poses some troubling questions for geographers working in this field with respect to the methodologies, politics and emotions of such research. In the paper, I argue that employing a creative cathartic methodology gestures towards ‘an opening into learning’ that provokes emotional enquiries about what it means to be taught by the experience of (traumatised) others. In particular, I advocate for a politicised compassion that both cares for those who are living through, with or living on from life-threatening illnesses and also cares about the complex conditions that shape their experiences, both within and beyond the academy.     

Four Alien Priories in Monmouthshire

Abstract

Inigo Jones is conventionally seen as an isolated genius who had little direct effect on contemporary architects and builders. This is true if his early, elaborately Classical, buildings such as the Banqueting House, are examined in isolation. However, after 1630 Jones developed a very different, astylar domestic manner which proved highly influential among contemporary architects and builders both in London and the countryside.