Lalla Rookh Research Articles

Orient Romanticised: Disruption of Orient’s Reality in Select Occidental Literary Discourses

This article critically analyses the side effects of the Western Imperialism through their careful manufacturing of Orientalism as a discourse over centuries and promoting a stereotyped ‘Oriental’ flavour through its literature such as, Thomas Moore’s narrative poem, Lalla Rookh (1817) that essentially obeys to confine to the identity of the Orient. Edward Said’s Orientalism (1989) forms the foundation of the article and studies the role of an Orientalist in the process of Orientalising the East, as the middleman between the East and West that helped substantiate the image of the stereotyped Orient by contributing to the literature. Modern Orientalism has a recurring theme of identity crisis and displacement, which roots from the long history of exploitation faced by the people in the name of The White Man’s Burden, coined in an 1899 poem by Rudyard Kipling as a symbol of his compassion towards the white supremacy. The article also identifies sensuality in language to express the exotic image of India in Thomas Moore’s Lalla Rookh, an Oriental romance as an Oriental romance to substantiate the image of the stereotyped Orient.

Reception of peri's image in Russian poetry of the XIX century (the second article)

The article presents additions to the scientific research of D.N. Zhatkin and A.P. Dolgov «Peri in Russian poetry», published in 2007 in the magazine «Russian speech» and comprehending the facts that influenced on the process of assimilation of the symbolic image of Peri, who came from Eastern mythology and appeared in the works of Russian writers and translators thanks to the reception of the works of Thomas Moore, namely one of his frame tales of the eastern story «Lalla Rookh» «Paradise and Peri». This article is the first to systematize materials on the topic related to the literary work of such poets of the «second row» as D.V. Davydov, I.P. Myatlev, E.P. Rostopchina, L.A. Yakubovich, V.S. Pecherin, S. Ya.Nadson, P.F. Yakubovich. In their works, Russian poets of the «second row» traditionally continued to use the symbolic image of the peri to describe a woman with an unusual attractiveness and lightness.

«Первоначальный курс обучения» В. А. Жуковского: опыт реконструкции и анализа визуального ряда

Purpose. The aim of the article is to investigate the little-studied pedagogical project of V. A. Zhukovsky in the last years of his life (Initial Course of Study, hereinafter – Course) from the point of view of the interaction of verbal and visual elements in it. V. A. Zhukovsky mainly worked out the Course in 1848-1851. He tested it in class with his daughter. The ‘course’ was to consist of three parts: 1) language; 2) mathematics; 3) Sacred History. For each of these parts, Zhukovsky prepared visual tables, which were original experiments in combination of verbal and visual (graphic) materials. The emphasis on visuality and experiments with it were innovative pedagogical strategies for the mid-19th century. An analysis of the techniques used by Zhukovsky to combine the visual and the verbal will reveal the connection between the creative strategies of Zhukovsky the poet and Zhukovsky the teacher. Results. Types of graphic elements involved in the Course are very diverse: plot-shaped images, pictograms, ideograms, symbols, their combinations similar to ideographic writing, as well as diagrams that use various methods of color selection of elements. Based on handwritten material from the Zhukovsky Foundation in the Russian National Library, the article analyzes in detail the most important of these: plot-shaped images, diagrams and mnemonic symbols. We identify the nature of the interaction of signs of different nature in the heterogeneous (visual-verbal) environment of the Course and find that in the materials of the Course related to Sacred History, the model of creolized text is used, and in the materials on mathematics and language – polycode text. The fact of various semiotic systems interaction in the Course was very important for Zhukovsky. The process of concentration, ‘folding’ the content into visual signs-ideograms, and then narratively unfolding it in the process of the student’s response formed the methodological basis of the visual didactics. The techniques used by Zhukovsky as a teacher can be compared with the techniques used by Zhukovsky as a lyricist in the manifestos of his ‘poetic philosophy’ – the poems The Inexpressible and Lalla Rookh. Both of these texts are explications of the romantic duality, but in the The Inexpressible the idea of the duality is articulated with the help of suggestive poetics, and in the Lalla Rookh with the help of emblematic poetics. The poetics of The Inexpressible is dominated by the rejection of figurativeness in favor of a complex way of intonated atmospherics, which is close to the artistic language of painting. In contrast to The Inexpressible, the language of the poem Lalla Rookh is so figurative that this poem can be considered an ekphrasis of the Baroque emblem. Suggestive painting and emblematic graphics are the two poles between which Zhukovsky’s artistic, poetic, and pedagogical language fluctuates. The style of the Course is close, of course, to the second of these poles. Conclusions. The idea of the Course was undoubtedly influenced by such types of family communication between adults and children as domestic make-believe games (playing books and stories), board games (cards and other educational games, word registers), games of charades. But in addition, the influence of Zhukovsky’s translation activity and a certain specificity of the figurative activity of his artistic consciousness, a kind of ‘habit of translation’, manifested in the multiplying ways of transmitting the same meaning in different forms, visual and metaphorical, is obvious.

From endnotes to the ends of the earth: Moore, Staël, and romantic transport

ABSTRACT Scholarship on travel writing tends to focus on accounts by writers who spent time in the places they depict. But neither Romantic-era nor twenty-first-century cognitive theory gives such a limited notion of travel. Lalla Rookh (1817), a hybrid poetic text by Irish writer Thomas Moore, presents the idea that reading is a form of travel that provides access to distant places. Moore had never been to the lands – India, Egypt, Persia – about which he wrote, but rather constructed his text through meticulous research. In both Lalla Rookh’s text and paratext Moore makes the Orientalist argument that his research gave him the same experience of the East as one who had seen it first-hand. Through readings of Lalla Rookh and Germaine de Staël’s Corinne, or Italy, this essay argues that “travel” studies might benefit from the more capacious notion of “transport” as a disciplinary and conceptual category.

Locating Ireland in Iran of Thomas Moore’s “The Veiled Prophet”: Allegory, History, and Unsettled Interpretive Trajectories

ABSTRACTThis article focuses on the first section of Thomas Moore’s 1817 narrative poem Lalla Rookh, titled “The Veiled Prophet of Khorassan.” Since the publication of Lalla Rookh, attempts have been made to decipher Moore’s intended historical analogy for this allegorical poem set in eighth-century Iran, with Moore refraining from publicly commenting on its implied historical setting. Apropos of ongoing attempts to decode Moore’s intended surrogate setting, I propose a new and Ireland-centered historical interpretation by locating the poem in the framework of Moore’s other publications and his historical anxieties concerning Ireland’s political and communal future. After interrogating existing interpretations of the poem, I argue that not only did Moore unquestionably intend the poem to parallel an Irish historical setting, but that the particular episode in Irish history he had in mind was most likely the 1641 Catholic uprising led by Sir Phelim O’Neill, who bears a close resemblance in Moore’s various writings to the poem’s anti-hero Mokanna.

Thomas Moore’s creative works in the Russian literary critical reception of the 1820s the first half of the 1830s

Objectives : The article is devoted to the study of literary-critical responses about Thomas Moore and his works published in Russian periodicals of the 1820s – the first half of the 1830s. Methods: The article is based on methodologically significant works of such leading Russian literary scholars as M.P.Alekseev, Alexander N.Veselovsky, V.M.Zhirmunsky, Yu.D.Levin, Yu.M.Lotman, B.V.Tomashevsky, V.N.Toporov, E.G.Etkind, as well as works on comparativistics science, theory and history of literary translation, intercultural communication. Cultural and historical, comparative research methods are used, as well as methods of integrated analysis. Findings: The first mentions about Thomas Moore in Russia began to appear in translated articles and brief notifications about the release of new books in the early 1820s. Many articles contained critical remarks about the work of the Irish bard, responses to his most significant works for the Russian public, among which are the poetic cycle «Irish Melodies», the oriental tale «Lalla Rookh» and the novel «The Epicurean». An Interest to Thomas Moore was maintained thanks to his work on the biography of Lord Byron, which caused many disapproving remarks from Russian literary criticism due to the circumstances accompanying its appearance. Novelty: Despite the appearance in the Russian press in the 1820s – the first half of the 1830. critical reviews about the work of Thomas Moore, he was traditionally perceived as one of the key figures of English romanticism, who was a part of the famous triumvirate of romantics along with Byron and Walter Scott. Moore turned out to be significant for Russian literature as a singer of Irish freedoms, an interpreter of Oriental motifs, a biographer and a like-minded person of Byron.

Góry Kaukaz jako wrota Orientu. Motywy orientalne w twórczości Tadeusza Łady-Zabłockiego

THE CAUCASUS AS A GATE TO THE ORIENT. ORIENTAL MOTIFS IN TADEUSZ ŁADA-ZABŁOCKI'S OEUVREThe East, its culture and literature were always part of the rich, erudite poetic imagination of Tadeusz Łada-Zabłocki 1811–1847, a tsarist exile to the Caucasus. He spoke Oriental languages Georgian and Persian and had a thorough knowledge of the Koran, a short fragment of which he even translated probably from French. Although today we only have his poetry inspired by the Caucasian mountains, he was also no stranger to extensive travel accounts unfortunately, his Dziennik podróży mojej do Tyflisu i z Tyflisu po różnych krajach za Kaukazem Journal From My Journey To and From Tiflis Across Various Countries Beyond the Caucasus and notes from his Armenian expedition were lost. An important source of inspiration for Zabłocki, encouraging him to explore the East, were the Philomaths’ translations of Oriental poetry by Jan Wiernikowski and Aleksander Chodźko, while his model of reception of the Orient were the oeuvres of Mickiewicz primarily his Crimean and Odessa Sonnets, Byron and Thomas Moore especially the fragment of Lalla Rookh — Paradise and the Peri. The exile brutally brought Zabłocki into contact with the real Orient, terribly dangerous and diametrically different from the one described by Western travellers. It is, therefore, not surprising, that their superficial and simplified accounts were criticised by the Polish poet and soldier.Zabłocki’s oeuvre, both pre-exile and Caucasus period works, is full of various Oriental reminiscences: from the Biblical topos of the Paradise ab Oriente, through numerous splendid images of Caucasian nature, scenes from the life of Caucasian highlanders, poetic imitation of the metre of Caucasian folk dances, apt ethnographic observations in the verses, borrowings from Oriental languages, extraordinarily sensual eastern erotic poems, to translations of texts of Caucasian cultures Tatar, Azeri and Georgian songs. Zabłocki drew on both folk culture of Caucasian tribes, and on Eastern mythologies as well as universal culture of the Islamic world. He presents an ambivalent image of Caucasian highlanders in his poetry: sometimes they acquire traits of noble, free, valiant and indomitable individuals, typical of the Romantic idea of highlanders, on other occasions the label “Son of the East” becomes a synonym of Asian barbarity.Freed from the service in the tsarist army, Zabłocki planned travels across nearby Persia, Asia Minor, and even Arabia, Nubia and Palestine. However, the plans never became a reality, owing to a lack of funds and the poet’s early death of cholera.Zabłocki’s “Eastern” oeuvre fully reveals the “liminal”, demarcational nature of the Caucasian mountains, for centuries constituting the limes between Europe and Asia, the East and the West, a meeting place of the Christian and the Muslim Orients.]]>

Environmental control on microbial diversification and methane production in the Mesoarchean

Multiple lines of evidence have revealed a thriving marine biosphere capable of diverse metabolic strategies back to at least 3.5 billion years ago (Ga). However, little is known about microbial ecosystems in lakes and rivers during the Mesoarchean and their role in the evolution of life on Earth. Here we report new carbon and nitrogen isotopic data from the fluvio-lacustrine Lalla Rookh Sandstone in Western Australia (∼3.0 Ga) – one of the oldest known non-marine sedimentary deposits. Organic δ13C values (−30‰ to −38‰) are best interpreted as recording carbon fixation by methanogens using the acetyl CoA pathway mixed with organisms using the Calvin cycle, while δ15N data (0‰ to −1‰) likely reflect biological N2 fixation using FeMo-nitrogenase. When compared with data from the literature, we show that lacustrine habitats of Mesoarchean age (3.2–2.8 Ga) are systematically depleted in δ13C (−37 ± 5‰) relative to marginal marine (−32 ± 7‰) and open marine settings (−27 ± 3‰), suggesting that methanogenesis was relatively more important in lacustrine communities. Our findings highlight: (a) the widespread use of biological N2 fixation by the Mesoarchean biosphere, (b) the potential importance of continental habitats for methane production and perhaps for the formation of a hydrocarbon haze, and (c) the possible role of land masses in driving microbial diversification on the early Earth.

Lalla Rookh and the Afterlife of Allegory

Lalla Rookh and the Afterlife of Allegory

THEREALBAYADÈRE MEETS THE BALLERINA ON THE WESTERN STAGE

The oriental ballet is typicallyassociated with modern dance, Russia, and the nonpareil dancers Vaslav Nijinsky, Michel Fokine, Anna Pavlova, and Ruth St. Denis. One of the most excerpted of all classical ballets and considered the first example of the abstract form in modern dance is the “Kingdom of the Shades” sequence in Marius Petipa'sLa Bayadère, featuring thirty-two ghosts of Hindu temple dancers dressed in white entering the stage one by one with a simple arabesque cambre. What people often forget is thatLa Bayadèrewas a huge sensation in Europe during the romantic ballet years – the 1830s and 40s – 50 plus years before the Ballets Russes and a full generation before Petipa's 1877 production, which most assume to be the ballet's original. This and other grand operas and ballets of its kind –Lalla Rookh,Les Orientales,Le Corsair,La Peri,La Paquita,Revolt of the Harem– took romanticism beyond the pale in terms of visual extravagance; elaborate water systems were installed to depict bathing scenes and shipwrecks, and live horses and elephants brought onto the stage to add verisimilitude to the Eastern spectacle.

Richard Cronin Paper Pellets: British Literary Culture after WaterlooPaper Pellets: British Literary Culture after Waterloo. Richard Cronin. Oxford: Oxford University Press, 2010. Pp. viii+268.

<i>Richard Cronin</i> Paper Pellets: British Literary Culture after Waterloo<i>Paper Pellets: British Literary Culture after Waterloo</i>. Richard Cronin. Oxford: Oxford University Press, 2010. Pp. viii+268.

Samuel Rogers: A Passion for Little Girls

Samuel (1763-1855) was known for writing chaste and decorous verse, yet he had a proclivity for girls was considered unusual even in an age when sexual use and abuse of very young was not uncommon. The author of The Pleasures of Memory (1792), The Voyage of Columbus (1810), Jacqueline (1814), Human Id] (1819), and Italy (1822), was prominent. enough to be offered Poet Laureateship upon Wordsworth's death in 1850 (he declined it, in favor of Tennyson). He was famous for his art collection his home 22 St.. James's Place, and for his breakfasts, which he entertained many personalities, politicians, and writers over several decades. A wealthy banker, writer, connoisseur, and patron of arts, was acquainted with a long list of famous literary names. He was also notoriously acerbic and liked to mock, criticize, and spread malicious gossip about his friends, which sometimes led to estrangements, especially in case of Byron, who began his career praising but eventually satirized hint. When he died age ninety-two, was unmarried, though he did make least one offer of marriage when he was young (Clayden 1:6) In Byron Journal (1989), William St. Clair published a new version of a letter of July 10, 1817 from Byron to Thomas Moore, copied from a Regency-era scrapbook. This text differs from only previously available version, Moore's transcription, published in his 1830-31 biography of Byron. Discussing some magazine extracts from Moore's new poem Lalla Rookh: An Oriental Romance (1817), according to Moore's text, Byron wrote: There is a simile of an orange-tree's 'flowers and fruits,' which I should have liked better, if I did not believe to be a reflection on * (Byron Letters 5:230). St. Clair's uncensored version reveals joke behind asterisks: There is a simile of an orange tree's flowers and fruits which I should like more if I did not believe to be a reflection on of with children 'Age play with infancy.' St. Clair assumes is an in-joke but, he writes, it is difficult now to be sure of what. Byron intended, but Rogers, who was an old bachelor, illustrated his books of poems with podgy little boys reminiscent of Italian putti, and there may be some reference to that. (53-54). In fact Byron's joke was intended to cut more deeply than The reference to Lalla Rookh is clear enough; relevant lines are: Just then beneath some orange trees,/ Whose fruit and blossoms in breeze/ Were wantoning together, free,/ Like age play with infancy (212-15). Byron's syntax is confusing because of lack of punctuation (which might be fault of he scrapbook transcriber): does Byron mean that companions of Rogers are playing with children, or that of arc children with whom he plays? The apparent logic of joke would suggest latter, especially because of reference to age--Rogers was fifty-four in 1817, but by all accounts looked many years older (Byron thought was fifteen years older than he actually was [Byron Letters 8:100]). Many of Rogers's acquaintances made jokes, preserved in diaries, letters and anecdotes, about his pale skin, quiet voice, and wrinkled, cadaverous appearance, and over time came to be known by cruel nicknames like the Dug-up Dandy. Age, then, but why at play with infancy? A startling passage in unexpurgated edition of diaries of Charles Cavendish Fulke Greville (1794-1865) provides a clue. On December 16, 1835, Greville, dining with Whig luminaries Lord and Lady Holland, Lord Melbourne, Dr. John Allen, and others, reported: Luttrell was talking of Moore and Rogers--the poetry of former so licentious, that of latter so pure; much of its popularity owing to its being so carefully weeded of everything approaching to indelicacy; and contrast between lives and works of two men--the former a pattern of conjugal and domestic regularity, latter of all men He had ever known greatest sensualist. …

‘Something in the Name of Araby’: James Joyce and the Irish Bazaars

‘Something in the Name of Araby’: James Joyce and the Irish Bazaars Katherine Mullin (bio) On Friday, 18 May 1894, The Irish Times speculated: There must be something in the name of Araby that causes the divine afflatus to descend upon those who study its manners and customs. Moore’s ‘Lalla Rookh’, with its resplendent vivid imagery and perfect poetry, was the wonder of the age, for the Irish songster’s experience of the East was confined to his reading of the Arabian Nights and Oriental literature generally. With the arrival of Araby in Dublin, there has been a passion for producing Arabian poetry and music.1 ‘Araby: A Grand Oriental Fête’ was then in full swing at the Royal Dublin Showground in Ballsbridge, attended by 92,052 visitors — a third of Dublin’s population — over the course of one week.2 Among their number was the twelve-year old James Joyce, who was spotted in the Saturday night crush at the turnstiles by a school friend.3 The Irish Times’s sense that the bazaar was a creative stimulus proved prescient in its anticipation of Joyce’s 1905 Dubliners short story ‘Araby’. In the inaugural issue of this journal, Stephanie Rains conclusively established the scale of Joyce’s creative distortion of the historical Araby bazaar of 1894.4 Her article, together with her later work on the Irish charity bazaars, invites us to wonder why Joyce, a writer often remarked for the accuracy of his portraits of his city, should so wholly misrepresent an event at which he was present. In ‘Araby’, I will suggest, the fête’s failure allows Joyce to expose his young protagonist’s ‘eastern enchantment’ (D ‘Araby’ 23.107) — a fascination with commercialized simulacra of ‘Oriental otherness’ which blinds him to more authentic Eastern resonances closer to home.5 Those resonances, for Joyce, were glossed in two later Triestine lectures celebrating the historical and literary relationships between Ireland and the Arab world. But, intriguingly, Joyce made a hitherto unacknowledged creative return to [End Page 31] Araby in Ulysses, which significantly revises his depiction of it in Dubliners. ‘Monster’ charity bazaars, run by aristocratic and middle-class women volunteers as fund-raisers for local hospitals, were annual events every summer in Dublin during the 1890s and the 1900s.6 In Ulysses, Joyce transposed 1904’s Mirus bazaar, which actually took place from late-May to 4 June. A poster for it attracts Bloom’s attention in ‘Lestrygonians’; Mirus is the destination of the viceregal cavalcade winding through ‘Wandering Rocks’ on its way to the opening ceremony; the ‘bazaar fireworks’ (U 13.686) accompany Bloom’s encounter with Gerty MacDowell in ‘Nausicaa’; in ‘Circe’, Kitty Ricketts recounts some of the pleasures of her afternoon in Ballsbridge with an engineer (U 15.2716–9). The Mirus bazaar is part of the tapestry of Ulysses — yet its firmly domestic attractions are overwritten by the more exotic ‘Araby’ programme of ten years earlier. Ulysses amounts to a suggestive revision of Joyce’s earlier response to the Araby of his adolescence, as the mature novel reveals second thoughts. Completed in October 1905, ‘Araby’ concerns an adolescent boy who develops a crush on the slightly older girl next door, named only as ‘Mangan’s sister’ (D 22.34–5). He is unable to pluck up the courage to ‘tell her of my confused adoration’ (D 21.70), or even to initiate a conversation, preferring instead the safety of secret moments of voyeurism: Every morning I lay on the floor in the front parlour watching her door. The blind was pulled down to within an inch of the sash so I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure always in my eye […] (D 21.44–9). When ‘At last she spoke to me’, it is to ask ‘was I going to Araby’ and to express her disappointment that it is scheduled against a compulsory ‘retreat that week in her convent’: ‘It would be a splendid bazaar, she said; she would love to go’ (D 22.83–91). Seizing...

In Search of an Ireland in the Orient: Tom Moore's Lalla Rookh

In Search of an Ireland in the Orient: Tom Moore's Lalla Rookh

‘Oriental’ and ‘Orientalist’ Poetry: The Debate in Literary Criticism in the Romantic Period

Seven years earlier, Robert Southey used Vedic mythology as the basis for his own Oriental epic, The Curse of Kehama (1810). Critics dismissed the poem as absurd and it was widely remaindered. Yet in the same year that Mill made his notorious remarks, Thomas Moore published his bestselling Oriental poem, Lalla Rookh. Moore’s poem sold a staggering 22,500 copes over 15 editions between 1817 and 1829 alone, fully justifying the 2000 guineas his publisher Thomas Longman paid for it. Byron’s ‘Turkish Tales’ series (1813–14) also sold widely and established the poet’s reputation as a literary lion. Evidently there was a right way and wrong way to write Orientalist verse. How then do we account for these apparently contradictory attitudes towards Eastern culture, given the well-documented vogue for Orientalism taking place in Britain during the Romantic period? Edward Said’s definition of Orientalism as ‘a Western style for dominating, restructuring, and having authority over the Orient’ has long been seen as inadequate in accounting for the wide variety of ways in which European writers engaged with the East, not least because it reduces the complexity of literature to a set of colonial or commercial imperatives. This article considers how contemporary literary criticism, from the belles-lettrists of the mid eighteenth-century to the writings of Mill, Coleridge and Wordsworth, influenced the composition of British Orientalist poetry in the decades after 1800, the high point of Romantic Orientalism. It begins with a survey of opinions on Oriental literature generally, that is, the perceived qualities of imaginative writing produced in the East as opposed to Europe, or the temperate zone, and progresses to the critical reception of Southey’s Curse of Kehama and Moore’s Lalla Rookh, poems that were frequently taken as negative and positive exemplars of the Orientalist genre. I argue that, during the Romantic period, developments in literary criticism, and particularly those concerning imaginative sympathy, were responsible for driving Orientalist poetry into ever more westernised forms. Strict critical parameters governed what was and was not aesthetically acceptable in poetry, chief among which was the Andrew Rudd

“The Standard of Revolt”: Revolution and National Independence in Moore’s Lalla Rookh

This article argues that Thomas Moore's collection of narrative poems Lalla Rookh, an Oriental Romance (1817), by presenting disguised versions of the French Revolution and the Irish Rebellion of 1798, condemns the former but justifies the latter. As the “National Poet” and preeminent literary voice of Ireland, as well as a witness of the 1798 Rebellion, Moore was particularly concerned with the subjects of national independence and armed revolution. The Veiled Prophet of Khorassan depicts a monstrous embodiment of French Jacobinism in the form of the eighth-century false prophet Mokanna, who hides his horrific face behind a beautiful veil. In contrast to Mokanna's corrupt and evil revolution, the national uprising depicted in The Fire-worshippers is depicted as noble and justified. Moore intended this story of Persian resistance to Arab Muslim colonizers as an allegory of Irish Catholic resistance to England, with special reference to the 1798 Rebellion. The prose linking narrative of Lalla Rookh also contains a political dimension, looking forward to possible political reforms that would make armed struggle unnecessary.

Genesis of the Western Samoa seamount province: age, geochemical fingerprint and tectonics

The Samoan volcanic lineament has many features that are consistent with a plume-driven hotspot model, including the currently active submarine volcano Vailulu'u that anchors the eastern extremity. Proximity to the northern end of the Tonga trench, and the presence of voluminous young volcanism on what should be the oldest (∼5 my) western island (Savai'i) has induced controversy regarding a simple plume/hotspot model. In an effort to further constrain this debate, we have carried out geochronological, geochemical and isotopic studies of dredge basalts from four seamounts and submarine banks that extend the Samoan lineament 1300 km further west from Savai'i. 40Ar/ 39Ar plateau ages from Combe and Alexa Banks (11.1 my—940 km, and 23.4 my—1690 km from Vailulu'u, respectively) fit a Pacific age progression very well. The oldest volcanism (9.8 my) on Lalla Rookh (725 km from Vailulu'u) also fits this age progression, but a new age is much younger (1.6 my). Isotopically, these three seamounts, along with Pasco Bank (590 km from Vailulu'u), all lie within, or closely along extensions of, the Sr–Nd–Pb fields for shield basalts from the Eastern Samoan Province (Savai'i to Vailulu'u); this clearly establishes a Samoan pedigree for this western extension of the Samoan hotspot chain, and pushes the inception of Samoan volcanism back to at least 23 my. From geodetic reconstructions of the Fiji–Tonga–Samoa region, we show that the northern terminus of the Tonga arc was too far west of the Samoa hotspot up until 1–2 my ago to have been a factor in its volcanism. Young rejuvenated volcanism on Lalla Rookh and Savai'i may be related to the rapid eastward encroachment of the Trench corner. The Vitiaz Lineament, previously thought to mark a proto-Tongan subduction zone, was more likely created by the eastward propagation of the tear in the Pacific Plate at the northern end of the arc.

معان تاريخية راسخة في قصيدة توماس مور " أمسية سورية" من قصيدته الطويلة "لالا رووك"

This paper is devoted to a reading of a deep historical meaning in Thomas Moore's "A Syrian Evening" from Lalla Rookh. Moore learnt about the East from the Romantic Orientalist poets and writers. He belonged to the same culture and intellectual school of thought as Beckford, Scott, Coleridge, Byron, Keats, Shelley, and the rest of the Romantics. His life was marked by a good sense of the European politics of his age to the extent that his political viewpoints inform his poetry positively. His political interests lead to economic interests. Like the other Romantics, Moore showed a nostalgia to the past and a desire to travel to the East. He was fascinated with the beauty and nature of the East. That fascination mirrored political and economic interests. "A Syrian Evening" conveys political and economic purposes. In the end I see Moore as an armchair Orientalist. هذه دراسة نقدية تبحث في المعاني التاريخية الكامنة في قصيدة ثوماس مور " أمسية سورية" وهو جزء من قصيدة معلقة بعنوان "لالا رووك" كتبها الشاعر ثوماس مور عام 1817م. ينتمي الشاعر مور إلى المدرسة الرومانتيكية وهو تلميذ اللورد بايرون، لقد تأثر مور بفكر العصر وبكتابات أعلامه مثل بيكفورد وبايرون وسكوت وكيتس وشيلي وآخرين، وقد أعجب مور بطبيعة الشرق ووصفها وصفا رائعا. وما زاد من أهمية هذه القصيدة هو ما يكمن وراء ذلك الإعجاب من مصالح سياسية واقتصادية. هذه المصالح عززتها عوامل جغرافية وتاريخية تمتع بها الشرق. لقد حاولت في هذه الدراسة أن أبين هذا الإعجاب وتلك الاهتمامات وأن أربطها بالمصالح الغربية دون إغفال لأهمية عوامل تاريخية وجغرافية امتازوا بها الشرق. في ختام الدراسة تمكنت من معرفة أن ثوماس مور كان مستشرقا عرف الشرق من كتابات الآخرين دون أن يرتحل إلى هناك وبالتالي افتقرت قصيدته إلى التجانس الفكري ففي حين أن الرومانتيكيين دافعوا عن حرية الفرد ونادوا بحرية المجتمع الا أنه في هذه القصيدة يريد الهيمنة على الشرق واستغلال مقدراته لصالح الغرب.

Timing and tectonic significance of Late Archaean, sinistral strike-slip deformation in the Central Pilbara Structural Corridor, Pilbara Craton, Western Australia

A north-south striking zone of sinistral strike-slip shear (20 × 100 km) and associated folding and thrusting within the central part of the Pilbara Craton is described. This zone, referred to herein as the Central Pilbara Structural Corridor (CPSC), was formed during regional D3 deformation and overprints two earlier sets of structures associated with granitoid doming. It is bound to the west by a continuous, north-south striking, curviplanar fault at greenschist-facies. In the east it is bound by a series of NE-SW striking fault segments located along sheared fold limbs, and by a kilometre-wide zone of amphibolite-facies mylonite within the western margin of the Shaw Batholith. Faults vary from narrow, high-level, brittle structures and retrograde breccia zones in the north, to broader, more ductile structures with S C mylonitic foliations in the south, suggesting a southerly increase in exhumation. A set of kilometre-scale, en-échelon folds with NE-SW striking, upright axial planes and NE-plunging axes characterize the interior of the CPSC and are wholly contained within the bounding faults, thus indicating coeval development with faulting during sinistral wrenching ( σ 1 = NW-SE). Strike-slip deformation in the CPSC is interpreted to have resulted from northwesterly indentation of Shaw Batholith (and contiguous rocks to the east). Westerly-directed tectonic escape of the Strelley Granite laccolith and associated supracrustal rocks from in between Shaw Batholith and North Pole Dome, was followed by ramping up the concave eastern margin of the Yule Batholith and eastward tilting during the transition from westerly to northerly displacement. Continued northward translation of the Strelley Granite at the leading edge of the system was terminated by constriction between the Carlindi Batholith and the North Pole Dome. Trailing greenstone successions were crumpled into a series of NE-trending, en-échelon folds and related faults. Kinematic evidence and structural geometry indicate that sediments of the Lalla Rookh Basin (De Grey Group) were deposited in advance of the north-moving Strelley Granite within a basin bounded by faults of opposite displacement, rather than in a pull-apart basin as previously suggested. The age of the D3 deformation is indicated by resetting of the ArAr and RbSr isotopic systems to ca. 2950 Ma in the Western Shaw region, and by UPb ages of syn-kinematic granitoid rocks.

The Mulgandinnah Shear Zone; an Archean crustal scale strike-slip zone, eastern Pilbara, Western Australia

A large part of the deformation in the Archean Pilbara granitoid-greenstone terrain is localized in relatively narrow shear zones. The Mulgandinnah shear zone (MSZ) is a major one of these, with a width up to 8 km, that can be followed for over 70 km along strike in the Shaw Batholith in the eastern Pilbara. It forms part of the Mulgandinnah Lineament, that can be traced to the Lalla Rookh Basin and the Carlindi Batholith in the north, giving it a total length of over 150 km. The MSZ contains both mylonites and ultramylonites, both of which have foliations that are subvertical to steeply dipping, with the ultramylonitic foliation overprinting the mylonitic foliation to form more localized zones of high strain. Stretching lineations are mostly subhorizontal to shallow south plunging for both the mylonites and ultramylonites, but can vary between 50°N and 50°S. Both foliations formed under upper-greenschist to amphibolite grade conditions. The MSZ displays a consistent sinistral sense of shear, as indicated by σ and δ-type porphyroclasts, SC fabrics and rotated pegmatite veins. The mylonites and ultramylonites are interpreted to have developed as part of a progressive deformation event leading to strain localization in the ultramylonites. Timing constraints indicate that the MSZ has been active at ca. 2930 Ma, but it is likely to have been a long lived structure that was reactivated at that stage, when it acted as a conjugate shear during a NW-SE crustal shortening in the eastern Pilbara. The final juxtaposition of the various domains in the Pilbara granitoid-greenstone terrain occurred during this deformation phase