Статті в журналах з теми "Sharp River Bends"

Concern has been expressed regarding the impacts of climate change on river ice and ice jam formation in cold regions. Ice jams are easily initiated in bends and narrow channels and cause disasters. In this study, observations and remote sensing monitoring are used to study the freeze-up ice jam formation of bends. Sediment transport and freezing process of the river interact, influencing bed changes profile and sedimentary budget. River ice processes, channel evolution, ice hydro-thermodynamics, and ice jam accumulation are explored. The results show that the channel topography determines the river thalweg, and that the channel elevation interacts with the river ice through sediment transport. The channel shrinkage increases the probability of ice jam, and the sharp bend is prone to ice jam formation. Under the effect of secondary circulation flow in the bend and in the outer bank, the juxtaposed freeze-up and the hummocky ice cover occur in the same location, and frazil ice accumulates under the junction of the main channel and the shoals. Affected by the increase of the hydraulic slope and the velocity downstream, open water reaches develops downstream of the ice accumulation. An open water section is emerged upstream of the bend, due to the ice deposition, and partly cut-off supply of the frazil.

AbstractAlthough the hydrodynamics of river meanders are well studied, the influence of curvature on flow in estuaries, with alternating tidal flow and varying water levels and salinity gradients, is less well understood. This paper describes a field study on curvature effects in a narrow salt-marsh creek with sharp bends. The key observations, obtained during times of negligible stratification, are 1) distinct differences between secondary flow during ebb and flood, with helical circulation as in rivers during ebb and a reversed circulation during flood, and 2) maximum (ebb and flood) streamwise velocities near the inside of the bend, unlike typical river bend flow. The streamwise velocity structure is explained by the lack of a distinct point bar and the relatively deep cross section in the estuary, which means that curvature-induced inward momentum redistribution is not overcome by outward redistribution by frictional and topographic effects. Through differential advection of the along-estuary salinity gradient, the laterally sheared streamwise velocity generates lateral salinity differences, with the saltiest water near the inside during flood. The resulting lateral baroclinic pressure gradient force enhances the standard helical circulation during ebb but counteracts it during flood. This first leads to a reversed secondary circulation during flood in the outer part of the cross section, which triggers a positive feedback mechanism by bringing slower-moving water from the outside inward along the surface. This leads to a reversal of the vertical shear in the streamwise flow, and therefore in the centrifugal force, which further enhances the reversed secondary circulation.

Trees have been used extensively by river managers for improving the river environment and ecology. The link between flow hydraulics, bed topography, habitat availability, and organic matters is influenced by vegetation. In this study, the effect of trees on the mean flow, bed topography, and bed shear stress were tested under different flow conditions. It was found that each configuration of trees produced particular flow characteristics and bed topography patterns. The SR (single row of trees) model appeared to deflect the maximum velocity downstream of the bend apex toward the inner bank, while leading the velocity to be more uniformly distributed throughout the bend. The entrainment of sediment particles occurred toward the area with higher values of turbulent kinetic energy (TKE). The results showed that both SR and DR (double rows of trees) models are effective in relieving bed erosion in sharp ingoing bends. The volume of the scoured bed was reduced up to 70.4% for tests with trees. This study shows the effectiveness of the SR model in reducing the maximum erosion depth.

Field observations were collected near the mouth of the Bagaduce River, Maine, in order to understand how complex features affect the intratidal and lateral variability of turbulence and vertical mixing. The Bagaduce River is a low-inflow, macrotidal estuary that features tidal islands, tidal flats and sharp channel bends. Profiles of salinity, temperature, and turbulent kinetic energy dissipation (ε) were collected for a tidal cycle across the estuary with a microstructure profiler. Lateral distributions of current velocities were obtained with an acoustic doppler current profiler. Results showed intratidal asymmetries in bottom-generated vertical eddy diffusivity and viscosity, with larger values occurring on ebb (Kz: 10−2 m2; Az: 10−2 m2/s) compared to flood (Kz: 10−5 m2/s; Az: 10−4 m2/s). Bottom-generated mixing was moderated by the intrusion of stratified water on flood, which suppressed mixing. Elevated mixing (Kz: 10−3 m2; Az: 10−2.5 m2/s) occurred in the upper water column in the lee of a small island and was decoupled from the bottom layer. The near-surface mixing was a product of an eddy formed downstream of a headland, which tended to reinforce vertical shear by laterally straining streamwise velocities. These results are the first to show near-surface mixing caused by vertical vorticity induced by an eddy, rather than previously reported streamwise vorticity associated with lateral circulation.

Among all the means of transportation, road has been described as the most important, probably because of its flexibility and its low cost in terms of construction, maintenance and usage. However, in Nigeria, road is considered to be the most dangerous means of transportation because of their bad nature such as sharp bends, narrow bridges, steep slopes and other related problems which are associated with the terrain where these roads are constructed. Road transportation therefore needs proper planning and development through the use of geo-information technologies that would ease accessibility reduces human energy and yet brings reliable and accurate information on the terrain. In this paper, Ilwis 3.5 was used to create Digital Elevation Modelling (DEM), Shadowing, 3-Dimentional View, Slope maps and river direction maps of Biu plateau to analyze the use of GIS on road planning and development on the plateau. It was revealed that the technique has great capabilities of terrain analysis as features which are deemed humanly impossible to assess are viewed as if one is at the scene which may enhance quick analysis on road transportation. It was therefore, recommended that all the stake holders in road transportation should employ the use of this geo-information techniques in terrain analysis to ease transport planning and development in the area.

The three-dimensional (3-D) flow structures in the Taiziji Waterway of the Lower Yangtze River were simulated by a 3-D numerical model, where the river plan form is a sharp bend and island-braided. The verification results of the 3-D model indicated that the simulated results agree with the measured data. The patterns of 3-D flow structures in this sharp bend with different discharge were analyzed based on the calculated results.The simulated results demostrated that strong 3-D features of flow structures can be found in the sharp bend of Taiziji Waterway, the bottom velocity vectors point to the convex bank while the surface vectors point to the concave bank. The velocity distribution alone the lateral direction in the sharp bend depends mostly on the flow discharge. The discharge ratio of the left branch increases as flow discharge increases.

Abstract Flow dynamics and sediment transport in a river bend have recently been studied using experimental and numerical investigations. A three-dimensional numerical modeling model named NaysCUBE was used in this study to describe the flow pattern and process of sediment transport in a sharp river bend as a complement to the prior work of the physical hydraulic model. The model uses the RANS equation to simulate flow where a fully complex 3D flow is governed. Despite the limitations of the RANS model, NaysCUBE well reproduces the flow pattern and turbulence phenomena in a movable bed channel with sharp curvature. Compared with data from a prior experiment, the morphological adjustment is simulated sufficiently. The three-dimensional flow structures are useful for determining the appropriate countermeasures for local scouring and riverbank protection.

Abstract The peculiarity of small rivers is the dependence of erosion-accumulative processes in their beds on the intensity of soil erosion in the catchment area: the smaller the river, the greater the contact with the catchment area of its channel, where mineral particles, washed off from its area, directly enter it. Soil erosion leads to the entry of an excessive amount of them into the channel of a small river, as a result of which sediment accumulation begins in it, siltation of the channel occurs. It leads to changes in the water regime of small rivers - a decrease in inter-soil runoff (up to the drying up of rivers), a sharp reduction in underground power supply. In the humid zone, due to the high water content, the siltation of small rivers is poorly expressed and has a local character. Siltation of small rivers is especially characteristic for the forest-steppe and steppe zones, as well as for the south of the forest zone. In the steppe zone of the European part of Russia, as a result of siltation, rivers of the first order completely disappeared, up to the fourth (up to 40-50 km long), leading to a total reduction of the river network by up to 30 %. In the forest zone, due to the disappearance of sources, the number of rivers of the first and second orders (up to 20 km long) decreased by 2.2 times. During the agricultural period (about 300 years), a layer of sediment with a thickness of 0.5 to 1 m accumulated in the beds and floodplains of small rivers in the southern half of the European part. The erosion of small riverbeds reaches on average only 20 % of washed off products, which is about 60 % of the total river sediment runoff. The rate of siltation of small rivers in the Don basin is 6-12 mm / year with a length of up to 25 km and about 1 mm/year with a length of 100 km and above. Siltation of small rivers is not typical for regions where the soil is washed away by meltwater, since the maximum flow of sediment into the rivers coincides with high water, when the channel-forming activity of water flows is most active.

Water transport, both sea and inland, is the cheapest, least invasive, and safest option for non-standard loads; hence, it is important to increase the percentage share of inland waterway transport on the rivers of Central and Eastern Europe. Transporting cargo is particularly difficult on shallow waterways because rivers overloaded with sediment determine the vertical parameters on inland waterways. A ship’s safe manoeuvrability depends on the available water depth of the navigational area concerning the vessel’s draught. The draught is related to channel depth and sediments. The paper presents a model assessment of a new tool for studying limitations for ships carrying oversized cargo and the shallow channel bed inland waterways. Our analysis was carried out on the Vistula River lowland reach for the winter hydrological conditions. The Lower Vistula River in Poland is a clear example of a sedimentation problem. This waterway is also a zone of active sediment transport of sandy material; a massive volume of sediment reaches 1 million cubic meters per year. The results of this research could be helpful for inland transport management, risk assessment of ships entering waterways with shallow channel beds such as the Vistula River, and analysis for a new waterway project.

Abstract The article presents findings on the estimation of fast-forming floods parameters and hydrological forecasts for short-term changes in water content in the foothill and mountain rivers of southern Russia as exemplified by the Krasnodar Krai. The research aims to provide economic facilities and population with better protection against rapidly forming mixed-origin floods. The need to develop a system of protection against floods and high waters on the mountain and foothill rivers of the Caucasus are considered. The floods in the Tuapse region in October 2010, Krymsk in July 2012, Novomikhaylovsky in August 2012 are taken as an example. The causes of floods and high waters on rivers are different. Precipitation is the main and dominant source of floods and high waters (exclusive of natural and anthropogenic discharge breakthrough floods) in river basins. The North-West Caucasus territory and especially its Black Sea coast is distinguished by rain floods at any time of the year. The main reason for floods is rainfall with an intensity of minimum 50-100 mm/day. Considering that 1 mm of precipitation causes the fallout of 1 liter of water over 1 m2 of the earth’s surface, this amount of precipitation is equivalent to the flow of 50-100 liters of water per 1 m2 of mountain slopes. The surface of the slopes cannot immediately absorb and hold such an amount of water, and it rushes down into the rivers’ and streams’ beds. An increase in water content leads to a sharp rise in the water level and flooding of the territories adjacent to the river.

The stratigraphy within coastal river valleys in south-central Chile clarifies and extends the region’s history of large, earthquakes and accompanying tsunamis. Our site at Quidico (38.1°S, 73.3°W) is located in an overlap zone between ruptures of magnitude 8–9 earthquakes in 1960 and 2010, and, therefore, records tsunamis originating from subduction-zone ruptures north and south of the city of Concepción. Hand-dug pits and cores in a 3-m-thick sequence of freshwater peat in an abandoned meander (a little-examined depositional environment for tsunami deposits) and exposures along the Quidico River show five sand beds that extend as much as 1.2 km inland. Evidence for deposition of the beds by tsunamis includes tabular sand beds that are laterally extensive (>100 m), well sorted, fine upward, have sharp lower contacts, and contain diatom assemblages dominated by brackish and marine taxa. Using eyewitness accounts of tsunami inundation, 137Cs analyses, and 14C dating, we matched the upper four sand beds with historical tsunamis in 2010, 1960, 1835, and 1751. The oldest prehistoric bed dates to 1445–1490 CE and correlates with lacustrine and coastal records of similar-aged earthquakes and tsunamis in south-central Chile.

Background Conventional river engineering operations have a substantial influence on the fluvial ecosystem. Regulation and channelization generally reduce the physical heterogeneity of river beds and banks and the heterogeneity of habitats. They determine the character, diversity and species richness of plant communities. The effect of river regulation on vegetation has been repeatedly investigated, but few studies have been conducted within reaches of previously regulated rivers. The aim of this work is to expand and current knowledge about the impact of dredging on the vegetation of a regulated section of a lowland river. Materials & Methods The study included pre-dredging (1 year before) and post-dredging surveys (results 1 and 2 years after dredging). The vegetation was analysed in terms of species composition, origin of species, life forms, distribution of Grime’s life strategies, and selected ecological factors. The Shannon–Wiener biodiversity index (H) and evenness were also analysed in each year of the study. The impact of dredging on the vascular flora was assessed by ‘before-after-control-impact’ (BACI) analysis. Results The number of species and biodiversity as measured by the Shannon–Wiener index (H) increased in the analysed section of the river valley. However, enrichment of the flora was observed only on the floodplain, on the surface of the deposited dredging material, while the number of species in the river channel decreased, as dredging of the river bed and levelling of the banks had markedly reduced habitat diversity. Although species richness in the second year after the dredging approached the values recorded before the intervention, the absence of particularly species or phytocenoses associated with shallow river banks and sandbars was still observed. The change in habitat conditions and the destruction of the vegetation cover during the dredging enabled penetration by numerous previously unrecorded alien species of plants and apophytes. There was a perceptible increase in the role of therophytes in the flora. It is worth noting that the number of alien species and therophytes declined significantly in the second year after the dredging. Analysis of the proportions of species representing various life strategies showed that previously unrecorded species with the type R (ruderal) life strategy had appeared, representing by pioneer species occurring in frequently disturbed habitats. There was also a marked increase in the share of species representing the mixed C-R (competitive-ruderal) strategy, occurring in habitats with low levels of stress, whose competitive abilities are limited by repeated disturbances. By the second year after the dredging, however, these changes were largely no longer observed. Conclusions Through appropriate maintenance of the regulated river, it can be rapidly recolonized by vegetation after the procedure, but it may lead to the loss of some species and phytocoenoses.

The global construction industry uses a significant amount of concrete. In India, the ordinary concrete is created utilizing natural sand from river beds as fine aggregate. Because dwindling natural resources constitute an environmental risk, government restrictions on sand mining have led to a shortage and a sharp rise in the price of the material. The optimization of M-Sand with silica fume as a partial replacement for natural sand is discussed in this work. Compressive and split tensile strengths of concrete mixtures were assessed. Natural sand was substituted with manufactured sand in five proportions of 0, 10, 20, 30 and 40%, while silica fume was substituted for standard Portland cement in amounts of 0, 5, 7.5 and 12.5%. The findings showed that concrete with 30% M-Sand and 7.5% silica fume has increased compressive and split tensile strength.

The late Quaternary olistostrome exposed in the lower Coppermine River valley fills a paleovalley that ranges in apparent width from 150 to 400 m and was cut into Precambrian bedrock before the last glaciation. The olistostrome is here named the Sleigh Creek Formation. The coarse fraction of the formation is matrix supported; beds are massive or reversely graded and have sharp, nonerosive contacts. These characteristics suggest deposition of the coarse fraction by debris flows. The olistostrome sequence is bracketed by, and wedged into, a marine rhythmite sequence, which indicates that deposition occurred in a marine environment.About 10 500 years BP glacier ice in the Coronation Gulf lowland dammed the valley to the south, which was occupied by glacial Lake Coppermine. Sediments accumulated in this lake in a 30 m thick, coarsening upward sequence ranging from glaciolacustrine rhythmites of silt and fine sand at the base to coarse sand alluvium, and deltaic gravels at the top. As the Coronation Gulf lowlands became ice free, the Coppermine River reoccupied its former drainage course to the north. The steep south to north gradient and rapid downcutting by the river through the glacial lake sediments produced unstable slope conditions. The resulting debris flows filled a bedrock valley network below the postglacial sea level, forming the diamicton sequence.The interpretation of the Sleigh Creek Formation raises questions concerning silimar diamicton deposits usually defined as "flowtills." More generally, the results of this study indicate that care must be used when attempting paleogeographic reconstructions of "glaciogenic" deposits in marine sequences in any part of the geologic record.

The Late Ordovician Geogian Bay Formation of southern Ontario, Canada, comprises up to 250 m of grey to blue–grey shales interbedded with highly fossiliferous calcareous sandstones. These strata were deposited in equatorial paleolatitudes after 448 Ma in a shallow foreland basin created by overthrusting along the eastern margin of North America (the Taconic orogeny). The Georgian Bay Formation comprises the middle part of an upward-shallowing progradational sequence from deep-water transgressive shales of the underlying Whitby Formation to muddy tidal-flat sequences of the overlying Queenston Formation. Exposures in brickyard and river cuts near Toronto, and northwards along a narrow outcrop belt along the foot of the Niagara Escarpment, show laterally extensive (100 m+), sharp-based sheets of sandstone up to 1 m thick, with gutter casts and washed-out (hypichnial) trace fossils (dominantly Planolites and Paleophycus) on their lower bedding surfaces. Detailed examination of sandstone beds in outcrop and in three boreholes that penetrate the formation shows that the beds are composed internally of a basal fossil hash layer overlain by flat, hummocky, and wave-rippled divisions. Bed tops show a variety of wave-ripple forms and are heavily bioturbated (dominantly Bifungites, Conostichus, Diplocraterion, Didymaulichnus, Teichichnus). Sandstone sheets are interpreted as storm deposits (tempestites) resulting from tropical storms (hurricanes) transporting fine-grained suspended sediment from a delta plain onto a muddy shelf to the west.

Throughout Alberta and Saskatchewan, the upper Albian Substage lies unconformably on subjacent beds. However, on the Peace River in northeastern British Columbia, 32 km below Hudson Hope, a silty shale outcrop shows uninterrupted marine deposition across the Middle–Upper Albian substage boundary. An arenaceous foraminiferal fauna of 21 genera and 57 sub-generic taxa is illustrated from this outcrop of the Hasler Shale. The collections come from above the previously illustrated microfauna of the Stelckiceras liardense Zone and below the occurrence of Haplophragmoides gigas gigas and provide a spectrum of transitional faunules spanning the middle–upper Albian boundary. The corresponding boundary of the Ammobaculites wenonahae Subzone of the Gaudryina nanushukensis Zone with the overlying Haplophragmoides uniorbis Subzone (new) at the base of the Haplophragmoides gigas Zone is defined at 73 m above the top of the Cadotte Sandstone by the disappearance of A. wenonahae. Genera within the upper part of the A. wenonahae Subzone and the H. uniorbis Subzone include Bathysiphon, Saccammina, Pelosina, Hippocrepina, Psammosphaera, Thuramminoides, Ammodiscus, Miliammina, Psamminopelta, Reophax, Scherochorella, Haplophragmoides, Ammobaculites, Bulbophragmium, Ammobaculoides, Textulariopsis, Pseudobolivina, Trochammina, Gravellina, Eggerella, and Verneuilinoides. Two new species and two new subspecies are established, viz. Ammobaculites kokei, Trochammina bredini, Haplophragmoides gigas Cushman pregigas, and Reophax deckeri Tappan sliteri. Species originally described from the upper Albian of Wyoming, such as Haplophragmoides uniorbis Eicher, originated out of boreal stock, as they are recognized within the middle Albian upper A. wenonahae Subzone north of the Peace River Arch. On the Peace River, the passage from middle Albian to upper Albian is marked by water depth at or below wave base, but regression is reflected at the substage boundary by the sharp reduction in variety of taxa.

Facies analysis in outcrops on land is strongly dependent on the lateral variability of lithofacies. Interpretation of conventional core in wells relies principally on the vertical succession of lithofacies. To better understand depositional environments and reservoir sandstone connectivity, the lithofacies of reservoir sandstones sampled in conventional core were correlated laterally through two sets of closely spaced wells in the Scotian Basin: in the Barremian–Albian succession around the Panuke–Cohasset field and in the Late Jurassic succession west of the Venture field. Regional correlation by gamma logs is confirmed by lithologically similar transgressive units including shelly mudstones or coals. A standard scheme of lithofacies and recognition of three types of parasequences were used for comparisons between wells. Some transgressive surfaces are of limited extent and may represent delta distributary switching and subsidence rather than regional changes in sea level. Major sandstone packets extend at least 10–30 km laterally, but commonly show lateral changes in lithofacies, and some are bounded by the margins of incised valleys. Such packages show poor correlation of lithofacies with porosity and permeability, probably because of the variable effects of diagenesis. Lateral transitions from tidal estuary sandstones in Panuke B-90 to thick-bedded river-mouth turbidites in Lawrence D-14, over a distance of 15 km, demonstrates the scale of delta lobes and confirms that sharp-based sandstone beds are turbidites related to river floods, not storm deposits. Similar lateral transitions in the Venture field are on a similar scale and pass distally into prodeltaic muddy landslide deposits.

The purpose of the work is to conduct research aimed at identifying dangerous areas adjacent to the village of Babugent as a result of changes in the channel processes at the confluence of the Cherek Balkarsky and Cherek Bezengiysky rivers. On this site, field surveys of channels were carried out, the sharp changes of which began with the construction of a dam for the Kashkhatau hydroelectric power plant 1 km downstream. As a result of the field survey, areas with a large amount of deposited material in the beds of the Cherek Balkarsky and Cherek Bezengiysky rivers were identifi ed, as well as erosion of the coastal slope of the floodplain terrace, where the rural cemetery is located. According to the data of the field work, calculations were carried out to determine the height of the water level depending on the maximum flow rates of flood water of different percentage provision. Based on the results of the calculations and field surveys, the zones of fl ooding and underfl ooding of the territories of the Babugent village, which is located between the Cherek Balkarsky and Cherek Bezengiysky rivers, have been determined. 22 household plots and households of the private sector of the village fall into the zone of flooding and underfl ooding. Recommendations are given on carrying out the necessary measures to ensure the safety of people’s livelihood and the infrastructure of the village.

Observing the geographic environment change of watersheds is very important for understanding problem of influence on streamflow, which ranks fourth out of 23 hydrological problems highlighted at Vienna Catchment Science Symposium in April 2018. Watersheds of the Middle and Lower Amur, where main part of streamflow is formed, are covered with forests of various structures. Annual forest fires in the Amur basin lead to sharp decrease in transpiration and summarize evaporation, an increase in volume and rate of surface streamflow (slope) into river beds and, as a consequence an increase in river runoff. An increase frequency of fires entails a change in forest species composition. Despite fact that species of the stand within watershed grow up in same conditions (environment, climate, weather, fires) – total value of the areas of coniferous forests has a decrease, in contrast to deciduous species. This is consistent with the conclusions of Russian hydrologists about shift in Russia of the boundaries of middle taiga on north, which is justified by them using climatic models. Reduction of coniferous forests, which have a deeper root system and larger area of contact with atmospheric precipitation, contributes to a faster runoff of rainwater, contributing an increase streamflow. Moreover, a positive trend is also noted in synchronous dynamics of peaks of rain floods on the Amur near Khabarovsk. This corresponds to assessment of spatio-temporal variations of global terrestrial water storage changes of the Amur according measurements of the Earth’s gravitational fields by GRACE satellite, carried out by foreign researchers. It has been suggested that with a descending trend in areas of coniferous forests, conditions will persist, contributing to increase in streamflow during the period of monsoon and frontal cyclonic rains.

A large anticline structure occurs in the western part of the Azov Domain of the Ukrainian Shield. It is composed of rocks of the Mesoarchean (3.2-3.0 Ga) granite-greenstone association and relics of an older basement. The anticline is divided into two parts by the Bilotserkivka structure of sub-latitudinal strike. The northern part includes the Huliaipole and Remivka blocks, and the southern part comprises the Saltycha anticline. The U-Pb age of plagiogneisses of the Lantsevo anticline of the Bilotserkivka structure is 3299 ± 11 Ma. In terms of geochemical characteristics, they correspond to TTGs. In the western part of the Bilotserkivka structure, we previously identified quartz diorites having an age of 3297 ± 22 Ma. These data show that the Bilotserkivka structure represents an ancient basement. Dislocated trondhjemites were studied in the Ivanivka area at the eastern part of the Saltycha anticline. They contain numerous relics of heavily altered amphibolites. The U-Pb age of zircons from trondhjemite is 3013 ± 15 Ma. These rocks are of the same age as TTGs of the Shevchenko Complex cutting through the sedimentary- volcanogenic rocks of the greenstone structures of the Azov Domain. They share age and geochemical characteristics with biotite and amphibole-biotite gneisses of the “Kainkulak beds” in the Zrazkove village located at the Mokra Konka river (3.1-3.0 Ga) and with biotite gneisses in the lower reaches of the Kainkulak river (2.92 Ga). Thus, gneisses of the “Kainkulak beds” actually represent the Mesoarchean TTGs of the Shevchenko Complex, transformed in the Paleoproterozoic time due to the dislocation metamorphism. The late Paleoarchean (3.3 Ga) tonalites are known in the West Azov and KMA domains; they probably also occur in the basement of the Middle Dnieper domains, where detrital zircons of this age have been reported. These data allow us to assume the existence of a large Late Paleoarchean (3.3 Ga) protocraton, in which the Mesoarchean (3.2-3.0 Ga) greenstone belts and TTGs of the eastern part of the Ukrainian Shield and the KMA Domain were formed.

The northern, James Ross Island region of the Larsen Basin, on the eastern, back-arc margin of the Antarctic Peninsula magmatic arc, includes one of the thickest and most complete Upper Cretaceous sedimentary successions exposed in the Southern Hemisphere. However, the southern part of the basin remains poorly known, mainly owing to inaccessibility and lack of exposure. Table Nunatak, an isolated, 1-km-long, 400-m-wide outcrop at the tip of Kenyon Peninsula, is the only known exposure of Upper Cretaceous or younger strata in this region. The 62-m-thick succession exposed there is assigned to the newly defined Table Nunatak Formation. It consists mainly of sharp-based, amalgamated beds of fine-grained sandstone up to 2.8 m thick, with subordinate intervals of intensely bioturbated mudstone. Wave ripples are present at some levels, and locally developed swaley cross-stratification provides evidence for storm-generated combined-flow deposition. However, most sandstone beds appear to be internally structureless apart from normal grading, and are interpreted as the direct suspension deposits of highly sediment-charged storm- and/or flood-related flows. The succession represents relatively nearshore deposition, probably at the mouth of a river or deltaic distributary channel. Charcoalified plant debris, abundant at the tops of some sandstone beds, suggests a periodically wildfire-swept hinterland forested largely by coniferous trees. Dinoflagellate cyst assemblages indicate a late Santonian age, and suggest correlation with the basal part of the Lachman Crags Member of the Santa Marta Formation (Marambio Group) on James Ross Island. Palaeocurrents, sandstone petrography and the high sediment supply rate proposed for the Table Nunatak Formation, suggest a relatively high-relief source area to the west, with large-scale erosion of granitoid plutons and metamorphic rocks, possibly related to arc uplift during a mid-Cretaceous compressional episode. The formation is evidence of a major southward extension of the Upper Cretaceous strata exposed in the northern Larsen Basin, and suggests lateral continuity of shallow-marine deposition for at least 500–600 km along the Weddell Sea margin of the Antarctic Peninsula in Santonian times.

The data on the lowering of the lower boundary of the Quaternary System below the Gelasian Stage at 2.588 million years are presented in the paper. In Azov-Black Sea basin this boundary takes place within the middle of the Kuyalnikian Regionalstage and related to the magnetostratigraphic boundary Gauss-Matuyama and should be drawn under the deposits of the upper Kuyalnikian regionalsubstage, Taman layers of the Akchagylian, alluvium X terrace of the Dnister, Danuba, Prut rivers, the Haprovian layers of the Priazovie and under sediments of the Siverian stage in the loess-soil series of the Ukraine.Below there lie the deposits of the Bogdanivkian stage and the lower Kuyalnikian rocks. The deposits of the Lowerkuyalnikian regionalsubstage, upper and lower Poratian beds and sediments of the Bogdanivkian, Kizlyarkian and Jarkian stage in the loess-soil series related to Piacencian stage and Upper Pliocene. Kuyalnikian deposits in the Odessa (Kryzhanivka) region are the upper part of the Upperkuyalnikian regionalsubstage, above the Tamanian beds and correlations with a Beregovian stage in the loess-soil series. Beginning of the maximum Akchagylian transgression in the Black Sea coincides with a sharp cooling Climate period (2,5-2,6 million years) and compares with the Middle Akchagylian transgression of the Caspian basin. Signs of the late Akchagylian mollusks at the basal beds of the Kuyalnikian of the Priazovie requires additional research, as at that time the formation of the lower Poratian depositstook place in a (with Rugunio lenticularis) Warm climate. The most probable version is the invasion of Akchagylian mollusks during the cocking in Ajdarian time. The author opinion on the reasoning of the lowering of the boundary and the problems of its use in geological mapping are also stated.

The main lithological characteristics of the channel facies of the Susidovychi terrace, which correspond to the high (situated over the canyon) groups of Dnister terraces, were given. The investigations in the gravel pit at Kulakivtsi proved that the alluvium of the terrace has been formed in two stages. During the first stage, the lower 1.5 thick bed of the alluvium was deposited. The upper one, nearly 4 m thick alluvium bed was formed in the next, second one depositional stage. The stages of the alluvium formation were recorded in the changes of the granulometric and petrographical composition of the alluvium, and of the roundness of the coarse-grained clasts. The transition between these two alluvial beds is outlined by the voluminous intercalations of the sand lenses, and also by a change in the colour of the alluvial deposits. Granulometric composition of the alluvium of the channel facies, in general, changes little in the section. Only in the transition zone from the lower to the upper part of the alluvial deposits, there is a sharp, abrupt increase in the content of gravels and a sharp reduction in the content of boulders. Generally, in the composition of the alluvium two dominant and two subordinate components are clearly identified. The pebble grains and the sandy-clay matrix are the dominant components, whereas the gravel grains and the boulders are less common. Petrographic composition of the coarse-grained fraction of the terrace alluvium proved to be the richest of all the so far investigated sections of the high (situated over the canyon) terraces of the Dnister River (at Kunysivtsi, Ivane-Puste, Repuzhyntsi, and Lysychnyky). The pebbles 40–100 mm in diameter show particularly diverse petrographic composition which includes fragments of nine types of rocks: the four of the Carpathian provenance (sandstone, aleurite, cherts, and quartzite), and the five of the Podillian provenance (red-coloured Devonian sandstone, Albian cherts and sandstone, and lithothamnian and cryptocrystalline chemogenic limestone). More precisely, the richest is the lower part of the alluvial deposits where the fragments of all the nine rock types occur. The upper part of the alluvium is markedly poorer because only the five rock types occur there. Diversity of the petrographic composition of the alluvium decreased by reducing the local Podillian types of rocks, which are represented only by the red-coloured Devonian sandstones. The composition of the Carpathian types of rocks remained unchanged. The detected changes in the granulometric and petrographic composition of the alluvium of the investigated terrace permitted to show that the principal providers of the local (Podillian) debris of rocks was played by the Podillian tributaries of the Dnister River. The Dnister alone transported mainly the Carpathian material and only the small volume of Podillian rocks represented by the debris of the red-coloured Devonian sandstones. It was also found that the accumulation of the alluvial deposits of the Susidovychi terrace in the Kulakivtsi section took place in the conditions of restructuring of the Dnister palaeodrainage system. In the initial stages of this terrace formation, the palaeo-Dnister was directed from the village Dobryvliany further north than today, and it entered into the present-day Tupa River valley at environs of the village Bedrykivtsi. In the vicinity of the village Bedrykivtsi, the palaeo-Dnister was turning sharply eastward and proceeded along the present-day river valleys of Tupa and Seret. In the later stages of the Susidovychi terrace formation, the palaeo-Dnister left the portion of its valley stretching between the villages Bedrykivtsi and Schytivtsi, and it shifted several hundred meters to the south and has stopped practically within its current canyon valley. The desolate portion of its palaeo-valley located between the villages Bedrykivtsy and Kasperivtsi has been inherited by the Tupa River and the lower portion of this palaeo-valley located between the villages Kasperivtsi and Schytivtsi – by the Seret River. Key words: palaeo-Dnister, over the canyon terraces, Susidovychi terrace, alluvium, granulometric composition, petrographical composition, roundness, Carpathian material, Podillian material.

Compared to their terrigenous counterparts, carbonate shell accumulations have until recently been relatively little studied to determine either descriptive or genetic classifications of shell bed types, the preservation potential of each type, or their relative ability to preserve community-level information. A partial classification of Paleozoic carbonate shell-rich soft sediment accumulations is proposed using sedimentation patterns in the Lebanon limestone of the Stones River Group. Paleoecological information preserved therein is then contrasted by shell bed type. The Lebanon represents typical Ordovician shallow to moderate subtidal carbonate shelf deposits in outcrops flanking the Nashville Dome and peritidal deposits in the Sequatchie Anticline of Eastern Tennessee; shell beds alternate with shell poor sediments (micrites, wackestones and diagenetically enhanced dolomites and clay-rich partings).None of the analyzed shell beds was strictly biological in origin; most are sedimentological although >10% are combined sedimentological/diagenetic. While the majority are single simple shell beds, >20% are amalgamated. All are thin (1 shell to 15 cm) stringers that pinch and swell showing poor lateral continuity (outcrop scale, tens to hundreds of meters) likely enhanced by burial dissolution. These shell beds differ greatly in fabric (packing/sorting), clast composition, taphonomic signature, and intensity of time averaging; thus community information retrieval is biased in predictable patterns. Virtually no shell beds show common shell dissolution or encrustation from long-term sediment surface exposure or hardground formation. Five major categories of accumulation are herein proposed using a DESCRIPTIVE, non-genetic terminology modified from previous works of DJD, as well as a Genetic interpretation for each. These are easily distinguished in the field and are also discriminated by Q-mode cluster analysis.Categories include, in decreasing frequency of occurrence: 1. SHELL GRAVELS; Storm/“event” beds: Sharp bases; poorly sorted coarse basal bioclasts and/or intraclasts, often with no preferred orientation; clasts fine upward to comminuted shell material and micrite. Horizontal platy brachiopods often cap the beds. High diversity and a wide range in shell alteration is represented, from whole unaltered brachiopods to minor abraded fragments, indicating extreme time averaging and poor resolution of short-term community dynamics. 2. COMMINUTED SHELLY LS; Current/ripple concentrations: Small tidal channel fill and discrete ripple trough accumulations are composed of cross-stratified bioclastic deposits with local concentrations of rip-ups. Beds are not graded; typically clasts are abraded, rounded and concordant with cross-beds. Intense time averaging and mixing of discrete communities is inferred due to continual reworking in these background deposits. 3. SHELL/CEMENT LS; Early cementation beds: Intense early diagenetic alteration is inferred due to red discoloration and rapid intergranular cementation; some beds show diagenetic micritic rinds. Beds may be brecciated and show deep burial stylolitization cutting bioclasts and cement. They may represent zones of preferred early cementation rather than a change in shell accumulation rate. Many shells from some beds show little postmortem alteration; these units may preserve much of the original community structure. 4. DENSE SHELL PAVEMENTS; Subtidal surficial pavements: Single layers of shells, commonly concave down, overlie mudstones/wackestones with no basal erosion. No obrution deposits were noted. Bioclasts are typically disarticulated and reoriented, but are not substantially abraded, broken, or dissolved. Diversity is low. Only minor temporal and lateral community mixing with small environmental fluctuation is indicated. 5. VERTICALLY IMBRICATE SHELLY LS; High energy beach zones: Platy whole and major fragments of brachiopods are deposited in low diversity, high angle imbricate beds. Less postmortem reworking and time averaging is evident compared to types 1 and 2.Thus, the most common (physically reworked) shell bed types show the most intense loss of short-term paleocommunity information. There are surprisingly few insitu community pavements or obligate long-term accumulations. This pattern differs from some described Ordovician carbonates, which may contain common community beds or hardgrounds/hiatal accumulations. This implies a relatively low rate of net sediment accumulation on a shallow, periodically wave swept shelf, and no major flooding surfaces or other indications of significant sea level change. Delineation of the sequence stratigraphic position of these carbonates is enhanced from this type of integrated community/biostratinomic analysis.

AbstractNiches at the walls of edge of Lae (river) Tungtung Batu have been known by the local people as “the golden box”. The naming, without sufficient scientific proofs, refers to its profane function as storage of valuable items. The question is: is the object of a profane or sacred function? A theory proposes that a megalithic structure that was built for the worship of ancestors, either as a tomb or supplementary worship, supported by a comparative study of similar findings in different areas with the same cultural background, results in different interpretations of the functions of the niches that were previously connoted to a storage for valuable things now are of a burial reason. Similar objects found in Samosir, Deli Serdang, Karo and Tana Toraja are currently interpreted as sarcophagus. The niches in Tuntung Batu share similar characteristics of sarcophagus with those in other areas in North Sumatra and Indonesia. It is contextually supported with the presence of other objects in Tuntung Batu such as pertulanen and mejan that are related with burial and stones of tunggul nikuta candi and perisang manuk and the statue of pangulubalang that is of a mystical purpose to give the people protection.AbstrakPahatan relung-relung pada dinding tebing batu Lae (sungai) Tungtung Batu oleh masyarakat setempat dikenal dengan sebutan “kotak emas”. Penamaan ini merujuk kepada fungsi profannya sebagai tempat penyimpanan benda-benda berharga, namun tanpa ditunjang oleh bukti-bukti ilmiah yang cukup memadai. Masalah yang dikemukakan adalah : apakah objek tersebut memang memiliki fungsi profan seperti tersebut di atas ataukah berfungsi sakral ? Mengacu pada teori bahwa suatu bangunan megalitik didirikan terkait dengan pemujaan terhadap leluhur, baik sebagai kuburan ataupun sebagai pelengkap pemujaan, serta didukung dengan studi komparatif dengan temuan sejenis di beberapa daerah lainnya dengan latar budaya yang sama, menghasilkan interpretasi yang berbeda tentang fungsi relung-relung tersebut yang sebelumnya dikaitkan dengan tempat penyimpanan benda berharga menjadi lebih mengarah kepada fungsi penguburan. Objek sejenis yang antara lain ditemukan di Samosir, Deli Serdang, Karo dan Tana Toraja saat ini diinterpretasikan sebagai jenis kubur pahat batu. Karakteristik relung-relung di Tungtung Batu sangat sesuai dengan karakteristik jenis kubur pahat batu baik yang terdapat di Sumatera Utara aupun di daerah lainnya di Indonesia. Secara kontekstual hal itu diperkuat dengan keberadaan objek-objek lainnya di Tungtung Batu yaitu pertulanen dan mejan yang terkait dengan penguburan serta batu tunggul nikuta candi, batu perisang manuk serta patung pangulubalang yang lebih bersifat mistis terkait dengan perlindungan kepada masyarakat.

The best and most complete palynologically constrained Ordovician section across the Sierras Subandinas crops out in the southern part of the Sierra de Zapla along the Capillas River (Subandean Ranges, Jujuy Province). The dominantly marginal marine setting explains the scarcity of invertebrates throughout the section. Palynomorphs are the main tool in stratigraphic studies of the area and trace fossils are important aids in paleoenvironmental analysis. Based on a detailed facies analysis, geometry and paleocurrent analysis, and recognition of key surfaces, four depositional sequences (S1-S4) with different internal arrangements and compatible with 3rd order cycles were identified. The Zanjón Formation (upper part of Global Stage 2 and Global Stage 3) with unexposed base, initiates the stratigraphic section and it is characterized by a heterolithic facies association with subordinate storm layers, thin-bedded phosphate-rich micro-conglomerates and inarticulate-rich shell beds. Common subaerial exposure features like truncated ripple tops and mud cracks suggest tidal flat environments. This interval yields a mixed Skolithos-Cruziana ichnofacies. Towards the top, an increase in mottling and a gradual change into dominant purplish-red colors (Laja Morada Member of the Labrado Formation) indicate a protracted subaerial emergence during a Darriwilian (Global Stage 4) relative sea-level drop, and a fluctuating water table in interfluves. This unit is covered in sharp erosive boundary by the Lagunilla Member of the Labrado Formation, suggesting development of composite fluvial incisions. Sandy fluvial to tide-dominated estuarine fills and thoroughly-bioturbated subtidal hetherolithic beds overlie the sequence boundary representing a typical transgressive systems tract. Development of surfaces with dominant Skolithos forms are interpreted as representing Glossifungites ichnofacies typically indicating by-pass erosion and firm-ground development previous to reworking of interfluves by advancing ravinement surface. The Capillas Formation (upper Darriwilian and lower part of Global Stage 5), sharply levels the previous estuarine complexes and represents a fine-grained wedge that gradually coarsens up. This unit contains the only truly marine shelly fauna concentrated in few storm beds above the fine-grained interval that characterizes a maximum flooding stage. This is the only interval that can be positively correlated with sections in the Cordillera Oriental to the west and Bolivia. A gradual coarsening to silty sandstones and the replacement of Cruziana by Skolithos dominated ichnofacies suggest a shallowing-upward section, capped by the thick-bedded, high energy quartz sandstones with pipe-rock structures of the Centinela Formation (middle and upper part of Global Stage 5). A shallowing-upward trend indicates the progradation of deltaic complexes, which in turn were erosively truncated by the waxing stage of the Gondwanan Hirnantian (uppermost Ordovician) ice-cap represented by the Zapla Formation (Global Stage 6) along the Central Andes. Above the diamictite-rich Zapla Formation the Lipeón Formation (Silurian) is interpreted as related to repeated transgressive ravinement surfaces that truncated Fe+2 saturated estuaries after a waning glacial stage and isostatic rebound, favouring the deposition of oolitic ironstones and succeeded by the development of a Zoophycos dominated muddy shelf.

We report the results of U-Pb ages from detrital zircon populations in the lower Eocene synorogenic Willwood Formation in the northern Absaroka Basin, Wyoming. Zircons (n=229) were extracted from three sandstone beds and one ash layer in the Willwood Formation at the base of Jim Mountain in the North Fork Shoshone River Valley. K-S statistical analysis indicates that the three sandstones, which were sampled from the base, middle, and top of the formation, have identical age spectra, indicating that the sandstone provenance remained the same during the duration of Willwood deposition. The zircon age spectra are dominated by Archean zircons (61%), with peak ages at 3270 and 2770 Ma. These sandstones also have very early Paleoproterozoic zircons (∼2450 Ma), which likely were derived from the Tobacco Root Mountains. The final significant age peak is ∼70 Ma, which is likely associated with the Cretaceous Tobacco Root batholith. The Jim Mountain ash, which occurs at the top of the succession, just beneath the allocthonous volcanic rocks of the Heart Mountain slide, has a maximum depositional age of ∼50 Ma. Between 49–50 Ma, as Eocene volcanism in the northern Absaroka Range became more prominent, stratovolcanoes grew and disrupted sediment transport into the Absaroka basin. Lower Wapiti sandstones to the southwest show a mix of Eocene, recycled Proterozoic and Archean grains. The coeval Crandall Conglomerate, which was dismembered by the emplacement of the Heart Mountain slide in the northern Absaroka Range, has a distinct detrital zircon age spectrum. Thus these stream systems that deposited the Crandall did not share the headwaters with the streams that supplied sediment to the Absaroka basin.

Dam construction often changes downstream fluvial processes by reducing sediment supply. Taking Tiaoguan reach and Laijiapu reach of the lower Jingjiang Reach downstream of the Three Gorges Project as examples, three-dimensional flow velocity, sediment, and bed elevation were observed in the two bends for investigating the impact of flow structure and sediment transport of different discharges on sharp bend morphology. Results indicated that the flow structure and sediment transport process in curved channels depended upon the flow stages, which affected the patterns of erosion and deposition along the point bars and concave banks. Flow separation and development of secondary flow were depended on the shapes of point bars and flow depths nearby, and the strength of secondary flow increased with flow discharge. The high flow discharges, which had high sediment carrying capacity and stream power, provided the main driving force for erosion on upstream point bar, thus the type and duration of floods were crucial factors in the morphological evolution of meandering bends. The reduction of sediment supply should be responsible for erosion on the point bars, causing the flow to migrate toward the convex banks. In meandering rivers with reduced sediment supply, retreats (push inward) of inner (convex) banks dominated advances (pull inward) of outer (concave) banks. In addition, the formation and development of concave-bank bars might relate particularly to meander curvature. This study is expected to constitute a reference for bank protection and river management in meandering bends downstream of reservoirs.

The analysis of satellite imageries and topographic maps of different dates revealed that the Narayani River near Mangalpur migrated about 32 km to the west. Its westward shift is also clearly evidenced by the continuation of wetlands parallel to the main river course. The interpolated contours of 2 m interval obtained from the topographic map of 1:25,000 scale also revealed many parallel depressions. These depressions belong to an old abandoned channel, and are closely associated with a sharp bend of the Narayani River. There is a high possibility of breaching a weak and unconsolidated natural levee, which is currently protecting the abandoned channel from flooding. The flood disaster after the breach is inevitable and it can devastate the six Village Development Committees situated within the abandoned channel.

Abstract The ‘Bajo Grande’ Wastewater Treatment Plant has a design capacity of 2.78 m3/s, and discharges into the Suquia River (Córdoba, Argentina). The river has an average flow rate of 10 m3/s, with lower values during the summer. Currently, the treatment plant does not have an accurate discharge-measurement system prior to the discharge into the river, which makes it difficult to evaluate the dosing of the disinfection treatment. The outflow rate is measured in a straight flume. However, at the inlet section of the flume, a 180° sharp bend induces a complex turbulent flow with instabilities and low-frequency velocity fluctuations which are not appropriate for flow quantification. In this type of flow, most of the in situ flow discharge-measurement systems have great uncertainty. Therefore, in situ flow measurements with an Acoustic Doppler Current Profiler, Large-Scale Particle-Tracking Velocimetry techniques and a prototype-scale Detached Eddy Simulation model were combined to obtain a detailed characterization of the turbulent flow. The results provide flow rates, fields of mean flow velocity, temporal evolution, and characteristic parameters of the turbulence. This allowed a better understanding of the effects of turbulence and flow instabilities. The results provide a basis to validate numerical models used in the hydraulics design of contact chambers to improve the disinfection process.

In the Kharidhunga-Thokarpa area, the rocks of Lower Nawakot Group are exposed. The lowermost unit of the study area is the Kuncha Formation. It is composed of a more than 2,500 m thick monotonous sequence of grey to green phyllite, quartzite, and 'gritty' phyllite. Green-grey quartzite is seen in the upper part of the formation. Small (0.5 mm) garnets of brown colour occur in the upper part of the formation. The Fagfog Quartzite has a sharp contact with the underlying Kuncha Formation and consists of fine- to coarse-grained pure white quartzite with thin to very thin bands of grey and green phyllite. The Dandagaon Phyllite follows the Fagfog Quartzite and contains mainly thin bands of grey-green and dark grey phyllite. The Nourpul Formation is separated from the underlying Dandagaon Phyllite by a yellow quartzite band. The Nourpul Formation consists of dark grey carbonaceous slate and phyllite with some intercalations of calcareous phyllite and calcareous quartzite in the upper part. The augen gneiss, granitic gneiss, and banded gneiss are found within the Nourpul Formation mainly in the eastern part of the study area. The Dhading Dolomite overlies the Nourpul Formation and is found mainly around the Kharidhunga area as wavy and massive beds and lenses of dolomite, magnesite, and talc with sporadic quartzite bands. The rock is highly fractured and crystalline. The Pheda Khola and Ghane Khola Faults have a significant control on the landscape of the study area. The Quaternary deposits of the Kharidhunga area are classified into the Balephi, Thumpakhar, Dandapakhar, Bonch, Rolekharka, and Dangdunge Formations, respectively from bottom to top. Of which, the first two formations correspond to debris flow and river channel deposits, whereas the remaining ones represent the deposits of retreating glacier. Generally, the cohesion and plasticity of these sediments increases with their increasing geological age.

e village of Dăbâca/Doboka is situated 30 kms northwest of Cluj-Napoca, by the stream called Lona, which flows into the River Someş 10 km away from this place. One side of the mountain called Nagyhegy, which is situated southwest of the village (529 m above sea level), made the valley of the stream Lona so narrow that it is a vantage point of the pass. e road in the narrow valley, squeezed between two hills, in the middle of the village takes a sharp turn to the left. e old fortress district was in the area curbed this way. e two hills are gradually declining towards northwest.e shape of the fortress is similar to a pie with a sharp angle and an arc at the end, pointing towards north-northeast. Both sides are well defendable, sloping in 25°–45°. e early medieval fortress district was built in this place with a number of villages and churches around it.e necropolis of Fortress Area 4, which belonged to the village in the 11th–13th centuries was found in the south-eastern part of the fortress district.e excavations beginning in the early 60’s in the last century were conducted with preconceptions, as the centre of Chief Gelou was thought to have been discovered before the start of the excavations, which is an impassable way from a scientific point of view.In this brief research history, which in many cases is not so relevant in our research, one can draw two conclusions: 1. Dăbâca perfectly demonstrates the concepts, interpretations and vision of the expert who lived in the various eras in the 20th century; 2. So far the interpretation of Dăbâca has been based on the historical narative and linguistic data. e archaeological data is limited to providing arguments for different historical theories; 3. Scientific-political, political and supposedly personal interests and careerist considerations all played a part or worked as the driving forces behind the start of the excavations in Dăbâca in the 60’s. Unfortunately the past political manipulations have had a great ‘career’ in national-communist Romania, and Dăbâca is a sad symbol of this.Unfortunately, a major scientific problem of the excavated part of the cemetery is that the skeletons have not been preserved. Although we have managed to identify the finds, the lack of bones is an irreparable loss. e remains of the population in Tămaş garden in Dăbâca can only be analysed scientifically after new successful excavations.In spite of the fact that the archaeological analyses so far have informed us about two churches excavated in the garden of Tămaş, the original documentation, which is at our disposal, clearly attests that only one church was excavated. In the south, the walls of a much bigger church were detected but they have remained unexplored. e church may be dated by the nine coins of Ladislaus I (1077–1095), found in sector A in its northern part. e received burial rite in the 11th – 13th centuries was the skeleton burial. e cremation burial rite, known in previous centuries, disappears in the 9th century or at least becomes undetectable by archaeological means. Altogether 95 skeletons have been registered in the 71 graves in the churchyard cemetery excavated in the garden of A. Tămaş and a small ossuary, found west of the skull in Grave 24, which could have contained the remains of several skeletons. is cemetery is characterised by stones of different sizes placed in the graves with a ritual purpose; the same custom characterizes the graves of Fortress Area IV. e finds in a sector of this part of the cemetery are typical 12th century finds (simple hair rings and hair rings with S-shaped ends, coins) (Pl. 9, 11). e coins found in the graves are the so called anonymous denars dating from the first half of the 12th century. Other graves were dug in the area of the demolished church, so these clearly show a later origin; probably they come from the 13th– 14th centuries. erefore the churches and the cemetery belonging to them, which were excavated in the garden of A. Tămaş can be dated to the 12th and 13th–14th centuries and they are encompassed in the horizon of the 12th century Doboka and its surrounding area as a power centre. e fortress, which was rebuilt several times, the settlement and the cemeteries are all parts of this horizon as is analysed in our paper. We held it very important to analyse them separately. e finds clearly show that in Doboka we can see a settlement way back in the 7 – 9th centuries (Pl. 18), that cannot be connected to the fortress. According to the finds from the fortress, the most important ones of which were the 11th century coins Stephen I, Andrew I, Peter Orseolo, Coloman I the Book-lover) and the elements of material culture characteristic of this century. In our opinion, the fortress can’t have been built earlier than the middle of the 11th century and its second enlarged form can be dated to the time of Andrew I. is was destroyed at some time, in our opinion it happened during the reign of King Coloman I the Book-lover, unfortunately, we couldn’t identify this coin in the collection of the Transylvanian National Museum in Cluj. As is well known, the so called anonymous dinars were coined in the minters of the Hungarian Kingdom from the time of King Coloman to the era of Stephen II (Time Period I), it is not obvious that the fortress was burned at the end of the 11th or the beginning of the 12th century. It is also unclear how the stone wall was built at the beginning of the 13th century since no example of it is known in northern Transylvania and only few in the whole territory of the Hungarian Kingdom until the second half of the 13th century when the social-economic transition brought about major changes in the fortress system and the architecture of forts. According to the finds excavated in the fortress area, although we cannot see them as the evidence of the presence of the comes, the head of the county, the various arrow heads, sword cross iron and spurs can be connected to the group of the class of the miles, but some information on the 12th century from the Arad fortress supports that we can count with the mansios, i.e. the servant folks (servi). ese also give an outline of the social classes known from the laws of King Stephen I. e silver beads with granulated ornaments may hint at some long distance commercial contact, which can also be connected to the elite.The culmination point of the fortress, which was built in or after the first half of the 11th century, and the settlement on its territory falls on the 12th century according to the archaeological and numismatic finds. The coins found in the cemetery from Fortress Area 4, the garden of Tămaș and the cemetery of Boldogasszony give an exact map of it. The decline of the fortress centre as a political-military and administrative centre falls on the 13th century. The downfall of the centre in Dăbâca may not be connected concretely to the Mongolian raid; it may also be linked to other administrative and economic reasons. As a working hypothesis we may assume that the loss of its importance as a centre may be connected to the eastward growth of the settlement system of the county, the territory of the count took its final shape in the 12–13th centuries. This observation of ours is supported by the fact that only one 13th century coin is known from the three parts of the cemetery, the last anonym dinar may be connected to the name of Béla III (1172–1196). The settlement phenomena excavated so far can also be dated to the 11th–12thcenturies. Certainly, we would not like to consider these data to have absolute value, but the lack of 13th century numismatic finds (except for a single coin of Béla IV) requires further explanation. However, this can only be proved or refuted by extended and manifold interdisciplinary researches.

[Editors’ note: this lyric essay was presented as the keynote address at Edith Cowan University’s CREATEC symposium on the theme Catastrophe and Creativity in November 2012, and represents excerpts from the author’s publication Threading Light: Explorations in Loss and Poetry. Regina, SK: Hagios Press, 2011. Reproduced with the author’s permission].Essay and verse and anecdote are the ways I have chosen to apprentice myself to loss, grief, faith, memory, and the stories we use to tie and untie them. Cat’s cradle, Celtic lines, bends and hitches are familiar: however, when I write about loss, I find there are knots I cannot tie or release, challenging both my imagination and my craft. Over the last decade, I have been learning that writing poetry is also the art of tying together light and dark, grief and joy, of grasping and releasing. Language is a hinge that connects us with the flesh of our experience; it is also residue, the ash of memory and imagination. (Threading Light 7) ———Greek katastrophé overturning, sudden turn, from kata down + strophe ‘turning” from strephein to turn.Loss and catastrophe catapult us into the liminal, into a threshold space. We walk between land we have known and the open sea. ———Mnemosyne, the mother of the nine Muses, the personification of memory, makes anthropologists of us all. When Hermes picked up the lyre, it was to her—to Remembrance —that he sang the first song. Without remembrance, oral or written, we have no place to begin. Stone, amulet, photograph, charm bracelet, cufflink, fish story, house, facial expression, tape recorder, verse, or the same old traveling salesman joke—we have places and means to try to store memories. Memories ground us, even as we know they are fleeting and flawed constructions that slip through our consciousness; ghosts of ghosts. One cold winter, I stayed in a guest room in my mother’s apartment complex for three days. Because she had lost her sight, I sat at the table in her overheated and stuffy kitchen with the frozen slider window and tried to describe photographs as she tried to recall names and events. I emptied out the dusty closet she’d ignored since my father left, and we talked about knitting patterns, the cost of her mother’s milk glass bowl, the old clothes she could only know by rubbing the fabric through her fingers. I climbed on a chair to reach a serving dish she wanted me to have, and we laughed hysterically when I read aloud the handwritten note inside: save for Annette, in a script not hers. It’s okay, she said; I want all this gone. To all you kids. Take everything you can. When I pop off, I don’t want any belongings. Our family had moved frequently, and my belongings always fit in a single box; as a student, in the back of a car or inside a backpack. Now, in her ninth decade, my mother wanted to return to the simplicity she, too, recalled from her days on a small farm outside a small town. On her deathbed, she insisted on having her head shaved, and frequently the nursing staff came into the room to find she had stripped off her johnny shirt and her covers. The philosopher Simone Weil said that all we possess in the world is the power to say “I” (Gravity 119).Memory is a cracked bowl, and it fills endlessly as it empties. Memory is what we create out of what we have at hand—other people’s accounts, objects, flawed stories of our own creation, second-hand tales handed down like an old watch. Annie Dillard says as a life’s work, she’d remember everything–everything against loss, and go through life like a plankton net. I prefer the image of the bowl—its capacity to feed us, the humility it suggests, its enduring shape, its rich symbolism. Its hope. To write is to fashion a bowl, perhaps, but we know, finally, the bowl cannot hold everything. (Threading Light 78–80) ———Man is the sire of sorrow, sang Joni Mitchell. Like joy, sorrow begins at birth: we are born into both. The desert fathers believed—in fact, many of certain faiths continue to believe—that penthos is mourning for lost salvation. Penthus was the last god to be given his assignment from Zeus: he was to be responsible for grieving and loss. Eros, the son of Aphrodite, was the god of love and desire. The two can be seen in concert with one another, each mirroring the other’s extreme, each demanding of us the farthest reach of our being. Nietzsche, through Zarathustra, phrased it another way: “Did you ever say Yes to one joy? O my friends, then you have also said Yes to all Woe as well. All things are chained, entwined together, all things are in love.” (Threading Light 92) ———We are that brief crack of light, that cradle rocking. We can aspire to a heaven, or a state of forgiveness; we can ask for redemption and hope for freedom from suffering for ourselves and our loved ones; we may create children or works of art in the vague hope that we will leave something behind when we go. But regardless, we know that there is a wall or a dark curtain or a void against which we direct or redirect our lives. We hide from it, we embrace it; we taunt it; we flout it. We write macabre jokes, we play hide and seek, we walk with bated breath, scream in movies, or howl in the wilderness. We despair when we learn of premature or sudden death; we are reminded daily—an avalanche, an aneurysm, a shocking diagnosis, a child’s bicycle in the intersection—that our illusions of control, that youthful sense of invincibility we have clung to, our last-ditch religious conversions, our versions of Pascal’s bargain, nothing stops the carriage from stopping for us.We are fortunate if our awareness calls forth our humanity. We learn, as Aristotle reminded us, about our capacity for fear and pity. Seeing others as vulnerable in their pain or weakness, we see our own frailties. As I read the poetry of Donne or Rumi, or verse created by the translator of Holocaust stories, Lois Olena, or the work of poet Sharon Olds as she recounts the daily horror of her youth, I can become open to pity, or—to use the more contemporary word—compassion. The philosopher Martha Nussbaum argues that works of art are not only a primary means for an individual to express her humanity through catharsis, as Aristotle claimed, but, because of the attunement to others and to the world that creation invites, the process can sow the seeds of social justice. Art grounds our grief in form; it connects us to one another and to the world. And the more we acquaint ourselves with works of art—in music, painting, theatre, literature—the more we open ourselves to complex and nuanced understandings of our human capacities for grief. Why else do we turn to a stirring poem when we are mourning? Why else do we sing? When my parents died, I came home from the library with stacks of poetry and memoirs about loss. How does your story dovetail with mine? I wanted to know. How large is this room—this country—of grief and how might I see it, feel the texture on its walls, the ice of its waters? I was in a foreign land, knew so little of its language, and wanted to be present and raw and vulnerable in its climate and geography. Writing and reading were my way not to squander my hours of pain. While it was difficult to live inside that country, it was more difficult not to. In learning to know graveyards as places of comfort and perspective, Mnemosyne’s territory with her markers of memory guarded by crow, leaf, and human footfall, with storehouses of vast and deep tapestries of stories whispered, sung, or silent, I am cultivating the practice of walking on common ground. Our losses are really our winter-enduring foliage, Rilke writes. They are place and settlement, foundation and soil, and home. (Threading Light 86–88) ———The loseability of our small and larger worlds allows us to see their gifts, their preciousness.Loseability allows us to pay attention. ———“A faith-based life, a Trappistine nun said to me, aims for transformation of the soul through compunction—not only a state of regret and remorse for our inadequacies before God, but also living inside a deeper sorrow, a yearning for a union with the divine. Compunction, according to a Christian encyclopaedia, is constructive only if it leads to repentance, reconciliation, and sanctification. Would you consider this work you are doing, the Trappistine wrote, to be a spiritual journey?Initially, I ducked her question; it was a good one. Like Neruda, I don’t know where the poetry comes from, a winter or a river. But like many poets, I feel the inadequacy of language to translate pain and beauty, the yearning for an embodied understanding of phenomena that is assensitive and soul-jolting as the contacts of eye-to-eye and skin-to-skin. While I do not worship a god, I do long for an impossible union with the world—a way to acknowledge the gift that is my life. Resonance: a search for the divine in the everyday. And more so. Writing is a full-bodied, sensory, immersive activity that asks me to give myself over to phenomena, that calls forth deep joy and deep sorrow sometimes so profound that I am gutted by my inadequacy. I am pierced, dumbstruck. Lyric language is the crayon I use, and poetry is my secular compunction...Poets—indeed, all writers—are often humbled by what we cannot do, pierced as we are by—what? I suggest mystery, impossibility, wonder, reverence, grief, desire, joy, our simple gratitude and despair. I speak of the soul and seven people rise from their chairs and leave the room, writes Mary Oliver (4). Eros and penthos working in concert. We have to sign on for the whole package, and that’s what both empties us out, and fills us up. The practice of poetry is our inadequate means of seeking the gift of tears. We cultivate awe, wonder, the exquisite pain of seeing and knowing deeply the abundant and the fleeting in our lives. Yes, it is a spiritual path. It has to do with the soul, and the sacred—our venerating the world given to us. Whether we are inside a belief system that has or does not have a god makes no difference. Seven others lean forward to listen. (Threading Light 98–100)———The capacity to give one’s attention to a sufferer is a rare thing; it is almost a miracle; it is a miracle. – Simone Weil (169)I can look at the lines and shades on the page clipped to the easel, deer tracks in the snow, or flecks of light on a summer sidewalk. Or at the moon as it moves from new to full. Or I can read the poetry of Paul Celan.Celan’s poem “Tenebrae” takes its title from high Christian services in which lighting, usually from candles, is gradually extinguished so that by the end of the service, the church is in total darkness. Considering Celan’s—Antschel’s—history as a Romanian Jew whose parents were killed in the Nazi death camps, and his subsequent years tortured by the agony of his grief, we are not surprised to learn he chose German, his mother’s language, to create his poetry: it might have been his act of defiance, his way of using shadow and light against the other. The poet’s deep grief, his profound awareness of loss, looks unflinchingly at the past, at the piles of bodies. The language has become a prism, reflecting penetrating shafts of shadow: in the shine of blood, the darkest of the dark. Enlinked, enlaced, and enamoured. We don’t always have names for the shades of sorrows and joys we live inside, but we know that each defines and depends upon the other. Inside the core shadow of grief we recognise our shared mortality, and only in that recognition—we are not alone—can hope be engendered. In the exquisite pure spot of light we associate with love and joy, we may be temporarily blinded, but if we look beyond, and we draw on what we know, we feel the presence of the shadows that have intensified what appears to us as light. Light and dark—even in what we may think are their purest state—are transitory pauses in the shape of being. Decades ago my well-meaning mother, a nurse, gave me pills to dull the pain of losing my fiancé who had shot himself; now, years later, knowing so many deaths, and more imminent, I would choose the bittersweet tenderness of being fully inside grief—awake, raw, open—feeling its walls, its every rough surface, its every degree of light and dark. It is love/loss, light/dark, a fusion that brings me home to the world. (Threading Light 100–101) ———Loss can trigger and inspire creativity, not only at the individual level but at the public level, whether we are marching in Idle No More demonstrations, re-building a shelter, or re-building a life. We use art to weep, to howl, to reach for something that matters, something that means. And sometimes it may mean that all we learn from it is that nothing lasts. And then, what? What do we do then? ———The wisdom of Epictetus, the Stoic, can offer solace, but I know it will take time to catch up with him. Nothing can be taken from us, he claims, because there is nothing to lose: what we lose—lover, friend, hope, father, dream, keys, faith, mother—has merely been returned to where it (or they) came from. We live in samsara, Zen masters remind us, inside a cycle of suffering that results from a belief in the permanence of self and of others. Our perception of reality is narrow; we must broaden it to include all phenomena, to recognise the interdependence of lives, the planet, and beyond, into galaxies. A lot for a mortal to get her head around. And yet, as so many poets have wondered, is that not where imagination is born—in the struggle and practice of listening, attending, and putting ourselves inside the now that all phenomena share? Can I imagine the rush of air under the loon that passes over my house toward the ocean every morning at dawn? The hot dust under the cracked feet of that child on the outskirts of Darwin? The gut-hauling terror of an Afghan woman whose family’s blood is being spilled? Thich Nhat Hanh says that we are only alive when we live the sufferings and the joys of others. He writes: Having seen the reality of interdependence and entered deeply into its reality, nothing can oppress you any longer. You are liberated. Sit in the lotus position, observe your breath, and ask one who has died for others. (66)Our breath is a delicate thread, and it contains multitudes. I hear an echo, yes. The practice of poetry—my own spiritual and philosophical practice, my own sackcloth and candle—has allowed me a glimpse not only into the lives of others, sentient or not, here, afar, or long dead, but it has deepened and broadened my capacity for breath. Attention to breath grounds me and forces me to attend, pulls me into my body as flesh. When I see my flesh as part of the earth, as part of all flesh, as Morris Berman claims, I come to see myself as part of something larger. (Threading Light 134–135) ———We think of loss as a dark time, and yet it opens us, deepens us.Close attention to loss—our own and others’—cultivates compassion.As artists we’re already predisposed to look and listen closely. We taste things, we touch things, we smell them. We lie on the ground like Mary Oliver looking at that grasshopper. We fill our ears with music that not everyone slows down to hear. We fall in love with ideas, with people, with places, with beauty, with tragedy, and I think we desire some kind of fusion, a deeper connection than everyday allows us. We want to BE that grasshopper, enter that devastation, to honour it. We long, I think, to be present.When we are present, even in catastrophe, we are fully alive. It seems counter-intuitive, but the more fully we engage with our losses—the harder we look, the more we soften into compassion—the more we cultivate resilience. ———Resilience consists of three features—persistence, adaptability transformability—each interacting from local to global scales. – Carl FolkeResilent people and resilient systems find meaning and purpose in loss. We set aside our own egos and we try to learn to listen and to see, to open up. Resilience is fundamentally an act of optimism. This is not the same, however, as being naïve. Optimism is the difference between “why me?” and “why not me?” Optimism is present when we are learning to think larger than ourselves. Resilience asks us to keep moving. Sometimes with loss there is a moment or two—or a month, a year, who knows?—where we, as humans, believe that we are standing still, we’re stuck, we’re in stasis. But we aren’t. Everything is always moving and everything is always in relation. What we mistake for stasis in a system is the system taking stock, transforming, doing things underneath the surface, preparing to rebuild, create, recreate. Leonard Cohen reminded us there’s a crack in everything, and that’s how the light gets in. But what we often don’t realize is that it’s we—the human race, our own possibilities, our own creativity—who are that light. We are resilient when we have agency, support, community we can draw on. When we have hope. ———FortuneFeet to carry you past acres of grapevines, awnings that opento a hall of paperbarks. A dog to circle you, look behind, point ahead. A hip that bends, allows you to slidebetween wire and wooden bars of the fence. A twinge rides with that hip, and sometimes the remnant of a fall bloomsin your right foot. Hands to grip a stick for climbing, to rest your weight when you turn to look below. On your left hand,a story: others see it as a scar. On the other, a newer tale; a bone-white lump. Below, mist disappears; a nichein the world opens to its long green history. Hills furrow into their dark harbours. Horses, snatches of inhale and whiffle.Mutterings of men, a cow’s long bellow, soft thud of feet along the hill. You turn at the sound.The dog swallows a cry. Stays; shakes until the noise recedes. After a time, she walks on three legs,tests the paw of the fourth in the dust. You may never know how she was wounded. She remembers your bodyby scent, voice, perhaps the taste of contraband food at the door of the house. Story of human and dog, you begin—but the wordyour fingers make is god. What last year was her silken newborn fur is now sunbleached, basket dry. Feet, hips, hands, paws, lapwings,mockingbirds, quickening, longing: how eucalypts reach to give shade, and tiny tight grapes cling to vines that align on a slope as smoothlyas the moon follows you, as intention always leans toward good. To know bones of the earth are as true as a point of light: tendernesswhere you bend and press can whisper grace, sorrow’s last line, into all that might have been,so much that is. (Threading Light 115–116) Acknowledgments The author would like to thank Dr. Lekkie Hopkins and Dr. John Ryan for the opportunity to speak (via video) to the 2012 CREATEC Symposium Catastrophe and Creativity, to Dr. Hopkins for her eloquent and memorable paper in response to my work on creativity and research, and to Dr. Ryan for his support. The presentation was recorded and edited by Paul Poirier at Mount Saint Vincent University in Halifax, Nova Scotia. My thanks go to Edith Cowan and Mount Saint Vincent Universities. ReferencesBerman, Morris. Coming to Our Senses. New York: Bantam, 1990.Dillard, Annie. For the Time Being. New York: Vintage Books, 2000.Felstiner, John. Paul Celan: Poet, Survivor, Jew. New Haven, CT: Yale University Press, 2001.Folke, Carl. "On Resilience." Seed Magazine. 13 Dec. 2010. 22 Mar. 2013 ‹http://seedmagazine.com/content/article/on_resilience›.Franck, Frederick. Zen Seeing, Zen Drawing. New York: Bantam Books, 1993.Hanh, Thich Nhat. The Miracle of Mindfulness. Boston: Beacon Press, 1976.Hausherr, Irenee. Penthos: The Doctrine of Compunction in the Christian East. Kalamazoo, MI: Cistercian Publications, 1982.Neilsen Glenn, Lorri. Threading Light: Explorations in Loss and Poetry. Regina, SK: Hagios Press, 2011. Nietzsche, Frederick. Thus Spake Zarathustra. New York: Penguin, 1978. Nussbaum, Martha. Upheavals of Thought: The Intelligence of Emotions. New York: Cambridge University Press, 2001. Oliver, Mary. “The Word.” What Do We Know. Boston: DaCapo Press, 2002.Rilke, Rainer Maria. Duino Elegies and the Sonnets to Orpheus. (Tenth Elegy). Ed. Stephen Mitchell. New York: Random House/Vintage Editions, 2009.Weil, Simone. The Need for Roots. London: Taylor & Francis, 2005 (1952).Weil, Simone. Gravity and Grace. London: Routledge, 2004.Further ReadingChodron, Pema. Practicing Peace in Times of War. Boston: Shambhala, 2006.Cleary, Thomas (trans.) The Essential Tao: An Initiation into the Heart of Taoism through Tao de Ching and the Teachings of Chuang Tzu. Edison, NJ: Castle Books, 1993.Dalai Lama (H H the 14th) and Venerable Chan Master Sheng-yen. Meeting of Minds: A Dialogue on Tibetan and Chinese Buddhism. New York: Dharma Drum Publications, 1999. Hirshfield, Jane. "Language Wakes Up in the Morning: A Meander toward Writing." Alaska Quarterly Review. 21.1 (2003).Hirshfield, Jane. Nine Gates: Entering the Mind of Poetry. New York: HarperCollins, 1997. Lao Tzu. Tao Te Ching. Trans. Arthur Waley. Chatham: Wordsworth Editions, 1997. Neilsen, Lorri. "Lyric Inquiry." Handbook of the Arts in Qualitative Research. Eds. J. Gary Knowles and Ardra Cole. Thousand Oaks: Sage, 2008. 88–98. Ross, Maggie. The Fire and the Furnace: The Way of Tears and Fire. York: Paulist Press, 1987.

We take as our subject what many would deem a waste of good celluloid: the degraded cultural form of the stoner film. Stoner films plot the experiences of the wasted (those intoxicated on marijuana) as they exhibit wastefulness—excessiveness, improvidence, decay—on a number of fronts. Stoners waste time in constantly hunting for pot and in failing to pursue more productive activity whilst wasted. Stoners waste their minds, both literally, if we believe contested studies that indicate marijuana smoking kills brains cells, and figuratively, in rendering themselves cognitively impaired. Stoners waste their bodies through the dangerous practice of smoking and through the tendency toward physical inertia. Stoners waste money on marijuana firstly, but also on such sophomoric accoutrements as the stoner film itself. Stoners lay waste to convention in excessively seeking pleasure and in dressing and acting outrageously. And stoners, if the scatological humour of so many stoner films is any index, are preoccupied with bodily waste. Stoners, we argue here, waste whiteness as well. As the likes of Jesse and Chester (Dude, Where’s My Car?), Wayne and Garth (Wayne’s World), Bill and Ted (Bill and Ted’s Excellent Adventure) and Jay and Silent Bob (Jay and Silent Bob Strike Back) make clear, whiteness looms large in stoner films. Yet the genre, we argue, disavows its own whiteness, in favour of a post-white hybridity that lavishly squanders white privilege. For all its focus on whiteness, filmic wastedness has always been an ethnically diverse and ambiguous category. The genre’s origins in the work of Cheech Marin, a Chicano, and Tommy Chong, a Chinese-European Canadian, have been buttressed in this regard by many African American contributions to the stoner oeuvre, including How High, Half Baked and Friday, as well as by Harold and Kumar Go to White Castle, and its Korean-American and Indian-American protagonists. Cheech and Chong initiated the genre with the release of Up in Smoke in 1978. A host of films have followed featuring protagonists who spend much of their time smoking and seeking marijuana (or—in the case of stoner films such as Dude, Where’s My Car? released during the height of the War on Drugs—acting stoned without ever being seen to get stoned). Inspired in part by the 1938 anti-marijuana film Reefer Madness, and the unintended humour such propaganda films begat amongst marijuana smokers, stoner films are comedies that satirise both marijuana culture and its prohibition. Self-consciously slapstick, the stoner genre excludes more serious films about drugs, from Easy Rider to Shaft, as well as films such as The Wizard of Oz, Yellow Submarine, the Muppet movies, and others popular amongst marijuana smokers because of surreal content. Likewise, a host of films that include secondary stoner characters, such as Jeff Spicoli in Fast Times at Ridgemont High and Wooderson in Dazed and Confused, are commonly excluded from the genre on the grounds that the stoner film, first and foremost, celebrates stonerism, that is “serious commitment to smoking and acquiring marijuana as a lifestyle choice.” (Meltzer). Often taking the form of the “buddy film,” stoner flicks generally feature male leads and frequently exhibit a decidedly masculinist orientation, with women, for the most part reduced to little more than the object of the white male gaze.The plot, such as it is, of the typical stoner film concerns the search for marijuana (or an accessory, such as junk food) and the improbable misadventures that ensue. While frequently represented as resourceful and energetic in their quest for marijuana, filmic stoners otherwise exhibit ambivalent attitudes toward enterprise that involves significant effort. Typically represented as happy and peaceable, filmic stoners rarely engage in conflict beyond regular clashes with authority figures determined to enforce anti-drug laws, and other measures that stoners take to be infringements upon happiness. While Hollywood’s stoners thus share a sense of entitlement to pleasure, they do not otherwise exhibit a coherent ideological orthodoxy beyond a certain libertarian and relativistic open-mindedness. More likely to take inspiration from comic book heroes than Aldous Huxley or Timothy Leary, stoners are most often portrayed as ‘dazed and confused,’ and could be said to waste the intellectual tradition of mind expansion that Leary represents. That stoner films are, at times, misunderstood to be quintessentially white is hardly suprising. As a social construct that creates, maintains and legitimates white domination, whiteness manifests, as one of its most defining features, an ability to swallow up difference and to insist upon, at critical junctures, a universal subjectivity that disallows for difference (hooks 167). Such universalising not only sanctions co-optation of ethnic cultural expression, it also functions to mask whiteness’s existence, thus reinforcing its very power. Whiteness, as Richard Dyer argues, is simultaneously everywhere and nowhere. It obfuscates itself and its relationship to the particular traits it is said to embody—disinterest, prudence, temperance, rationality, bodily restraint, industriousness (3). Whiteness is thus constructed as neither an ethnic nor racial particularity, but rather the transcendence of such positionality (Wiegman 139). While non-whites are raced, to be white is to be “just human” and thus to possess the power to “claim to speak for the commonality of humanity” whilst denying the accrual of any particular racial privilege (Dyer 2). In refuting its own advantages—which are so wide ranging (from preferential treatment in housing loans, to the freedom to fail without fear of reflecting badly on other whites) that they are, like whiteness itself, both assumed and unproblematic—whiteness instantiates individualism, allowing whites to believe that their successes are in no way the outcome of systematic racial advantage, but rather the product of individual toil (McIntosh; Lipsitz). An examination of the 1978 stoner film Up in Smoke suggests that whatever the ethnic ambiguity of the figure of the stoner, the genre of the stoner film is all about the wasting of whiteness. Up in Smoke opens with two alternating domestic scenes. We first encounter Pedro De Pacas (Cheech Marin) in a cluttered and shadowy room as his siblings romp affectionately upon his back, waking him from his slumber on the couch. Pedro rises, stepping into a bowl of cereal on the floor. He stumbles to the bathroom, where, sleepy and disoriented, he urinates into the laundry hamper. The chaos of Pedro’s disrupted sleep is followed in the film by a more metaphoric awakening as Anthony Stoner (Tommy Chong) determines to leave home. The scene takes place in a far more orderly, light and lavish room. The space’s overpowering whiteness is breached only by the figure of Anthony and his unruly black hair, bushy black beard, and loud Hawaiian shirt, which vibrates with colour against the white walls, white furnishings and white curtains. We watch as Anthony, behind an elaborate bar, prepares a banana protein shake, impassively ignoring his parents, both clothed in all-white, as they clutch martini glasses and berate their son for his lack of ambition. Arnold Stoner [father]: Son, your mother and me would like for you to cozy up to the Finkelstein boy. He's a bright kid, and, uh... he's going to military school, and remember, he was an Eagle Scout. Tempest Stoner [mother]: Arnold…Arnold Stoner: [shouts over/to his wife] Will you shut up? We’re not going to have a family brawl!Tempest Stoner: [continues talking as her husband shouts]…. Retard.Arnold Stoner: [to Anthony] We've put up with a hell of a lot.[Anthony starts blender] Can this wait? ... Build your goddamn muscles, huh? You know, you could build your muscles picking strawberries.You know, bend and scoop... like the Mexicans. Shit, maybe I could get you a job with United Fruit. I got a buddy with United Fruit. ... Get you started. Start with strawberries, you might work your way up to these goddamn bananas! When, boy? When...are you going to get your act together?Anthony: [Burps]Tempest Stoner: Gross.Arnold Stoner: Oh, good God Almighty me. I think he's the Antichrist. Anthony, I want to talk to you. [Anthony gathers his smoothie supplements and begins to walk out of the room.] Now, listen! Don't walk away from me when I'm talking to you! You get a goddamn job before sundown, or we're shipping you off to military school with that goddamn Finkelstein shit kid! Son of a bitch!The whiteness of Anthony’s parents is signified so pervasively and so strikingly in this scene—in their improbable white outfits and in the room’s insufferably white décor—that we come to understand it as causative. The rage and racism of Mr. Stoner’s tirade, the scene suggests, is a product of whiteness itself. Given that whiteness achieves and maintains its domination via both ubiquity and invisibility, what Up in Smoke accomplishes in this scene is notable. Arnold Stoner’s tortured syntax (“that goddamn Finkelstein shit kid”) works to “mak[e] whiteness strange” (Dyer 4), while the scene’s exaggerated staging delineates whiteness as “a particular – even peculiar – identity, rather than a presumed norm” (Roediger, Colored White 21). The belligerence of the senior Stoners toward not only their son and each other, but the world at large, in turn, functions to render whiteness intrinsically ruthless and destructive. Anthony’s parents, in all their whiteness, enact David Roediger’s assertion that “it is not merely that ‘Whiteness’s is oppressive and false; it is that ‘Whiteness’s is nothing but oppressive and false” (Toward the Abolition 13).Anthony speaks not a word during the scene. He communicates only by belching and giving his parents the finger as he leaves the room and the home. This departure is significant in that it marks the moment when Anthony, hereafter known only as “Man,” flees the world of whiteness. He winds up taking refuge in the multi-hued world of stonerism, as embodied in the scene that follows, which features Pedro emerging from his home to interact with his Chicano neighbours and to lovingly inspect his car. As a lowrider, a customised vehicle that “begin[s] with the abandoned materials of one tradition (that of mainstream America), … [and is] … then transformed and recycled . . . into new and fresh objects of art which are distinctly Chicano,” Pedro’s car serves as a symbol of the cultural hybridisation that Man is about to undergo (quoted in Ondine 141).As Man’s muteness in the presence of his parents suggests, his racial status seems tentative from the start. Within the world of whiteness, Man is the subaltern, silenced and denigrated, finding voice only after he befriends Pedro. Even as the film identifies Man as white through his parental lineage, it renders indeterminate its own assertion, destabilising any such fixed or naturalised schema of identity. When Man is first introduced to Pedro’s band as their newest member, James, the band’s African American bass player, looks at Man, dressed in the uniform of the band, and asks: “Hey Pedro, where’s the white dude you said was playing the drums?” Clearly, from James’s point of view, the room contains no white dudes, just stoners. Man’s presumed whiteness becomes one of the film’s countless gags, the provocative ambiguity of the casting of a Chinese-European to play a white part underscored in the film by the equally implausible matter of age. Man, according to the film’s narrative, is a high school student; Chong was forty when the film was released. Like his age, Man’s whiteness is never a good fit. That Man ultimately winds up sleeping on the very couch upon which we first encounter Pedro suggests how radical and final the break with his dubious white past is. The “Mexicans” whom his father would mock as fit only for abject labour are amongst those whom Man comes to consider his closest companions. In departing his parents’ white world, and embracing Pedro’s dilapidated, barrio-based world of wastedness, Man traces the geographies narrated by George Lipsitz in The Possessive Investment in Whiteness. Historically, Lipsitz argues, the development of affluent white space (the suburbs) was made possible by the disintegration of African American, Chicano and other minority neighbourhoods disadvantaged by federal, state, and corporate housing, employment, health care, urban renewal, and education policies that favoured whites over non-whites. In this sense, Man’s flight from his parents’ home is a retreat from whiteness itself, and from the advantages that whiteness conveys. In choosing the ramshackle, non-white world of stonerism, Man performs an act of racial treachery. Whiteness, Lipsitz contends, has “cash value,” and “is invested in, like property, but it is also a means of accumulating property and keeping it from others,” which allows for “intergenerational transfers of inherited wealth that pass on the spoils of discrimination to succeeding generations” (vii-viii). Man’s disavowal of the privileges of whiteness is a reckless refusal to accept this racial birthright. Whiteness is thus wasted upon Man because Man wastes his whiteness. Given the centrality of prudence and restraint to hegemonic constructions of whiteness, Man’s willingness to squander the “valuable asset” that is his white inheritance is especially treasonous (Harris 1713). Man is the prodigal son of whiteness, a profligate who pours down the drain “the wages of whiteness” that his forbearers have spent generations accruing and protecting (Roediger, The Wages of Whiteness). His waste not only offends the core values which whiteness is said to comprise, it also denigrates whiteness itself by illuminating the excess of white privilege, as well as the unarticulated excess of meanings that hover around whiteness to create the illusion of transcendence and infinite variety. Man’s performance, like all bad performances of whiteness, “disrupt[s] implicit understandings of what it means to be white” (Hartigan 46). The spectre of seeing white domination go ‘up in smoke’—via wasting, as opposed to hoarding, white privilege—amounts to racial treason, and helps not only to explicate why whites in the film find stonerism so menacing, but also to explain the paradox of “pot [making] the people who don’t smoke it even more paranoid than the people who do” (Patterson). While Tommy Chong’s droll assertion that "what makes us so dangerous is that we're harmless" ridicules such paranoia, it ultimately fails to account for the politics of subversive squandering of white privilege that characterise the stoner film (“Biographies”). Stoners in Up in Smoke, as in most other stoner films, are marked as non-white, through association with ethnic Others, through their rejection of mainstream ideas about work and achievement, and/or through their lack of bodily restraint in relentlessly seeking pleasure, in dressing outrageously, and in refusing to abide conventional grooming habits. Significantly, the non-white status of the stoner is both voluntary and deliberate. While stonerism embraces its own non-whiteness, its Otherness is not signified, primarily, through racial cross-dressing of the sort Eric Lott detects in Elvis, but rather through race-mixing. Stoner collectivity practices an inclusivity that defies America’s historic practice of racial and ethnic segregation (Lott 248). Stonerism further reveals its unwillingness to abide constrictive American whiteness in a scene in which Pedro and Man, both US-born Americans, are deported. The pair are rounded up along with Pedro’s extended family in a raid initiated when Pedro’s cousin “narcs” on himself to la migra (the Immigration and Naturalization Service) in order to get free transport for his extended family to his wedding in Tijuana. Pedro and Man return to the US as unwitting tricksters, bringing back to the US more marijuana than has ever crossed the Mexican-US border at one time, fusing the relationship between transnationalism and wastedness. The disrespect that stoners exhibit for pregnable US borders contests presumed Chicano powerlessness in the face of white force and further affronts whiteness, which historically has mobilised itself most virulently at the threat of alien incursion. Transgression here is wilful and playful; stoners intend to offend normative values and taste through their actions, their dress, and non-white associations as part of the project of forging a new hybridised, transnational subjectivity that threatens to lay waste to whiteness’s purity and privilege. Stoners invite the scrutiny of white authority with their outrageous attire and ethnically diverse composition, turning the “inevitability of surveillance” (Borrie 87) into an opportunity to enact their own wastedness—their wasted privilege, their wasted youth, their wasted potential—before a gaze that is ultimately confounded and threatened by the chaotic hybridity with which it is faced (Hebdige 26). By perpetually displaying his/her wasted Otherness, the stoner makes of him/herself a “freak,” a label cops use derisively throughout Up in Smoke to denote the wasted without realising that stoners define themselves in precisely such terms, and, by doing so, obstruct whiteness’s assertion of universal subjectivity. Pedro’s cousin Strawberry (Tom Skerritt), a pot dealer, enacts freakishness by exhibiting a large facial birthmark and by suffering from Vietnam-induced Post Traumatic Stress disorder. A freak in every sense of the word, Strawberry is denied white status by virtue of physical and mental defect. But Strawberry, as a stoner, ultimately wants whiteness even less than it wants him. The defects that deny him membership in the exclusive “club” that is whiteness prove less significant than the choice he makes to defect from the ranks of whiteness and join with Man in the decision to waste his whiteness wantonly (“Editorial”). Stoner masculinity is represented as similarly freakish and defective. While white authority forcefully frustrates the attempts of Pedro and Man to “score” marijuana, the duo’s efforts to “score” sexually are thwarted by their own in/action. More often than not, wastedness produces impotence in Up in Smoke, either literally or figuratively, wherein the confusion and misadventures that attend pot-smoking interrupt foreplay. The film’s only ostensible sex scene is unconsummated, a wasted opportunity for whiteness to reproduce itself when Man sleeps through his girlfriend’s frenzied discussion of sex. During the course of Up in Smoke, Man dresses as a woman while hitchhiking, Pedro mistakes Man for a woman, Man sits on Pedro’s lap when they scramble to change seats whilst being pulled over by the police, Man suggests that Pedro has a “small dick,” Pedro reports liking “manly breasts,” and Pedro—unable to urinate in the presence of Sgt. Stedenko—tells his penis that if it does not perform, he will “put [it] back in the closet.” Such attenuations of the lead characters’ masculinity climax in the penultimate scene, in which Pedro, backed by his band, performs “Earache My Eye,” a song he has just composed backstage, whilst adorned in pink tutu, garter belt, tassle pasties, sequined opera mask and Mickey Mouse ears: My momma talkin’ to me tryin’ to tell me how to liveBut I don't listen to her cause my head is like a sieveMy daddy he disowned me cause I wear my sister's clothesHe caught me in the bathroom with a pair of pantyhoseMy basketball coach he done kicked me off the teamFor wearing high heeled sneakers and acting like a queen“Earache My Eye” corroborates the Othered natured of stonerism by marking stoners, already designated as non-white, as non-straight. In a classic iteration of a bad gender performance, the scene rejects both whiteness and its hegemonic partners-in-crime, heterosexuality and normative masculinity (Butler 26). Here stoners waste not only their whiteness, but also their white masculinity. Whiteness, and its dependence upon “intersection … [with] interlocking axes [of power such as] gender … [and] sexuality,” is “outed” in this scene (Shome 368). So, too, is it enfeebled. In rendering masculinity freakish and defective, the film threatens whiteness at its core. For if whiteness can not depend upon normative masculinity for its reproduction, then, like Man’s racial birthright, it is wasted. The stoner’s embodiment of freakishness further works to emphasise wasted whiteness by exposing just how hysterical whiteness’s defense of its own normativity can be. Up in Smoke frequently inflates not only the effects of marijuana, but also the eccentricities of those who smoke it, a strategy which means that much of the film’s humour turns on satirising hegemonic stereotypes of marijuana smokers. Equally, Cheech Marin’s exaggerated “slapstick, one-dimensional [portrayal] of [a] Chicano character” works to render ridiculous the very stereotypes his character incarnates (List 183). While the film deconstructs processes of social construction, it also makes extensive use of counter-stereotyping in its depictions of characters marked as white. The result is that whiteness’s “illusion of [its] own infinite variety” is contested and the lie of whiteness as non-raced is exposed, helping to explain the stoner’s decision to waste his/her whiteness (Dyer 12; 2). In Up in Smoke whiteness is the colour of straightness. Straights, who are willing neither to smoke pot nor to tolerate the smoking of pot by others/Others, are so comprehensively marked as white in the film that whiteness and straightness become isomorphic. As a result, the same stereotypes are mobilised in representing whiteness and straightness: incompetence, belligerence, hypocrisy, meanspiritedness, and paranoia, qualities that are all the more oppressive because virtually all whites/straights in the film occupy positions of authority. Anthony’s spectacularly white parents, as we have seen, are bigoted and dominating. Their whiteness is further impugned by alcohol, which fuels Mr. Stoner’s fury and Mrs. Stoner’s unintelligibility. That the senior Stoners are drunk before noon works, of course, to expose the hypocrisy of those who would indict marijuana use while ignoring the social damage alcohol can produce. Their inebriation (revealed as chronic in the DVD’s outtake scenes) takes on further significance when it is configured as a decidedly white attribute. Throughout the film, only characters marked as white consume alcohol—most notably, the judge who is discovered to be drinking vodka whist adjudicating drug charges against Pedro and Man—therefore dislodging whiteness’s self-construction as temperate, and suggesting just how wasted whiteness is. While stonerism is represented as pacific, drunkenness is of a piece with white/straight bellicosity. In Up in Smoke, whites/straights crave confrontation and discord, especially the angry, uptight, and vainglorious narcotics cop Sgt. Stedenko (Stacey Keech) who inhabits so many of the film’s counter-stereotypes. While a trio of white cops roughly apprehend and search a carload of innocent nuns in a manner that Man describes as “cold blooded,” Stedenko, unawares in the foreground, gives an interview about his plans for what he hopes will be the biggest border drug bust in US history: “[Reporter:] Do you expect to see any violence here today? [Sgt. Stedenko:] I certainly hope so.” Stedenko’s desire to act violently against stoners echoes mythologies of white regeneration in the Old West, wherein whiteness refurbished itself through violent attacks on Native Americans, whose wasteful cultures failed to make “civilised” use of western lands (Slotkin 565).White aggression is relentlessly depicted in the film, with one important exception: the instance of the stoned straight. Perhaps no other trope is as defining of the genre, as is the scene wherein a straight person accidentally becomes stoned. Up in Smoke offers several examples, most notably the scene in which a motorcycle cop pulls over Pedro and Man as they drive a van belonging to Pedro’s Uncle Chuey. In a plot twist requiring a degree of willing suspension of disbelief that even wasted audiences might find a stretch, the exterior shell of the van, unbeknownst to Pedro and Man, is made entirely of marijuana which has started to smoulder around the exhaust pipe. The cop, who becomes intoxicated whilst walking through the fumes, does not hassle Pedro and Man, as expected, but instead asks for a bite of their hot dog and then departs happily, instructing the duo to “have a nice day.” In declining, or perhaps simply forgetting, to exercise his authority, the cop demonstrates the regenerative potential not of violent whiteness but rather of hybrid wastedness. Marijuana here is transformative, morphing straight consciousness into stoner consciousness and, in the process, discharging all the uptight, mean-spirited, unnecessary, and hence wasteful baggage of whiteness along the way. While such a utopian potential for pot is both upheld and satirised in the film, the scene amounts to far more than an inconsequential generic gag, in that it argues for the disavowal of whiteness via the assumption of the voluntary Otherness that is stonerism. Whiteness, the scene suggests, can be cast off, discarded, wasted and thus surmounted. Whites, for want of a better phrase, simply need to ‘just say no’ to whiteness in order to excrete the brutality that is its necessary affliction and inevitable result. While Up in Smoke laudably offers a powerful refusal to horde the assets of whiteness, the film fails to acknowledge that ‘just saying no’ is, indeed, one of whiteness’s exclusive privileges, since whites and only whites possess the liberty to refuse the advantages whiteness bestows. Non-whites possess no analogical ability to jettison the social constructions to which they are subjected, to refuse the power of dominant classes to define their subjectivity. Neither does the film confront the fact that Man nor any other of Up in Smoke’s white freaks are disallowed from re-embracing their whiteness, and its attendant value, at any time. However inchoate the film’s challenge to racial privilege, Up in Smoke’s celebration of the subversive pleasures of wasting whiteness offers a tentative, if bleary, first step toward ‘the abolition of whiteness.’ Its utopian vision of a post-white hybridised subjectivity, however dazed and confused, is worthy of far more serious contemplation than the film, taken at face value, might seem to suggest. Perhaps Up in Smoke is a stoner film that should also be viewed while sober. ReferencesBill and Ted’s Excellent Adventure. Dir. Stephen Herek. Orion Pictures Corporation, 1989.“Biographies”. 10 June 2010 ‹http://www.cheechandchongfans.com/biography.html›. Borrie, Lee. "Wild Ones: Containment Culture and 1950s Youth Rebellion”. Diss. University of Canterbury, 2007.Butler, Judith. "Critically Queer”. GLQ: A Journal of Lesbian and Gay Studies 1.1 (1993): 17-32.Chavoya, C. Ondine. “Customized Hybrids: The Art of Ruben Ortiz Torres and Lowriding in Southern California”. 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