Terra macleod biography examples
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EN
Foraminifera and calcareous nannoplankton from the Cretaceous-Paleogene (K-Pg) transition in the Hyżne section (Outer Carpathians, south-eastern Poland) show a relatively complete biostratigraphic record. Despite the absence of the Pα Zone in turbiditic deposits of the Polish Carpathians, the planktonic foraminiferal zones of the Late Cretaceous-Early Paleogene interval are well defined, including (1) the late Maastrichtian Abathomphalus mayaroensis Zone and its equivalents, (2) the earliest Danian Guembelitria cretacea second bloom Zone (P0 Zone), and (3) the top of the early Danian Parasubbotina cf. pseudobulloides (P1a) Zone. The foraminiferal events recorded in the studied section at the K-Pg transition are stratigraphically important. They include: (1) the interval with A. mayaroensis occurrence, (2) the interval with gradual disappearance of planktonic foraminifera from the most complex K-strategy forms, through the less specialized species to the large Heterohelicidae tur
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Including Notes on the Dialectic, Historical Materialism and the Scottish Programme
Part of my series of posts on Scottish SFF in the run-up to, and aftermath of, this year’s WorldCon, focusing especially on the work of GOH Ken MacLeod.
(NB. I am discussing the plot and ending of the novels in detail here).
I’ve already noted in my earlier posts on rereading MacLeod’s novels this year that they are so good, I can’t believe that it has taken me until now to reread them. This seems especially true of the Engines of Light trilogy. At the time of original publication, I enjoyed these novels but they seemed somewhat idiosyncratic (an expanded communist EU, alien abductions, dynastic cosmonaut families in far-flung reaches of the galaxy) space opera in comparison with the Fall Revolution quartet, which had blown me away politically. At the same time, the exploration of gender in the middle volume, Dark Light, had a profound effect on me that I couldn’t really process at that
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Spamalot brings out the best of Monty Python humour
Monty Python is now a globally recognized brand, even though the show has been off the air since 1974. The Python influence and style continues to entice fans, combining slapstick comedy and bodily humour with socio-political digressions and general chaotic silliness. Original Python member Eric Idle has harnessed this successful combination once again, writing the book and lyrics for Spamalot, mounted in Vancouver by the Arts Club Theatre Company.
“I’m not going to mess around with a brand like Monty Python,” said director Dean Paul Gibson, who grew up watching Monty Python’s Flying Circus. The 2005 Broadway production received 14 Tony Award nominations and won three, including Best Musical—and it’s easy to see why. It has been produced across the globe and pokes fun at well-known plays such as Fiddler on the Roof and West Side Story.
Familiar scenes like Bring Out Your Dead, Dennis the Politically-Active Peasant, and t