The 2008 recipient of the Brady Medal: Professor Katharina von Salis

Abstract. INTRODUCTIONThe Brady Medal, the highest award of The Micropalaeontological Society, is given to scientists who have had a major influence on micropalaeontology by means of a substantial body of excellent research and additionally service to the scientific community. It is named in honour of the brothers George and Henry Brady, pioneers of foraminiferal and ostracod research, respectively, both of whose work included landmark studies of material from the Challenger expedition. If the Challenger revolutionized nineteenth century oceanography, then the Glomar Challenger and the Deep Sea Drilling Project (DSDP) did the same for twentieth century micropalaeontology and palaeoceanography. So, it is fitting that the second Brady medal should go to one of the great contributors to DSDP microfossil studies, Katharina von Salis Perch-Nielsen.To use the words of her mother, Katharina is ‘curious, logical, inventive and rebellious, with an extreme sense for justice’. As a researcher, she made outstanding contributions to nannofossil taxonomy, biostratigraphy and palaeobiology. She both carried out an immense body of primary research and synthesized her encyclopaedic knowledge of nannofossils in a series of seminal syntheses, which have provided the basis for subsequent research. Moreover, she played a unique role in encouraging, supporting and facilitating micropalaeontological research and researchers.EARLY STUDIESKatharina was born in 1940 in Zurich, and was brought up there and in Soglio in Graubünden, a high-Alpine municipality in southeastern Switzerland, and commune of origin of the distinguished von Salis family. Her own branch of the family was characterized by strong women – her grandmother . . .

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The Formation of a Budding Man Alone: The God Boy (Murray Reece, 1976)

10.3366/edinburgh/9781474429443.003.0003 ◽

2018 ◽

Author(s):

Alistair Fox

Keyword(s):

Twentieth Century ◽

World War Ii ◽

New Zealand ◽

Religious Beliefs ◽

Coming Of Age ◽

World War ◽

Value System ◽

Feature Films ◽

The Family

This chapter analyses the earliest of the New Zealand coming-of-age feature films, an adaptation of Ian Cross’s novel The God Boy, to demonstrate how it addresses the destructive impact on a child of the puritanical value-system that had dominated Pākehā (white) society through much of the twentieth century, being particularly strong during the interwar years, and the decade immediately following World War II. The discussion explores how dysfunction within the family and repressive religious beliefs eventuate in pressures that cause Jimmy, the protagonist, to act out transgressively, and then to turn inwards to seek refuge in the form of self-containment that makes him a prototype of the Man Alone figure that is ubiquitous in New Zealand fiction.

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‘The well-known, old, but still unbeaten track’: Women Poets and Irish Periodical Culture in the Mid-Twentieth Century

Irish University Review ◽

10.3366/iur.2012.0007 ◽

2012 ◽

Vol 42 (1) ◽

pp. 32-52 ◽

Cited By ~ 3

Author(s):

Anne Mulhall

Keyword(s):

Twentieth Century ◽

Literary Culture ◽

Woman Writer ◽

Double Bind ◽

Women Poets ◽

Substantial Body ◽

Growing Body ◽

Critical Attention ◽

Irish Women ◽

Under Construction

While neglected Irish male poets of the mid century have seen some recuperation in recent decades, the work of Irish women poets still languishes in obscurity. A growing body of scholarship has identified the need to bring critical attention to bear on this substantial body of work. In this essay I explore the positioning of Irish women poets in mid-century periodical culture, to flesh out the ways in which the terms of this ‘forgetting’ are already established within the overwhelmingly masculinist homosocial suppositions and idioms that characterized contemporary debates about the proper lineage and aesthetic norms for the national literary culture that was then under construction. Within the terms set by those debates, the woman writer was caught in the double bind that afflicted any woman wishing to engage in a public, politicized forum in post-revolutionary Ireland. While women poets engage in sporadic or oblique terms with such literary and cultural debates, more often their voices are absent from these dominant discourses – the logic of this absence has continued in the occlusion of these women poets from the national poetic canon.

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