title: Components and tidal modulation of the wave field in a semi-enclosed shallow bay

authors: WinklerPrins, L

abstract: The wave fields of coastal bays are comprised of waves generated by far-off storms that enter the bay to combine with waves generated locally by winds inside the bay and regionally outside the bay. In any given location, the resultant wave field varies spatially and temporally, and affects coastal features, such as beaches in estuaries and bays (BEBs). However, wave fields in enclosed bays with tidal shoals are poorly studied, limiting the efficacy of coastal protection and restoration projects in these systems, a critical focus in light of ongoing sea level rise. Here we present observations of the wave field in Tomales Bay, a 20-km-long, narrow, semi-enclosed embayment on the wave-dominated coast of Northern California (USA) with a spring-tide range of 2.5 m. We deployed pressure sensors near several beaches along the linear axis of the bay. Low-frequency waves (4∗10−2−2.5∗10−1 Hz or 4–25-s period) were not observed further than 4 km of the mouth, delineating the “outer bay” region, where remotely generated swell and regionally generated wind waves could dominate. The wave spectrum of the landward “inner bay” was dominated by fetch-limited waves generated within the bay with frequency ≥2.5∗10−1Hz. The energy of both ocean waves and locally generated wind waves across all sites were controlled by the tide, but the former by changes in attenuation and the latter likely by modulation of wave generation. Wave energies were low at low tide and high at high tide, but high-frequency wind wave energy was increased during ebb tides while lower-frequency swell energy was reduced during ebb tides, suggesting different mechanisms of tidal influences. Thus, in addition to fluctuations in winds and the presence of ocean waves, tides exert a strong control on the wave energy spectra at coastal features in mesotidal regions. In general, events that may be impactful for BEB morphology are expected to occur when waves due to high winds or high-swell event arrive during high-tide periods. However, no such events were observed during our study and questions remain as to how rarely such events occur across the bay.

text: Components and tidal modulation of the wave field in a semi-enclosed shallow bay The wave fields of coastal bays are comprised of waves generated by far-off storms that enter the bay to combine with waves generated locally by winds inside the bay and regionally outside the bay. In any given location, the resultant wave field varies spatially and temporally, and affects coastal features, such as beaches in estuaries and bays (BEBs). However, wave fields in enclosed bays with tidal shoals are poorly studied, limiting the efficacy of coastal protection and restoration projects in these systems, a critical focus in light of ongoing sea level rise. Here we present observations of the wave field in Tomales Bay, a 20-km-long, narrow, semi-enclosed embayment on the wave-dominated coast of Northern California (USA) with a spring-tide range of 2.5 m. We deployed pressure sensors near several beaches along the linear axis of the bay. Low-frequency waves (4∗10−2−2.5∗10−1 Hz or 4–25-s period) were not observed further than 4 km of the mouth, delineating the “outer bay” region, where remotely generated swell and regionally generated wind waves could dominate. The wave spectrum of the landward “inner bay” was dominated by fetch-limited waves generated within the bay with frequency ≥2.5∗10−1Hz. The energy of both ocean waves and locally generated wind waves across all sites were controlled by the tide, but the former by changes in attenuation and the latter likely by modulation of wave generation. Wave energies were low at low tide and high at high tide, but high-frequency wind wave energy was increased during ebb tides while lower-frequency swell energy was reduced during ebb tides, suggesting different mechanisms of tidal influences. Thus, in addition to fluctuations in winds and the presence of ocean waves, tides exert a strong control on the wave energy spectra at coastal features in mesotidal regions. In general, events that may be impactful for BEB morphology are expected to occur when waves due to high winds or high-swell event arrive during high-tide periods. However, no such events were observed during our study and questions remain as to how rarely such events occur across the bay.

year: 2023-12-02

title: 'He is a gentleman. I am a gentleman’s daughter. So far we are equal’: Gender performance in twenty-first century adaptations of Jane Austen’s Emma and Pride and prejudice

authors: Hodgson, Laura

abstract: The core focus of this thesis is gender performance in two of Jane Austen’s novels, Pride and Prejudice and Emma, and twenty-first-century adaptations of these novels. The thesis revolves around six key texts: Austen’s novel Pride and Prejudice, its 2005 film adaptation of the same name directed by Joe Wright, and the transmedia modernisation, The Lizzie Bennet Diaries; as well as Austen’s novel Emma, its 2020 film adaptation of the same name directed by Autumn de Wilde, and the transmedia web series, Emma Approved. There have undoubtedly been shifts in gender performance over the two hundred years since Austen published her novels, but these are not always reflected in the adaptations. In part this is due to the surprisingly progressive nature of some of Austen’s meditations on gender, with Elizabeth Bennet from Pride and Prejudice presenting as a pre-feminist and George Knightley from Emma performing as a pre-feminist man. These aspects of gender performance are extended by Keira Knightley’s portrayal of Elizabeth Bennet in Wright’s film, which reframes the character as a Romantic feminist, and Johnny Flynn’s performance of Mr. Knightley as a hero positioned under the female gaze in de Wilde’s film. 

Yet, the thesis also reveals that Austen’s feminist precursors are not always developed in contemporary adaptations. Indeed, Lizzie Bennet in The Lizzie Bennet Diaries is a postfeminist who is far from being an autonomous twenty-first century woman and is dependent on family and male suitors to provide her with opportunities. Likewise, the opportunity to reimagine Austen’s characters in a twenty-first-century gender context is also ignored in some adaptations, particularly the transmedia web series, with Emma in Emma Approved continuing to endorse patriarchal structures in the same way that she does in Austen’s original novel. The dandyism of Frank Churchill in Austen’s Emma is also undercut in Emma Approved through a performance of heteronormativity that sidelines the queer potential initiated by previous adaptations, such as the 1995 film Clueless. Most striking is the stagnant gender performance of Mr. Darcy from Pride and Prejudice who remains the embodiment of hegemonic gentry masculinity in both the film and the web series. This thesis reveals that the lack of change in gender performance in some contemporary Austen adaptations demonstrates the persistence of hegemonic masculinity in the twenty-first century, while postfeminist performances of gender at times seem regressive.

text: 'He is a gentleman. I am a gentleman’s daughter. So far we are equal’: Gender performance in twenty-first century adaptations of Jane Austen’s Emma and Pride and prejudice The core focus of this thesis is gender performance in two of Jane Austen’s novels, Pride and Prejudice and Emma, and twenty-first-century adaptations of these novels. The thesis revolves around six key texts: Austen’s novel Pride and Prejudice, its 2005 film adaptation of the same name directed by Joe Wright, and the transmedia modernisation, The Lizzie Bennet Diaries; as well as Austen’s novel Emma, its 2020 film adaptation of the same name directed by Autumn de Wilde, and the transmedia web series, Emma Approved. There have undoubtedly been shifts in gender performance over the two hundred years since Austen published her novels, but these are not always reflected in the adaptations. In part this is due to the surprisingly progressive nature of some of Austen’s meditations on gender, with Elizabeth Bennet from Pride and Prejudice presenting as a pre-feminist and George Knightley from Emma performing as a pre-feminist man. These aspects of gender performance are extended by Keira Knightley’s portrayal of Elizabeth Bennet in Wright’s film, which reframes the character as a Romantic feminist, and Johnny Flynn’s performance of Mr. Knightley as a hero positioned under the female gaze in de Wilde’s film. 

Yet, the thesis also reveals that Austen’s feminist precursors are not always developed in contemporary adaptations. Indeed, Lizzie Bennet in The Lizzie Bennet Diaries is a postfeminist who is far from being an autonomous twenty-first century woman and is dependent on family and male suitors to provide her with opportunities. Likewise, the opportunity to reimagine Austen’s characters in a twenty-first-century gender context is also ignored in some adaptations, particularly the transmedia web series, with Emma in Emma Approved continuing to endorse patriarchal structures in the same way that she does in Austen’s original novel. The dandyism of Frank Churchill in Austen’s Emma is also undercut in Emma Approved through a performance of heteronormativity that sidelines the queer potential initiated by previous adaptations, such as the 1995 film Clueless. Most striking is the stagnant gender performance of Mr. Darcy from Pride and Prejudice who remains the embodiment of hegemonic gentry masculinity in both the film and the web series. This thesis reveals that the lack of change in gender performance in some contemporary Austen adaptations demonstrates the persistence of hegemonic masculinity in the twenty-first century, while postfeminist performances of gender at times seem regressive.

year: 2023

title: Moehewa: Death, lifestyle and sexuality in the Maori world

authors: Nikora, Linda Waimarie

subjects: Maori

abstract: Customary death ritual and traditional practice have continued for the Maori (indigenous) people of Aotearoa/New Zealand, despite intensive missionary incursion and the colonial process. This paper critically considers what occurs when the deceased is different, in a most significant way. What happens when you die – and you are Maori and any one, or a combination, of the following: a queen, takatapui, butch, like that, gay, she-male, lesbian, transsexual, a dyke, intersex, tomboy, kamp, drag, homosexual, or just queer? Who remembers you and how? Same sex relationships today are still discouraged or denied, although traditional chant and Maori visual narratives record such liaisons and erotic experience as joyously normal. And yet some people choose to remain in the closet. With three case studies, we reflect on mourning rituals or tangi – Maori death rites, in a same sex relationship, or for a gay, lesbian or transsexual family member. We use the Maori term takatapui to refer to these partnerships.

text: Moehewa: Death, lifestyle and sexuality in the Maori world Customary death ritual and traditional practice have continued for the Maori (indigenous) people of Aotearoa/New Zealand, despite intensive missionary incursion and the colonial process. This paper critically considers what occurs when the deceased is different, in a most significant way. What happens when you die – and you are Maori and any one, or a combination, of the following: a queen, takatapui, butch, like that, gay, she-male, lesbian, transsexual, a dyke, intersex, tomboy, kamp, drag, homosexual, or just queer? Who remembers you and how? Same sex relationships today are still discouraged or denied, although traditional chant and Maori visual narratives record such liaisons and erotic experience as joyously normal. And yet some people choose to remain in the closet. With three case studies, we reflect on mourning rituals or tangi – Maori death rites, in a same sex relationship, or for a gay, lesbian or transsexual family member. We use the Maori term takatapui to refer to these partnerships.

year: 2013