The sustainable management of marine resources requires an understanding of the current condition of the marine environment, what good status does/should/could look like and what level and types of human activity are compatible with the achievement or maintenance of a good ecosystem state. Sedimentary seabed ecosystems provide a wide range of important functions. They can have a very high biodiversity, provide food for commercial fish and seabirds of conservation concern, and contribute to the biogeochemistry of nutrient cycling. The UK Marine Strategy (UKMS) and the EU Marine Strategy Framework Directive require the seabed to be in a good state. Although the effect of other human activities that disturb the seabed, such as bottom trawling and dredging, are well understood and included in assessments, the effects of anchoring, have so far been totally ignored, even though the area of seabed that is affected by anchoring is likely to be larger than the area used for aggregate dredging, and the intensity of disturbance is likely to be severe. Sustainable management of the seabed for anchoring therefore requires an assessment of the footprint of this activity and the disturbance that it causes within this footprint, and how this impact varies with the environmental conditions. Developing a sound understanding of the impact that anchoring can have on the seabed will support the prioritization of environmental management actions for habitats that may currently be affected by this disturbance. This project will be done in collaboration with Natural Resources Wales, and the findings will be of direct relevance to the United Kingdom's national Marine Strategy. The implication of this work has potential for impact more broadly, as the models built and validated by this detailed site-based work in Wales has the potential to be scaled up to understand anchor damage impacts globally.

Abstracts are not currently available in GtR for all funded research. This is normally because the abstract was not required at the time of proposal submission, but may be because it included sensitive information such as personal details.

The seasonal thermocline in temperate shelf seas acts as a critical interface in the shelf sea system. It is a physical barrier to vertical exchange, controlling biological growth through the summer and enabling the sequestration of atmospheric CO2. Once the spring bloom is over the seasonal thermocline separates the sun drenched but nutrient deplete surface waters from the dark nutrient rich deep water. The vertical mixing of nutrients across the seasonal thermocline acts to couple this well-lit surface zone with the deep water nutrient supply, leading to the formation of a layer of phytoplankton within the thermocline (the subsurface chlorophyll maxima). This phenomenon is estimated to account for about half of the annual carbon fixation in seasonally stratified shelf seas, and yet the controlling physics is only just being unravelled. The identification and parameterisation of the physical processes which are responsible for the vertical mixing of nutrients across the thermocline is a vital prerequisite to our understanding of shelf sea ecosystems. Our proposal is to investigate the role of wind driven inertial oscillations in driving vertical mixing across the seasonal thermocline, identifying the mechanisms and processes responsible for their generation and dissipation on both special and temporal scales. The proposal will be achieved through an observational campaign closely integrated with numerical model predictions using both 1D and 3D numerical models.

Abstracts are not currently available in GtR for all funded research. This is normally because the abstract was not required at the time of proposal submission, but may be because it included sensitive information such as personal details.

What happens to poetry when it enters domains beyond the textual?. In particular, how we can trace what happens to poetry when it encounters music? \n\nBaudelaire's poem 'La Mort des amants' is one of his best known, and is frequently anthologised. One of the principal reasons behind this renown, however, has been largely ignored by critics; namely, the poem's transformation into song only a few years after publication. Baudelaire's friend Villiers de l'Isle-Adam set it to music in the 1860s, and turned it into a popular salon favourite, as is evidenced by reports of audiences who heard Villiers's own performances of the setting. This popularity did not necessarily have a positive effect on the life of the poem. One of the principal issues that this Fellowship will address is how a song setting is able, on the one hand, to give a poem a new lease of life, whilst on the other, also spell the poem's downfall. Removed from the context of _Les Fleurs du mal_, the poem-as-song takes on a completely separate life, attached to the particular melody and harmonisation composed by Villiers. \n\nSuch was the song's popularity that certain responses to it soon degenerated into irritation rather than marvel. In the late 1860s or early 1870s, as a mark of this annoyance, the song was parodied by Léon Valade and Paul Verlaine in the _Album zutique_, with rather risqué words which they claimed were Baudelaire's own set to the same Villiers tune. The effect of this new parodic setting on the life of the original poem meant in fact that the song was bathed in an entirely new (ridiculous) light, whilst the poem itself was tentatively reclaimed as a poem in its own right. Baudelaire was no stranger to parody and caricature, but by the time of the Valade/Verlaine collaborative re-working of 'La Mort des amants' into 'La Mort des cochons' he was no longer alive. Thus it is Villiers who ends up coming off worse, since he is still alive and able to feel the effects of the parodic force. In this respect, I suggest that the what Valade and Verlaine do for Baudelaire in the 1870s is to enable the poem to be released from the shackles of the Villiers setting, reanimating the poem outside of the domain of music.\n\nVilliers's take on the Baudelaire poem will prove long-lasting. The poem-as-song takes another path that re-establishes the link with music, and finds itself being re-set by other poet-composers, including Maurice Rollinat, and by more established composers, namely Claude Debussy and Gustave Charpentier. This longevity is due, in part, to another seminal figure who lurks behind the work of these poets and composers: Richard Wagner. Villiers's letter to Baudelaire in 1861 goes so far as to suggest that 'La Mort des amants' is the poem in which Baudelaire has applied his 'théories musicales'. Precisely what Baudelaire's theory of music might be, however, is far from self-explanatory. It is clear that Villiers's comment comes in the context of Baudelaire's own recent publication of his essay on Wagner, and yet Villiers's musical setting of Baudelaire's poem does not seem to incorporate any Wagnerian elements whatsoever (it is left to Debussy twenty years later to (re-)insert Wagner into the musical text). Wagner's ambivalent status (which translates into music's ambivalent status), the question of a Baudelairean theory of music, and the significance of parody to safeguard poetry from song, will form the central elements of my research. In so doing, this project will also address broader issues of methodology, scope and aims of words/music research.\n\nThe principal output of this Fellowship will be a six-chapter monograph, in which analysis of the cultural environment of the late nineteenth century in Paris will be supported by close textual readings of both poetic text(s) and musical text(s). The monograph will be accompanied by recordings of the relevant song settings (especially previously un-recorded material) and by live performances.