In recent years extensive measurements of pollutant concentrations within the environment have been made over Western Europe following reports of unusually high pollution levels within rivers and lakes, especially after the start of the spring melting period. A simple model is presented to describe theoretically the pollutant efflux within the first fractions of melt water released from a snow-pack at the start of the melting season. The dominant features included are the appearance of a wave-front as heading the unsaturated flow of melt water and the pollutant dispersion arising from the interaction of the flow with the porous structure of the snow-pack and molecular diffusion. Computed results are shown describing the evolution of pollutant concentration profiles in the first run-off stage from a snow-pack subjected to an applied uniform surface heating.

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France receives little attention in narratives about the sublime in the late eighteenth and the nineteenth centuries. This article will argue that the cataclysmic tableau at the climax of Cherubini's first opera for the Théâtre Feydeau in Paris, Lodoïska (1791), can be understood as part of a coherent and distinctively French discourse of the sublime, rooted in revolutionary experience that can be understood in relation to wider European trends.

Ferdinand Hérold's 1827 ballet-pantomime La Somnambule, written for the Paris Opéra, is generally remembered today only as a source for Bellini's 1831 opera La sonnambula. However, Hérold's work – which also inspired a series of popular vaudevilles on the same theme – illustrates the strong, voyeuristic appeal of the trance phenomenon at the end of the Bourbon Restoration. It can be viewed as encapsulating wide-ranging contemporary ideas about the relationship between sleepwalking, mesmerism, madness and the supernatural. The aims of this article are twofold. First, it seeks to introduce important nuances into the received and often generalised claims usually made about the containing nature of trance scenes in nineteenth-century theatre, positing an alternative model to that of the unhinged heroine of Italian opera familiar from recent feminist writing on opera. Second, it illuminates the musical practices specific to late Restoration Paris that were so crucial to the aesthetic – and the success – of these sleepwalking heroines. A web of visual and musical allusions conjured up an entranced figure who, although related to the Italian operatic madwoman, has a personality and social implications all her own.

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