Journal articles on the topic 'African literature (English) African literature (French) Colonies in literature'

Language issue has been considered as a major problem to Africa. The continent has so many distinct languages as well as distinct ethnic groups. It is the introduction of the colonial languages that enable Africans to communicate with each other intelligibly: otherwise, Africa has no one central language. Among the colonial languages are English, French, Arabic and Portuguese which today serve as lingua franca in the mix of multiple African languages. Based on that, there is a serious argument among African critics about which language(s) would be authentic in writing African literature: colonial languages which serve as lingua franca, or the native indigenous languages. While some postcolonial African creative writers like Ngugi have argued for the authenticity and a return in writing in indigenous African languages, avoiding imperialism and subjugation of the colonisers, others like Achebe are in the opinion that the issue of language should not be the main reason in defining African literature: any languagecan be adopted to portray the lifestyles and peculiarities of Africans. The paper is therefore, designed to address the language debate among African creative writers. It concludes that although it is authentic to write in one’s native language so as to meet the target audience, yet many Africans receive their higher education in one of the colonial and/or European languages; and as such, majority do not know how to write in their native languages. Rather, they write in the imposed colonial languages in order tomeet a wider audience. Not until one or two major African languages are standardised, taught in schools, acquired by more than 80 per cent of Africans and used as common languages, the colonial languages would forever continue to have a greater influence in writing African literature. The paper recommendes that Africans should have one or two major African languages standardised, serving as common languages; also African literature should be written in both colonialand African languages in order to avoid the language debate by creative African writers.

Paul Lomami Tchibamba (1914–85) is often described as the Congo’s first novelist. Previous research in French and English has depicted Tchibamba’s work as a straightforward example of ‘writing back’ to the colonial canon. However, this article advances scholarship on Tchibamba’s work by demonstrating that his later writing responds not only to Henry Morton Stanley’s account of the imperial subjugation of the Congo, but to Joseph Conrad’s questioning of colonialist narratives of ‘progress’. Drawing on recent theoretical work that examines intertextuality in postcolonial fiction, this article demonstrates that while Tchibamba is highly critical of Stanley, he enters into dialogue with Conrad’s exposure of colonial brutality. Bringing together comparative research insights from Congolese and European literatures, this article also employs literary translation. This is the first time that excerpts from two of Tchibamba’s most important responses to colonial authors have been translated into English. Also for the first time, Tchibamba’s novella Ngemena is shown to be a crucial postcolonial Congolese response to Heart of Darkness. Through close textual analysis of Tchibamba’s use of irony and imagery, this article’s key findings are that, while Tchibamba nuances Conrad’s disparaging portrait of a chief, he develops the ironic mode of Conrad’s An Outpost of Progress, and updates the journey upriver into the interior in Heart of Darkness. This article illustrates the complex and nuanced way in which Tchibamba interacts with his European intertexts, deploying close analyses of his responses to Conradian imagery.

This book is a welcome addition to the few book-length biographiesof important African historical figures. The study, which consists of anintroduction and six chapters, offers a fresh and balanced perspective onone of Africa's most controversial nationalists: Mohammed AbdulleHassan, the mullah of present-day Somalia. Not only is he relevant tounderstanding modem Somali nationalism, but he also occupies a significantrole in the wider context of African resistance to western imperialism.In brief, he represents the clash between Islamic and western values incolonial Africa.Divine Madness begins with an examination of the early, colonial,and contemporary literature on the subject in various languages. In fact,one of its strengths is the author's use of a variety of foreign and indigenoussources. Sheik-Abdi draws extensively on archival and documentarydata in Italian, Arabic, English, French, and Somali. Moreover, heincorporates oral accounts from Somalis to complement his archivaland documentary research, a method that enhances the indigenous perspectiveon Mohammed Abdulle Hassan and his activities in the Hornof Africa.In addition, the author presents, in the first and second chapters, anoverview of Somaliland in its historical context. This serves as the backgroundin recounting Hassan’s life and times. Along with a detailedexamination of the Cushitic inhabitants of Somaliland, Sheik- Abdi discussesthe background to the mullah-led Dervish uprising by focusing onthe European colonization of Somaliland and its attendant problems.Perhaps the main response of the colonized Cushitic people to westernimperialism was a deeper and more intense commitment to Islam andpan-Islamic unity, which brought about religious militancy and revivalism ...

The English-language literature on Algeria generated by the Algerian war of independence and continuing down to the present forms an intellectual as well as linguistic tradition apart from the much more voluminous literature in French. Despite the involvement of French and North African writers who have published in English, it is largely the creation of outsiders looking at the country from British and North American points of view, according to current fashions. The war of independence remains central to its concerns as the great transformer of a colonial into a national society, however that transformation is to be understood. The qualified approval of the nationalist cause by Alistair Horne contrasts sharply with Elie Kedourie's denunciation. Most judgements have been based on the outcome, the political, social and economic performance of the regime, considered as good or bad. Since the death of Boumedienne in 1978, they have tended to be unfavourable. Their largely secular analyses, however, have been called in question since 1988 by the rise of political Islam, which has called for a reappraisal of the whole subject of the war and its consequences. Such a reappraisal is still in the future. Meanwhile Ernest Gellner, in dispute with Edward Said over the question of Orientalism, has raised the matter of the role of Islam in the history of Algeria to a high level of generalization, at which the war itself may, paradoxically, return to the forefront of international scholarly concern.

Abstract Literature written in English in the former British colonies of Southern Africa has attracted the public’s attention after the publication of Michael Chapman’s “Southern African Literaturesˮ (1996). The paper analyses the writings of two Zimbabwean authors - NoViolet Bulawayo (Elizabeth Zandile Tshele) and Petina Gappah – taking into account African feminist discourses.

Abstract On Translating Pidgins and Creoles in African Literature — This paper deals with some of the problems of translating pidgins and creoles in African literature. It begins with an overview of the origins and parallel evolution of the French-based and English-based pidgins spoken in West Africa, throwing light on their status, history, and use in African literature. After a brief sociolinguistic analysis of the two hybrid languages, the paper discusses the difficulty of translating them, by carrying out a thorough analysis of translated examples and suggesting more appropriate solutions where necessary. The paper concludes by highlighting the reasons for the translation difficulties which are not only linguistic but also historical and ideological.

Africa, the world's second-largest continent, speaks over two thousand languages but rarely translates itself. it is no wonder, therefore, that Ferdinand Oyono's francophone African classic Une vie de boy (1956), translated into at least twelve European and Asian languages, exists in only one African translation—that is, if we consider as non-African Oyono's original French and the English, Arabic, and Portuguese into which it was translated. Since 1963, when Obi Wali stated in his essay “The Dead End of African Literature” that African literature in English and French was “a clear contradiction, and a false proposition,” like “Italian literature in Hausa” (14), the question of the language of African literature has animated debate. Two decades later, Ngũgĩ wa Thiong'o restated Wali's contention, asserting that European languages led to African “spiritual subjugation” (9). Ngũgĩ argued strongly that African literature should be written in African languages. On the other hand, Chinua Achebe defended European languages, maintaining that they could “carry the weight of African experience” (62).

This paper discusses the visibility of African scholars in the literature of Bibliometrics, as it appears in the Library and Information Science Abstract (LISA) from 1982-2010. Analysis was conducted on a list of 75 papers generated from the Abstract. The year-wise growth of the literature shows that single authorship dominates the literature, scoring 52% and the average number of publication per year was found to be 2.7. On the productivity of authors, Lotka’s formulation of inverse square law of scientific productivity was applied and found to be in harmony with the literature. Bradford-zipf Law for distribution of papers was also applied and found to be in conformity with the literature of Bibliometrics. Prolific authors were found to be 6 in number and their contributions falls between 3-16 papers within the 28 years period of the study. English language was found to be the dominant language with 91.3% score, and then followed by French with 8.7% score.

From its launch in 1962, the African Writers Series (AWS) enabled the dissemination of African literature worldwide and contributed to the creation of a critical sensitivity among readers and critics alike to its distinct qualities and values. It is difficult to imagine the existence of a solid ‘tradition’ of African literature in English without the African Writers Series. What is more, Heinemann Educational Books (HEB) made it possible for African authors writing in Arabic or French to be part of a larger literary phenomenon. The works varied from creative to biographical writings and echoed the rich multilingual and multicultural African voices then in the making. This article seeks to shed light on various aspects of publishing the AWS. It offers a survey of the rise and development of the series and the crisis that eventually befell it.

Drawing from Cameroonian drama written in French and translated into English, this paper demonstrates how Cameroonian literature written in European languages and translated into other European languages is characterized by linguistic and stylistic innovation. It examines the reasons and motivations underlying this phenomenon, first from the perspective of the ambivalent situation of the Cameroonian and African writer writing not in his native language but rather in a European language, and secondly in the light of the prevailing literary creative trend and attitude of Cameroonian and, indeed, African writers in general. In this context, it is argued and posited that Cameroonian literary works are heavily tinted with linguistic and stylistic innovations such that the source texts actually intervene and exert considerable influence on the mode of their translation into the target language, particularly if the translator is to preserve the Cameroonian/African aesthetic which informs them and constitutes their driving force.

Juxtaposed these quotations, which are separated by three centuries and two continents, suggest that seventeenth-century classical French drama serves as a model for African theatre of the early post-colonial period. The first quotation is, of course, from Moliere, the Old Regime's brilliant comic writer. The second is taken from a play by Oyônô-Mbia, a contemporary dramatist from Cameroon. Given the powerful grip France held over its colonies, it is not surprising to find residual influence of France's theatrical culture on African drama. By the end of World War One, French authority in sub-Saharan Africa extended from Cape Verde to the Congo river. The Third Republic established French schools in the larger colonial towns which attracted the children of well-to-do urban families. France therefore held strong political and cultural sway over the development of African leaders and writers.

By the dawn of the twentieth century, a guidebook was a vital element of a tourist’s packing list and an item, which a tourist could not do without. The guidebook not only provided practical and useful information, but also advised the tourist about what ‘ought to be seen’. It accompanied the development and maturation of modern tourism and witnessed an explosion in the second half of the 19th century and after. The guidebook was gradually improved, highly commercialized, popularized, and extended to many parts of the world and somehow managed to impose ‘beaten tracks’ on tourists. Similarly, the guidebook accompanied European colonial schemes, served as a tool for them and reflected their agendas and the mindset of the age. This paper is based on a large number of French and English guidebooks spanning approximately the period between the mid-nineteenth and early twentieth centuries and addresses the following questions: when and how was North Africa included in the tourist guidebook literature? What visions did the guidebook provide of the region? How far did the guidebooks contribute to placing North Africa in the global tourist networks and with what effect?

While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.

This paper sets out to examine the translatability of Fulani oral poetry from Northern Cameroon, especially the mbooku genre, in a literary perspective. The corpus is gathered from selected oral poems that were transcribed and translated into German, English and French by different translators. The study reveals that it is possible to translate Fulani poems into European languages so that the target texts perform the same literary functions as the source texts, in spite of linguistic and cultural difficulties that occur during the transfer process. Thus, the author proposes a retranslation in which the content meets the form, taking into account some patterns of European modern poetry. He therefore advocates for retranslations of these poems from a purely literary perspective and would like to see translation studies focus more on the primary source of African orality.

Abstract Abu Bakr Khaal’s African Titanics (written in Arabic) and Jonny Steinberg’s A Man of Good Hope (written in English) track diasporic movements from the former Italian colonies of Eritrea and Somalia. Focusing on mobility as well as memory, both books trace complicated and unpredictable patterns of forced displacement and precarious settlement. African Titanics charts the journey from Eritrea to the shores of the Mediterranean and the sea crossing to Europe, while A Man of Good Hope follows the movement overland from Somalia to South Africa. Both texts delineate communities networked across national borders and propose an alternative geography formed by cultural commonality rather than geopolitical division. The essay draws on Christina Sharpe’s concept of the ‘wake’ as a means of understanding how migrant subjectivity and community are formed through the multiple forms of racialized violence experienced in transnational mobility.

The article offers a concise presentation of the project linked to the Library Fund of the Pontifical Urbaniana University, namely, to study the inculturation of the Christian faith by relating the documentation on the editions of the Bible to the catechisms in the territories entrusted to the pastoral care of the Congregation for Evangelization of peoples. The vastness of the project itself is marked today by the difficulty of using more extensive documentation than that present in the Fund of the same Library. However, more limited segments of the indicated material of interest can already be identified. More specifically, the African continent shows quite a varied phenomenology of the editions of the Bible: from translations of the Latin Vulgate into local languages, to translations from English or French, themselves translations from Latin. In the post-conciliar period, the translations of the Bible from the original biblical languages emerge. This is the case of the Kinyarwanda versions of the NT (1988, 1989) and of the OT-NT in a single volume (1990, 1992), in which, alongside pastoral purposes, the results of modern biblical exegesis are evident, to the point of proposing categorizations of literary bodies of biblical literature from an interconfessional and also interreligious perspective.

Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.

AbstractThis article explores the social impact of North African soldiers’ experiences in French military hospitals during World War I. In particular, it examines improvised “Muslim hospitals” that were opened in order to isolate North Africans from French civilian society. Colonial and military officials believed that North Africans, presumed to be warlike, pathogenic, and promiscuous, could corrupt and be corrupted by the French public. Yet while existing literature tends to highlight the dehumanization of North Africans at the hands of military and medical authorities, this article, drawing from personal correspondence, photographs, and military and medical records, reveals a more ambiguous daily reality. I argue that the individual needs and desires of wounded North Africans and of French nurses, as well as material limitations and contingencies, created spaces for an unprecedented series of humanizing personal encounters. In military-medical “colonies within the metropole,” these soldiers found themselves caught between a newfound sense of affinity with the French public and a starker sense of the boundaries of colonial practice.

IntroductionLanguage is a social determinant of health. Addressing social determinants of health is paramount to successful progression along the HIV-care continuum. Canada is a bilingual country with French and English as official languages. There are few studies to date that have focused on the impact of being a French-speaking linguistic minority on the HIV-care continuum. The primary objective of this scoping, systematic review of literature is to evaluate existing gaps in access to HIV- care among French-speaking people living with HIV in Canada. Our primary outcome is healthcare services availability and access for French- speaking people living with HIV.Methods and analysesOur scoping, systematic review will draw on a systematic search of published literature, both quantitative and qualitative studies published on French-speaking individuals' healthcare and HIV status in Canada, with particular emphasis on the province of Ontario. We will conduct our search in MEDLINE, the Excerpta Medica Database, the Cumulative Index to Nursing and Allied Health Literature, Web of Science, EBSCO and Google Scholar for work published between 1990 and 2018. Identified articles will be screened in duplicate and full-text articles of relevant studies will be retrieved. Data will also be extracted by two researchers working independently. Any discrepancies that arise will be resolved by consensus or by consulting a third author. Our findings will be reported according to the Preferred Reporting Items for Systematic Reviews and Meta-Analyses.Ethics and disseminationOur proposed research will not be conducted with human participants. We will only use secondary published data and therefore ethics approval is not required. Our findings will be disseminated as peer reviewed manuscripts at conferences and student rounds, and could be of interest to government health agencies and local HIV/AIDS service organisations.

Purpose – The purpose of this paper is to assess the determinants of corruption-control (CC) with freedom dynamics (economic, political, press and trade), government quality (GQ) and a plethora of socio-economic factors in 46 African countries using updated data. Design/methodology/approach – A quantile regression approach is employed while controlling for the unobserved heterogeneity. Principal component analysis is also used to reduce the dimensions of highly correlated variables. Findings – With the legal origin fundamental characteristic, the following findings have been established. First, while political freedom increases CC in a bottom quantile of English common-law countries, there is no such evidence in their French civil-law counterparts. Second, GQ consistently improves CC across all quantiles in English common-law countries but fails to exert the same effect in middle quantiles of French civil-law countries. Third, economic freedom ameliorates CC only in common-law countries with low existing CC levels (bottom quantiles). Fourth, The authors find no significant evidence of a positive “press freedom”-CC nexus and having the status of low-income English common-law (French civil law) countries decreases (increases) CC. From a religious domination scenario, the authors also find the following. First, political and trade freedoms only reduce CC in Christian-dominated countries while press freedom has a mitigation effect in both religious cultures (though more consistent across quantiles of Christian-oriented countries). Second, GQ is more pro-CC in Christian than in Muslim-dominated countries. Third, while economic freedom has a scanty negative nexus with CC in Christian-oriented countries, the effect is positive in their Muslim-dominated counterparts. Fourth, having a low-income status in countries with Christian common-law tradition improves CC. Originality/value – The authors complement the literature on the fight against corruption in Africa by employing recently documented additional factors that should be considered in corruption studies.

Louse-borne relapsing fever (LBRF) is a classical epidemic disease, which in the past was associated with war, famine, poverty, forced migration, and crowding under poor hygienic conditions around the world. The disease’s causative pathogen, the spirochete bacterium Borrelia recurrentis, is confined to humans and transmitted by a single vector, the human body louse Pediculus humanus. Since the disease has had its heyday before the days of modern medicine, many of its aspects have never been formally studied and to date, remain incompletely understood. In order to shed light on some of these aspects, we have systematically reviewed the accessible literature on LBRF, since the recognition of its mode of transmission in 1907, and summarized the existing data on epidemiology and diagnostic aspects of the disease. Publications were identified by using a predefined search strategy on electronic databases and a subsequent review of the reference lists of the obtained publications. All publications reporting patients with a confirmed diagnosis of LBRF published in English, French, German, and Spanish since 1907 were included. Data extraction followed a predefined protocol and included a grading system to judge the certainty of the diagnosis of reported cases. Historically, Ethiopia is considered a stronghold of LBRF. The recognition of LBRF among East African migrants (originating from Somalia, Eritrea, and Ethiopia) arriving to Europe in the course of the recent migration flow from this region suggests that this epidemiological focus ostensibly persists. Currently, there is neither evidence to support or refute active transmission foci of LBRF elsewhere on the African continent, in Latin America, or in Asia. Microscopy remains the most commonly used method to diagnose LBRF. Data are lacking on sensitivity and specificity of most diagnostic methods.

Background The WHO African region frequently experiences outbreaks and epidemics of infectious diseases often exacerbated by weak health systems and infrastructure, late detection, and ineffective outbreak response. To address this, the WHO Regional Office for Africa developed and began implementing the Integrated Disease Surveillance and Response strategy in 1998. Objectives This systematic review aims to document the identified successes and challenges surrounding the implementation of IDSR in the region available in published literature to highlight areas for prioritization, further research, and to inform further strengthening of IDSR implementation. Methods A systematic review of peer-reviewed literature published in English and French from 1 July 2012 to 13 November 2019 was conducted using PubMed and Web of Science. Included articles focused on the WHO African region and discussed the use of IDSR strategies and implementation, assessment of IDSR strategies, or surveillance of diseases covered in the IDSR framework. Data were analyzed descriptively using Microsoft Excel and Tableau Desktop 2019. Results The number of peer-reviewed articles discussing IDSR remained low, with 47 included articles focused on 17 countries and regional level systems. Most commonly discussed topics were data reporting (n = 39) and challenges with IDSR implementation (n = 38). Barriers to effective implementation were identified across all IDSR core and support functions assessed in this review: priority disease detection; data reporting, management, and analysis; information dissemination; laboratory functionality; and staff training. Successful implementation was noted where existing surveillance systems and infrastructure were utilized and streamlined with efforts to increase access to healthcare. Conclusions and implications of findings These findings highlighted areas where IDSR is performing well and where implementation remains weak. While challenges related to IDSR implementation since the first edition of the technical guidelines were released are not novel, adequately addressing them requires sustained investments in stronger national public health capabilities, infrastructure, and surveillance processes.

A seriously misleading error has crept into almost all the literature on the origins of New Orleans jazz. The error mistakenly attributes to the Jim Crow laws of the 1890s a significant role in the formation of the city's jazz tradition.Jazz historians have done a reasonably good job of depicting the two black communities that existed in new Orleans from the time of the Louisiana Purchase in 1803 until the twentieth century. One community comprised a French-speaking Catholic group who lived mostly in downtown New Orleans, i.e. the area of the city down-river from Canal Street. Before the Civil War this group, commonly called Creoles, or Black Creoles, but more accurately called Franco-Africans, comprised free people of colour as well as slaves, and after the war consisted of their descendants who perpetuated the group's language, religion and musical tradition, which combined French, African and Caribbean elements.Members of the other black community were English-speaking Protestants who lived mostly in uptown new Orleans. That group, before the Civil War, was made up largely of slaves brought to New Orleans by Americans who flooded into Louisiana after the 1803 Purchase, though it also included some free people of colour. After the war, the descendants of these immigrants continued their language, religion and musical tradition, which came mostly from the rural South. There Anglo-Africans were generally less prosperous and less educated than the downtown Franco-African or Creole community.

Objectives: The aim was to contribute to the promotion of medicinal plants used in Africa for management of asthma by analyzing their experimental pharmacological evaluation data. Methods: We carried out a systematic review of the literature based on the following research equations in English and in French: « médecine traditionnelle africaine » ET « asthma » ; « African traditional medicine » AND « asthma » or « Medicine African traditional » AND « asthma » ; « plantes médicinales » ET « asthma » ET « antispasmodique » ; «medicinal plants » AND « asthma » AND « anti-spasmodic » ; « plantes médicinales » ET « asthma » ET « anti-inflammatoire » ; «medicinal plants » AND « asthma » AND « anti-inflammatory ». Results: The study revealed 184 medicinal plants used in Africa for the treatment of asthma, 34 of which showed pharmacological properties in favor of their use. In animal experiments, 18 of these plants exerted a spasmolytic effect, 22 an anti-inflammatory effect and 6 both effects. The spasmolytic activity study protocols were based primarily on inhibition of smooth airway muscle contraction, including trachea, induced by various spasmogenic agents. As for of the methods used to study anti-inflammatory activity, the majority of them consisted of tests for carrageenan-induced edema or for formalin-induced leg irritation. Conclusion: Our results justify the need for standardization of experimental study protocols for the recovery of medicinal plants.

Having written and compiled from memory, over 700 Setswana proverbs when he was briefly resident in London, around the 1900s, Sol T. Plaatje exhibited unusual ethnographic knowledge and remarkable, creative translation skills in diaspora-like circumstances. While most literary researchers attest to those achievements, few have been the theories that account sufficiently for Plaatje's multilingual proverb renditions. The view propounded here is that Plaatje's paremiological enterprise was probably never only an exercise of his polyglot abilities. Rather his quest appears to have been to assert the cultural similarities and convergences between African and European people's histories. His socio-political beliefs propelled deep pride over his Setswana identity and became the driving force for highlighting the human bonds among nations of the North and the South. For Plaatje, seeing the overlaps and equivalences in and through the proverbs of the Dutch, English, French, Germans and the Batswana peoples, firstly validated orality as the bedrock of modern literary expression. Secondly, the relationship of the two seemed to recapitulate the communicative connections among people and their languages, across time and space. Lastly, the paper makes the point that Plaatje's search for unity in the cultural diversity as exhibited in his 1916 Diane tsa Setswana collection and the 1924 A Sechuana Reader stories, provides instructive lessons that present-day South Africa would ill afford to ignore considering the social cohesion challenges the nation faces.

Common to the matrilineal peoples of eastern central Africa is their clan system, and the reciprocal joking or “funeral friendship,” relations that exist between clans with figuratively complementary names (Cunnison 1959:62-71; Richards 1937; Stefaniszyn 1950). This paper, however, focuses on the southeastern Shaba Pedicle, and the anomalous, one-sided joking between the Vulva and (allegedly pubic) Hair clans of the Lala and Lamba chiefs. I suggest that this joking, like the claim that these clans share a common mythical ancestor, is best explained in terms of nineteenth-century Lala and Lamba history, and of their competing claims to the Pedicle's easternmost end. This region of Bukanda lies between the Aushi to the north (in Bwaushi), the Lala and Swaka to the east and south (in Ilala and Maswaka), and the Lamba (of Ilamba) to the west. The main distinction among these closely-related and adjacent peoples, with their similar customs and languages, is in the histories and traditions of their chiefs.The bizarre relationship between the chiefly Vulva and Hair clans is not widely known. I only heard of it during my fieldwork in Ilamba. The Lala, like the Lamba, straddle both the Congolese and Zambian sides of the Shaba Pedicle, and the literature on this region, in both French and English, is fragmentary and marked by an ahistorical and uncritical acceptance of oral traditions. The Lala are probably best known in relation to Mwana Lesa's Watchtower movement of the 1920s (Verbeek 1977,1983). Norman Long's Social Change and the Individual (Manchester, 1968) is the only modern ethnography on the Lala, yet this study of the enterprising Jehovah's Witnesses has little to say about dieir history or clans. Fortunately, Léon Verbeek's Filiation et usurpation (1987) has sorted through the oral and colonial histories, and has paved the way for comparative ethnohistories of the peoples on both sides of the Shaba Pedicle.

IntroductionResearch has established that various forms of stigma (HIV stigma, gender non-conforming stigma and same-gender sex stigma) exist across Sub-Saharan Africa and have consequences for the utilisation of HIV prevention and care services. Stigmas are typically investigated in HIV literature individually or through investigating individual populations and the various stigmas they may face. The concept of intersectionality highlights the interconnected nature of social categorisations and their ability to create interdependent systems of discrimination based on gender, race, sexuality and so on. Drawing from perspectives on intersectionality, intersectional stigma denotes the convergence of multiple marginalised identities within an individual or a group, the experiences of stigma associated with these identities as well as the synergistic impact of these experiences on health and well-being. With respect to HIV, public health scholars can examine the impacts of intersectional stigmas on HIV prevention and care utilisation.Methods and analysisReviewers will search systematically through MEDLINE, Global Health, Embase, Scopus, Web of Science Core Collection and Africa Index Medicus and citations for quantitative studies, qualitative studies and grey literature that include data on stigma and HIV among men who have sex with men and women who have sex with women in Sub-Saharan Africa. Eligible studies will include primary or secondary data on stigma related to HIV risk factors experienced by this population. Studies will be written in French or English and be published between January 1991 and November 2020. All screening and data extraction will be performed in duplicate, and if discrepancies arise, they will be settled by GM’RA, LEN, DD or AO. Findings from this study will be reported according to the Preferred Reporting Items for Systematic reviews and Meta-Analyses extension for Scoping Reviews.Ethics and disseminationEthics approval is not required as there will be no human participants and no protected data will be used in this study. We will disseminate findings through peer-reviewed manuscripts, conferences and webinars.

The origins of the Afro-Hispanic Languages of the Americas (AHLAs), the languages that developed in Latin America from the contact of African languages and Spanish in colonial times, are extremely intriguing, since it still has to be explained why we do not find creole languages in certain regions of Spanish America, where the socio-demographic conditions for creole languages to emerge appear to have been in place in colonial times. Nowadays, in contrast, we can find such contact varieties in similar former colonies, which were ruled by the British, the French or the Dutch (McWhorter 2000). Despite the fascinating implications of this phenomenon, our knowledge of the AHLAs remains extremely limited. Several hypotheses have been proposed to account for this situation, but no common consensus has yet been achieved (Chaudenson 2001; Mintz 1971; Laurence 1974; Granda 1968; Schwegler 1993, 2014; Lipski 1993; etc.). The pull of different views on the issue has been labelled in the literature as the ‘Spanish creole debate’ (Lipski 2005: ch.9). The current study is aimed at casting new light on the Spanish creole debate by relying on a comparative analysis of slave laws in the Americas. This article highlights the role that legal differences played in shaping colonial societies and the Afro-European languages that developed in the New World.

This article tells the story, and analyzes the development, of a “staged metaphor” for the translation process, from its chance inception over ten years ago, to the more recent revision and staging of the script. In 2005, I was teaching world literature at Al Akhawayn University in Ifrane, Morocco, while also researching the writing of Irish and North African women. I chose to focus on those women writing in Irish, Tachelhit, Arabic, or French, whose work had been translated into English. I was initially inspired by Nuala Ni Dhomhnaill’s poem, “The Language Issue,” which compares the "sending forth" of her writing to a potential reader, to the story of Moses being discovered by Pharoah’s daughter. My ultimate goal was to produce a chamber theatre play, based on the Irish and North African texts, which would dramatize a metaphor for the translation process. This was an outgrowth of my doctoral work, in which I had drawn on oral interpretation theorists, who see the performance of literary texts as an accepted means of doing literary criticism. Accordingly, I also expanded the project to include the observations of translation theorists, and I incorporated these into the creation of the script for a chamber theatre performance. After directing a staging of the script in Morocco in 2007, I realized that I needed to add more choreographed movement, and to incorporate the character of Moses’s and Myriam’s mother into the metaphor. The addition of dance, and the foregrounding of the relationship between Myriam and her mother, draws unapologetically on female relationships. It is my conclusion that the revised metaphor, with the addition of these elements, is validated by Yves Bonnefoy’s and Henri Meschonnic's depictions of “translation as relationship with an author,” and that, the metaphor does indeed “provide . . . fresh insights.”

Ambient air pollution is a major global health problem and commercial drivers are particularly exposed to it. As no systematic assessment of the health risks associated with occupational exposure to ambient air pollution in this population had yet been carried out, we conducted a systematic review using a protocol-driven strategy. Papers published from inception to April 20, 2018 in MEDLINE, EMBASE, CINAHL, African journals online, the Cochrane library, ISRCTN WHO ICTRP, and the Web of Science and Scopus databases were screened for inclusion by two independent reviewers. Original articles with at least an available abstract in English or French were included. The initial search retrieved 1454 published articles of which 20 articles were included. Three studies reported a significant difference in white blood cells (106/L) among commercial motorcyclists compared to rural inhabitants (5.041 ± 1.209 vs. 5.900 ± 1.213, p = 0.001), an increased risk of lung cancer (RR = 1.6, 95%CI 1.5–1.8) in bus drivers and an increased standardized mortality ratio (SMR) in bus drivers from Hodgkin’s lymphoma (SMR 2.17, 95%CI 1.19–3.87) compared to white-collar workers. Other studies also found that drivers had more oxidative DNA damage and chromosome breaks. Four papers failed to demonstrate that the drivers were more exposed to air pollution than the controls. Three other studies also reported no significant difference in lung function parameters and respiratory symptoms. The genetic polymorphisms of detoxifying enzymes were also not homogeneously distributed compared to the controls. There is some evidence that occupational exposure to ambient air pollution among commercial drivers is associated with adverse health outcomes, but the existing literature is limited, with few studies on small sample size, methodological weaknesses, and contradictory findings—thus, further research is recommended.

ObjectiveTo present a systematic review on the reliability of triage systems for paediatric emergency care.MethodsA search of MEDLINE, Cochrane Library, Latin American and Caribbean Health Sciences Literature, Scientific Electronic Library Online, Nursing Database Index and Spanish Health Sciences Bibliographic Index for articles in English, French, Portuguese or Spanish was conducted to identify reliability studies of five-level triage systems for patients aged 0–18 years published up to April 2018. Two reviewers performed study selection, data extraction and quality assessment as recommended by the Preferred Reporting Items for Systematic Reviews and Meta-Analyses statement.ResultsTwenty studies on nine triage systems were selected: the National Triage System (n=1); the Australasian Triage Scale (n=3); the paediatric Canadian Triage and Acuity Scale (PedCTAS) (n=5); the Manchester Triage System (MTS) (n=1); the Emergency Severity Index (ESI) (n=5); an adaptation of the South African Triage Scale for the Princess Marina Hospital in Botswana (n=1); the Soterion Rapid Triage System (n=1); the Rapid Emergency Triage and Treatment System-paediatric version (n=2); the Paediatric Risk Classification Protocol (n=1). Ten studies were performed with actual patients, while the others used hypothetical scenarios. The studies were rated low (n=14) or moderate (n=6) quality. Kappa was the most used statistic, although many studies did not specify the weighting. PedCTAS, MTS and ESI V.4 exhibited substantial to almost perfect agreement in moderate quality studies.ConclusionsThere is some evidence on the reliability of the PedCTAS, MTS and ESI V.4, but most studies are limited to the countries where they were developed. Efforts are needed to improve the quality of the studies, and cross-cultural adaptation of those tools is recommended in countries with different professional qualification and sociocultural contexts.

BackgroundPrevious review studies have not systematically mapped the existing body of knowledge on adolescent sexual and reproductive health (ASRH) in sub-Saharan Africa (SSA). Our scoping review addresses this gap by examining how the body of research on ASRH in SSA has evolved over the past decade, and its present profile, in terms of trends in volume, geographic and substantive focus, and Africa-led inquiry.MethodsWe used a three-step search strategy to identify English and French peer-reviewed publications and relevant grey literature on ASRH in SSA published between January 2010 and December 2019. Two reviewers screened the titles, abstracts and full texts of publications for eligibility and inclusion.ResultsA total of 1302 articles were published over the period, rising from 91 in 2010 to 183 in 2015. However, the bulk of the studies (63.9%) focused on six (South Africa, Kenya, Nigeria, Tanzania, Uganda and Ethiopia) of the 46 SSA countries. Ten countries had no ASRH papers, while five others each had only one publication. While issues like HIV (17.2%), sexual behaviours (17.4%) and access to sexual and reproductive health services (13.0%) received substantial attention, only a few studies focused on early adolescence (10–14 years), programme interventions, scaling up of interventions and policy evaluation. Just over half of publications had authors with African institutional affiliations as first authors (51.1%) or last author (53.0%). Sixteen per cent of papers did not include any authors from institutions in Africa.ConclusionsOur review demonstrated that research on ASRH is limited in focus and is unevenly distributed across SSA countries. The identified gaps can guide future research and funding to advance ASRH policies and programmes. It is also vital for stakeholders in the research enterprise, including researchers, donors, ethical review boards, and journal editors and reviewers, to implement measures that foster national investigators’ inclusion.

Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.

Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for the creation of this study was the desire to increase interest in the work of Gershwin as a “serious” composer and to draw the attention of domestic academic pianists to the value of his piano works, presented not only the “Rhapsody in Blue”, which has been mostly played lately. The purpose of our research is to prove the relevance of the performance of Gershwin’s instrumental works in the academic concert environment as the music of the classical tradition, tracing the formation of specific features of the composer’s instrumental creativity and their reflection in the cycle of “Three Preludes for Piano” in 1926. Studies of the life and work of G. Gershwin, illuminating a special path in music and the unusual genius of an outstanding musician, were created mainly in the 50–70s of the XX century. D. Ewen – the author of the most detailed biography of the composer (first published in 1956, the Russian translation – in 1989) – was personally acquainted with the great musician and his family, took numerous interviews from the composer’s relatives, friends and teachers, had access to his archives (Ewen, 1989: 3–4). The author of the book enters into the details of the life and creative work of the genius and creates a portrait of the composer as a person “in relationships” – as a son, brother, friend. A separate chapter devoted to the music of Gershwin is in the fundamental work of V. Konen (1965) “The Ways of American Music”, an extremely useful study of the folklore origins and musical foundations of jazz. Cognitive is the “popular monograph” by V. Volynskiy (1988) about Gershwin, carefully structured chronologically and thematically. The Internet-pages of A. Tikhomirov (2006–2020) on the resource “Classic Music News.ru” are also very valuable, in particular, thanks to retrospective photographs and audio recordings posted there. From the point of view we have chosen, the piano Preludes by G. Gershwin have not yet been considered by domestic researchers. Research methodology is based on comparative analysis and then synthesizing, generalization and abstraction when using data from biographical literature, and tested musicological approaches when considering musical samples and audio recordings of various versions of the Preludes (including the author’s playing). The results of reseaching. G. Gershwin, despite his Jewish-Slavic family roots (his parents emigrated to America from the Russian Empire at the end of the 19th century), is undoubtedly a representative of American culture. Outstanding artists have almost always turned to the folklore of their country. In Gershwin, this trait manifested itself in a special way, since American folklore, due to historical and political circumstances, is a very motley phenomenon. Indian, English, German, French, Jewish, African, Latin American melodies surrounded Gershwin everywhere. Their rhythms and intonations, compositional schemes were melted, transformed in professional music (Konen, 1965: 231–246). The first musical teacher of Gershwin was the sound atmosphere of New York streets. This is the main reason that the style of his musical works is inextricably linked with jazz: Gershwin did not encounter this purely American phenomenon, he grew up in it. Among the numerous other teachers of Gershwin who significantly influenced on the formation of his music style, one should definitely name the pianist and composer Charles Hambitzer, who introduced his student to the music of Bach, Beethoven, Chopin, Liszt, Debussy, Ravel (Ewen, 1989: 30–32). The most part of Gershwin’s creativity consisted of working on musicals, a typically American genre. The work with the musicals gave the composer the basis for writing his first jazz opera “Blue Monday“, 1922 (other name – “135th Street”), which became the predecessor of the famous pearl of the new genre, “Porgy and Bess” (1935). Following the production of “Blue Monday”, Gershwin began collaborating with the Paul Whiteman Orchestra, who was impressed by the piece. On the initiative of the latter, Gershwin created his masterpiece, “Rhapsody in Blue” (1924), which still remains a unique musical phenomenon, since the composer brought jazz to the big stage, giving it the status of professional music (Ewen, 1989: 79–85; Volynskiy, 1988: part 4). V. Konen (1965: 264–265) believes that Gershwin is a representative of symphonic Europeanized jazz, since he uses it in musical forms and genres of the European tradition. However, we cannot agree that Gershwin “used” jazz. For him, jazz was organic, inseparable from the author’s style, and this is what makes his music so attractive to representatives of both classical and pop traditions. For Gershwin, due to life circumstances, turning to jazz is not an attempt at stylization, but a natural way of expression. “Three Preludes for Piano” are significant in the composer’s work, because it is the only known concertо work for solo piano published during his lifetime. At first, Gershwin planned to create a cycle of 24 Preludes, but only seven were created in the manuscript, then the author reduced the number of works to five. A year after the creation of the Piano Concerto, in 1926, Gershwin presented this new opus. The pieces performed by the author himself sound impeccably technically and even austerely-strictly (audio recording has been preserved, see ‘Gershvin plays Gershvin 3 Preludes’, video on You Tube, published on 2 Aug. 2011). It can be noted that Gershwin is close to the European pianistic style with its attention to the accuracy of each note. The cycle is built on the principle of contrasting comparison: the first and third Preludes are performed at a fast pace, the second – at a slow pace (blues-like). The analysis of the cycle, carried out by the author of the article, proves that “Three Preludes” for piano reflect the main features of Gershwin’s creative manner: capriciousness of syncopated rhythms, subtle modulation play, improvisational development. Breathing breadth, volumetric texture, effective highlighting of climaxes bring the cycle closer to the composer’s symphonic works. Jazz themes are laid out at a high professional level, using traditional European notation and terminology. Thus, although Gershwin was a brilliant improviser, he made it possible for both jazz pianists and academic performers to master his works. Conclusions. The peculiarities of Gershwin’s development as an artist determined the combination of the jazz basis of his works with the compositional technique of European academic music. The versatility and musical appeal of the Preludes are the key to their long stage life. Plays are well received both in cycles and singly. Their perception is also improved by the fact that the original musical speech is combined in them with the established forms of academic music. The mastery of the Preludes by pianists stimulates the development of technical skill, acquaints with jazz style, sets interesting rhythmic problems. The pieces are bright and winning for concert performance. Thus, the presence of the composer’s piano pieces and other his instrumental works in the programs of classical concerts seems appropriate, useful and desirable.

Hidradenitis suppurativa (HS) is a chronic, inflammatory disease affecting approximately 1% of the global population. While age- and sex-specific prevalence of HS is well documented in literature, few studies have explored trends in racial predilections for HS. The objective of this study is to investigate the race-specific prevalence of HS. MEDLINE and EMBASE searches were conducted in the OVID database. Keywords included variations of “race,” “ethnicity,” “country,” “prevalence,” and “Hidradenitis suppurativa.” Studies were included if they were written in English or French, conducted on human participants, and had data on HS and race-specific prevalence. Meta-analyses, systematic and literature reviews, and irrelevant articles were excluded. Thirty-nine out of 184 articles met the inclusion criteria after abstract and full-text screening. Population distribution was scaled according to country-specific demographics reports. These demographic reports were extracted from each country’s national statistics report. The average HS prevalence rates were highest in African American populations (1.3%), lowest in Hispanics/Latinos (0.07%), and intermediate amongst Caucasian populations (0.75%). Total prevalence in all other ethnic groups (0.17%) was minor in comparison to African American and Caucasian populations. Since the highest rates of HS were found among African American population, literature has highlighted the possibility of a genetic etiology in HS development. However, further literature examining race-specific prevalence of HS internationally is required to accurately assess the frequency and underlying etiology of HS among varying racial populations.

IntroductionThere are two types of Africa. The first is a place where people and cultures live. The second is the image of Africa that has been invented through colonial knowledge and power. The colonial image of Africa, as the Other of Europe, a land “enveloped in the dark mantle of night” was supported by western states as it justified their colonial practices (Hegel 91). Any evidence that challenged the myth of the Dark Continent was destroyed, removed or ignored. While the looting of African natural resources has been studied, the looting of African knowledges hasn’t received as much attention, partly based on the assumption that Africans did not produce knowledge that could be stolen. This article invalidates this myth by examining the legacy of Ethiopia’s indigenous Ge’ez literature, and its looting and abduction by powerful western agents. The article argues that this has resulted in epistemic violence, where students of the Ethiopian indigenous education system do not have access to their books, while European orientalists use them to interpret Ethiopian history and philosophy using a foreign lens. The analysis is based on interviews with teachers and students of ten Ge’ez schools in Ethiopia, and trips to the Ethiopian manuscript collections in The British Library, The Princeton Library, the Institute of Ethiopian Studies and The National Archives in Addis Ababa.The Context of Ethiopian Indigenous KnowledgesGe’ez is one of the ancient languages of Africa. According to Professor Ephraim Isaac, “about 10,000 years ago, one single nation or community of a single linguistic group existed in Ethiopia, Eritrea, and the Horn of Africa” (The Habesha). The language of this group is known as Proto-Afroasiatic or Afrasian languages. It is the ancestor of the Semitic, Cushitic, Nilotic, Omotic and other languages that are currently spoken in Ethiopia by its 80 ethnic groups, and the neighbouring countries (Diakonoff). Ethiopians developed the Ge’ez language as their lingua franca with its own writing system some 2000 years ago. Currently, Ge’ez is the language of academic scholarship, studied through the traditional education system (Isaac, The Ethiopian). Since the fourth century, an estimated 1 million Ge’ez manuscripts have been written, covering religious, historical, mathematical, medicinal, and philosophical texts.One of the most famous Ge’ez manuscripts is the Kebra Nagast, a foundational text that embodied the indigenous conception of nationhood in Ethiopia. The philosophical, political and religious themes in this book, which craft Ethiopia as God’s country and the home of the Ark of the Covenant, contributed to the country’s success in defending itself from European colonialism. The production of books like the Kebra Nagast went hand in hand with a robust indigenous education system that trained poets, scribes, judges, artists, administrators and priests. Achieving the highest stages of learning requires about 30 years after which the scholar would be given the rare title Arat-Ayina, which means “four eyed”, a person with the ability to see the past as well as the future. Today, there are around 50,000 Ge’ez schools across the country, most of which are in rural villages and churches.Ge’ez manuscripts are important textbooks and reference materials for students. They are carefully prepared from vellum “to make them last forever” (interview, 3 Oct. 2019). Some of the religious books are regarded as “holy persons who breathe wisdom that gives light and food to the human soul”. Other manuscripts, often prepared as scrolls are used for medicinal purposes. Each manuscript is uniquely prepared reflecting inherited wisdom on contemporary lives using the method called Tirguamme, the act of giving meaning to sacred texts. Preparation of books is costly. Smaller manuscript require the skins of 50-70 goats/sheep and large manuscript needed 100-120 goats/sheep (Tefera).The Loss of Ethiopian ManuscriptsSince the 18th century, a large quantity of these manuscripts have been stolen, looted, or smuggled out of the country by travellers who came to the country as explorers, diplomats and scientists. The total number of Ethiopian manuscripts taken is still unknown. Amsalu Tefera counted 6928 Ethiopian manuscripts currently held in foreign libraries and museums. This figure does not include privately held or unofficial collections (41).Looting and smuggling were sponsored by western governments, institutions, and notable individuals. For example, in 1868, The British Museum Acting Director Richard Holms joined the British army which was sent to ‘rescue’ British hostages at Maqdala, the capital of Emperor Tewodros. Holms’ mission was to bring treasures for the Museum. Before the battle, Tewodros had established the Medhanialem library with more than 1000 manuscripts as part of Ethiopia’s “industrial revolution”. When Tewodros lost the war and committed suicide, British soldiers looted the capital, including the treasury and the library. They needed 200 mules and 15 elephants to transport the loot and “set fire to all buildings so that no trace was left of the edifices which once housed the manuscripts” (Rita Pankhurst 224). Richard Holmes collected 356 manuscripts for the Museum. A wealthy British woman called Lady Meux acquired some of the most illuminated manuscripts. In her will, she bequeathed them to be returned to Ethiopia. However, her will was reversed by court due to a campaign from the British press (Richard Pankhurst). In 2018, the V&A Museum in London displayed some of the treasures by incorporating Maqdala into the imperial narrative of Britain (Woldeyes, Reflections).Britain is by no means the only country to seek Ethiopian manuscripts for their collections. Smuggling occurred in the name of science, an act of collecting manuscripts for study. Looting involved local collaborators and powerful foreign sponsors from places like France, Germany and the Vatican. Like Maqdala, this was often sponsored by governments or powerful financers. For example, the French government sponsored the Dakar-Djibouti Mission led by Marcel Griaule, which “brought back about 350 manuscripts and scrolls from Gondar” (Wion 2). It was often claimed that these manuscripts were purchased, rather than looted. Johannes Flemming of Germany was said to have purchased 70 manuscripts and ten scrolls for the Royal Library of Berlin in 1905. However, there was no local market for buying manuscripts. Ge’ez manuscripts were, and still are, written to serve spiritual and secular life in Ethiopia, not for buying and selling. There are countless other examples, but space limits how many can be provided in this article. What is important to note is that museums and libraries have accrued impressive collections without emphasising how those collections were first obtained. The loss of the intellectual heritage of Ethiopians to western collectors has had an enormous impact on the country.Knowledge Grabbing: The Denial of Access to KnowledgeWith so many manuscripts lost, European collectors became the narrators of Ethiopian knowledge and history. Edward Ullendorff, a known orientalist in Ethiopian studies, refers to James Bruce as “the explorer of Abyssinia” (114). Ullendorff commented on the significance of Bruce’s travel to Ethiopia asperhaps the most important aspect of Bruce’s travels was the collection of Ethiopic manuscripts… . They opened up entirely new vistas for the study of Ethiopian languages and placed this branch of Oriental scholarship on a much more secure basis. It is not known how many MSS. reached Europe through his endeavours, but the present writer is aware of at least twenty-seven, all of which are exquisite examples of Ethiopian manuscript art. (133)This quote encompasses three major ways in which epistemic violence occurs: denial of access to knowledge, Eurocentric interpretation of Ethiopian manuscripts, and the handling of Ge’ez manuscripts as artefacts from the past. These will be discussed below.Western ‘travellers’, such as Bruce, did not fully disclose how many manuscripts they took or how they acquired them. The abundance of Ethiopian manuscripts in western institutions can be compared to the scarcity of such materials among traditional schools in Ethiopia. In this research, I have visited ten indigenous schools in Wollo (Lalibela, Neakutoleab, Asheten, Wadla), in Gondar (Bahita, Kuskwam, Menbere Mengist), and Gojam (Bahirdar, Selam Argiew Maryam, Giorgis). In all of the schools, there is lack of Ge’ez manuscripts. Students often come from rural villages and do not receive any government support. The scarcity of Ge’ez manuscripts, and the lack of funding which might allow for the purchasing of books, means the students depend mainly on memorising Ge’ez texts told to them from the mouth of their teacher. Although this method of learning is not new, it currently is the only way for passing indigenous knowledges across generations.The absence of manuscripts is most strongly felt in the advanced schools. For instance, in the school of Qene, poetic literature is created through an in-depth study of the vocabulary and grammar of Ge’ez. A Qene student is required to develop a deep knowledge of Ge’ez in order to understand ancient and medieval Ge’ez texts which are used to produce poetry with multiple meanings. Without Ge’ez manuscripts, students cannot draw their creative works from the broad intellectual tradition of their ancestors. When asked how students gain access to textbooks, one student commented:we don’t have access to Birana books (Ge’ez manuscripts written on vellum). We cannot learn the ancient wisdom of painting, writing, and computing developed by our ancestors. We simply buy paper books such as Dawit (Psalms), Sewasew (grammar) or Degwa (book of songs with notations) and depend on our teachers to teach us the rest. We also lend these books to each other as many students cannot afford to buy them. Without textbooks, we expect to spend double the amount of time it would take if we had textbooks. (Interview, 3 Sep. 2019)Many students interrupt their studies and work as labourers to save up and buy paper textbooks, but they still don’t have access to the finest works taken to Europe. Most Ge’ez manuscripts remaining in Ethiopia are locked away in monasteries, church stores or other places to prevent further looting. The manuscripts in Addis Ababa University and the National Archives are available for researchers but not to the students of the indigenous system, creating a condition of internal knowledge grabbing.While the absence of Ge’ez manuscripts denied, and continues to deny, Ethiopians the chance to enrich their indigenous education, it benefited western orientalists to garner intellectual authority on the field of Ethiopian studies. In 1981, British Museum Director John Wilson said, “our Abyssinian holdings are more important than our Indian collection” (Bell 231). In reaction, Richard Pankhurst, the Director of Ethiopian Studies in Addis Ababa, responded that the collection was acquired through plunder. Defending the retaining of Maqdala manuscripts in Europe, Ullendorff wrote:neither Dr. Pankhurst nor the Ethiopian and western scholars who have worked on this collection (and indeed on others in Europe) could have contributed so significantly to the elucidation of Ethiopian history without the rich resources available in this country. Had they remained insitu, none of this would have been possible. (Qtd. in Bell 234)The manuscripts are therefore valued based on their contribution to western scholarship only. This is a continuation of epistemic violence whereby local knowledges are used as raw materials to produce Eurocentric knowledge, which in turn is used to teach Africans as though they had no prior knowledge. Scholars are defined as those western educated persons who can speak European languages and can travel to modern institutions to access the manuscripts. Knowledge grabbing regards previous owners as inexistent or irrelevant for the use of the grabbed knowledges.Knowledge grabbing also means indigenous scholars are deprived of critical resources to produce new knowledge based on their intellectual heritage. A Qene teacher commented: our students could not devote their time and energy to produce new knowledges in the same way our ancestors did. We have the tradition of Madeladel, Kimera, Kuteta, Mielad, Qene and tirguamme where students develop their own system of remembering, reinterpreting, practicing, and rewriting previous manuscripts and current ones. Without access to older manuscripts, we increasingly depend on preserving what is being taught orally by elders. (Interview, 4 Sep. 2019)This point is important as it relates to the common myth that indigenous knowledges are artefacts belonging to the past, not the present. There are millions of people who still use these knowledges, but the conditions necessary for their reproduction and improvement is denied through knowledge grabbing. The view of Ge’ez manuscripts as artefacts dismisses the Ethiopian view that Birana manuscripts are living persons. As a scholar told me in Gondar, “they are creations of Egziabher (God), like all of us. Keeping them in institutions is like keeping living bodies in graveyards” (interview, 5 Oct. 2019).Recently, the collection of Ethiopian manuscripts by western institutions has also been conducted digitally. Thousands of manuscripts have been microfilmed or digitised. For example, the EU funded Ethio-SPaRe project resulted in the digital collection of 2000 Ethiopian manuscripts (Nosnitsin). While digitisation promises better access for people who may not be able to visit institutions to see physical copies, online manuscripts are not accessible to indigenous school students in Ethiopia. They simply do not have computer or internet access and the manuscripts are catalogued in European languages. Both physical and digital knowledge grabbing results in the robbing of Ethiopian intellectual heritage, and denies the possibility of such manuscripts being used to inform local scholarship. Epistemic Violence: The European as ExpertWhen considered in relation to stolen or appropriated manuscripts, epistemic violence is the way in which local knowledge is interpreted using a foreign epistemology and gained dominance over indigenous worldviews. European scholars have monopolised the field of Ethiopian Studies by producing books, encyclopaedias and digital archives based on Ethiopian manuscripts, almost exclusively in European languages. The contributions of their work for western scholarship is undeniable. However, Kebede argues that one of the detrimental effects of this orientalist literature is the thesis of Semiticisation, the designation of the origin of Ethiopian civilisation to the arrival of Middle Eastern colonisers rather than indigenous sources.The thesis is invented to make the history of Ethiopia consistent with the Hegelian western view that Africa is a Dark Continent devoid of a civilisation of its own. “In light of the dominant belief that black peoples are incapable of great achievements, the existence of an early and highly advanced civilization constitutes a serious anomaly in the Eurocentric construction of the world” (Kebede 4). To address this anomaly, orientalists like Ludolph attributed the origin of Ethiopia’s writing system, agriculture, literature, and civilisation to the arrival of South Arabian settlers. For example, in his translation of the Kebra Nagast, Budge wrote: “the SEMITES found them [indigenous Ethiopians] negro savages, and taught them civilization and culture and the whole scriptures on which their whole literature is based” (x).In line with the above thesis, Dillman wrote that “the Abyssinians borrowed their Numerical Signs from the Greeks” (33). The views of these orientalist scholars have been challenged. For instance, leading scholar of Semitic languages Professor Ephraim Isaac considers the thesis of the Arabian origin of Ethiopian civilization “a Hegelian Eurocentric philosophical perspective of history” (2). Isaac shows that there is historical, archaeological, and linguistic evidence that suggest Ethiopia to be more advanced than South Arabia from pre-historic times. Various Ethiopian sources including the Kebra Nagast, the works of historian Asres Yenesew, and Ethiopian linguist Girma Demeke provide evidence for the indigenous origin of Ethiopian civilisation and languages.The epistemic violence of the Semeticisation thesis lies in how this Eurocentric ideological construction is the dominant narrative in the field of Ethiopian history and the education system. Unlike the indigenous view, the orientalist view is backed by strong institutional power both in Ethiopia and abroad. The orientalists control the field of Ethiopian studies and have access to Ge’ez manuscripts. Their publications are the only references for Ethiopian students. Due to Native Colonialism, a system of power run by native elites through the use of colonial ideas and practices (Woldeyes), the education system is the imitation of western curricula, including English as a medium of instruction from high school onwards. Students study the west more than Ethiopia. Indigenous sources are generally excluded as unscientific. Only the Eurocentric interpretation of Ethiopian manuscripts is regarded as scientific and objective.ConclusionEthiopia is the only African country never to be colonised. In its history it produced a large quantity of manuscripts in the Ge’ez language through an indigenous education system that involves the study of these manuscripts. Since the 19th century, there has been an ongoing loss of these manuscripts. European travellers who came to Ethiopia as discoverers, missionaries and scholars took a large number of manuscripts. The Battle of Maqdala involved the looting of the intellectual products of Ethiopia that were collected at the capital. With the introduction of western education and use of English as a medium of instruction, the state disregarded indigenous schools whose students have little access to the manuscripts. This article brings the issue of knowledge grapping, a situation whereby European institutions and scholars accumulate Ethiopia manuscripts without providing the students in Ethiopia to have access to those collections.Items such as manuscripts that are held in western institutions are not dead artefacts of the past to be preserved for prosperity. They are living sources of knowledge that should be put to use in their intended contexts. Local Ethiopian scholars cannot study ancient and medieval Ethiopia without travelling and gaining access to western institutions. This lack of access and resources has made European Ethiopianists almost the sole producers of knowledge about Ethiopian history and culture. For example, indigenous sources and critical research that challenge the Semeticisation thesis are rarely available to Ethiopian students. Here we see epistemic violence in action. Western control over knowledge production has the detrimental effect of inventing new identities, subjectivities and histories that translate into material effects in the lives of African people. In this way, Ethiopians and people all over Africa internalise western understandings of themselves and their history as primitive and in need of development or outside intervention. African’s intellectual and cultural heritage, these living bodies locked away in graveyards, must be put back into the hands of Africans.AcknowledgementThe author acknowledges the support of the Australian Academy of the Humanities' 2019 Humanities Travelling Fellowship Award in conducting this research.ReferencesBell, Stephen. “Cultural Treasures Looted from Maqdala: A Summary of Correspondence in British National Newspapers since 1981.” Kasa and Kasa. Eds. Tadesse Beyene, Richard Pankhurst, and Shifereraw Bekele. Addis Ababa: Ababa University Book Centre, 1990. 231-246.Budge, Wallis. A History of Ethiopia, Nubia and Abyssinia. London: Methuen and Co, 1982.Demeke, Girma Awgichew. The Origin of Amharic. Trenton: Red Sea Press, 2013.Diakonoff, Igor M. Afrasian Languages. Moscow: Nauka, 1988.Dillmann, August. Ethiopic Grammar. Eugene: Wipf & Stock, 2005.Hegel, Georg W.F. The Philosophy of History. New York: Dover, 1956.Isaac, Ephraim. The Ethiopian Orthodox Tewahido Church. New Jersey: Red Sea Press, 2013.———. “An Open Letter to an Inquisitive Ethiopian Sister.” The Habesha, 2013. 1 Feb. 2020 <http://www.zehabesha.com/an-open-letter-to-an-inquisitive-young-ethiopian-sister-ethiopian-history-is-not-three-thousand-years/>.Kebra Nagast. "The Queen of Sheba and Her Only Son Menyelik I." Trans. Wallis Budge. London: Oxford UP, 1932.Pankhurst, Richard. "The Napier Expedition and the Loot Form Maqdala." Presence Africaine 133-4 (1985): 233-40.Pankhurst, Rita. "The Maqdala Library of Tewodros." Kasa and Kasa. Eds. Tadesse Beyene, Richard Pankhurst, and Shifereraw Bekele. Addis Ababa: Ababa University Book Centre, 1990. 223-230.Tefera, Amsalu. ነቅዐ መጻህፍት ከ መቶ በላይ በግዕዝ የተጻፉ የእኢትዮጵያ መጻህፍት ዝርዝር ከማብራሪያ ጋር።. Addis Ababa: Jajaw, 2019.Nosnitsin, Denis. "Ethio-Spare Cultural Heritage of Christian Ethiopia: Salvation, Preservation and Research." 2010. 5 Jan. 2019 <https://www.aai.uni-hamburg.de/en/ethiostudies/research/ethiospare/missions/pdf/report2010-1.pdf>. Ullendorff, Edward. "James Bruce of Kinnaird." The Scottish Historical Review 32.114, part 2 (1953): 128-43.Wion, Anaïs. "Collecting Manuscripts and Scrolls in Ethiopia: The Missions of Johannes Flemming (1905) and Enno Littmann (1906)." 2012. 5 Jan. 2019 <https://halshs.archives-ouvertes.fr/halshs-00524382/document>. Woldeyes, Yirga Gelaw. Native Colonialism: Education and the Economy of Violence against Traditions in Ethiopia. Trenton: Red Sea Press, 2017.———. “Reflections on Ethiopia’s Stolen Treasures on Display in a London Museum.” The Conversation. 2018. 5 June 2018 <https://theconversation.com/reflections-on-ethiopias-stolen-treasures-on-display-in-a-london-museum-97346>.Yenesew, Asres. ትቤ፡አክሱም፡መኑ፡ አንተ? Addis Ababa: Nigid Printing House, 1959 [1951 EC].

Abstract Background In developing countries, health information system (HIS) is experiencing more and more difficulties to produce quality data. The lack of reliable health related information makes it difficult to develop effective health policies. In order to understand the organization of HIS in African countries, we undertook a literature review. Methods Our study was conducted using the PubMed and Scopus bibliographic search engines. The inclusion criteria were: (i) all articles published between 2005 and 2019, (ii) articles including in their title the keywords "health", "information", "systems", "system", "africa", "developing countries", "santé", "pays en développement", "Afrique", (iii) articles that are written in English or French, (iv) which deals with organizational and technical issues about HIS in African countries. Results Fourteen retrieved articles out of 2492 were included in the study, of which 13 (92.9%) were qualitative. All of them dealt with issues related to HIS in 12 African countries. All 12 countries (100.0%) had opted for a data warehouse approach to improve their HIS. This approach, supported by the DHIS2 system, has enabled providing reliable data. However, 11 out of the 12 countries (92.0%) frameworks were aligned with funding donors’ strategies and lacked any national strategy. Conclusion This study suggests that the lack of a national health information management strategy will always be a threat to HIS performance in African countries. Ideally, rigorous upstream thinking to strengthen HIS governance should be undertaken by defining and proposing a coherent conceptual framework to analyze and guide the development and integration of digital applications into HIS over the long term.

PurposeGiven the significant role of both integrated reporting and cost of capital in the survival and prosperity of a firm, it is essential to understand their relationship by investigating whether integrated reporting influences the cost of capital of a firm. This research paper aims to examine the impact of integrated reporting practice on the cost of capital of listed firms in sub-Saharan Africa (SSA).Design/methodology/approachThe study covered a period of 10 years from 2009 to 2018. One hundred and forty-seven listed firms in 10 SSA countries were used for the study. The study employed panel data analysis and utilised a dynamic estimation technique called the generalised method of moments.FindingsThe evidence shows that integrated reporting has a negative relationship with cost of capital, indicating integrated reporting can reduce firms' cost of capital. The results further showed that social, governance and environmental disclosures all have negative relationships with cost of capital, suggesting that firms that make these disclosures would have a lower cost of capital. These results are consistent with signalling theory, which holds that firms send a positive signal to the market about their performance and prospects when they provide information relating to value creation, predominantly environmental, social and governance issues.Research limitations/implicationsThe major limitation of the study is the selection of only English-speaking countries. French-speaking countries may have a different reporting practice, hence a different effect on the cost of capital.Practical implicationsThis study contributes to policy development on integrated reporting in SSA and informs key stakeholders involved in promoting and supporting the adoption of integrated reporting in Africa.Originality/valueThe findings from this paper consolidate existing research in integrated reporting and cost of capital by providing empirical evidence on the relationship between integrated reporting, its components and the cost of capital from emerging economies. This study contributes to the understanding of investors' reactions to integrated reporting. Further, it fills a gap in the non-availability of literature on the relative impact of the various components of integrated reporting.

Abstract Background Investigations of Culicoides fauna, including inventories, were carried out in Morocco at different periods after the country had faced major bluetongue and African horse sickness outbreaks. However, no comprehensive reference publication has provided a clear overview of the Culicoides species diversity. This study reviewed available data on Culicoides biting midge species in Morocco from 1968 to 2015 (published and grey literature in French and English) in order to revise the current checklist, in light of state of the art taxonomic and systematic knowledge, and confirmed the checklist with morphological and molecular identifications of specimens collected from the region of Rabat. Methods Literature related to Culicoides collections in Morocco was collated. Authors were contacted to obtain raw data and additional information for the collections. Fresh Culicoides material was collected and examined from two sites around Rabat, the capital of Morocco. Each collected individual was examined and morphologically identified, if possible, to the species level. In addition, molecular identification was performed to separate closely related species, to confirm difficult morphological identifications and to confirm new species records. Results A total of 6121 individuals of Culicoides spp. were collected and analyzed and at least 17 species were identified: C. cataneii/C. gejgelensis, C. circumscriptus, C. fagineus, C. festivipennis, C. imicola, C. jumineri, C. kingi, C. longipennis, C. montanus, C. newsteadi, C. obsoletus, C. paolae, C. parotti, C. puncticollis, C. sahariensis, C. scoticus and C. subfagineus. Seven species were confirmed using phylogenetic analyses. Two new species records for Morocco are reported: C. paolae and C. subfagineus. Conclusions The Moroccan fauna of Culicoides now includes 54 valid species. Further work would certainly increase this total, as one of the clades we identified was not affiliated to any described and valid species.

The West African sub-continent is currently experiencing its first, and ironically, the largest and longest Ebola viral diseases (EVD) outbreak ever documented in modern medical history. The current outbreak is significant in several ways, including longevity, magnitude of morbidity and mortality, occurrence outside the traditional niches, rapid spread and potential of becoming a global health tragedy. The authors provided explicit insights into the current and historical background, drivers of the epidemic, societal impacts, status of vaccines and drugs development and proffered recommendations to halt and prevent future occurrences. The authors reviewed mainly five databases and a hand search of key relevant literature. We reviewed 51 articles that were relevant up until the 18th of August 2014. The authors supplemented the search with reference list of relevant articles and grey literature as well as relevant Internet websites. Article searches were limited to those published either in English or French. There are strong indications that the EVD may have been triggered by increased human activities and encroachment into the forest ecosystem spurred by increasing population and povertydriven forest-dependent local economy. Containment efforts are being hampered by weak and fragile health systems, including public health surveillance and weak governance, certain socio-anthropological factors, fast travels (improved transport systems) and globalization. The societal impacts of the EBV outbreak are grave, including economic shutdown, weakening of socio-political systems, psychological distress, and unprecedented consumption of scarce health resources. The research and development (R&D) pipeline for product against EBV seems grossly insufficient. The outbreak of Ebola and the seeming difficulty to contain the epidemic is simply a reflection of the weak health system, poor surveillance and emergency preparedness/ response, poverty and disconnect between the government and the people in many West African countries. Although interventions by the United Nations and other international development agencies could ultimately halt the epidemic, local communities must be engaged to build trust and create demand for the public health interventions being implemented in the Ebola-ravaged populations. In the intermediate and long term, post-Ebola rehabilitation should focus on strengthening of health systems, improving awareness about zoonosis and health behaviors, alleviating poverty and mitigating the impact of triggering factors. Finally, national governments and international development partners should mobilize huge resources and investments to spur or facilitate R&D of disease control tools for emerging and pernicious infectious diseases (not limited to EVD).

Abstract Background The availability of reliable point-of-care tests for malaria has heralded a paradigm shift in the management of febrile illnesses away from presumptive antimalarial therapy. In the absence of a definitive diagnosis, health care providers are more likely to prescribe empirical antimicrobials to those who test negative for malaria. To improve management and guide further test development, better understanding is needed of the true causative agents and their geographic variability. Methods A systematic review of published literature was undertaken to characterise the spectrum of pathogens causing non-malaria febrile illness in Africa (1980–2015). Literature searches were conducted in English and French languages in six databases: MEDLINE, EMBASE, Global Health (CABI), WHO Global Health Library, PASCAL, and Bulletin de la Société Française de Parasitologie (BDSP). Selection criteria included reporting on an infection or infections with a confirmed diagnosis, defined as pathogens detected in or cultured from samples from normally sterile sites, or serological evidence of current or past infection. A number of published articles (rather than incidence or prevalence) reporting a given pathogen were presented. Results A total of 16,523 records from 48 African countries were screened, of which 1065 (6.4%) met selection criteria. Bacterial infections were reported in 564 (53.0%) records, viral infections in 374 (35.1%), parasitic infections in 47 (4.4%), fungal infections in nine (0.8%), and 71 (6.7%) publications reported more than one pathogen group. Age range of the study population was not specified in 233 (21.9%) publications. Staphylococcus aureus (18.2%), non-typhoidal Salmonella (17.3%), and Escherichia coli (15.4%) were the commonly reported bacterial infections whereas Rift Valley fever virus (7.4%), yellow fever virus (7.0%), and Ebola virus (6.7%) were the most commonly reported viral infections. Dengue virus infection, previously not thought to be widespread in Africa, was reported in 54 (5.1%) of articles. Conclusions This review summarises the published reports of non-malaria pathogens that may cause febrile illness in Africa. As the threat of antimicrobial resistance looms, knowledge of the distribution of infectious agents causing fever should facilitate priority setting in the development of new diagnostic tools and improved antimicrobial stewardship. Trial registration PROSPERO, CRD42016049281

Abstract Background Most maternal deaths occur during the intrapartum and peripartum periods in sub-Saharan Africa, emphasizing the importance of timely access to quality health service for childbirth and postpartum care. Increasing facility births and provision of postpartum care has been the focus of numerous interventions globally, including in sub-Saharan Africa. The objective of this scoping review is to synthetize the characteristics and effectiveness of interventions to increase facility births or provision of postpartum care in sub-Saharan Africa. Methods We searched for systematic reviews, scoping reviews, qualitative studies and quantitative studies using experimental, quasi experimental, or observational designs, which reported on interventions for increasing facility birth or provision of postpartum care in sub-Saharan Africa. These studies were published in English or French. The search comprised six scientific literature databases (Pubmed, CAIRN, la Banque de Données en Santé Publique, the Cochrane Library). We also used Google Scholar and snowball or citation tracking. Results Strategies identified in the literature as increasing facility births in the sub-Saharan African context include community awareness raising, health expenses reduction (transportation or user fee), non-monetary incentive programs (baby kits), or a combination of these with improvement of care quality (patient’s privacy, waiting time, training of provider), and or follow-up of pregnant women to use health facility for birth. Strategies that were found to increase provision of postpartum care include improvement of care quality, community-level identification and referrals of postpartum problems and transport voucher program. Conclusions To accelerate achievements in facility birth and provision of postpartum care in sub-Saharan Africa, we recommend strategies that can be implemented sustainably or produce sustainable change. How to sustainably motivate community actors in health interventions may be particularly important in this respect. Furthermore, we recommend that more intervention studies are implemented in West and Central Africa, and focused more on postpartum. Plain English summary In in sub-Saharan Africa, many women die when giving or few days after birth. This happens because they do not have access to good health services in a timely manner during labor and after giving birth. Worldwide, many interventions have been implemented to Increase the number of women giving birth in a health facility or receiving care from health professional after giving birth. The objective of this study is to synthetize the characteristics and effectiveness of interventions that have been implemented in sub-Saharan Africa, aiming to increase the number of women giving birth in a health facility or receiving care from health professional after birth. To proceed with this synthesis, we did a review of studies that have reported on such interventions in sub-Saharan Africa. These studies were published in English or French. The interventions identified to increase the number of women giving birth in a health facility include community awareness raising, reduction of health expenses (transportation or user fee), non-monetary incentive programs (baby kits), or a combination of these with improvement of care quality (patient’s privacy, waiting time, training of provider), and or follow-up of pregnant women to use health facility for birth. Interventions implemented to increase the number women receiving care from a health professional after birth include improvement of care quality, transport voucher program and community-level identification and referrals to the health center of mothers’ health problems. In sub-Saharan Africa, to accelerate increase in the number of women giving birth in a health facility and receiving care from a health professional after, we recommend interventions that can be implemented sustainably or produce sustainable change. How to sustainably motivate community actors in health interventions may be particularly important in this respect. Furthermore, we recommend the conduct in West and Central Africa, of more studies targeting interventions to increase the number of women giving birth in a health facility and or receiving care from a health professional after birth.

Autumn is not only a gloriously colourful time of the year, it is a time when a plethora of children’s book related events and awards take place. Just see what is happening in the next few months:IBBY: “Silent Books: Final Destination Lampedusa” travelling exhibit In response to the international refugee crisis that began last year, the Italian arm of the International Board on Books for Young People has launched a travelling picture-book exhibit to support the first children’s library on the island of Lampedusa, Italy where many African and Middle Eastern refugees are landing. After stops in Italy, Mexico, and Austria, the exhibit is currently touring Canada. It premiered in Edmonton at the Stanley A. Milner Library in August. Next are three Vancouver locations: UBC Irving Barber Learning Centre (Oct. 1 to 23), Vancouver Public Library central branch (Oct. 8 to 18), and the Italian Cultural Centre (Oct. 10 to 22). Then the North York Central Library in Toronto from Nov. 2 to Dec 11. Recognizing Lampedusa island’s cultural diversity, the exhibit comprises exclusively wordless picture books from 23 countries, including three from Canada:“Hocus Pocus” by Sylvie Desrosiers & Rémy Simard’s (Kids Can Press), “Ben’s Big Dig” by Daniel Wakeman and Dirk van Stralen’s(Orca Book Publishers)“Ben’s Bunny Trouble” also by Wakeman and van Stralen (Orca Book Publishers). Other books are drawn from an honour list selected by a jury of experts from the 2015 Bologna Children’s Book Fair including Ajubel’s “Robinson Crusoe” (Spain), Ara Jo’s “The Rocket Boy”(Korea), and Madalena Matoso’s “Todos Fazemos Tudo” (Switzerland), among others. The full catalogue can be viewed online.TD Canadian Children’s Book Week.Next year’s TD Canadian Children’s Book Week will take place from May 7-14, 2016. Thirty Canadian children’s authors, illustrators and storytellers will be touring across Canada visiting schools, libraries, bookstores and community centres. Visit the TD Book Week site (www.bookweek.ca) to find out who will be touring in your area and the types of readings and workshops they will be giving. If your school or library is interested in hosting a Book Week visitor, you can apply online starting in mid-October.Shakespeare Selfie CBC Books will once again be running the Shakespeare Selfie writing challenge in April 2016. Shakespeare took selfies all the time but instead of a camera, he used a quill. And instead of calling them "selfies," they were called "soliloquies."The challenge: Write a modern-day soliloquy or monologue by a Shakespearean character based on a prominent news, pop culture or current affairs event from the last year (April 2015-April 2016). It can be in iambic pentameter or modern syntax with a word count from 200 to 400 words. There are two age categories: Grades 7-9 and 10-12. Details at: http://www.cbc.ca/books/2015/10/the-2016-shakespeare-selfie-writing-challenge-for-students.html Awards:The winners of this year’s Canadian Jewish Literary Awards, celebrating Jewish literature and culture in Canada, have been announced. Amongst the nine awards is one for Youth Literature which was awarded to Suri Rosen for “Playing with Matches” (ECW Press). See all the award winners here: http://www.cjlawards.ca/.The Canadian Children's Book Centre administers several awards including the TD Canadian Children’s Literature Award, the Marilyn Baillie Picture Book Award, the Monica Hughes Award for Science Fiction and Fantasy and the Norma Fleck Award for Canadian Children’s Non-Fiction. This year’s winners will be announced on November 18, 2015. http://www.bookcentre.ca/awardThe Fitzhenry Family Foundation has revealed the winners of its Lane Anderson Awards for the best Canadian science books published in the previous year. Selections are made based on a title’s pertinence to science in today’s world and the author’s ability to relate scientific issues to everyday life. Prolific Halifax kids’ science writer L.E. Carmichael was awarded the YA prize for “Fuzzy Forensics: DNA Fingerprinting Gets Wild” (Ashby-BP Publishing), about using forensic science to fight crimes against animals. Uxbridge, Ontario–based environmental journalist Stephen Leahy received the adult prize for “Your Water Footprint” (Firefly Books), which examines human usage of the valuable natural resource. http://laneandersonaward.ca/The Edmonton Public Library has named Sigmund Brouwer (author and Rock & Roll Literacy Show host) as the winner (by public vote) of Alberta Reader’s Choice Award. Sigmund’s “Thief of Glory” (WaterBrook Press) is about a young boy trying to take care of his family in the aftermath of the 1942 Japanese Imperialist invasion of the Southeast Pacific. The prize awards $10,000 to an Alberta-based author of a work of excellent fiction or narrative non-fiction. http://www.epl.ca/alberta-readers-choiceHarperCollins Canada, the Cooke Agency, and the University of British Columbia have announced the shortlist of the annual HarperCollins Publishers/UBC Prize for Best New Fiction awarded to students and alumni of UBC’s creative writing program, and offers the winner literary representation by the Cooke Agency and a publishing contract with HarperCollins Canada.“Between the Wind and Us” by Iranian-Canadian writer Nazanine Hozar, the story of a young abandoned girl set during the political unrest of 1953–1979 Iran.“Learning to Breathe” by B.C.-based Janice Lynn Mather, a young adult novel about a Caribbean teenager’s struggle to establish herself in a new city and home life.“At The Top of the Wall, Alight” by Sudbury, Ontario, author Natalie Morrill, which follows a Viennese Jew separated from his family during the Second World War. An early version of this novel was previously nominated for the award.Novelist and University of Guelph writing professor, Thomas King, and L.A.-based author, graphic novelist, and musician, Cecil Castellucci, have been named winners of this year’s Sunburst Awards for excellence in Canadian literature of the fantastic. Castellucci won in the YA category for “Tin Star” (Roaring Brook/Raincoast), the first novel in a planned series about a teenager who struggles to survive parent-less in a space station where she is the only human, and which played scene to a brutal assault that haunts her memory. King won in the adult category for his novel “The Back of the Turtle” (HarperCollins Canada), for which he also received a Copper Cylinder Award from the Sunburst Society last week. The book follows a First Nations scientist who finds himself torn after he’s sent to clean up the ecological mess his company has left on the reserve his family grew up on.Be sure to save October 28th on your calendar for the GG book awards announcement. Of course, “GG” stands for Governor-General. The short lists can be viewed here:http://ggbooks.ca/books/. There are categories in both English and French for both children’s text and illustration books.Online ResourcesPodcast: Yegs and Bacon: Episode 22: the full audio from our recent Indigenous Representation in Popular Culture panel. In the audio, you’ll be hearing from (in order of first vocal appearance) Brandon, who introduces the panelists, James Leask, Richard Van Camp, Kelly Mellings, and Patti Laboucane-Benson. Recorded on Monday, September 28th, 2015. http://variantedmonton.com/category/yegs-and-bacon/European Picture Book Collection: The EPBC was designed to help pupils to find out more about their European neighbours through reading the visual narratives of carefully chosen picture books. Here you can find out about how the project began, the theoretical papers that have been presented on European children's literature, and how the materials were initially used in schools. http://www.ncrcl.ac.uk/epbc/EN/index.aspMore next time around,Yours in stories, Gail de VosGail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and comic books & graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta. She is the author of nine books on storytelling and folklore. Gail is also a professional storyteller who has taught the storytelling course at SLIS for over two decades.

It is often heard, and even more often seen written, for example on social media, that that there is nothing new in the competitive intelligence (CI) field. There are no new ideas, the ideas that are being expressed are the same old, there is no development, there is, at best, stagnation. Even the old claim that CI is dead[1] reappears with a certain frequency[2]: “Competitive intelligence as a profession is dead. There are fewer and fewer full-time, dedicated CI professionals in organizations, and even fewer legitimate CI departments or functions. The need to understand an organization’s competitors has been diffused to several other functions including market research, finance, sales, R&D and others. What the founders of the profession - Jan Herring, Leonard Fuld, and Ben Gilad - built through the 80s and 90s no longer exists. And organizations are the worse off for it”[3]. Is this true? Yes and No. From a research perspective CI has developed and emerged with information technology (IT) solutions over the past ten years. It has come to the point where it does not make much sense to talk about new CI practices. Most advancements and developments are now about IT solutions and applications. This has again given rise to a whole new world of intelligence related problems and opportunities, not only for engineers but for users of these technologies. It is probably fair to say that the intelligence perspective has never been as important for businesses as it is today. Companies and organizations have never collected and analyzed as much information. Another way to explain this development is to say that CI has evolved, thus is no longer the same. Trying to look for the same or insisting that it has not changed gives the impression that there is nothing new in CI. CI consists of an interesting body of literature, but it was not the first term to deal with questions of intelligence in private organizations, and it is not the last. Before CI there was social intelligence, strategic intelligence and corporate intelligence with their own consultants and literature. As Sawka rightly points out CI was a label used in the 80s and 90s. Other terms used include market intelligence, marketing intelligence, business intelligence, collective intelligence, financial intelligence, scientific and technical intelligence, foresight, insight, and equivalent terms in other languages, like “l’information stratégique et de la sécurité économiques” (Sisse) [previously “intelligence économique"], “veille” in French and “omvärldsanalys” in Swedish. All these fields, where a field is defined as a body of literature, basically study the same phenomenon, how to gather information to make better decisions. As such intelligence studies is a part of the information age. The information age gave birth to several bodies of literature, of which the more established include information systems, management information systems and customer relations management. The intelligence perspective never really caught on among business scholars, maybe because it was associated with industrial espionage. The intelligence parallel in business is also a bet, the argument that private organizations are better organized as intelligence organizations, much like in state and/or military organizations. The idea is that this will give better information, which again will lead to a competitive advantage. So far, this bet has not caught on. Business organizations continue to be organized much as they were a hundred years ago: into production, sales, marketing, HR, finance and accounting. However, the way people work in all of these departments with ever larger amounts of information and data is starting to look more like intelligence operatives with their extensive system of files. In other words, the CI position never really saw a breakthrough, but CI has become an ever more important part of employees’ jobs, as a function.How can we then explain the frequently raised discussion related to the problems of CI? Let me suggest two answers, one general, the other more specific. Once we create something, we insist that it has either to exist, as it is, or it must disappear, thus at the end it is declared dead. This is the western mind at work, thinking in dichotomies, a thing either exist or it does not exist. There is no room for evolution, only constants. If a phenomenon such as a discipline evolves, we shouldn’t say that it’s dead, it just isn’t the same anymore, and nothing is more natural than that. So, what must change is rather the way in which we think about the fields we study. The other suggestion is that the critic of CI has more to do with another problem, the selling of consulting services. The market for consultancy services is highly segmented and fiercely competitive. As consultants we are trying to make a name for ourselves in a niche we can call our own and strive to be an acknowledged expert in it. This takes years, often a whole career. Academic careers are created much according to the same logic so the problem is the same there. The underlying message is “this is my area”, my niche, and as such I will defend it. What often happens is that another persons’ or group’s area grows into our own and sometimes is better at explaining the reality of our business problem, thus challenging our very raison d'être. Instead we insist that we are still relevant refusing to read up on other areas. We cease to be curious and the very business problems we study pass on to others. Some would argue this is what happened to CI.So, where is CI today? There certainly are many answers to this question. One suggestion is that it is more often treated as business intelligence again (it very much started there, but then without the IT association), data mining, search engine optimization, social media marketing and digital marketing in general. It suffices to look at the articles in this issue to find other examples: Bleoju et al. write about how MOOCs can be used to teach intelligence. Sperkova writes about customer experience (CX) and voice of customer (VoC). Poblano-Ojinaga et al. write about structural equation modeling for the identification of the intelligence factors. All authors have that in common that the are studying how organizations handle intelligence.In more detail, the first article by Bleoju et al. entitled “Empirical evidence from a connectivist competitive intelligence massive open online course (CI cMOOC) proof of concept” reveals how “the CI learning community perceives the capability of a cMOOC to train foreknowledge practices, given the best match between its content and context.” The paper argues for “an open intelligence approach to cMOOC collective training.”The second article by Maune entitled “Competitive intelligence as a game changer for Africa’s competitiveness in the global economy” develops a conceptual framework for how competitive intelligence can be adopted by African countries to improve their performance in the global economy.The third article by Sperkova entitled “Integration of textual VoC into a CX data model for business intelligence use in B2C” is a summary of her PhD, which will be defended in February 2020 at the University of Economics in Prague, the Department of Information Technologies. The author presents a model to store the customer experience (CX) and voice of customer (VoC) data as part of a business intelligence system. The model can help to improve customer relationships and make future performance more automatic and effective.The fourth article by Palilingan and Batmetan Entitled “How competitive intelligence can be used to improve a management vocational high school: A case from Indonesia” shows how competitive intelligence can be applied to make a vocational high school more efficient.The fifth and last article by Poblano-Ojinaga et al. entitled “Effect of the competitive intelligence on the innovation capability: an exploratory study in Mexican companies”, is an investigation using a methodology of structural equation modeling for the identification of the intelligence factors, to evaluate their relative importance and relationships with the innovation capability of Mexican companies. The empirical results show that the relationship between competitive intelligence and the innovation capability is indirect, with knowledge management as a mediating factor.Some news worth mentioning: we would like to thank the Swedish Research Council/ NOP-HS for receiving the “large” grant for Open Access journals for two years starting in 2020. JISIB is now indexed by Crossref, which should give users direct access to PDF full text through databases like Scopus and Web of Science. The SCIP organization, owned by Frost & Sullivan, has been reignited with a new executive director. We wish them good luck. There are numerous conferences on intelligence related topics this spring and next winter. See the JISIB website for details. Some of the editors of JISIB will be at the ICI in Bad Nauheim 11-14 May 2020. We hope to see you there.As always, we would above all like to thank the authors for their contributions to this issue of JISIB. Thanks to Dr. Allison Perrigo for reviewing English grammar and helping with layout design for all articles.[1] Sawka, Kenneth. (2010). The death of the competitive intelligence professional. Outward Insights, 13(2), 36-39.[2] Sawka, Kenneth. The death of the competitive intelligence professional. Retrieved January 30, 2020 from https://www.linkedin.com/feed/update/urn:li:activity:6627549366062194688[3] Idem

Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the good writer competes only with the dead. The good detective story writer […] competes not only with all the unburied dead but with all the hosts of the living as well” (3). In fact, there are so many examples of crime fiction works that, as early as the 1920s, one of the original ‘Queens of Crime’, Dorothy L. Sayers, complained: It is impossible to keep track of all the detective-stories produced to-day [sic]. Book upon book, magazine upon magazine pour out from the Press, crammed with murders, thefts, arsons, frauds, conspiracies, problems, puzzles, mysteries, thrills, maniacs, crooks, poisoners, forgers, garrotters, police, spies, secret-service men, detectives, until it seems that half the world must be engaged in setting riddles for the other half to solve (95). Twenty years after Sayers wrote on the matter of the vast quantities of crime fiction available, W.H. Auden wrote one of the more famous essays on the genre: The Guilty Vicarage: Notes on the Detective Story, by an Addict. Auden is, perhaps, better known as a poet but his connection to the crime fiction genre is undisputed. As well as his poetic works that reference crime fiction and commentaries on crime fiction, one of Auden’s fellow poets, Cecil Day-Lewis, wrote a series of crime fiction novels under the pseudonym Nicholas Blake: the central protagonist of these novels, Nigel Strangeways, was modelled upon Auden (Scaggs 27). Interestingly, some writers whose names are now synonymous with the genre, such as Edgar Allan Poe and Raymond Chandler, established the link between poetry and crime fiction many years before the publication of The Guilty Vicarage. Edmund Wilson suggested that “reading detective stories is simply a kind of vice that, for silliness and minor harmfulness, ranks somewhere between crossword puzzles and smoking” (395). In the first line of The Guilty Vicarage, Auden supports Wilson’s claim and confesses that: “For me, as for many others, the reading of detective stories is an addiction like tobacco or alcohol” (406). This indicates that the genre is at best a trivial pursuit, at worst a pursuit that is bad for your health and is, increasingly, socially unacceptable, while Auden’s ideas around taste—high and low—are made clear when he declares that “detective stories have nothing to do with works of art” (406). The debates that surround genre and taste are many and varied. The mid-1920s was a point in time which had witnessed crime fiction writers produce some of the finest examples of fiction to ever be published and when readers and publishers were watching, with anticipation, as a new generation of crime fiction writers were readying themselves to enter what would become known as the genre’s Golden Age. At this time, R. Austin Freeman wrote that: By the critic and the professedly literary person the detective story is apt to be dismissed contemptuously as outside the pale of literature, to be conceived of as a type of work produced by half-educated and wholly incompetent writers for consumption by office boys, factory girls, and other persons devoid of culture and literary taste (7). This article responds to Auden’s essay and explores how crime fiction appeals to many different tastes: tastes that are acquired, change over time, are embraced, or kept as guilty secrets. In addition, this article will challenge Auden’s very narrow definition of crime fiction and suggest how Auden’s religious imagery, deployed to explain why many people choose to read crime fiction, can be incorporated into a broader popular discourse on punishment. This latter argument demonstrates that a taste for crime fiction and a taste for justice are inextricably intertwined. Crime Fiction: A Type For Every Taste Cathy Cole has observed that “crime novels are housed in their own section in many bookshops, separated from literary novels much as you’d keep a child with measles away from the rest of the class” (116). Times have changed. So too, have our tastes. Crime fiction, once sequestered in corners, now demands vast tracts of prime real estate in bookstores allowing readers to “make their way to the appropriate shelves, and begin to browse […] sorting through a wide variety of very different types of novels” (Malmgren 115). This is a result of the sheer size of the genre, noted above, as well as the genre’s expanding scope. Indeed, those who worked to re-invent crime fiction in the 1800s could not have envisaged the “taxonomic exuberance” (Derrida 206) of the writers who have defined crime fiction sub-genres, as well as how readers would respond by not only wanting to read crime fiction but also wanting to read many different types of crime fiction tailored to their particular tastes. To understand the demand for this diversity, it is important to reflect upon some of the appeal factors of crime fiction for readers. Many rules have been promulgated for the writers of crime fiction to follow. Ronald Knox produced a set of 10 rules in 1928. These included Rule 3 “Not more than one secret room or passage is allowable”, and Rule 10 “Twin brothers, and doubles generally, must not appear unless we have been duly prepared for them” (194–6). In the same year, S.S. Van Dine produced another list of 20 rules, which included Rule 3 “There must be no love interest: The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar”, and Rule 7 “There simply must be a corpse in a detective novel, and the deader the corpse the better” (189–93). Some of these directives have been deliberately ignored or have become out-of-date over time while others continue to be followed in contemporary crime writing practice. In sharp contrast, there are no rules for reading this genre. Individuals are, generally, free to choose what, where, when, why, and how they read crime fiction. There are, however, different appeal factors for readers. The most common of these appeal factors, often described as doorways, are story, setting, character, and language. As the following passage explains: The story doorway beckons those who enjoy reading to find out what happens next. The setting doorway opens widest for readers who enjoy being immersed in an evocation of place or time. The doorway of character is for readers who enjoy looking at the world through others’ eyes. Readers who most appreciate skilful writing enter through the doorway of language (Wyatt online). These doorways draw readers to the crime fiction genre. There are stories that allow us to easily predict what will come next or make us hold our breath until the very last page, the books that we will cheerfully lend to a family member or a friend and those that we keep close to hand to re-read again and again. There are settings as diverse as country manors, exotic locations, and familiar city streets, places we have been and others that we might want to explore. There are characters such as the accidental sleuth, the hardboiled detective, and the refined police officer, amongst many others, the men and women—complete with idiosyncrasies and flaws—who we have grown to admire and trust. There is also the language that all writers, regardless of genre, depend upon to tell their tales. In crime fiction, even the most basic task of describing where the murder victim was found can range from words that convey the genteel—“The room of the tragedy” (Christie 62)—to the absurd: “There it was, jammed between a pallet load of best export boneless beef and half a tonne of spring lamb” (Maloney 1). These appeal factors indicate why readers might choose crime fiction over another genre, or choose one type of crime fiction over another. Yet such factors fail to explain what crime fiction is or adequately answer why the genre is devoured in such vast quantities. Firstly, crime fiction stories are those in which there is the committing of a crime, or at least the suspicion of a crime (Cole), and the story that unfolds revolves around the efforts of an amateur or professional detective to solve that crime (Scaggs). Secondly, crime fiction offers the reassurance of resolution, a guarantee that from “previous experience and from certain cultural conventions associated with this genre that ultimately the mystery will be fully explained” (Zunshine 122). For Auden, the definition of the crime novel was quite specific, and he argued that referring to the genre by “the vulgar definition, ‘a Whodunit’ is correct” (407). Auden went on to offer a basic formula stating that: “a murder occurs; many are suspected; all but one suspect, who is the murderer, are eliminated; the murderer is arrested or dies” (407). The idea of a formula is certainly a useful one, particularly when production demands—in terms of both quality and quantity—are so high, because the formula facilitates creators in the “rapid and efficient production of new works” (Cawelti 9). For contemporary crime fiction readers, the doorways to reading, discussed briefly above, have been cast wide open. Stories relying upon the basic crime fiction formula as a foundation can be gothic tales, clue puzzles, forensic procedurals, spy thrillers, hardboiled narratives, or violent crime narratives, amongst many others. The settings can be quiet villages or busy metropolises, landscapes that readers actually inhabit or that provide a form of affordable tourism. These stories can be set in the past, the here and now, or the future. Characters can range from Edgar Allan Poe’s C. Auguste Dupin to Dashiell Hammett’s Sam Spade, from Agatha Christie’s Miss Jane Marple to Kerry Greenwood’s Honourable Phryne Fisher. Similarly, language can come in numerous styles from the direct (even rough) words of Carter Brown to the literary prose of Peter Temple. Anything is possible, meaning everything is available to readers. For Auden—although he required a crime to be committed and expected that crime to be resolved—these doorways were only slightly ajar. For him, the story had to be a Whodunit; the setting had to be rural England, though a college setting was also considered suitable; the characters had to be “eccentric (aesthetically interesting individuals) and good (instinctively ethical)” and there needed to be a “completely satisfactory detective” (Sherlock Holmes, Inspector French, and Father Brown were identified as “satisfactory”); and the language descriptive and detailed (406, 409, 408). To illustrate this point, Auden’s concept of crime fiction has been plotted on a taxonomy, below, that traces the genre’s main developments over a period of three centuries. As can be seen, much of what is, today, taken for granted as being classified as crime fiction is completely excluded from Auden’s ideal. Figure 1: Taxonomy of Crime Fiction (Adapted from Franks, Murder 136) Crime Fiction: A Personal Journey I discovered crime fiction the summer before I started high school when I saw the film version of The Big Sleep starring Humphrey Bogart and Lauren Bacall. A few days after I had seen the film I started reading the Raymond Chandler novel of the same title, featuring his famous detective Philip Marlowe, and was transfixed by the second paragraph: The main hallway of the Sternwood place was two stories high. Over the entrance doors, which would have let in a troop of Indian elephants, there was a broad stained-glass panel showing a knight in dark armour rescuing a lady who was tied to a tree and didn’t have any clothes on but some very long and convenient hair. The knight had pushed the visor of his helmet back to be sociable, and he was fiddling with the knots on the ropes that tied the lady to the tree and not getting anywhere. I stood there and thought that if I lived in the house, I would sooner or later have to climb up there and help him. He didn’t seem to be really trying (9). John Scaggs has written that this passage indicates Marlowe is an idealised figure, a knight of romance rewritten onto the mean streets of mid-20th century Los Angeles (62); a relocation Susan Roland calls a “secular form of the divinely sanctioned knight errant on a quest for metaphysical justice” (139): my kind of guy. Like many young people I looked for adventure and escape in books, a search that was realised with Raymond Chandler and his contemporaries. On the escapism scale, these men with their stories of tough-talking detectives taking on murderers and other criminals, law enforcement officers, and the occasional femme fatale, were certainly a sharp upgrade from C.S. Lewis and the Chronicles of Narnia. After reading the works written by the pioneers of the hardboiled and roman noir traditions, I looked to other American authors such as Edgar Allan Poe who, in the mid-1800s, became the father of the modern detective story, and Thorne Smith who, in the 1920s and 1930s, produced magical realist tales with characters who often chose to dabble on the wrong side of the law. This led me to the works of British crime writers including Arthur Conan Doyle, Agatha Christie, and Dorothy L. Sayers. My personal library then became dominated by Australian writers of crime fiction, from the stories of bushrangers and convicts of the Colonial era to contemporary tales of police and private investigators. There have been various attempts to “improve” or “refine” my tastes: to convince me that serious literature is real reading and frivolous fiction is merely a distraction. Certainly, the reading of those novels, often described as classics, provide perfect combinations of beauty and brilliance. Their narratives, however, do not often result in satisfactory endings. This routinely frustrates me because, while I understand the philosophical frameworks that many writers operate within, I believe the characters of such works are too often treated unfairly in the final pages. For example, at the end of Ernest Hemingway’s A Farewell to Arms, Frederick Henry “left the hospital and walked back to the hotel in the rain” after his son is stillborn and “Mrs Henry” becomes “very ill” and dies (292–93). Another example can be found on the last page of George Orwell’s Nineteen Eighty-Four when Winston Smith “gazed up at the enormous face” and he realised that he “loved Big Brother” (311). Endings such as these provide a space for reflection about the world around us but rarely spark an immediate response of how great that world is to live in (Franks Motive). The subject matter of crime fiction does not easily facilitate fairy-tale finishes, yet, people continue to read the genre because, generally, the concluding chapter will show that justice, of some form, will be done. Punishment will be meted out to the ‘bad characters’ that have broken society’s moral or legal laws; the ‘good characters’ may experience hardships and may suffer but they will, generally, prevail. Crime Fiction: A Taste For Justice Superimposed upon Auden’s parameters around crime fiction, are his ideas of the law in the real world and how such laws are interwoven with the Christian-based system of ethics. This can be seen in Auden’s listing of three classes of crime: “(a) offenses against God and one’s neighbor or neighbors; (b) offenses against God and society; (c) offenses against God” (407). Murder, in Auden’s opinion, is a class (b) offense: for the crime fiction novel, the society reflected within the story should be one in “a state of grace, i.e., a society where there is no need of the law, no contradiction between the aesthetic individual and the ethical universal, and where murder, therefore, is the unheard-of act which precipitates a crisis” (408). Additionally, in the crime novel “as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder” (408). Thus, as Charles J. Rzepka notes, “according to W.H. Auden, the ‘classical’ English detective story typically re-enacts rites of scapegoating and expulsion that affirm the innocence of a community of good people supposedly ignorant of evil” (12). This premise—of good versus evil—supports Auden’s claim that the punishment of wrongdoers, particularly those who claim the “right to be omnipotent” and commit murder (409), should be swift and final: As to the murderer’s end, of the three alternatives—execution, suicide, and madness—the first is preferable; for if he commits suicide he refuses to repent, and if he goes mad he cannot repent, but if he does not repent society cannot forgive. Execution, on the other hand, is the act of atonement by which the murderer is forgiven by society (409). The unilateral endorsement of state-sanctioned murder is problematic, however, because—of the main justifications for punishment: retribution; deterrence; incapacitation; and rehabilitation (Carter Snead 1245)—punishment, in this context, focuses exclusively upon retribution and deterrence, incapacitation is achieved by default, but the idea of rehabilitation is completely ignored. This, in turn, ignores how the reading of crime fiction can be incorporated into a broader popular discourse on punishment and how a taste for crime fiction and a taste for justice are inextricably intertwined. One of the ways to explore the connection between crime fiction and justice is through the lens of Emile Durkheim’s thesis on the conscience collective which proposes punishment is a process allowing for the demonstration of group norms and the strengthening of moral boundaries. David Garland, in summarising this thesis, states: So although the modern state has a near monopoly of penal violence and controls the administration of penalties, a much wider population feels itself to be involved in the process of punishment, and supplies the context of social support and valorization within which state punishment takes place (32). It is claimed here that this “much wider population” connecting with the task of punishment can be taken further. Crime fiction, above all other forms of literary production, which, for those who do not directly contribute to the maintenance of their respective legal systems, facilitates a feeling of active participation in the penalising of a variety of perpetrators: from the issuing of fines to incarceration (Franks Punishment). Crime fiction readers are therefore, temporarily at least, direct contributors to a more stable society: one that is clearly based upon right and wrong and reliant upon the conscience collective to maintain and reaffirm order. In this context, the reader is no longer alone, with only their crime fiction novel for company, but has become an active member of “a moral framework which binds individuals to each other and to its conventions and institutions” (Garland 51). This allows crime fiction, once viewed as a “vice” (Wilson 395) or an “addiction” (Auden 406), to be seen as playing a crucial role in the preservation of social mores. It has been argued “only the most literal of literary minds would dispute the claim that fictional characters help shape the way we think of ourselves, and hence help us articulate more clearly what it means to be human” (Galgut 190). Crime fiction focuses on what it means to be human, and how complex humans are, because stories of murders, and the men and women who perpetrate and solve them, comment on what drives some people to take a life and others to avenge that life which is lost and, by extension, engages with a broad community of readers around ideas of justice and punishment. It is, furthermore, argued here that the idea of the story is one of the more important doorways for crime fiction and, more specifically, the conclusions that these stories, traditionally, offer. For Auden, the ending should be one of restoration of the spirit, as he suspected that “the typical reader of detective stories is, like myself, a person who suffers from a sense of sin” (411). In this way, the “phantasy, then, which the detective story addict indulges is the phantasy of being restored to the Garden of Eden, to a state of innocence, where he may know love as love and not as the law” (412), indicating that it was not necessarily an accident that “the detective story has flourished most in predominantly Protestant countries” (408). Today, modern crime fiction is a “broad church, where talented authors raise questions and cast light on a variety of societal and other issues through the prism of an exciting, page-turning story” (Sisterson). Moreover, our tastes in crime fiction have been tempered by a growing fear of real crime, particularly murder, “a crime of unique horror” (Hitchens 200). This has seen some readers develop a taste for crime fiction that is not produced within a framework of ecclesiastical faith but is rather grounded in reliance upon those who enact punishment in both the fictional and real worlds. As P.D. James has written: [N]ot by luck or divine intervention, but by human ingenuity, human intelligence and human courage. It confirms our hope that, despite some evidence to the contrary, we live in a beneficent and moral universe in which problems can be solved by rational means and peace and order restored from communal or personal disruption and chaos (174). Dorothy L. Sayers, despite her work to legitimise crime fiction, wrote that there: “certainly does seem a possibility that the detective story will some time come to an end, simply because the public will have learnt all the tricks” (108). Of course, many readers have “learnt all the tricks”, or most of them. This does not, however, detract from the genre’s overall appeal. We have not grown bored with, or become tired of, the formula that revolves around good and evil, and justice and punishment. Quite the opposite. Our knowledge of, as well as our faith in, the genre’s “tricks” gives a level of confidence to readers who are looking for endings that punish murderers and other wrongdoers, allowing for more satisfactory conclusions than the, rather depressing, ends given to Mr. Henry and Mr. Smith by Ernest Hemingway and George Orwell noted above. Conclusion For some, the popularity of crime fiction is a curious case indeed. When Penguin and Collins published the Marsh Million—100,000 copies each of 10 Ngaio Marsh titles in 1949—the author’s relief at the success of the project was palpable when she commented that “it was pleasant to find detective fiction being discussed as a tolerable form of reading by people whose opinion one valued” (172). More recently, upon the announcement that a Miles Franklin Award would be given to Peter Temple for his crime novel Truth, John Sutherland, a former chairman of the judges for one of the world’s most famous literary awards, suggested that submitting a crime novel for the Booker Prize would be: “like putting a donkey into the Grand National”. Much like art, fashion, food, and home furnishings or any one of the innumerable fields of activity and endeavour that are subject to opinion, there will always be those within the world of fiction who claim positions as arbiters of taste. Yet reading is intensely personal. I like a strong, well-plotted story, appreciate a carefully researched setting, and can admire elegant language, but if a character is too difficult to embrace—if I find I cannot make an emotional connection, if I find myself ambivalent about their fate—then a book is discarded as not being to my taste. It is also important to recognise that some tastes are transient. Crime fiction stories that are popular today could be forgotten tomorrow. Some stories appeal to such a broad range of tastes they are immediately included in the crime fiction canon. Yet others evolve over time to accommodate widespread changes in taste (an excellent example of this can be seen in the continual re-imagining of the stories of Sherlock Holmes). Personal tastes also adapt to our experiences and our surroundings. A book that someone adores in their 20s might be dismissed in their 40s. A storyline that was meaningful when read abroad may lose some of its magic when read at home. Personal events, from a change in employment to the loss of a loved one, can also impact upon what we want to read. Similarly, world events, such as economic crises and military conflicts, can also influence our reading preferences. Auden professed an almost insatiable appetite for crime fiction, describing the reading of detective stories as an addiction, and listed a very specific set of criteria to define the Whodunit. Today, such self-imposed restrictions are rare as, while there are many rules for writing crime fiction, there are no rules for reading this (or any other) genre. People are, generally, free to choose what, where, when, why, and how they read crime fiction, and to follow the deliberate or whimsical paths that their tastes may lay down for them. Crime fiction writers, past and present, offer: an incredible array of detective stories from the locked room to the clue puzzle; settings that range from the English country estate to city skyscrapers in glamorous locations around the world; numerous characters from cerebral sleuths who can solve a crime in their living room over a nice, hot cup of tea to weapon wielding heroes who track down villains on foot in darkened alleyways; and, language that ranges from the cultured conversations from the novels of the genre’s Golden Age to the hard-hitting terminology of forensic and legal procedurals. Overlaid on these appeal factors is the capacity of crime fiction to feed a taste for justice: to engage, vicariously at least, in the establishment of a more stable society. Of course, there are those who turn to the genre for a temporary distraction, an occasional guilty pleasure. There are those who stumble across the genre by accident or deliberately seek it out. There are also those, like Auden, who are addicted to crime fiction. So there are corpses for the conservative and dead bodies for the bloodthirsty. There is, indeed, a murder victim, and a murder story, to suit every reader’s taste. References Auden, W.H. “The Guilty Vicarage: Notes on The Detective Story, By an Addict.” Harper’s Magazine May (1948): 406–12. 1 Dec. 2013 ‹http://www.harpers.org/archive/1948/05/0033206›. Carter Snead, O. “Memory and Punishment.” Vanderbilt Law Review 64.4 (2011): 1195–264. Cawelti, John G. Adventure, Mystery and Romance: Formula Stories as Art and Popular Culture. Chicago: U of Chicago P, 1976/1977. Chandler, Raymond. The Big Sleep. London: Penguin, 1939/1970. ––. The Simple Art of Murder. New York: Vintage Books, 1950/1988. Christie, Agatha. The Mysterious Affair at Styles. London: HarperCollins, 1920/2007. Cole, Cathy. Private Dicks and Feisty Chicks: An Interrogation of Crime Fiction. Fremantle: Curtin UP, 2004. Derrida, Jacques. “The Law of Genre.” Glyph 7 (1980): 202–32. Franks, Rachel. “May I Suggest Murder?: An Overview of Crime Fiction for Readers’ Advisory Services Staff.” Australian Library Journal 60.2 (2011): 133–43. ––. “Motive for Murder: Reading Crime Fiction.” The Australian Library and Information Association Biennial Conference. Sydney: Jul. 2012. ––. “Punishment by the Book: Delivering and Evading Punishment in Crime Fiction.” Inter-Disciplinary.Net 3rd Global Conference on Punishment. Oxford: Sep. 2013. Freeman, R.A. “The Art of the Detective Story.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. New York: Simon & Schuster, 1924/1947. 7–17. Galgut, E. “Poetic Faith and Prosaic Concerns: A Defense of Suspension of Disbelief.” South African Journal of Philosophy 21.3 (2002): 190–99. Garland, David. Punishment and Modern Society: A Study in Social Theory. Chicago: U of Chicago P, 1993. Hemingway, Ernest. A Farewell to Arms. London: Random House, 1929/2004. ––. in R. Chandler. The Simple Art of Murder. New York: Vintage Books, 1950/1988. Hitchens, P. A Brief History of Crime: The Decline of Order, Justice and Liberty in England. London: Atlantic Books, 2003. James, P.D. Talking About Detective Fiction. New York: Alfred A. Knopf, 2009. Knight, Stephen. Crime Fiction since 1800: Death, Detection, Diversity, 2nd ed. New York: Palgrave Macmillian, 2010. Knox, Ronald A. “Club Rules: The 10 Commandments for Detective Novelists, 1928.” Ronald Knox Society of North America. 1 Dec. 2013 ‹http://www.ronaldknoxsociety.com/detective.html›. Malmgren, C.D. “Anatomy of Murder: Mystery, Detective and Crime Fiction.” Journal of Popular Culture Spring (1997): 115–21. Maloney, Shane. The Murray Whelan Trilogy: Stiff, The Brush-Off and Nice Try. Melbourne: Text Publishing, 1994/2008. Marsh, Ngaio in J. Drayton. Ngaio Marsh: Her Life in Crime. Auckland: Harper Collins, 2008. Orwell, George. Nineteen Eighty-Four. London: Penguin Books, 1949/1989. Roland, Susan. From Agatha Christie to Ruth Rendell: British Women Writers in Detective and Crime Fiction. London: Palgrave, 2001. Rzepka, Charles J. Detective Fiction. Cambridge: Polity, 2005. Sayers, Dorothy L. “The Omnibus of Crime.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. New York: Simon & Schuster, 1928/1947. 71–109. Scaggs, John. Crime Fiction: The New Critical Idiom. London: Routledge, 2005. Sisterson, C. “Battle for the Marsh: Awards 2013.” Black Mask: Pulps, Noir and News of Same. 1 Jan. 2014 http://www.blackmask.com/category/awards-2013/ Sutherland, John. in A. Flood. “Could Miles Franklin turn the Booker Prize to Crime?” The Guardian. 1 Jan. 2014 ‹http://www.guardian.co.uk/books/2010/jun/25/miles-franklin-booker-prize-crime›. Van Dine, S.S. “Twenty Rules for Writing Detective Stories.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. New York: Simon & Schuster, 1928/1947. 189-93. Wilson, Edmund. “Who Cares Who Killed Roger Ackroyd.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. New York: Simon & Schuster, 1944/1947. 390–97. Wyatt, N. “Redefining RA: A RA Big Think.” Library Journal Online. 1 Jan. 2014 ‹http://lj.libraryjournal.com/2007/07/ljarchives/lj-series-redefining-ra-an-ra-big-think›. Zunshine, Lisa. Why We Read Fiction: Theory of Mind and the Novel. Columbus: Ohio State UP, 2006.

Literature—at least serious literature—is something that we work at. This is especially true within the academy. Literature departments are places where workers labour over texts carefully extracting and sharing meanings, for which they receive monetary reward. Specialised languages are developed to describe professional concerns. Over the last thirty years, the productions of mass culture, once regarded as too slight to warrant laborious explication, have been admitted to the academic workroom. Gothic studies—the specialist area that treats fearful and horrifying texts —has embraced the growing acceptability of devoting academic effort to texts that would once have fallen outside of the remit of “serious” study. In the seventies, when Gothic studies was just beginning to establish itself, there was a perception that the Gothic was “merely a literature of surfaces and sensations”, and that any Gothic of substantial literary worth had transcended the genre (Thompson 1). Early specialists in the field noted this prejudice; David Punter wrote of the genre’s “difficulty in establishing respectable credentials” (403), while Eve Kosofsky Sedgwick hoped her work would “make it easier for the reader of ‘respectable’ nineteenth-century novels to write ‘Gothic’ in the margin” (4). Gothic studies has gathered a modicum of this longed-for respectability for the texts it treats by deploying the methodologies used within literature departments. This has yielded readings that are largely congruous with readings of other sorts of literature; the Gothic text tells us things about ourselves and the world we inhabit, about power, culture and history. Yet the Gothic remains a production of popular culture as much as it is of the valorised literary field. I do not wish to argue for a reintroduction of the great divide described by Andreas Huyssen, but instead to suggest that we have missed something important about the ways in which popular Gothics—and perhaps other sorts of popular text—function. What if the popular Gothic were not a type of work, but a kind of play? How might this change the way we read these texts? Johan Huizinga noted that “play is not ‘ordinary’ or ‘real’ life. It is rather a stepping out of ‘real’ life into a temporary sphere of activity with a disposition all of its own. Every child knows perfectly well he is ‘only pretending’, or that it was ‘only for fun’” (8). If the Gothic sometimes offers playful texts, then those texts might direct readers not primarily towards the real, but away from it, at least for a limited time. This might help to account for the wicked spectacle offered by Dennis Wheatley’s The Devil Rides Out, and in particular, its presentation of the black mass. The black mass is the parody of the Christian mass thought to be performed by witches and diabolists. Although it has doubtless been performed on rare occasions since the Middle Ages, the first black mass for which we have substantial documentary evidence was celebrated in Hampstead on Boxing Day 1918, by Montague Summers; it is a satisfying coincidence that Summers was one of the Gothic’s earliest scholars. We have record of Summer’s mass because it was watched by a non-participant, Anatole James, who was “bored to tears” as Summers recited tracts of Latin and practiced homosexual acts with a youth named Sullivan while James looked on (Medway 382-3). Summers claimed to be a Catholic priest, although there is some doubt as to the legitimacy of his ordination. The black mass ought to be officiated by a Catholic clergyman so the host may be transubstantiated before it is blasphemed. In doing so, the mass de-emphasises interpretive meaning and is an assault on the body of Christ rather than a mutilation of the symbol of Christ’s love and sacrifice. Thus, it is not conceived of primarily as a representational act but as actual violence. Nevertheless, Summers’ black mass seems like an elaborate form of sexual play more than spiritual warfare; by asking an acquaintance to observe the mass, Summers formulated the ritual as an erotic performance. The black mass was a favourite trope of the English Gothic of the nineteen-sixties and seventies. Dennis Wheatley’s The Devil Rides Out features an extended presentation of the mass; it was first published in 1934, but had achieved a kind of genre-specific canonicity by the nineteen-sixties, so that many Gothics produced and consumed in the sixties and seventies featured depictions of the black mass that drew from Wheatley’s original. Like Summers, Wheatley’s mass emphasised licentious sexual practice and, significantly, featured a voyeur or voyeurs watching the performance. Where James only wished Summers’ mass would end, Wheatley and his followers presented the mass as requiring interruption before it reaches a climax. This version of the mass recurs in most of Wheatley’s black magic novels, but it also appears in paperback romances, such as Susan Howatch’s 1973 The Devil on Lammas Night; it is reimagined in the literate and genuinely eerie short stories of Robert Aickman, which are just now thankfully coming back into print; it appears twice in Mervyn Peake’s Gormenghast books. Nor was the black mass confined to the written Gothic, appearing in films of the period too; The Kiss of the Vampire (1963), The Witches (1966), Satan’s Skin, aka Blood on Satan’s Claw (1970), The Wicker Man (1973), and The Satanic Rites of Dracula (1974) all feature celebrations of the Sabbat, as, of course do the filmed adaptations of Wheatley’s novels, The Devil Rides Out (1967) and To the Devil a Daughter (1975). More than just a key trope, the black mass was a procedure characteristic of the English Gothic of the sixties; narratives were structured so as to lead towards its performance. All of the texts mentioned above repeat narrative and trope, but more importantly, they loosely repeat experience, both for readers and the characters depicted. While Summers’ black mass apparently made for tiresome viewing, textual representations of the black mass typically embrace the pageant and sensuality of the Catholic mass it perverts, involving music, incense and spectacle. Often animalistic sex, bestiality, infanticide or human sacrifice are staged, and are intended to fascinate rather than bore. Although far from canonical in a literary sense, by 1969 Wheatley was an institution. He had sold 27 million books worldwide and around 70 percent of those had been within the British market. All of his 55 books were in print. A new Wheatley in hardcover would typically sell 30,000 copies, and paperback sales of his back catalogue stood at more than a million books a year. While Wheatley wrote thrillers in a range of different subgenres, at the end of the sixties it was his ‘black magic’ stories that were far and away the most popular. While moderately successful when first published, they developed their most substantial audience in the sixties. When The Satanist was published in paperback in 1966, it sold more than 100,000 copies in the first ten days. By 1973, five of these eight black magic titles had sold more than a million copies. The first of these was The Devil Rides Out which, although originally published in 1934, by 1973, helped by the Hammer film of 1967, had sold more than one and a half million copies, making it the most successful of the group (“Pooter”; Hedman and Alexandersson 20, 73). Wheatley’s black magic stories provide a good example of the way that texts persist and accumulate influence in a genre field, gaining genre-specific canonicity. Wheatley’s apparent influence on Gothic texts and films that followed, coupled with the sheer number of his books sold, indicate that he occupied a central position in the field, and that his approach to the genre became, for a time, a defining one. Wheatley’s black magic stories apparently developed a new readership in the sixties. The black mass perhaps became legible as a salacious, nightmarish version of some imaginary hippy gathering. While Wheatley’s Satanists are villainous, there is a vaguely progressive air about them; they listen to unconventional music, dance in the nude, participate in unconventional sexual practice, and glut themselves on various intoxicants. This, after all, was the age of Hair, Oh! Calcutta! and Oz magazine, “an era of personal liberation, in the view of some critics, one of moral anarchy” (Morgan 149). Without suggesting that the Satanists represent hippies there is a contextual relevancy available to later readers that would have been missing in the thirties. The sexual zeitgeist would have allowed later readers to pornographically and pleasurably imagine the liberated sexuality of the era without having to approve of it. Wheatley’s work has since become deeply, embarrassingly unfashionable. The books are racist, sexist, homophobic and committed to a basically fascistic vision of an imperial England, all of which will repel most casual readers. Nor do his works provide an especially good venue for academic criticism; all surface, they do not reward the labour of careful, deep reading. The Devil Rides Out narrates the story of a group of friends locked in a battle with the wicked Satanist Mocata, “a pot-bellied, bald headed person of about sixty, with large, protuberant, fishy eyes, limp hands, and a most unattractive lisp” (11), based, apparently, on the notorious occultist Aleister Crowley (Ellis 145-6). Mocata hopes to start a conflict on the scale of the Great War by performing the appropriate devilish rituals. Led by the aged yet spry Duke de Richleau and garrulous American Rex van Ryn, the friends combat Mocata in three substantial set pieces, including their attempt to disrupt the black mass as it is performed in a secluded field in Wiltshire. The Devil Rides Out is a ripping story. Wheatley’s narrative is urgent, and his simple prose suggests that the book is meant to be read quickly. Likewise, Wheatley’s protagonists do not experience in any real way the crises and collapses that so frequently trouble characters who struggle against the forces of darkness in Gothic narratives. Even when de Richlieu’s courage fails as he observes the Wiltshire Sabbat, this failure is temporary; Rex simply treats him as if he has been physically wounded, and the Duke soon rallies. The Devil Rides Out is remarkably free of trauma and its sequelæ. The morbid psychological states which often interest the twentieth century Gothic are excluded here in favour of the kind of emotional fortitude found in adventure stories. The effect is remarkable. Wheatley retains a cheerful tone even as he depicts the appalling, and potentially repellent representations become entertainments. Wheatley describes in remarkable detail the actions that his protagonists witness from their hidden vantage point. If the Gothic reader looks forward to gleeful blasphemy, then this is amply provided, in the sort of sardonic style that Lewis’ The Monk manages so well. A cross is half stomped into matchwood and inverted in the ground, the Christian host is profaned in a way too dreadful to be narrated, and the Duke informs us that the satanic priests are eating “a stillborn baby or perhaps some unfortunate child that they have stolen and murdered”. Rex is chilled by the sound of a human skull rattling around in their cauldron (117-20). The mass offers a special quality of experience, distinct from the everyday texture of life represented in the text. Ostensibly waiting for their chance to liberate their friend Simon from the action, the Duke and Rex are voyeurs, and readers participate in this voyeurism too. The narrative focus shifts from Rex and de Richlieu’s observation of the mass, to the wayward medium Tanith’s independent, bespelled arrival at the ritual site, before returning to the two men. This arrangement allows Wheatley to extend his description of the gathering, reiterating the same events from different characters’ perspectives. This would be unusual if the text were simply a thriller, and relied on the ongoing release of new information to maintain narrative interest. Instead, readers have the opportunity to “view” the salacious activity of the Satanists a second time. This repetition delays the climactic action of the scene, where the Duke and Rex rescue Simon by driving a car into the midst of the ritual. Moreover, the repetition suggests that the “thrill” on offer is not necessarily related to plot —it offers us nothing new —but instead to simply seeing the rite performed. Tanith, although conveyed to the mass by some dark power, is delayed and she too becomes a part of the mass’ audience. She saw the Satanists… tumbling upon each other in the disgusting nudity of their ritual dance. Old Madame D’Urfé, huge-buttocked and swollen, prancing by some satanic power with all the vigour of a young girl who had only just reached maturity; the Babu, dark-skinned, fleshy, hideous; the American woman, scraggy, lean-flanked and hag-like with empty, hanging breasts; the Eurasian, waving the severed stump of his arm in the air as he gavotted beside the unwieldy figure of the Irish bard, whose paunch stood out like the grotesque belly of a Chinese god. (132) The reader will remember that Madame D’Urfé is French, and that the cultists are dancing before the Goat of Mendes, who masquerades as Malagasy, earlier described by de Richlieu as “a ‘bad black’ if ever I saw one” (11). The human body is obsessively and grotesquely racialized; Wheatley is simultaneously at his most politically vile and aesthetically Goya-like. The physically grotesque meshes with the crudely sexual and racist. The Irishman is typed as a “bard” and somehow acquires a second racial classification, the Indian is horrible seemingly because of his race, and Madame D’Urfé is repulsive because her sexuality is framed as inappropriate to her age. The dancing crone is defined in terms of a younger, presumably sexually appealing, woman; even as she is denigrated, the reader is presented with a contrary image. As the sexuality of the Satanists is excoriated, titillation is offered. Readers may take whatever pleasure they like from the representations while simultaneously condemning them, or even affecting revulsion. A binary opposition is set up between de Richlieu’s company, who are cultured and moneyed, and the Satanists, who might masquerade as civilised, but reveal their savagery at the Sabbat. Their race becomes a further symptom of their lack of civilised qualities. The Duke complains to Rex that “there is little difference between this modern Satanism and Voodoo… We might almost be witnessing some heathen ceremony in an African jungle!” (115). The Satanists become “a trampling mass of bestial animal figures” dancing to music where, “Instead of melody, it was a harsh, discordant jumble of notes and broken chords which beat into the head with a horrible nerve-racking intensity and set the teeth continually on edge” (121). Music and melody are cultural constructions as much as they are mathematical ones. The breakdown of music suggests a breakdown of culture, more specifically, of Western cultural norms. The Satanists feast, with no “knives, forks, spoons or glasses”, but instead drink straight from bottles and eat using their hands (118). This is hardly transgression on the scale of devouring an infant, but emphasises that Satanism is understood to represent the antithesis of civilization, specifically, of a conservative Englishness. Bad table manners are always a sign of wickedness. This sort of reading is useful in that it describes the prejudices and politics of the text. It allows us to see the black mass as meaningful and places it within a wider discursive tradition making sense of a grotesque dance that combines a variety of almost arbitrary transgressive actions, staged in a Wiltshire field. This style of reading seems to confirm the approach to genre text that Fredric Jameson has espoused (117-9), which understands the text as reinforcing a hegemonic worldview within its readership. This is the kind of reading the academy often works to produce; it recognises the mass as standing for something more than the simple fact of its performance, and develops a coherent account of what the mass represents. The labour of reading discerns the work the text does out in the world. Yet despite the good sense and political necessity of this approach, my suggestion is that these observations are secondary to the primary function of the text because they cannot account for the reading experience offered by the Sabbat and the rest of the text. Regardless of text’s prejudices, The Devil Rides Out is not a book about race. It is a book about Satanists. As Jo Walton has observed, competent genre readers effortlessly grasp this kind of distinction, prioritising certain readings and elements of the text over others (33-5). Failing to account for the reading strategy presumed by author and audience risks overemphasising what is less significant in a text while missing more important elements. Crucially, a reading that emphasises the political implications of the Sabbat attributes meaning to the ritual; yet the ritual’s ability to hold meaning is not what is most important about it. By attributing meaning to the Sabbat, we miss the fact of the Sabbat itself; it has become a metaphor rather than a thing unto itself, a demonstration of racist politics rather than one of the central necessities of a black magic story. Seligman, Weller, Puett and Simon claim that ritual is usually read as having a social purpose or a cultural meaning, but that these readings presume that ritual is interested in presenting the world truthfully, as it is. Seligman and his co-authors take exception to this, arguing that ritual does not represent society or culture as they are and that ritual is “a subjunctive—the creation of an order as if it were truly the case” (20). Rather than simply reflecting history, society and culture, ritual responds to the disappointment of the real; the farmer performs a rite to “ensure” the bounty of the harvest not because the rite symbolises the true order of things, but as a consolation because sometimes the harvest fails. Interestingly, the Duke’s analysis of the Satanists’ motivations closely accords with Seligman et al.’s understanding of the need for ritual to console our anxieties and disappointments. For the cultists, the mass is “a release of all their pent-up emotions, and suppressed complexes, engendered by brooding over imagined injustice, lust for power, bitter hatred of rivals in love or some other type of success or good fortune” (121). The Satanists perform the mass as a response to the disappointment of the participant’s lives; they are ugly, uncivil outsiders and according to the Duke, “probably epileptics… nearly all… abnormal” (121). The mass allows them to feel, at least for a limited time, as if they are genuinely powerful, people who ought to be feared rather than despised, able to command the interest and favour of their infernal lord, to receive sexual attention despite their uncomeliness. Seligman et al. go on to argue ritual “must be understood as inherently nondiscursive—semantic content is far secondary to subjunctive creation.” Ritual “cannot be analysed as a coherent system of beliefs” (26). If this is so, we cannot expect the black mass to necessarily say anything coherent about Satanism, let alone racism. In fact, The Devil Rides Out tends not to focus on the meaning of the black mass, but on its performance. The perceivable facts of the mass are given, often in instructional detail, but any sense of what they might stand for remains unexplicated in the text. Indeed, taken individually, it is hard to make sense or meaning out of each of the Sabbat’s components. Why must a skull rattle around a cauldron? Why must a child be killed and eaten? If communion forms the most significant part of the Christian mass, we could presume that the desecration of the host might be the most meaningful part of the rite, but given the extensive description accorded the mass as a whole, the parody of communion is dealt with surprisingly quickly, receiving only three sentences. The Duke describes the act as “the most appalling sacrilege”, but it is left at that as the celebrants stomp the host into the ground (120). The action itself is emphasised over anything it might mean. Most of Wheatley’s readers will, I think, be untroubled by this. As Pierre Bourdieu noted, “the regularities inherent in an arbitrary condition… tend to appear as necessary, even natural, since they are the basis of the schemes of perception and appreciation through which they are apprehended” (53-4). Rather than stretching towards an interpretation of the Sabbat, readers simply accept it a necessary condition of a “black magic story”. While the genre and its tropes are constructed, they tend to appear as “natural” to readers. The Satanists perform the black mass because that is what Satanists do. The representation does not even have to be compelling in literary terms; it simply has to be a “proper” black mass. Richard Schechner argues that, when we are concerned with ritual, “Propriety”, that is, seeing the ritual properly executed, “is more important than artistry in the Euro-American sense” (178). Rather than describing the meaning of the ritual, Wheatley prefers to linger over the Satanist’s actions, their gluttonous feasting and dancing, their nudity. Again, these are actions that hold sensual qualities for their performers that exceed the simply discursive. Through their ritual behaviour they enter into atavistic and ecstatic states beyond everyday human consciousness. They are “hardly human… Their brains are diseased and their mentality is that of the hags and the warlocks of the middle ages…” and are “governed apparently by a desire to throw themselves back into a state of bestiality…” (117-8). They finally reach a state of “maniacal exaltation” and participate in an “intoxicated nightmare” (135). While the mass is being celebrated, the Satanists become an undifferentiated mass, their everyday identities and individuality subsumed into the subjunctive world created by the ritual. Simon, a willing participant, becomes lost amongst them, his individual identity given over to the collective, subjunctive state created by the group. Rex and the Duke are outside of this subjunctive world, expressing revulsion, but voyeuristically looking on; they retain their individual identities. Tanith is caught between the role played by Simon, and the one played by the Duke and Rex, as she risks shifting from observer to participant, her journey to the Sabbat being driven on by “evil powers” (135). These three relationships to the Sabbat suggest some of the strategies available to its readers. Like Rex and the Duke, we seem to observe the black mass as voyeurs, and still have the option of disapproving of it, but like Simon, the act of continuing to read means that we are participating in the representation of this perversity. Having committed to reading a “black magic story”, the reader’s procession towards the black mass is inevitable, as with Tanith’s procession towards it. Yet, just as Tanith is compelled towards it, readers are allowed to experience the Sabbat without necessarily having to see themselves as wanting to experience it. This facilitates a ludic, undiscursive reading experience; readers are not encouraged to seriously reflect on what the Sabbat means or why it might be a source of vicarious pleasure. They do not have to take responsibility for it. As much as the Satanists create a subjunctive world for their own ends, readers are creating a similar world for themselves to participate in. The mass—an incoherent jumble of sex and violence—becomes an imaginative refuge from the everyday world which is too regulated, chaste and well-behaved. Despite having substantial precedent in folklore and Gothic literature (see Medway), the black mass as it is represented in The Devil Rides Out is largely an invention. The rituals performed by occultists like Crowley were never understood by their participants as being black masses, and it was not until the foundation of the Church of Satan in San Francisco in the later nineteen-sixties that it seems the black mass was performed with the regularity or uniformity characteristic of ritual. Instead, its celebration was limited to eccentrics and dabblers like Summers. Thus, as an imaginary ritual, the black mass can be whatever its writers and readers need it to be, providing the opportunity to stage those actions and experiences required by the kind of text in which it appears. Because it is the product of the requirements of the text, it becomes a venue in which those things crucial to the text are staged; forbidden sexual congress, macabre ceremony, violence, the appearance of intoxicating and noisome scents, weird violet lights, blue candle flames and the goat itself. As we observe the Sabbat, the subjunctive of the ritual aligns with the subjunctive of the text itself; the same ‘as if’ is experienced by both the represented worshippers and the readers. The black mass offers an analogue for the black magic story, providing, almost in digest form, the images and experiences associated with the genre at the time. Seligman et al. distinguish between modes that they term the sincere and the ritualistic. Sincerity describes an approach to reading the world that emphasises the individual subject, authenticity, and the need to get at “real” thought and feeling. Ritual, on the other hand, prefers community, convention and performance. The “sincere mode of behavior seeks to replace the ‘mere convention’ of ritual with a genuine and thoughtful state of internal conviction” (103). Where the sincere is meaningful, the ritualistic is practically oriented. In The Devil Rides Out, the black mass, a largely unreal practice, must be regarded as insincere. More important than any “meaning” we might extract from the rite is the simple fact of participation. The individuality and agency of the participants is apparently diminished in the mass, and their regular sense of themselves is recovered only as the Duke and Rex desperately drive the Duke’s Hispano into the ritual so as to halt it. The car’s lights dispel the subjunctive darkness and reduce the unified group to a gathering of confused individuals, breaking the spell of naughtily enabling darkness. Just as the meaningful aspect of the mass is de-emphasised for ritual participants, for readers, self and discursive ability are de-emphasised in favour of an immersive, involving reading experience; we keep reading the mass without pausing to really consider the mass itself. It would reduce our pleasure in and engagement with the text to do so; the mass would be revealed as obnoxious, unpleasant and nonsensical. When we read the black mass we tend to put our day-to-day values, both moral and aesthetic, to one side, bracketing our sincere individuality in favour of participation in the text. If there is little point in trying to interpret Wheatley’s black mass due to its weakly discursive nature, then this raises questions of how to approach the text. Simply, the “work” of interpretation seems unnecessary; Wheatley’s black mass asks to be regarded as a form of play. Simply, The Devil Rides Out is a venue for a particular kind of readerly play, apart from the more substantial, sincere concerns that occupy most literary criticism. As Huizinga argued that, “Play is distinct from ‘ordinary’ life both as to locality and duration… [A significant] characteristic of play [is] its secludedness, its limitedness” (9). Likewise, by seeing the mass as a kind of play, we can understand why, despite the provocative and transgressive acts it represents, it is not especially harrowing as a reading experience. Play “lies outside the antithesis of wisdom and folly, and equally outside those of truth and falsehood, good and evil…. The valuations of vice and virtue do not apply...” (Huizinga 6). The mass might well offer barbarism and infanticide, but it does not offer these to its readers “seriously”. The subjunctive created by the black mass for its participants on the page is approximately equivalent to the subjunctive Wheatley’s text proposes to his readers. The Sabbat offers a tawdry, intoxicated vision, full of strange performances, weird lights, queer music and druggy incenses, a darkened carnival apart from the real that is, despite its apparent transgressive qualities and wretchedness, “only playing”. References Bourdieu, Pierre. The Logic of Practice. Trans. Richard Nice. Stanford: Stanford UP, 1990. Ellis, Bill. Raising the Devil: Satanism, New Religions, and the Media. Lexington: The UP of Kentucky, 2000. Hedman, Iwan, and Jan Alexandersson. Four Decades with Dennis Wheatley. DAST Dossier 1. Köping 1973. Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington and Indianapolis: Indiana UP, 1986. Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. London: Routledge, 1989. Huizinga, J. Homo Ludens: A Study of the Play-Element in Culture. International Library of Sociology. London: Routledge & Kegan Paul, 1949. Medway, Gareth J. The Lure of the Sinister: The Unnatural History of Satanism. New York: New York UP, 2001. “Pooter.” The Times 19 August 1969: 19. Punter, David. The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day. London: Longman, 1980. Schechner, Richard. Performance Theory. Revised and Expanded ed. New York: Routledge, 1988. Sedgwick, Eve Kosofsky. The Coherence of Gothic Conventions. 1980. New York: Methuen, 1986. Seligman, Adam B, Robert P. Weller, Michael J. Puett and Bennett Simon. Ritual and Its Consequences: An Essay on the Limits of Sincerity. Oxford: Oxford UP, 2008. Thompson, G.R. Introduction. “Romanticism and the Gothic Imagination.” The Gothic Imagination: Essays in Dark Romanticism. Ed. G.R. Thompson. Pullman: Washington State UP, 1974. 1-10. Wheatley, Dennis. The Devil Rides Out. 1934. London: Mandarin, 1996.

IntroductionFood Studies is a relatively recent area of research enquiry in Australia and Magazine Studies is even newer (Le Masurier and Johinke), with the consequence that Australian culinary magazines are only just beginning to be investigated. Moreover, although many major libraries have not thought such popular magazines worthy of sustained collection (Fox and Sornil), considering these publications is important. As de Certeau argues, it can be of considerable consequence to identify and analyse everyday practices (such as producing and reading popular magazines) that seem so minor and insignificant as to be unworthy of notice, as these practices have the ability to affect our lives. It is important in this case as these publications were part of the post-war gastronomic environment in Australia in which national tastes in domestic cookery became radically internationalised (Santich). To further investigate Australian magazines, as well as suggesting how these cosmopolitan eating habits became more widely embraced, this article will survey the various ways in which the idea of “abroad” is expressed in one Australian culinary serial from the post-war period, Australian Wines & Food Quarterly magazine, which was published from 1956 to 1960. The methodological approach taken is an historically-informed content analysis (Krippendorff) of relevant material from these magazines combined with germane media data (Hodder). All issues in the serial’s print run have been considered.Australian Post-War Culinary PublishingTo date, studies of 1950s writing in Australia have largely focused on literary and popular fiction (Johnson-Wood; Webby) and literary criticism (Bird; Dixon; Lee). There have been far fewer studies of non-fiction writing of any kind, although some serial publications from this time have attracted some attention (Bell; Lindesay; Ross; Sheridan; Warner-Smith; White; White). In line with studies internationally, groundbreaking work in Australian food history has focused on cookbooks, and includes work by Supski, who notes that despite the fact that buying cookbooks was “regarded as a luxury in the 1950s” (87), such publications were an important information source in terms of “developing, consolidating and extending foodmaking knowledge” at that time (85).It is widely believed that changes to Australian foodways were brought about by significant post-war immigration and the recipes and dishes these immigrants shared with neighbours, friends, and work colleagues and more widely afield when they opened cafes and restaurants (Newton; Newton; Manfredi). Although these immigrants did bring new culinary flavours and habits with them, the overarching rhetoric guiding population policy at this time was assimilation, with migrants expected to abandon their culture, language, and habits in favour of the dominant British-influenced ways of living (Postiglione). While migrants often did retain their foodways (Risson), the relationship between such food habits and the increasingly cosmopolitan Australian food culture is much more complex than the dominant cultural narrative would have us believe. It has been pointed out, for example, that while the haute cuisine of countries such as France, Italy, and Germany was much admired in Australia and emulated in expensive dining (Brien and Vincent), migrants’ own preference for their own dishes instead of Anglo-Australian choices, was not understood (Postiglione). Duruz has added how individual diets are eclectic, “multi-layered and hybrid” (377), incorporating foods from both that person’s own background with others available for a range of reasons including availability, cost, taste, and fashion. In such an environment, popular culinary publishing, in terms of cookbooks, specialist magazines, and recipe and other food-related columns in general magazines and newspapers, can be posited to be another element contributing to this change.Australian Wines & Food QuarterlyAustralian Wines & Food Quarterly (AWFQ) is, as yet, a completely unexamined publication, and there appears to be only three complete sets of this magazine held in public collections. It is important to note that, at the time it was launched in the mid-1950s, food writing played a much less significant part in Australian popular publishing than it does today, with far fewer cookbooks released than today, and women’s magazines and the women’s pages of newspapers containing only small recipe sections. In this environment, a new specialist culinary magazine could be seen to be timely, an audacious gamble, or both.All issues of this magazine were produced and printed in, and distributed from, Melbourne, Australia. Although no sales or distribution figures are available, production was obviously a struggle, with only 15 issues published before the magazine folded at the end of 1960. The title of the magazine changed over this time, and issue release dates are erratic, as is the method in which volumes and issues are numbered. Although the number of pages varied from 32 up to 52, and then less once again, across the magazine’s life, the price was steadily reduced, ending up at less than half the original cover price. All issues were produced and edited by Donald Wallace, who also wrote much of the content, with contributions from family members, including his wife, Mollie Wallace, to write, illustrate, and produce photographs for the magazine.When considering the content of the magazine, most is quite familiar in culinary serials today, although AWFQ’s approach was radically innovative in Australia at this time when cookbooks, women’s magazines, and newspaper cookery sections focused on recipes, many of which were of cakes, biscuits, and other sweet baking (Bannerman). AWFQ not only featured many discursive essays and savory meals, it also featured much wine writing and review-style content as well as information about restaurant dining in each issue.Wine-Related ContentWine is certainly the most prominent of the content areas, with most issues of the magazine containing more wine-related content than any other. Moreover, in the early issues, most of the food content is about preparing dishes and/or meals that could be consumed alongside wines, although the proportion of food content increases as the magazine is published. This wine-related content takes a clearly international perspective on this topic. While many articles and advertisements, for example, narrate the long history of Australian wine growing—which goes back to early 19th century—these articles argue that Australia's vineyards and wineries measure up to international, and especially French, examples. In one such example, the author states that: “from the earliest times Australia’s wines have matched up to world standard” (“Wine” 25). This contest can be situated in Australia, where a leading restaurant (Caprice in Sydney) could be seen to not only “match up to” but also, indeed to, “challenge world standards” by serving Australian wines instead of imports (“Sydney” 33). So good, indeed, are Australian wines that when foreigners are surprised by their quality, this becomes newsworthy. This is evidenced in the following excerpt: “Nearly every English businessman who has come out to Australia in the last ten years … has diverted from his main discussion to comment on the high quality of Australian wine” (Seppelt, 3). In a similar nationalist vein, many articles feature overseas experts’ praise of Australian wines. Thus, visiting Italian violinist Giaconda de Vita shows a “keen appreciation of Australian wines” (“Violinist” 30), British actor Robert Speaight finds Grange Hermitage “an ideal wine” (“High Praise” 13), and the Swedish ambassador becomes their advocate (Ludbrook, “Advocate”).This competition could also be located overseas including when Australian wines are served at prestigious overseas events such as a dinner for members of the Overseas Press Club in New York (Australian Wines); sold from Seppelt’s new London cellars (Melbourne), or the equally new Australian Wine Centre in Soho (Australia Will); or, featured in exhibitions and promotions such as the Lausanne Trade Fair (Australia is Guest;“Wines at Lausanne), or the International Wine Fair in Yugoslavia (Australia Wins).Australia’s first Wine Festival was held in Melbourne in 1959 (Seppelt, “Wine Week”), the joint focus of which was the entertainment and instruction of the some 15,000 to 20,000 attendees who were expected. At its centre was a series of free wine tastings aiming to promote Australian wines to the “professional people of the community, as well as the general public and the housewife” (“Melbourne” 8), although admission had to be recommended by a wine retailer. These tastings were intended to build up the prestige of Australian wine when compared to international examples: “It is the high quality of our wines that we are proud of. That is the story to pass on—that Australian wine, at its best, is at least as good as any in the world and better than most” (“Melbourne” 8).There is also a focus on promoting wine drinking as a quotidian habit enjoyed abroad: “We have come a long way in less than twenty years […] An enormous number of husbands and wives look forward to a glass of sherry when the husband arrives home from work and before dinner, and a surprising number of ordinary people drink table wine quite un-selfconsciously” (Seppelt, “Advance” 3). However, despite an acknowledged increase in wine appreciation and drinking, there is also acknowledgement that this there was still some way to go in this aim as, for example, in the statement: “There is no reason why the enjoyment of table wines should not become an Australian custom” (Seppelt, “Advance” 4).The authority of European experts and European habits is drawn upon throughout the publication whether in philosophically-inflected treatises on wine drinking as a core part of civilised behaviour, or practically-focused articles about wine handling and serving (Keown; Seabrook; “Your Own”). Interestingly, a number of Australian experts are also quoted as stressing that these are guidelines, not strict rules: Crosby, for instance, states: “There is no ‘right wine.’ The wine to drink is the one you like, when and how you like it” (19), while the then-manager of Lindemans Wines is similarly reassuring in his guide to entertaining, stating that “strict adherence to the rules is not invariably wise” (Mackay 3). Tingey openly acknowledges that while the international-style of regularly drinking wine had “given more dignity and sophistication to the Australian way of life” (35), it should not be shrouded in snobbery.Food-Related ContentThe magazine’s cookery articles all feature international dishes, and certain foreign foods, recipes, and ways of eating and dining are clearly identified as “gourmet”. Cheese is certainly the most frequently mentioned “gourmet” food in the magazine, and is featured in every issue. These articles can be grouped into the following categories: understanding cheese (how it is made and the different varieties enjoyed internationally), how to consume cheese (in relation to other food and specific wines, and in which particular parts of a meal, again drawing on international practices), and cooking with cheese (mostly in what can be identified as “foreign” recipes).Some of this content is produced by Kraft Foods, a major advertiser in the magazine, and these articles and recipes generally focus on urging people to eat more, and varied international kinds of cheese, beyond the ubiquitous Australian cheddar. In terms of advertorials, both Kraft cheeses (as well as other advertisers) are mentioned by brand in recipes, while the companies are also profiled in adjacent articles. In the fourth issue, for instance, a full-page, infomercial-style advertisement, noting the different varieties of Kraft cheese and how to serve them, is published in the midst of a feature on cooking with various cheeses (“Cooking with Cheese”). This includes recipes for Swiss Cheese fondue and two pasta recipes: spaghetti and spicy tomato sauce, and a so-called Italian spaghetti with anchovies.Kraft’s company history states that in 1950, it was the first business in Australia to manufacture and market rindless cheese. Through these AWFQ advertisements and recipes, Kraft aggressively marketed this innovation, as well as its other new products as they were launched: mayonnaise, cheddar cheese portions, and Cracker Barrel Cheese in 1954; Philadelphia Cream Cheese, the first cream cheese to be produced commercially in Australia, in 1956; and, Coon Cheese in 1957. Not all Kraft products were seen, however, as “gourmet” enough for such a magazine. Kraft’s release of sliced Swiss Cheese in 1957, and processed cheese slices in 1959, for instance, both passed unremarked in either the magazine’s advertorial or recipes.An article by the Australian Dairy Produce Board urging consumers to “Be adventurous with Cheese” presented general consumer information including the “origin, characteristics and mode of serving” cheese accompanied by a recipe for a rich and exotic-sounding “Wine French Dressing with Blue Cheese” (Kennedy 18). This was followed in the next issue by an article discussing both now familiar and not-so familiar European cheese varieties: “Monterey, Tambo, Feta, Carraway, Samsoe, Taffel, Swiss, Edam, Mozzarella, Pecorino-Romano, Red Malling, Cacio Cavallo, Blue-Vein, Roman, Parmigiano, Kasseri, Ricotta and Pepato” (“Australia’s Natural” 23). Recipes for cheese fondues recur through the magazine, sometimes even multiple times in the same issue (see, for instance, “Cooking With Cheese”; “Cooking With Wine”; Pain). In comparison, butter, although used in many AWFQ’s recipes, was such a common local ingredient at this time that it was only granted one article over the entire run of the magazine, and this was largely about the much more unusual European-style unsalted butter (“An Expert”).Other international recipes that were repeated often include those for pasta (always spaghetti) as well as mayonnaise made with olive oil. Recurring sweets and desserts include sorbets and zabaglione from Italy, and flambéd crepes suzettes from France. While tabletop cooking is the epitome of sophistication and described as an international technique, baked Alaska (ice cream nestled on liquor-soaked cake, and baked in a meringue shell), hailing from America, is the most featured recipe in the magazine. Asian-inspired cuisine was rarely represented and even curry—long an Anglo-Australian staple—was mentioned only once in the magazine, in an article reprinted from the South African The National Hotelier, and which included a recipe alongside discussion of blending spices (“Curry”).Coffee was regularly featured in both articles and advertisements as a staple of the international gourmet kitchen (see, for example, Bancroft). Articles on the history, growing, marketing, blending, roasting, purchase, percolating and brewing, and serving of coffee were common during the magazine’s run, and are accompanied with advertisements for Bushell’s, Robert Timms’s and Masterfoods’s coffee ranges. AWFQ believed Australia’s growing coffee consumption was the result of increased participation in quality internationally-influenced dining experiences, whether in restaurants, the “scores of colourful coffee shops opening their doors to a new generation” (“Coffee” 39), or at home (Adams). Tea, traditionally the Australian hot drink of choice, is not mentioned once in the magazine (Brien).International Gourmet InnovationsAlso featured in the magazine are innovations in the Australian food world: new places to eat; new ways to cook, including a series of sometimes quite unusual appliances; and new ways to shop, with a profile of the first American-style supermarkets to open in Australia in this period. These are all seen as overseas innovations, but highly suited to Australia. The laws then controlling the service of alcohol are also much discussed, with many calls to relax the licensing laws which were seen as inhibiting civilised dining and drinking practices. The terms this was often couched in—most commonly in relation to the Olympic Games (held in Melbourne in 1956), but also in relation to tourism in general—are that these restrictive regulations were an embarrassment for Melbourne when considered in relation to international practices (see, for example, Ludbrook, “Present”). This was at a time when the nightly hotel closing time of 6.00 pm (and the performance of the notorious “six o’clock swill” in terms of drinking behaviour) was only repealed in Victoria in 1966 (Luckins).Embracing scientific approaches in the kitchen was largely seen to be an American habit. The promotion of the use of electricity in the kitchen, and the adoption of new electric appliances (Gas and Fuel; Gilbert “Striving”), was described not only as a “revolution that is being wrought in our homes”, but one that allowed increased levels of personal expression and fulfillment, in “increas[ing] the time and resources available to the housewife for the expression of her own personality in the management of her home” (Gilbert, “The Woman’s”). This mirrors the marketing of these modes of cooking and appliances in other media at this time, including in newspapers, radio, and other magazines. This included features on freezing food, however AWFQ introduced an international angle, by suggesting that recipe bases could be pre-prepared, frozen, and then defrosted to use in a range of international cookery (“Fresh”; “How to”; Kelvinator Australia). The then-new marvel of television—another American innovation—is also mentioned in the magazine ("Changing concepts"), although other nationalities are also invoked. The history of the French guild the Confrerie de la Chaine des Roitisseurs in 1248 is, for instance, used to promote an electric spit roaster that was part of a state-of-the-art gas stove (“Always”), and there are also advertisements for such appliances as the Gaggia expresso machine (“Lets”) which draw on both Italian historical antecedence and modern science.Supermarket and other forms of self-service shopping are identified as American-modern, with Australia’s first shopping mall lauded as the epitome of utopian progressiveness in terms of consumer practice. Judged to mark “a new era in Australian retailing” (“Regional” 12), the opening of Chadstone Regional Shopping Centre in suburban Melbourne on 4 October 1960, with its 83 tenants including “giant” supermarket Dickens, and free parking for 2,500 cars, was not only “one of the most up to date in the world” but “big even by American standards” (“Regional” 12, italics added), and was hailed as a step in Australia “catching up” with the United States in terms of mall shopping (“Regional” 12). This shopping centre featured international-styled dining options including Bistro Shiraz, an outdoor terrace restaurant that planned to operate as a bistro-snack bar by day and full-scale restaurant at night, and which was said to offer diners a “Persian flavor” (“Bistro”).ConclusionAustralian Wines & Food Quarterly was the first of a small number of culinary-focused Australian publications in the 1950s and 1960s which assisted in introducing a generation of readers to information about what were then seen as foreign foods and beverages only to be accessed and consumed abroad as well as a range of innovative international ideas regarding cookery and dining. For this reason, it can be posited that the magazine, although modest in the claims it made, marked a revolutionary moment in Australian culinary publishing. As yet, only slight traces can be found of its editor and publisher, Donald Wallace. The influence of AWFQ is, however, clearly evident in the two longer-lived magazines that were launched in the decade after AWFQ folded: Australian Gourmet Magazine and The Epicurean. Although these serials had a wider reach, an analysis of the 15 issues of AWFQ adds to an understanding of how ideas of foods, beverages, and culinary ideas and trends, imported from abroad were presented to an Australian readership in the 1950s, and contributed to how national foodways were beginning to change during that decade.ReferencesAdams, Jillian. “Australia’s American Coffee Culture.” Australian Journal of Popular Culture 2.1 (2012): 23–36.“Always to Roast on a Turning Spit.” The Magazine of Good Living: Australian Wines and Food 4.2 (1960): 17.“An Expert on Butter.” The Magazine of Good Living: The Australian Wine & Food 4.1 (1960): 11.“Australia Is Guest Nation at Lausanne.” The Magazine of Good Living: Australian Wines and Food 4.2 (1960): 18–19.“Australia’s Natural Cheeses.” The Magazine of Good Living: The Australian Wine & Food 4.1 (1960): 23.“Australia Will Be There.” The Magazine of Good Living: Australian Wines and Food 4.2 (1960): 14.“Australian Wines Served at New York Dinner.” Australian Wines & Food Quarterly 1.5 (1958): 16.“Australia Wins Six Gold Medals.” Australian Wines & Food: The Magazine of Good Living 2.11 (1959/1960): 3.Bancroft, P.A. “Let’s Make Some Coffee.” The Magazine of Good Living: The Australian Wine & Food 4.1 (1960): 10. 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