Journal articles: 'Dashiell'

1

Marling, William. "DASHIELL HAMMETT." Resources for American Literary Study 16, no. 1 (January 1, 1989): 220–22. http://dx.doi.org/10.2307/26366365.

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Marling, William. "DASHIELL HAMMETT." Resources for American Literary Study 16, no. 1 (January 1, 1989): 220–22. http://dx.doi.org/10.2307/resoamerlitestud.16.1.0220.

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3

SLOSS, HENRY. "DASHIELL HAMMETT LIVED HERE." Yale Review 103, no. 1 (2015): 53. http://dx.doi.org/10.1353/tyr.2015.0071.

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SLOSS, HENRY. "DASHIELL HAMMETT LIVED HERE." Yale Review 103, no. 1 (December 9, 2014): 53. http://dx.doi.org/10.1111/yrev.12226.

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5

Yarbrough, Scott, and Christopher Metress. "The Critical Response to Dashiell Hammett." South Atlantic Review 61, no. 2 (1996): 180. http://dx.doi.org/10.2307/3201430.

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Whitley, John S., and Richard Layman. "Shadow Man: The Life of Dashiell Hammett." Yearbook of English Studies 15 (1985): 353. http://dx.doi.org/10.2307/3508628.

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7

Freedman, Carl, and Christopher Kendrick. "Forms of Labor in Dashiell Hammett's Red Harvest." PMLA 106, no. 2 (March 1991): 209. http://dx.doi.org/10.2307/462658.

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8

Zumoff, J. A. "Politics and the 1920s Writings of Dashiell Hammett." American Studies 52, no. 1 (2012): 77–98. http://dx.doi.org/10.1353/ams.2012.0012.

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9

dos Reis, Véra Lucia. "Clés du mensonge, copies de la vérité dans Copies conformes de Monique LaRue." Dossier 28, no. 2 (June 17, 2003): 61–72. http://dx.doi.org/10.7202/006596ar.

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Résumé Le présent article porte sur Copies conformes et s’intéresse à la représentation du réel, à partir de l’analyse des effets de mise en abyme provoqués par la réécriture du livre de Dashiell Hammett, Le faucon maltais. Le texte prend aussi en considération le récit d’énigme comme forme privilégiée de réflexion sur la fiction et sur le rapport entre mensonge et vérité.

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10

Malmgren, Carl D. "The Crime of the Sign: Dashiell Hammett's Detective Fiction." Twentieth Century Literature 45, no. 3 (1999): 371. http://dx.doi.org/10.2307/441925.

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11

Boof-Vermesse, Isabelle. "Secret Passage to Chaos: Dashiell Hammett’s The Dain Curse." Polysèmes, no. 6 (January 1, 2003): 163–86. http://dx.doi.org/10.4000/polysemes.1630.

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12

Rivett, Julie M. "On Samuel Spade and Samuel Dashiell Hammett: A Granddaughter's Perspective." Clues: A Journal of Detection 23, no. 2 (January 1, 2005): 11–20. http://dx.doi.org/10.3200/clus.23.2.11-20.

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Layman, Richard. "Theme Issue: Dashiell Hammett The Maltese Falcon at Seventy-Five." Clues: A Journal of Detection 23, no. 2 (January 1, 2005): 5–10. http://dx.doi.org/10.3200/clus.23.2.5-10.

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14

Miller, R. H. "Private Investigations: The Novels of Dashiell Hammett by Gregory Sinda." Western American Literature 21, no. 1 (1986): 76. http://dx.doi.org/10.1353/wal.1986.0029.

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15

Raskin, Jonah. "The Master of Nasty." Boom 2, no. 4 (2012): 87–95. http://dx.doi.org/10.1525/boom.2012.2.4.87.

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Raymond Chandler relished finding names for his quirky characters, including Philip Marlowe, the pipe-smoking, chess-playing private eye—a literary kinsman to Sam Spade, Dashiell Hammett’s solitary sleuth—whom I first met in the pages of fiction as a teenager and whom I have known more than fifty years. Sometimes the names are dead giveaways about the morality or immorality of the character, sometimes they’re opaque, but I’ve always found them intriguing and an open invitation to try to solve the mystery myself.

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16

Fernández L'Hoeste, Héctor. "Haciendo memoria a punta de detectivesca: riesgos implícitos de El Eskimal y la Mariposa." Estudios de Literatura Colombiana, no. 20 (August 22, 2013): 15–36. http://dx.doi.org/10.17533/udea.elc.16406.

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Resumen: En El Eskimal y la Mariposa, Montt propone una recuperación de la memoria de losaños ochenta y noventa. Sin embargo, el aspecto más problemático de este texto tal vez radique ensu afán por afianzar un imaginario alterno pues en su esfuerzo por fundamentar una versión disímilde los acontecimientos, Montt se ampara en un género nacido precisamente con el propósitoopuesto-la novela negra, con la que Dashiell Hammett y Raymond Chandler deseaban propiciarsuspicacias y desconfianza en torno a la "dureza" de ciertos relatos-, de manera que suestratagema se cimienta en una falacia. La novela negra no puede ser el medio óptimo para nuestroacercamiento a la historia por la sencilla razón de que una parte central de su motivación es elcuestionamiento mismo de cualquier construcción historiográfica.Descriptores: Montt, Nahum; El Eskimal y la Mariposa; Historia y literatura; Memoria; Novelanegra.Abstract: In El Eskimal y la Mariposa, Nahum Montt proposes the recovery of memory from the1980s and 1990s. Nevertheless, the most problematic aspect of the text may rest in its eagerness toreinforce an alternative imaginary. In his enthusiasm for a contrasting view of events, Montt relies on a genre with a conflicting objective: the hardboiled novel, which Dashiell Hammett andRaymond Chandler appropriated to promote a more critical view of the factual nature of certainnarratives. Consequently, Montt's strategy is based on a fallacy. The hardboiled novel cannot be themost favorable means for the elaboration of history for the simple reason that a central part of itsmotivation is the questioning of any historiographical intent.Key words: Montt, Nahum; El Eskimal y la Mariposa; Memory; History and Literature;Hardboiled novel.

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17

Maguet, Arnaud. "De l’obsolescence du cerveau ou les voyages de Dashiell et Michel." Audimat N° 7, no. 1 (May 1, 2017): 77–98. http://dx.doi.org/10.3917/audi.007.0077.

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18

GRAY, W. RUSSEL. "Jimmying the Back Door of Literature: Dashiell Hammett's Blue-Collar Modernism." Journal of Popular Culture 41, no. 5 (October 2008): 762–83. http://dx.doi.org/10.1111/j.1540-5931.2008.00548.x.

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19

Rutman, Robert J., and Harry J. Disch. "Commentary On Articles by Charles F. Dasey and Thomas R. Dashiell On the Biological Defense Research Program (Bdrp)1." Politics and the Life Sciences 9, no. 1 (August 1990): 117–21. http://dx.doi.org/10.1017/s0730938400010297.

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In so far as any new technology or information in biology or biomedicine is also potentially relevant to biological warfare (BW), and therefore to the Biological Defense Research Program (BDRP), BDRP is equivalent to a biore-search program, making it, ipso facto, unnecessary. The papers by Dashiell and Dasey reviewed herein certainly present this equivalence and provide very little, if any, justification of BDRP as having a unique, distinctive military role requiring budgetary dispensations. In fact, the only specific military role mentioned for BDRP, that of protecting personnel, would utilize military means developed for chemical warfare.

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20

KOCH, TOM. "Eugenics and the Genetic Challenge, Again: All Dressed Up and Just Everywhere to Go." Cambridge Quarterly of Healthcare Ethics 20, no. 2 (March 25, 2011): 191–203. http://dx.doi.org/10.1017/s0963180110000848.

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Dashiell Hammett’s reaction was “sharp and angry, snarling” when he read, at her request, a work in progress by his friend and lover, Lillian Hellman. “He spoke as if I had betrayed him.” His judgment was absolute and his advice unsparing: “Tear this up and throw it away. It’s worse than bad—it’s half good.” That is exactly what I thought of Matti Häyry’s Rationality and the Genetic Challenge as, for the third time in the evening, I penned a note in its margins and sent it sailing across the room in disgust. Cambridge University Press knows its book binding, however, and the spine of the text was undamaged.

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21

Jones, R. Mac. "Spade's Pallor and the Flitcraft Parable in Dashiell Hammett's THE MALTESE FALCON." Explicator 71, no. 4 (October 2013): 313–15. http://dx.doi.org/10.1080/00144940.2013.842154.

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22

Snyder, Robert Lance. "“Thinking's a Dizzy Business”: Ratiocination's Collapse in Dashiell Hammett's The Dain Curse." Journal of American Culture 43, no. 3 (September 2020): 198–207. http://dx.doi.org/10.1111/jacc.13183.

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23

Hefner, Brooks E. "Weird Investigations and Nativist Semiotics in H. P. Lovecraft and Dashiell Hammett." MFS Modern Fiction Studies 60, no. 4 (2014): 651–76. http://dx.doi.org/10.1353/mfs.2014.0054.

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24

Castille, Philip Dubuisson. "Dashiell Hammett's The Glass Key: The First “Huey Long” Novel?" Popular Culture Review 14, no. 2 (June 2003): 107–15. http://dx.doi.org/10.1002/j.2831-865x.2003.tb00607.x.

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25

Wolfe, Peter. "Saint with a Gun: The Unlawful American Private Eye, and: Dashiell Hammett: A Life, and: Private Investigations: The Novels of Dashiell Hammett (review)." MFS Modern Fiction Studies 31, no. 4 (1985): 769–73. http://dx.doi.org/10.1353/mfs.0.1196.

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26

Zdunkiewicz, Lech. "Three Layers of Metaphors in Ross Macdonald’s "Black Money"." Text Matters, no. 9 (December 30, 2019): 259–70. http://dx.doi.org/10.18778/2083-2931.09.16.

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In his early career, Kenneth Millar, better known as Ross Macdonald, emulated the style of Dashiell Hammett and Raymond Chandler. By the 1960s he had established himself as a distinct voice in the hardboiled genre. In his Lew Archer series, he conveys the complexity of his characters and settings primarily by the use of metaphors. In his 1966 novel Black Money the device performs three functions. In the case of minor characters, the author uses metaphors to comment on Californian society. Concurrently, metaphors describing major characters allow him to develop their dramatic arcs, whereas the recurring elements of the leitmotif serve to demonstrate the narrating detective’s growing concerns with the ongoing investigation. Arguably, it was Macdonald’s use of metaphors that helped define his unique voice.

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27

Harrison, Brady. "“This Dizzy Affair”: Quantum Measurement, Schrödinger's Cat, and Hammett's Falcon." Novel 52, no. 2 (August 1, 2019): 261–83. http://dx.doi.org/10.1215/00295132-7546836.

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Abstract The article explores the so-called quantum measurement problem, or the collapse of a wave function in the act of observation, as a reading and interpretive strategy. In particular, the article argues that the Maltese falcon, if it exists at all, does not exist in Dashiell Hammett's noir version of San Francisco until Sam Spade attempts to find it in a particular place. Further, reading from a quantum perspective suggests that Casper Gutman does not really want to find the jewel-encrusted statuette, or one would have appeared more often. Drawing on the work of Niels Bohr, Erwin Schrödinger, Henry P. Stapp, and other quantum physicists, the article explores the role that consciousness and acts of observation play in the calling into being of material reality as it is imagined in narrative fiction.

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28

Beyad, Maryam Soltan, and Mohsen Jabbari. "Feminism and the Hard-Boiled Genre: Breakdown in Sara Paretsky’s Breakdown." International Letters of Social and Humanistic Sciences 45 (January 2015): 24–34. http://dx.doi.org/10.18052/www.scipress.com/ilshs.45.24.

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As feminist re-writings of the genre of crime fiction (mostly the hard-boiled) from the 1980s onward, Sara Paretsky’s Warshawski novels provide a fertile field for critical and cultural studies. The aims of this paper are twofold: first, it traces the generic influences on her latest novel Breakdown (2012) beyond the obvious male precursors of the hard-boiled (Dashiell Hammett and Raymond Chandler) of the interwar period to the Gothic vogue in the early 19th century; and second, drawing on Roland Barthes’s notion of readerly/writerly texts, Pierre Macherey’s critique of ideology in realist fiction, and Fredric Jameson’s dialectical view of genre, it teases out the symptomatic fissures and contradictions in Paretsky’s novel which betray the text’s inability to ultimately resist the ideology it intends to subvert.

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29

Leitch, Thomas. "Performing (in) The Maltese Falcon." Journal of Adaptation in Film & Performance 17, no. 1 (March 1, 2024): 79–90. http://dx.doi.org/10.1386/jafp_00110_1.

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This article uses the self-performances of characters in Dashiell Hammett’s novel The Maltese Falcon to advance four propositions about the novel and its three screen adaptations: that Brigid O’Shaughnessy, the novel’s most often remarked role-player, is joined by Sam Spade and most of its other characters in self-performance; that the novel and its first two screen adaptations, Dangerous Female and Satan Met a Lady, treat Spade’s self-performance in three different ways; that Spade’s theatricality in the first two of these adaptations cannot be attributed to Brigid’s behaviour because it predates his first meeting with her; and that the characters’ inveterate habit of self-performance in all versions of Hammett’s story have important implications for the status of adaptations as performances of the texts they adapt.

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30

Doloff, Steven. "“What's in a Name?”:La Palomaand the Secret of Dashiell Hammett's THE MALTESE FALCON." Explicator 70, no. 4 (October 2012): 339–40. http://dx.doi.org/10.1080/00144940.2012.727912.

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31

PEPPER, ANDREW. "“Hegemony Protected by the Armour of Coercion”: Dashiell Hammett's Red Harvest and the State." Journal of American Studies 44, no. 2 (October 28, 2009): 333–49. http://dx.doi.org/10.1017/s0021875809990806.

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This article argues that Dashiell Hammett's 1929 novel Red Harvest is best understood in the context of the consolidation and expansion of the US state following the First World War and the Russian Revolution. It also argues that Hammett's novel constitutes a highly significant articulation of theoretical debates about the nature of political authority and state power in the modern era and speaks about the transition of one state formation to another. Insofar as Red Harvest explores the way in which the state's coercive and ethical character are bound up together, this article argues that Hammett's novel draws upon an understanding of political authority and state power primarily derived from Gramsci, via Marx. Gramsci insists that control cannot be maintained through force alone (and his conception of hegemony, in turn, suggests a power bloc that can become fragmented and disunited in a war of position). In the same way, Red Harvest traces the transformation of the “economic-corporate” state into the expanded or “ethical” State but crucially any ethical dimension, as Gramsci notes, is always beholden to the needs of the capitalist economy. As such, the apparently arbitrary bloodshed in the novel is conceived as a relatively minor realignment in the ranks of the capitalist classes – certainly less serious than the miners' strike that prefigures the novel. What makes this realignment significant is that it calls attention to the state both as repressive and as a site of conflict and compromise. Here, the work performed by the Continental Op and by the crime novel in general – simultaneously buttressing and, to some extent, contesting the power of the state – needs to be understood as part of the process by which the state is consistently enacting hegemony (albeit protected by the armour of coercion). The article concludes by pointing out that while Gramsci is perhaps too willing to dwell upon the state's expanded reach, Red Harvest is more interested in examining possible “cracks and fissures” in the state formation, even if the critique it ultimately offers goes nowhere and yields nothing.

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32

Martin, James R., Roland Oettinger, and Karl Bättig. "Behavioral effects of experimental portacaval anastomosis measured in Dashiell and radial tunnel maze configurations." Physiology & Behavior 38, no. 1 (January 1986): 21–24. http://dx.doi.org/10.1016/0031-9384(86)90127-7.

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33

Ball, Tyler Scott. "Sof’town Sleuths: The Hard-Boiled Genre Goes to Jo’Burg." Cambridge Journal of Postcolonial Literary Inquiry 5, no. 1 (November 27, 2017): 20–35. http://dx.doi.org/10.1017/pli.2017.38.

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In an attempt to develop new constellations of world literature, this article places the writers of South Africa’sDrumgeneration within the orbit of the American hard-boiled genre. For a brief period in the 1950 s,Drumwas home to a team of gifted writers who cut their literary teeth in the fast-paced, hard-drinking, crime-riddled streets of Sophiatown, Johannesburg’s last remaining black township. Their unique style was a blend of quick-witted Hollywood dialogue, a private detective’s street sense, and the hard-boiled aesthetic of writers like Dashiell Hammett and Raymond Chandler. Writing in English in the era of the Bantu Education Act (1953),Drumwriters challenged attempts to retribalize the African natives with the counter discourse of an educated, urbanized, modern African. This article (dis)orients conventional treatments of bothDrumwriters and the hard-boiled tradition by tracing alternative lines of flight between seemingly disparate fields of study.

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34

Linder, Daniel. "Getting away with murder." Target. International Journal of Translation Studies 26, no. 3 (September 22, 2014): 337–60. http://dx.doi.org/10.1075/target.26.3.01lin.

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In The Maltese Falcon (1929/1930), U.S. hard-boiled author Dashiell Hammett used common colloquial terms (queer and fairy) and specialized slang terms (gunsel, the gooseberry lay) to include homosexual characters at a time when pulp magazines and mainstream publishers frowned on diverse sexualities. Hammett subversively introduced these terms in a resolvably ambiguous fashion, relying on readers to trigger underlying homosexual interpretations. Instances of queer and fairy were attenuated in early versions (1933, 1946) but in more recent versions (1968, 1974, 1992, and 2011) were generally preserved (marica) or even intensified (maricón). In many cases, the Spanish translators misinterpreted the gooseberry lay, which has no sexual connotations at all, thinking it meant something homosexual. In all cases, the term gunsel, which does have a homosexual meaning, was stripped of all male same-sex significance and was cast into slang terms for gunman, thug or killer.

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35

Pepper, Andrew. "Dashiell Hammett’s The Maltese Falcon as World Literature: Global Circuits of Translation, Money, and Exchange." MFS Modern Fiction Studies 66, no. 4 (2020): 702–23. http://dx.doi.org/10.1353/mfs.2020.0048.

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36

King, Rob. "Introduction." Crime Fiction Studies 4, no. 1 (March 2023): 1–12. http://dx.doi.org/10.3366/cfs.2023.0081.

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This introduction offers an overview of the life and work of Cornell Woolrich, with a particular focus on his place within the crime-fiction mediascape of mid-twentieth-century America. During his lifetime, Woolrich's novels and short stories were adapted at least twenty-one times by Hollywood filmmakers, forty-three times for US television, and seventy-one times for radio. His importance within what Frank Krutnik has called the ‘culture of suspense’ in 1940s and 1950s America – as well as to the specific formation of film noir – is a given. Yet Woolrich remains an obscure figure in comparison with ‘hard-boiled’ authors like Dashiell Hammett and Raymond Chandler. This introduction seeks to account for that discrepancy in terms of the different position Woolrich occupied within the era's hierarchies of literary value. It also explores the oft-noted cinematic quality to Woolrich's prose, and the relation of his work to the films of Alfred Hitchcock, whose 1954 Rear Window remains the best-known adaptation of Woolrich's work.

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37

Layman, Richard. "THE HARD-BOILED EXPLICATOR: A GUIDE TO THE STUDY OF DASHIELL HAMMETT, RAYMOND CHANDLER AND ROSS MACDONALD." Resources for American Literary Study 15, no. 2 (1985): 255–58. http://dx.doi.org/10.2307/26366684.

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38

Layman, Richard. "THE HARD-BOILED EXPLICATOR: A GUIDE TO THE STUDY OF DASHIELL HAMMETT, RAYMOND CHANDLER AND ROSS MACDONALD." Resources for American Literary Study 15, no. 2 (1985): 255–58. http://dx.doi.org/10.2307/resoamerlitestud.15.2.0255.

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39

Raczkowski, Christopher T. "From Modernity's Detection to Modernist Detectives: Narrative Vision in the Work of Allan Pinkerton and Dashiell Hammett." MFS Modern Fiction Studies 49, no. 4 (2003): 629–59. http://dx.doi.org/10.1353/mfs.2003.0082.

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40

Heise, Thomas. ""Going Blood-Simple Like the Natives": Contagious Urban Spaces and Modern Power in Dashiell Hammett's Red Harvest." MFS Modern Fiction Studies 51, no. 3 (2005): 485–512. http://dx.doi.org/10.1353/mfs.2005.0061.

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41

Carlson, Matthew Paul. "‘All the Laws in the Book’: The Transgressive Impulse of Hammett's The Maltese Falcon." Crime Fiction Studies 2, no. 1 (March 2021): 96–112. http://dx.doi.org/10.3366/cfs.2021.0036.

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Scholars of detective fiction have long acknowledged Dashiell Hammett's crucial role in the formation of the American hard-boiled style. However, a closer look at his third novel, The Maltese Falcon (1930), reveals the extent to which Hammett self-consciously engaged with the generic conventions of the Golden Age mysteries that had dominated the previous decade. By partially following the rules, Hammett continually toys with the reader's expectations, charting a new course for detective fiction while simultaneously offering a self-reflexive commentary on the genre's history. In addition to providing a fresh reading of The Maltese Falcon, this essay contextualises Hammett's efforts by showing how he responds to contemporary crime novelists, especially the American Willard Huntington Wright (better known by his pseudonym S. S. Van Dine). In 1928, Wright published his famous ‘Twenty Rules for Writing Detective Stories’ in an attempt to define the genre's specific appeal, creating a pact between author and audience. The Maltese Falcon explores the nature of that pact and ultimately violates it through a series of reversed expectations. By showing just how deeply embedded this transgressive impulse is in The Maltese Falcon, this essay sheds new light on a pivotal moment in both Hammett's career and in the evolution of detective fiction.

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42

Gouanvic, Jean-Marc. "Les déterminants traductifs dans les champs source et cible : le cas du roman policier traduit de l’américain en français en Série Noire après 1945." TTR 22, no. 2 (November 3, 2010): 119–32. http://dx.doi.org/10.7202/044826ar.

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Les relations qu’entretiennent la littérature comparée et la traductologie sont délicates et cet article propose d’envisager la question en analysant un cas, celui du roman policier américain traduit dans la culture française à partir de 1945 en Série Noire (Gallimard). Le courant du roman policier hard-boiled de Dashiell Hammett et, plus tard, de Raymond Chandler est né dans le pulp Black Mask à partir de 1922. Un bref historique des pulps montre que les récits publiés dans ces revues au papier bon marché devaient répondre à des exigences strictes. Après avoir esquissé les habitus de Hammett et de Chandler, est analysée la façon dont Marcel Duhamel acclimate les auteurs hard-boiled américains dans la Série Noire et dont le champ français du roman policier conditionne les textes. Il apparaît que la concurrence directe entre la Série Noire et la collection Un Mystère des Presses de la Cité est également l’un des déterminants majeurs de la traduction du roman de « durs-à-cuire », comme le montrent des documents d’archives de la Série Noire. Le roman policier traduit illustre comment la traduction est partout dans le passage traductif, aussi bien dans le champ source que dans le champ cible et que le paradigme de la traduction est un élément incontournable dans l’analyse des contacts entre littératures.

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43

Chakravarty, Prerana. "Dangerous Femininity: Looking into the Portrayal of Daphne Monet as a Femme Fatale in Walter Mosley’s Devil in a Blue Dress." IAFOR Journal of Arts & Humanities 9, no. 1 (July 29, 2022): 62–72. http://dx.doi.org/10.22492/ijah.9.1.05.

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The phrase “femme fatale” is a well-known figure in the literary and cultural representations of women. Associated with evil temptation, the femme fatale is an iconic figure that has been appropriated into folklore, literature, and mythology. In the twentieth century, the figure finds space in literary and cinematic endeavours, particularly in crime fiction and noir thrillers. The progenitors of the hard-boiled genre of detective fiction popularised the figure of a sexually seductive and promiscuous woman who betrays men for material gain. Walter Mosley, an African American detective fiction writer, adapted the hard-boiled formula popularised by Dashiell Hammett and Raymond Chandler, but altered it to address socio-political issues concerning the condition of African Americans in the post-World War II era. Mosley followed Chandler’s lead in weaving a quest narrative around femme fatale Daphne Monet in his first novel, Devil in a Blue Dress (1990). The purpose of this paper is to look at Mosley’s treatment of the femme fatale figure in this novel. The methodology employed is a close analysis of the text, as well as an analysis of the figure of the femme fatale in its function as catalyst for men’s behaviour. The purpose of this study is to examine how the femme fatale was created, specifically what elements contributed to Daphne Monet’s transformation into a femme fatale.

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44

Pepper, Claire-Marie. "Understanding Sclerotinia Risks Associated with Growing Peanuts in the South Burnett Area." Proceedings 36, no. 1 (April 6, 2020): 150. http://dx.doi.org/10.3390/proceedings2019036150.

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Sclerotinia Blight, caused by ascomycete fungal pathogen S. minor (Jagger), is a serious soil-borne disease of peanut crops within the South Burnett area in Queensland, Australia. The pathogen can infect root, stem and foliage tissues, forming characteristic fluffy white mycelial growth on stems leading to tissue wilting and necrosis. The disease can cause significant yield reductions and, in some cases, complete crop losses in peanut production. Outbreaks occur in cooler weather (under 18 °C) with high humidity levels (above 95%) as the higher humidity levels promote germination of sclerotia (Smith 2003, Maas, Dashiell et al. 2006). Therefore, knowledge of inoculum levels prior to sowing could enhance cropping systems through enhanced capacity to predict outbreaks. The South Australia Research and Development Institute (SARDI) offers a new soil test for Sclerotinia sp., called PreDictaB, available for farmers to asses inoculum levels pre-planting as a crop risk assessment tool. This project validated the accuracy of the PreDictaB test for Sclerotinia inoculum levels in the South Burnett soils, while gathering paddock and weather data to identify key characteristics linked to high risk of Sclerotinia Blight incidence to be transposed in a pre-season risk matrix model. Results demonstrated a close positive relationship between the level of Sclerotinia in the soil pre-planting and the paddock disease severity observed at harvest. The significance of the results for future research into potential management strategies is discussed. This new test has the potential to reduce the impact and presence of Sclerotinia in the field within the South Burnett region.

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Boyer, Allen. "Dashiell Hammett, and: The American Private Eye: The Image in Fiction, and: Into Eternity: The Life of James Jones, American Writer (review)." MFS Modern Fiction Studies 32, no. 4 (1986): 631–33. http://dx.doi.org/10.1353/mfs.0.0106.

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Roberts, E. H. "Soyabeans for the Tropics, Research, Production and Utilization. Edited by S. R. Singh, K. O. Rachie and K. E. Dashiell. John Wiley & Sons (1978), pp. 230, £22.50." Experimental Agriculture 25, no. 1 (January 1989): 136. http://dx.doi.org/10.1017/s0014479700016550.

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Bowman, Sarah Lynne, Evan Torner, William J. White, Shekinah Hoffman, Aaron Trammell, Nikki Crenshaw, Steven L. Dashiell, et al. "International Journal of Role-playing 10 -- Full Issue -- IJRP." International Journal of Role-Playing, no. 10 (November 9, 2020): 1–103. http://dx.doi.org/10.33063/ijrp.vi10.270.

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IJRP 10: Social Dynamics within Role-playing Communities Table of Contents Shekinah Hoffman, “Dedication” This issue is dedicated to Dr. Matthew. M. LeClaire (1989-2018), with a special memorial from his close colleague Shekinah Hoffman, as well as biographical information about his many accomplishments from his parents, Guy M. and Mary Jo LeClaire. Sarah Lynne Bowman, Evan Torner, and William J. White, “Editorial: Retrospective, Challenges, and Persistence” This editorial discusses the history of the journal, including shifts in scope. The editors also thank the contributors and reviewers for their persistence in times of great challenge. Aaron Trammell and Nikki Crenshaw, “The Damsel and the Courtesan: Quantifying Consent in Early Dungeons & Dragons” This article applies critical gender theory to early fanzine discourse. The authors examine discussions around rules for sexual encounters that were seen to objectify women characters. Steven L. Dashiell, “Hooligans at the Table: The Concept of Male Preserves in Tabletop Role-playing Games” This paper examines sociolinguistics in tabletop role-playing communities, asserting that player behaviors such as “rules lawyering” and “gamesplaining” privilege exclusionary “nerd” masculinity. William J. White, “Indie Gaming Meets the Nordic Scene: A Dramatistic Analysis” This article analyzes a discussion between indie designers Ron Edwards from the Forge and Tobias Wrigstad from Jeepform. The author applies Kenneth Burke’s dramatic pendad to the rhetorical moves made by each participant. Matthew M. LeClaire, “Live Action Role-playing: Transcending the Magic Circle” This participant-observer ethnography examines the ways in which Dagorhir larpers explore identity and negotiate social dynamics withing their role-playing community. Matthew Orr, Sara King, and Melissa McGonnell, “A Qualitative Exploration of the Perceived Social Benefits of Playing Table-top Role-playing Games” This qualitative analysis discusses how participants perceived tabletop role-playing as beneficial to the development of their social competence. Juliane Homann, “Not Only Play: Experiences of Playing a Professor Character at College of Wizardry with a Professional Background in Teaching” This paper presents experiences of teachers who played professors at the larp College of Wizardry, applying concepts from studies of work and leisure.

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Decker, Mark T. "(Re)Model(ed) Towns and the Remodeling of American Ideology: The Expansion of Middle-Class Hegemony in Allan Pinkerton's The Model Town and the Detectives and Dashiell Hammett's Red Harvest." Clues: A Journal of Detection 30, no. 1 (April 1, 2012): 42–53. http://dx.doi.org/10.3172/clu.30.1.42.

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Syme, Alison Mairi. "Love among the Ruins: David Cannon Dashiell's "Queer Mysteries"." Art Journal 63, no. 4 (2004): 80. http://dx.doi.org/10.2307/4134507.

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Kim, K. J., M. Baskaran, J. Jweda, A. A. Feyzullayev, C. Aliyev, H. Matsuzaki, and A. J. T. Jull. "Investigation of the Dashigil mud volcano (Azerbaijan) using beryllium-10." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 294 (January 2013): 606–10. http://dx.doi.org/10.1016/j.nimb.2012.07.040.

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Journal articles on the topic 'Dashiell'

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