Academic literature on the topic 'Landscape gardening. [from old catalog]'

The early Stuart period witnessed a startling transformation in the physical environment of the royal court. At James I's accession, Whitehall and the great courtier's palaces along the Strand still lay in an essentially rural landscape. To the south, Westminster was a compact town of perhaps 6,500 people, while to the north and east, the three Strand parishes of St. Martin's-in-the-Fields, St. Mary le Savoy, and St. Clement Danes contained another 6,000, mostly concentrated in a narrow ribbon along the Strand itself. North of the Strand, the landscape remained open except for a thinner ribbon along High Holborn. Covent Garden was a pasture and orchard, containing a number of fine timber trees, St. Martin's church was still literally “in the fields“ and Lincoln's Inn Fields comprised over forty acres of open land. Dairying and market gardening were going concerns over much of what soon became the West End. Only a few years before, St. Martin's parish had experienced an enclosure riot.On the eve of the Civil War, a continuous urban landscape extended from Temple Bar as far as Soho, and ribbons of development spread along both sides of St. James's Park, as far as Knightsbridge and Picadilly. The population of old Westminster had increased by about 250 percent, while the Strand area grew even more rapidly, with St. Martin's-in-the-Fields experiencing more than a fivefold increase to as many as 17,000 people. Had they been independent settlements, all three of the large West End parishes of St. Margaret's Westminster, St. Martin's-in-the-Fields, and St. Clement Danes would have ranked among the half dozen largest English provincial cities. In all, the western suburbs' population probably stood between 40,000 and 60,000.

The paper presents first positive results of the experiment with three-year outdoor cultivation of Cypripedium calceolus L. ex vitro seedlings in the Czech Republic. They were propagated in vitro from mature seeds of Carpathian provenance in a Prague private laboratory. In April 2006 after three months cool refrigerating at 4°C the seedlings were prepared for planting. The rhizomes with 4 to 12 roots and visible dormant buds were used. They were planted in two types of substrates: mixture AN on the basis of liadrain (burned clay pebbles) and mixture BN on the basis of granodiorite. Both mixtures were amended with perlite, pumice, sand, zeolite and dolomite lime powder. The mineral substrates proved to be stable and convenient for transfer and cultivation of ex vitro seedlings. Additional treatment with lignohumate in other two variants of the experiment did not improve the effect. The seedlings were grown outdoors on a shaded bed till the retracting leaves. They overwintered in a cold glasshouse with temperature close to zero from late November to March. The substrates did not visually influence the phase of sprouting, the phase of growth and retracting of the plants. At the end of the third growing season the yield of 4-year-old seedlings with two to four leaves ranged from 83% to 98% in four variants. In November 2008 seedlings were taken up from the mixes and were evaluated as bare root plants. The number of the living plants with visible new buds and the quality of root system were recorded and evaluated. The average length of roots in mixture A on the basis of liadrain and B on the basis of granodiorite was 14.5 cm and 12.1 cm, respectively. The rhizomes were planted into new mixtures immediately. These seedlings will be able to grow up to the blooming size during two or three seasons. Seven year-old potted seedlings of C. calceolus will be planted into gene resource area of the Silva Tarouca Research Institute for Landscape and Ornamental Gardening at Průhonice.

<p>Mass settlement of Latvian rural inhabitants in towns and cities started just a little more than a hundred years ago, therefore bond with nature is a specifically Latvian identity sign. Studying the peculiarities of a nation, garden and plants give an opportunity to see and understand what is hard to get in a direct way as garden reveals the hidden and open processes that have taken place and are still happening in the economic, political, and social life of an individual person or the whole society. To form a perspective on the plants existing in the cultural environment as a socially significant phenomenon in Latvian identity development and preservation, in 2008 interdisciplinary research „Plants as a sign of Latvian identity” was initiated in Latvia.</p><p>The present article „Plants as a sign of Latgalian identity in cultural landscape, writing, and stories” covers the results of the fifth cycle of the above mentioned research. The goal of the research was to make out which plants are assumed to be the sign of Latgalian identity. The authors of the present paper were interested in singling out the factors that were considered essential by respondents in the formation of the notion of Latgalian plants, the colours believed to belong with Latgalian garden. Collecting stories was also considered important because not everything is preserved in written sources and, as the previous studies revealed, respondents’ stories were those that made it possible to understand the role of plants in the sustaining of identity. The research made use of questionnaire and written interview. The obtained results were analyzed by means of the comparative method using evidence of the cultural landscape, popular works by Latgalian authors, press periodicals published in Latgalian, literature in horticulture and gardening, archive materials of the Open-Air Ethnographical Museum of Latvia, internet resources, postcards from the private collection of Andrejs Svilāns and the prior results gained within the interdisciplinary research „Plants as a sign of Latvian identity”. We set to reveal in the research what opportunities for investigating Latgalian identity are offered by the plants grown in the cultural landscape of Latgale and the way the obtained results extend the existing studies of Latvian identity.</p><p>Summarizing the results of 93 questionnaires and oral interviews, 139 diversities were recognized as Latgalian plants including 54 caulescent plants – decorative plants, 35 vulnerary plants and herbs, 22 trees and 28 shrubs. The notion of the Latgalian as well as Latvian plants, according to the respondents, has been formed mostly by the gardens seen by their parents, grandparents, relatives as well as their stories. The impact of fiction and classical folklore is recognized as most essential in case of Latvian plants. The plants growing in the cultural landscape used by writers of fiction are signs that are understood and unite people belonging to a particular cultural space, they function as symbols of Latgale and the native homestead. Works produced both in Latgalian and Latvian literary language by Latgalian authors have cultivated and continue to cultivate Latgalian self-awareness, but print bans and works produced before emigration and during emigration by Latgalian writers have attributed specific worth to fiction and folklore.</p><p>The research revealed that identity signs are rather stable; both Latvian and Latgalian plants were most often assumed to be those grown by a couple of preceding generations – basically at the end of the 19th –beginning of the 20th century in estate and peasant gardens. These plants are considered to be Latgalian though their origin in most cases is not the local flora. At the same time in their replies to the question what should not be grown in a Latgalian garden respondents replied – „foreign plants”, meaning plants that had entered rural homesteads later on (in recent decades).</p><p>The research showed that, unlike respondents from other regions, Latgalians perceive their regional landscape in a more syncretic way, not excluding plants that, due to some stereotypical notions or symbolism, do not „fit” into it, e. g. alders, asps, osiers, etc.</p><p>Traditions are formed in a long-term period, but those originated in the second half of the 19th century had a special significance. Under conditions of Russification, they helped to maintain Latgalian identity, also planting particular plant combinations in line with the notion of a Latgalian garden.</p><p>The information concerning plants grown in peasant homesteads in Latgale is rather scarce in the materials of the Open-Air Ethnographical Museum of Latvia, as compared to other regions. Investigation of detached homestead and village garden cultures might be a task of the further research, as village was a closed community that maintained Latvian traditions.</p><p>The research brought out several debatable issues that remain unanswered. To find answers to them, a necessity to address directly the supplier of information emerged clearly in further research as well as to prepare visual material – photographs, drawings that would make it easier to identify plants and reduce the problem of taxonomic differentiation that appeared in the preceding research. For instance, it is not clear where is the border between „briar-roses” – wild rose species (Rosa sp.) and cultivated rose species and old cultivars as well as between willows (Salix fragilis), pussy willows (S. caprea or S. acutifolia x daphnoides ‘Pashal’) a. o. taxa of the genus Salix.</p><p>The present paper does not pretend to provide an exhaustive study and analysis of the factors affecting the notion of the Latgalian plants. This is the task of further studies, as, according to the prior studies of Latvian plants, each such factor is worth a separate voluminous research.</p><p>The authors of the present paper intend to proceed with the studies of garden culture as well as collecting the Latgalian names of plants grown at home, in the garden, growing in the forest, meadow, field, studying the use of plants and their economic and social significance as well as collecting stories in order to preserve this non-material culture legacy as complete and correct as possible. We hope that the paper will encourage researchers of various fields to participate in the study to use the opportunities provided by garden plants for a more unusual insight.</p>

Motum, Markus. Curiosity: The Story of a Mars Rover. Candlewick Press, 2018. Curiosity: The Story of a Mars Rover, written and illustrated by Markus Motum, would be a welcome addition to any classroom’s library. With exceptional pacing and flow, Motum takes us through the true story of one of science’s great achievements: successfully landing a rover on Mars. Many young readers have an inherent interest in outer space and science fiction. In this book, Motum expounds the science of science fiction in detailing the story of how Curiosity ended up on Mars (where it still roves today) in a somewhat narrative form. It would be appropriate for all grade levels, though younger grade students would likely need experienced help in order to read it. The font size and colour vary making them readable to most audiences, and they serve the story well. The story is told from the point of view of the rover itself, named Curiosity. It begins by introducing itself as if it were a sentient creature before it goes back to the beginning, in a very cosmic sense, to plant its story within the wider view of space exploration in general. Motum’s choice in this case allows the reader to gain greater perspective for Curiosity’s story. Curiosity itself is as developed as it needs to be for the purposes of the narrative; that is to say, Motum does not imbue the rover with emotion or opinions within the story. However, the emotions and opinions of the astronauts, scientists and engineers who are namelessly featured throughout the story are indeed explored, which gives a sense of urgency and peril as we travel alongside Curiosity on its adventure. In addition to authoring this picture book, Motum also illustrates it in a mixed media style that is both alien and historic. The solid colours and painted portions evoke the artistic style of old postcards from days gone by, while simultaneously making the Martian landscape seem exotic and alien, as if Mars were a travel destination, welcoming travellers like Curiosity. Though beautiful, the illustrations do not add much information to the story of Curiosity; in some instances, they provide some spatial context like when Curiosity tries to land on Mars. The illustrations lend a hand to create atmosphere, both in the context of the story and for the reader. Some of the text is also placed in unconventional locations on the page, so the text and the illustrations work together to create meaning and story. One finds that the eye is drawn to specific parts of the image on each page, and it is masterfully done. For these and many other reasons, Curiosity: The Story of a Mars Rover is a great example of modern children’s literature. It is suitable for a variety of ages, and it is worthwhile reading in many ways. Highly Recommended: 4 out of 4 stars Reviewer: Thomas Pasterfield Thomas Pasterfield is a fourth year undergraduate student in Elementary Education at the University of Alberta. His reading interests include fantasy novels, vegetable gardening manuals, and religious books.

Now reduced share of industrial waste in comparison with the 80s is obvious in Russia Simultaneously, share ofmunicipal waste increases. A rather high part of industrial waste is used for recycling, but in the same time recycling for municipal waste is seldom. A few wastes are used for energy production. It concerns both municipal and wooden waste. The only one exception is pulp and paper mills. The most part of municipal waste is disposed in landfills and dumps including illegal ones. Waste treatment plants including incineration ones are only in several big cities (Moscow, St Petersburg, Samara). These plants are based on rather old technologies, as a rule. The main reason of such situation is absence at national and regional levels of a necessary legislation base that stimulates more effective waste treatment in Russia. In particularly, there is no a well-developed policy in renewable energy resources. Too low prices for gas are also prevention for introducing waste in energy production. Administrative decisions without economic measures are the most common method of management. It needs to use methods of project management in this sphere. There is a serious problem of absence of qualified experts. Thus it is necessary educational and training programs that include all topics of solid waste treatment. For this purpose it should be better to cooperate with the EU countries. It will give possibility to use European experience for Russia. Besides it can give possibility to use Russian technological inventions for other countries. It needs to develop a legislative initiative for separate collection of waste. Legislation that should stimulate private business activity in solid waste treatment is necessary also. It is desirably to make correction of Russian rules in waste treatment for more harmonization with rules of the EU. Now the amount and a variety of solid wastes in Russian cities and settlements is promptly growing. In spite of the fact that the amount of industrial waste in comparison with the 80's has considerably decreased, there is an appreciable increase of the amount of municipal waste. It is necessary to mean, that the significant part of industrial waste is exposed to processing, first recycling (metals, pulp-and-paper production, glass, plastics). In the same time recycling for municipal waste is developed rather poor. This situation is caused by several factors: After the beginning of market reforms in Russia the sector of trade in which modem methods of good packing began to develop very fast. It has resulted in the sharp increase of wastes, containing paper, plastic, cardboard, and glass. In the Soviet period circulation of glass packing (bottles, cans) was rather good due to a well-developed enough infrastructure and used methods of economic incentives for circulation (first on the base of a high mortgaging price). Thus the significant part of returned packing intended for a reuse. For example, glass bottles for milk were used on the average 9 - IO times. Measures of incentives for the population for recycling pulp-and-paper production were also developed. Collecting food waste for use as additives in forage to cattle was carried out. However last years big reducing of glass share and growth of plastic packing one happened changes. Packing in aluminum cans has appeared. Meanwhile, however, as a rule, glass receptacle did not be used repeatedly, and its collecting as a base for manufacture of new receptacle economically does not be stimulated. At the same time there is a certain interest to collecting aluminum cans that is connected to rather high prices for an aluminum waste. Unfortunately, because of backwardness of the infrastructure for collecting metal waste in the municipal sector a process of this collecting is sometimes rather criminal. Besides collectors is mostly the poorest part of the population. Simultaneously the amount of home electronic and electric devices ( computers, communication devices, household devices: refrigerators, TVs, radio sets, audio and video recorders and types) increases considerably with improvement of well-being of the population. Stable growth of the number of cars is observed. Revival of the construction industry promotes expansion of the list of used materials. Thus practice of application of rather dangerous materials (asbestos, PVC) is kept unfortunate] y. Food reduces are not allocated in the separate group now at collecting though use of old Soviet principles would allow to collect organic waste products for composting. These are 30-40 percents from all weight of waste, thus it would be possible to receive the ground for use in a garden facilities and in landscape gardening construction Collecting and transportation of solid waste products Russia By the present moment a basic scheme of collecting and transportation of solid waste did not change, except the increase of a number of the non-authorized dumps. City dwellers collect household waste within the limits of their apartments in waste cans, dust from which then is moved to municipal containers, which are located in courtyards. Many houses are equipped with refuse chutes from which solid waste also is got to municipal containers located in special spaces in the ground floor. Special machines come under certain schedules to transport the filled waste containers to special polygons (landfills) or incineration plants. The locations of municipal containers and clearing units of refuse chutes are mostly in unsatisfactory sanitary conditions, being a source of numerous rats and cockroaches. Offices of firms and administrative establishments have contracts with specialized transport agencies for transportation of solid waste. The vehicles belonging to specialized motor-vehicle pools, as a rule, are equipped with hydraulic elevating adaptations to lift municipal containers. However they are not completed with the equipment of dust densification in containers. The collected waste is overloaded to big volume containers in the overload points and then is transported by special transport to places of landfilling or processing. Vehicles of the specialized motor-vehicle pools are worn strongly out, as the majority of them were acquired in 1980th years. Probably, soon they will require repair or even to replacement. The account of transported dust is made according to volume of containers, instead of weight of contents that conducts to overestimate costs of the companies - carriers. Separate collecting of waste in initial stage of collecting remains while only at a level of projects and experiments. Thus, non-selected solid waste is delivered to places of landfilling or processing. Really, partial separating of collected waste is made directly in processing plants. For this purpose a special conveyor is used where workers take off some sorts of waste materials for further recycling.

‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and engaging that the overtly intertextual, explicitly inventive work of biographical HM can even change the “hegemonic discourse of history” (Nunning 353) for, as Philippa Gregory, the author of HM novel The Other Boleyn Girl (2001), has said regarding this genre of creative writing: “Fiction is about imagined feelings and thoughts. History depends on the outer life. The novel is always about the inner life. Fiction can sometimes do more than history. It can fill the gaps” (University of Sussex). In a way, this article will be filling one of the gaps regarding HM.Forrest Gump (Robert Zemeckis, 1994) is possibly the best known cinematic example of HM, and this film version of the 1986 novel by Winston Groom particularly excels in seamlessly inserting images of a fictional character into verified history, as represented by well-known television newsreel footage. In Zemeckis’s adaptation, gaps were created in the celluloid artefact and filled digitally with images of the actor, Tom Hanks, playing the eponymous role. Words are often deemed less trustworthy than images, however, and fiction is considered particularly unreliable--although there are some exceptions conceded. In addition to Gregory’s novel; Midnight’s Children (1980) by Salman Rushdie; The Name of the Rose (1983) by Umberto Eco; and The Flashman Papers (1969-2005) by George MacDonald Fraser, are three well-known, loved and lauded examples of literary HM, which even if they fail to convince the reader of their bona fides, nevertheless win a place in many hearts. But despite the genre’s popularity, there is nevertheless a conceptual gap in the literary theory of Hutcheon given her (perfectly understandable) inability in 1988 to predict the future of e-publishing. This article will attempt to address that shortcoming by exploring the potential for authors of HM e-novels to use hyperlinks which immediately direct the reader to fact providing webpages such as those available at the website Wikipedia, like a much speedier (and more independent) version of the footnotes in Fraser’s Flashman novels.Of course, as Roland Barthes declared in 1977, “the text is a tissue of quotations drawn from innumerable centres of culture” (146) and, as per any academic work that attempts to contribute to knowledge, a text’s sources--its “quotations”--must be properly identified and acknowledged via checkable references if credibility is to be securely established. Hence, in explaining the way claims to fact in the HM novel can be confirmed by independently published experts on the Internet, this article will also address the problem Hutcheon identifies, in that for many readers the entirety of the HM novel assumes questionable authenticity, that is, the novel’s “meta-fictional self-reflexivity (and intertextuality) renders their claims to historical veracity somewhat problematic, to say the least” ("Historiographic Metafiction: Parody", 3). This article (and the PhD in creative writing I am presently working on at Murdoch University in Perth, Western Australia) will possibly develop the concept of HM to a new level: one at which the Internet-connected reader of the hyperlinked e-novel is made fully (and even instantly) aware of those literary elements of the narrative that are legitimate and factual as distinct from those that are fictional, that is, illegitimate. Furthermore, utilising examples from my own (yet-to-be published) hyperlinked HM e-novel, this article demonstrates that such hyperlinking can add an ironic sub-text to a fictional character’s thoughts and utterances, through highlighting the reality concerning their mistaken or naïve beliefs, thus creating HM narratives that serve an entertainingly complex yet nevertheless truly educational purpose.As a relatively new and under-researched genre of historical writing, HM differs dramatically from the better known style of standard historical or biographical narrative, which typically tends to emphasise mimesis, the cataloguing of major “players” in historical events and encyclopaedic accuracy of dates, deaths and places. Instead, HM involves the re-contextualisation of real-life figures from the past, incorporating the lives of entirely (or, as in the case of Gregory’s Mary Boleyn, at least partly) fictitious characters into their generally accepted famous and factual activities, and/or the invention of scenarios that gel realistically--but entertainingly--within a landscape of well-known and well-documented events. As Hutcheon herself states: “The formal linking of history and fiction through the common denominators of intertextuality and narrativity is usually offered not as a reduction, as a shrinking of the scope and value of fiction, but rather as an expansion of these” ("Intertextuality", 11). Similarly, Gregory emphasises the need for authors of HM to extend themselves beyond the encyclopaedic archive: “Archives are not history. The trouble with archives is that the material is often random and atypical. To have history, you have to have a narrative” (University of Sussex). Functionally then, HM is an intertextual narrative genre which serves to communicate to a contemporary audience an expanded story or stories of the past which present an ultimately more self-reflective, personal and unpredictable authorship: it is a distinctly auteurial mode of biographical history writing for it places the postmodern author’s imaginative “signature” front and foremost.Hutcheon later clarified that the quest for historical truth in fiction cannot possibly hold up to the persuasive powers of a master novelist, as per the following rationale: “Fact is discourse-defined: an event is not” ("Historiographic Metafiction", 843). This means, in a rather simplistic nutshell, that the new breed of HM novel writer is not constrained by what others may call fact: s/he knows that the alleged “fact” can be renegotiated and redefined by an inventive discourse. An event, on the other hand, is responsible for too many incontrovertible consequences for it to be contested by her/his mere discourse. So-called facts are much easier for the HM writer to play with than world changing events. This notion was further popularised by Ansgar Nunning when he claimed the overtly explicit work of HM can even change the “hegemonic discourse of history” (353). HM authors can radically alter, it seems, the way the reader perceives the facts of history especially when entertaining, engaging and believable characters are deliberately devised and manipulated into the narrative by the writer. Little wonder, then, that Hutcheon bemoans the unfortunate reality that for many readers the entirety of a HM work assumes questionable “veracity” due to its author’s insertion of imaginary and therefore illegitimate personages.But there is an advantage to be found in this, the digital era, and that is the Internet’s hyperlink. In our ubiquitously networked electronic information age, novels written for publication as e-books may, I propose, include clickable links on the names of actual people and events to Wikipedia entries or the like, thus strengthening the reception of the work as being based on real history (the occasional unreliability of Wikipedia notwithstanding). If picked up for hard copy publication this function of the HM e-novel can be replicated with the inclusion of icons in the printed margins that can be scanned by smartphones or similar gadgets. This small but significant element of the production reinforces the e-novel’s potential status as a new form of HM and addresses Hutcheon’s concern that for HM novels, their imaginative but illegitimate invention of characters “renders their claims to historical veracity somewhat problematic, to say the least” ("Historiographic Metafiction: Parody", 3).Some historic scenarios are so little researched or so misunderstood and discoloured by the muddy waters of time and/or rumour that such hyperlinking will be a boon to HM writers. Where an obscure facet of Australian history is being fictionalised, for example, these edifying hyperlinks can provide additional background information, as Glenda Banks and Martin Andrew might have wished for when they wrote regarding Bank’s Victorian goldfields based HM novel A Respectable Married Woman. This 2012 printed work explores the lives of several under-researched and under-represented minorities, such as settler women and Aboriginal Australians, and the author Banks lamented the dearth of public awareness regarding these peoples. Indeed, HM seems tailor-made for exposing the subaltern lives of those repressed individuals who form the human “backdrop” to the lives of more famous personages. Banks and Andrew explain:To echo the writings of Homi K. Bhaba (1990), this sets up a creative site for interrogating the dominant, hegemonic, ‘normalised’ master narratives about the Victorian goldfields and ‘re-membering’ a marginalised group - the women of the goldfields, the indigenous [sic], the Chinese - and their culture (2013).In my own hyperlinked short story (presently under consideration for publishing elsewhere), which is actually a standalone version of the first chapter of a full-length HM e-novel about Aboriginal Australian activists Eddie Mabo and Chicka Dixon and the history of the Aboriginal Tent Embassy in Canberra, entitled The Bullroarers, I have focussed on a similarly under-represented minority, that being light-complexioned, mixed race Aboriginal Australians. My second novel to deal with Indigenous Australian issues (see Starrs, That Blackfella Bloodsucka Dance), it is my first attempt at writing HM. Hopefully avoiding overkill whilst alerting readers to those Wikipedia pages with relevance to the narrative theme of non-Indigenous attitudes towards light-complexioned Indigenous Australians, I have inserted a total of only six hyperlinks in this 2200-word piece, plus the explanatory foreword stating: “Note, except where they are well-known place names or are indicated as factual by the insertion of Internet hyperlinks verifying such, all persons, organisations, businesses and places named in this text are entirely fictitious.”The hyperlinks in my short story all take the reader not to stubs but to well-established Wikipedia pages, and provide for the uninformed audience the following near-unassailable facts (i.e. events):The TV program, A Current Affair, which the racist character of the short story taken from The Bullroarers, Mrs Poulter, relies on for her prejudicial opinions linking Aborigines with the dealing of illegal drugs, is a long-running, prime-time Channel Nine production. Of particular relevance in the Wikipedia entry is the comment: “Like its main rival broadcast on the Seven Network, Today Tonight, A Current Affair is often considered by media critics and the public at large to use sensationalist journalism” (Wikipedia, “A Current Affair”).The Aboriginal Tent Embassy, located on the lawns opposite the Old Parliament House in Canberra, was established in 1972 and ever since has been the focus of Aboriginal Australian land rights activism and political agitation. In 1995 the Australian Register of the National Estate listed it as the only Aboriginal site in Australia that is recognised nationally for representing Aboriginal and Torres Strait Islander people and their political struggles (Wikipedia, “The Aboriginal Tent Embassy”).In 1992, during an Aboriginal land rights case known as Mabo, the High Court of Australia issued a judgment constituting a direct overturning of terra nullius, which is a Latin term meaning “land belonging to no one”, and which had previously formed the legal rationale and justification for the British invasion and colonisation of Aboriginal Australia (Wikipedia, “Terra Nullius”).Aboriginal rights activist and Torres Strait Islander, Eddie Koiki Mabo (1936 to 1992), was instrumental in the High Court decision to overturn the doctrine of terra nullius in 1992. In that same year, Eddie Mabo was posthumously awarded the Australian Human Rights Medal in the Human Rights and Equal Opportunity Commission Awards (Wikipedia, “Eddie Mabo”).The full name of what Mrs Poulter blithely refers to as “the Department of Families and that” is the Australian Government’s Department of Families, Housing, Community Services and Indigenous Affairs (Wikipedia, “The Department of Families, Housing, Community Services and Indigenous Affairs”).The British colonisation of Australia was a bloody, murderous affair: “continuous Aboriginal resistance for well over a century belies the ‘myth’ of peaceful settlement in Australia. Settlers in turn often reacted to Aboriginal resistance with great violence, resulting in numerous indiscriminate massacres by whites of Aboriginal men, women and children” (Wikipedia, “History of Australia (1788 - 1850)”).Basically, what is not evidenced empirically with regard to the subject matter of my text, that is, the egregious attitudes of non-Indigenous Australians towards Indigenous Australians, can be extrapolated thanks to the hyperlinks. This resonates strongly with Linda Tuhiwai Smith’s assertion in 2012 that those under-represented by mainstream, patriarchal epistemologies need to be engaged in acts of “reclaiming, reformulating and reconstituting” (143) so as to be re-presented as authentic identities in these HM artefacts of literary research.Exerting auteurial power as an Aboriginal Australian author myself, I have sought to imprint on my writing a multi-levelled signature pertaining to my people’s under-representation: there is not just the text I have created but another level to be considered by the reader, that being my careful choice of Wikipedia pages to hyperlink certain aspects of the creative writing to. These electronic footnotes serve as politically charged acts of “reclaiming, reformulating and reconstituting” Aboriginal Australian history, to reuse the words of Smith, for when we Aboriginal Australian authors reiterate, when we subjugated savages wrestle the keyboard away from the colonising overseers, our readers witness the Other writing back, critically. As I have stated previously (see Starrs, "Writing"), receivers of our words see the distorted and silencing master discourse subverted and, indeed, inverted. Our audiences are subjectively repositioned to see the British Crown as the monster. The previously presumed rational, enlightened and civil coloniser is instead depicted as the author and perpetrator of a violently racist, criminal discourse, until, eventually, s/he is ultimately eroded and made into the Other: s/he is rendered the villainous, predatory savage by the auteurial signatures in revisionist histories such as The Bullroarers.Whilst the benefit in these hyperlinks as electronic educational footnotes in my short story is fairly obvious, what may not be so obvious is the ironic commentary they can make, when read in conjunction with the rest of The Bullroarers. Although one must reluctantly agree with Wayne C. Booth’s comment in his classic 1974 study A Rhetoric of Irony that, in some regards, “the very spirit and value [of irony] are violated by the effort to be clear about it” (ix), I will nevertheless strive for clarity and understanding by utilizing Booth’s definition of irony “as something that under-mines clarities, opens up vistas of chaos, and either liberates by destroying all dogmas or destroys by revealing the inescapable canker of negation at the heart of every affirmation” (ix). The reader of The Bullroarers is not expecting the main character, Mrs Poulter, to be the subject of erosive criticism that destroys her “dogmas” about Aboriginal Australians--certainly not so early in the narrative when it is unclear if she is or is not the protagonist of the story--and yet that’s exactly what the hyperlinks do. They expose her as hopelessly unreliable, laughably misinformed and yes, unforgivably stupid. They reveal the illegitimacy of her beliefs. Perhaps the most personally excoriating of these revelations is provided by the link to the Wikipedia entry on the Australian Government’s Department of Families, Housing, Community Services and Indigenous Affairs, which is where her own daughter, Roxy, works, but which Mrs Poulter knows, gormlessly, as “the Department of Families and that”. The ignorant woman spouts racist diatribes against Aboriginal Australians without even realising how inextricably linked she and her family, who live at the deliberately named Boomerang Crescent, really are. Therein lies the irony I am trying to create with my use of hyperlinks: an independent, expert adjudication reveals my character, Mrs Poulter, and her opinions, are hiding an “inescapable canker of negation at the heart of every affirmation” (Booth ix), despite the air of easy confidence she projects.Is the novel-reading public ready for these HM hyperlinked e-novels and their potentially ironic sub-texts? Indeed, the question must be asked: can the e-book ever compete with the tactile sensations a finely crafted, perfectly bound hardcover publication provides? Perhaps, if the economics of book buying comes into consideration. E-novels are cheap to publish and cheap to purchase, hence they are becoming hugely popular with the book buying public. Writes Mark Coker, the founder of Smashwords, a successful online publisher and distributor of e-books: “We incorporated in 2007, and we officially launched the business in May 2008. In our first year, we published 140 books from 90 authors. Our catalog reached 6,000 books in 2009, 28,800 in 2010, 92,000 in 2011, 191,000 in 2012 and as of this writing (November 2013) stands at over 250,000 titles” (Coker 2013). Coker divulged more about his company’s success in an interview with Forbes online magazine: “‘It costs essentially the same to pump 10,000 new books a month through our network as it will cost to do 100,000 a month,’ he reasons. Smashwords book retails, on average, for just above $3; 15,000 titles are free” (Colao 2012).In such a burgeoning environment of technological progress in publishing I am tempted to say that yes, the time of the hyperlinked e-novel has come, and to even predict that HM will be a big part of this new wave of postmodern literature. The hyperlinked HM e-novel’s strategy invites the reader to reflect on the legitimacy and illegitimacy of different forms of narrative, possibly concluding, thanks to ironic electronic footnoting, that not all the novel’s characters and their commentary are to be trusted. Perhaps my HM e-novel will, with its untrustworthy Mrs Poulter and its little-known history of the Aboriginal Tent Embassy addressed by gap-filling hyperlinks, establish a legitimising narrative for a people who have traditionally in white Australian society been deemed the Other and illegitimate. Perhaps The Bullroarers will someday alter attitudes of non-Indigenous Australians to the history and political activities of this country’s first peoples, to the point even, that as Nunning warns, we witness a change in the “hegemonic discourse of history” (353). If that happens we must be thankful for our Internet-enabled information age and its concomitant possibilities for hyperlinked e-publications, for technology may be separated from the world of art, but it can nevertheless be effectively used to recreate, enhance and access that world, to the extent texts previously considered illegitimate achieve authenticity and veracity.ReferencesBanks, Glenda. A Respectable Married Woman. Melbourne: Lacuna, 2012.Banks, Glenda, and Martin Andrew. “Populating a Historical Novel: A Case Study of a Practice-led Research Approach to Historiographic Metafiction.” Bukker Tillibul 7 (2013). 19 Sep. 2014 ‹http://bukkertillibul.net/Text.html?VOL=7&INDEX=2›.Barthes, Roland. Image, Music, Text. Trans. Stephen Heath. London: Fontana Press, 1977.Booth, Wayne C. A Rhetoric of Irony. Chicago: U of Chicago P, 1974.Colao, J.J. “Apple’s Biggest (Unknown) Supplier of E-books.” Forbes 7 June 2012. 19 Sep. 2014 ‹http://www.forbes.com/sites/jjcolao/2012/06/07/apples-biggest-unknown-supplier-of-e-books/›.Coker, Mark. “Q & A with Smashwords Founder, Mark Coker.” About Smashwords 2013. 19 Sep. 2014 ‹https://www.smashwords.com/about›.Eco, Umberto. The Name of the Rose. Trans. William Weaver, San Diego: Harcourt, 1983.Forrest Gump. Dir. Robert Zemeckis. Paramount Pictures, 1994.Fraser, George MacDonald. The Flashman Papers. Various publishers, 1969-2005.Groom, Winston. Forrest Gump. NY: Doubleday, 1986.Gregory, Philippa. The Other Boleyn Girl. UK: Scribner, 2001.Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction, 2nd ed. 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London & New York: Zed Books, 2012.University of Sussex. “Philippa Gregory Fills the Historical Gaps.” University of Sussex Alumni Magazine 51 (2012). 19 Sep. 2014 ‹http://www.scribd.com/doc/136033913/University-of-Sussex-Alumni-Magazine-Falmer-issue-51›.Wikipedia. “A Current Affair.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/A_Current_Affair›.---. “Aboriginal Tent Embassy.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/Aboriginal_Tent_Embassy›.---. “Department of Families, Housing, Community Services and Indigenous Affairs.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/Department_of_Families,_Housing,_Community_Services_and_Indigenous_Affairs›.---. “Eddie Mabo.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/Eddie_Mabo›.---. “History of Australia (1788 – 1850).” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/History_of_Australia_(1788%E2%80%931850)#Aboriginal_resistance›.---. “Terra Nullius.” 2014. 19 Sep. 2014 ‹http://en.wikipedia.org/wiki/Terra_nullius›.

This chapter analyses newer and brighter hues of green. The gray-greens of the date palms, often considered old-fashioned, are being replaced by brighter hues of green as symbols of progress or of changing hegemonies. The chapter describes different conditions in Bahrain and the region with changing values of green. For one, advertisements often show more greenery than a project can deliver. Residents' testimonies indicate that a major value of any development comes from the greenness that provides contrast to the indigenous desert landscape. The Bahrain Gardening Club reflects an enduring interest in all things green and beautiful, and the organizers of the Riffa Views Bahrain International Garden Show have sponsored an annual garden design competition among Bahraini schools called The Riffa Views Eden Challenge.