Journal articles on the topic 'St Peter and St Mary (Stowmarket)'

The main part of Oxford, Bodleian Library, Douce 296, consists of a psalter (9r–105v), together with the usual accompaniments of calendar (1r–6v), tables (7r–8r), canticles (105v–116v), litany (117r–119v) and prayers (119v–127v). The main part of the manuscript, written by a single scribe, ends halfway down 127v, in the centre of a gathering of six folios. The lower part of 127v and the remaining three folios are taken up by an Office of the Trinity, written by a different scribe. The manuscript is attributed to Crowland on the basis of entries in the calendar and litany. Guthlac's name is entered in capitals in the litany, as are those of SS Mary and Peter; more importantly, Guthlac, like Peter, is invoked twice, a distinction accorded to no other saint in the Douce manuscript. The entries in the calendar include the translation of St Guthlac on 30 August, and a feast of his sister, St Pega, on 8 January, in addition to the usual feast of St Guthlac on 11 April; Pega also occurs, uniquely, in the litany of the Douce manuscript. The Psalter had probably left Crowland by 1091 when most of the monastery, including its library and service books, was destroyed by fire. By the early twelfth century it was in the possession of the Cluniac priory of St Paneras, Lewes, when the obits of Lanzo, prior of St Pancras (ob. 1 April 1107), Anselm, archbishop of Canterbury (ob. 21 April 1109) and Hugh, abbot of Cluny (ob. 29 April 1109) were entered on 2v. It is possible that the book was in female hands between leaving Crowland and arriving at Lewes, since the prayers at Lauds in the Office of the Trinity contain feminine forms.

Fr Thomas More—the last descendant in the direct male line of St.Thomas More, Lord Chancellor of England—died on 20 May 1795 in Bath. He had been the Jesuit provincial superior at the time of the suppression of the Society in 1773.Thomas More was the eldest of the five children of Thomas and Catherine (née Giffard) of Barnborough or Bamburg Hall in the West Riding of Yorkshire. Born on 19 September 1722, he was followed by Christopher, Bridget, Catherine and Mary. Both sons became Jesuits. Bridget married twice—Peter Metcalfe and Robert Dalton and had descendants; she died in 1797. Catherine died unmarried in 1786. Mary became Sister Mary Augustine of the Austin Canonesses at Bruges and died in 1807. Their home, Barnborough Hall, had been in the family since John, the only son of St. Thomas, had acquired it by his marriage to Anne Cresacre and it remained so until the nineteenth century.

The Westminster Retable is the most important thirteenth-century panel painting to survive from northern Europe and, quite arguably, from all of western Europe (pl. XXVIa). An oak panel measuring approximately 0.95m high by 3.33m wide, it is divided vertically into five compartments. In the centre is the figure of Christ, standing, blessing and holding in his left hand an orb or globe upon which is painted a delicate miniature landscape (pl. XXVIb). He is flanked by the Virgin Mary and St John the Evangelist who both hold palm fronds. Iconographically this grouping is unique in medieval art. Each figure stands in an architectural niche of high Gothic design. To either side of the central group are four medallions arranged in the Islamic star-and-cross pattern. Each of these eight-pointed star medallions contained a narrative scene, of which three on the left survive: the Raising of the Daughter of Jairus, the Healing of the Blind Man and the Feeding of the Five Thousand (pl. XXVIc). Such miracle scenes from the adult life of Christ were but rarely depicted in the Middle Ages. At either end of the panel are niches for standing figures of saints; only St Peter on the left survives, although ghostly vestiges of his counterpart, presumably St Paul, on the right remain visible.

All 20th-century chronologies of the collector’s activity of Bishop Josip Juraj Strossmayer (1815-1905) and overviews of the evolution of today’s Strossmayer’s Gallery of Old Masters at the Croatian Academy of Sciences and Arts mention the bishop’s cooperation with the Austrian Nazarene painter Leopold Kupelwieser (1796-1862), father of Paul Kupelwieser, the former owner of the Brijuni islands. This episode from the “prehistory” of Strossmayer’s Gallery has hitherto been known only as a brief notice repeated in almost identical formulations: “In 1857, the bishop sent the first larger group of paintings to Vienna in order to be restored under the supervision of painter Leopold Kupelwieser.” Research of archival documents mentioning the cooperation between Bishop Strossmayer and painter Kupelwieser has now been complemented with an overview of Kupelwieser’s activity in Croatia, with an aim of promoting the preservation and evaluation of this segment of his painting oeuvre. Besides paintings ordered by Strossmayer (presently at the Diocesan Museum of Zagreb), Kupelwieser produced two paintings for Croatian churches independently of his cooperation with the bishop (for the church of St Stephen of Hungary, today’s church of the Immaculate Conception of the Blessed Virgin Mary in Nova Gradiška, and for the chapel of St Peter and Paul in Dvor na Uni). Two more paintings are preserved on the Brijuni islands that do not directly belong to Kupelwieser’s oeuvre yet are closely linked to him.

The Merck Essay Prize was inaugurated in 1993. All trainee psychiatrists (senior house officers, registrars or senior registrars) in the United Kingdom and Republic of Ireland were eligible to submit an essay on the topic: ‘Depression: Counting the Costs’. The winning essay by Dr Peter Haddad is printed here. The runners-up in Joint second place were Dr J. Bray, Lecturer, University of Leicester (Leicester General Hospital) and Dr R. Bullock, Senior Registrar, St Mary Abbots Hospital, London.Depressive illness is the commonest form of mental disorder in the community. Its effects are far-reaching and include psychological suffering and social disruption for affected individuals and their families, increased mortality, and direct and indirect financial costs for society. Only about half of all cases of depression are recognised by doctors and not all of these receive effective treatment. The costs of depression could be reduced if detection and treatment were improved. Addressing this is a major challenge for psychiatric services.

Kenney, Peter James (1779–1841), was born in Dublin, probably at 28 Drogheda Street, on 7 July, 1779. His father, Peter, and his mother, formerly Ellen Molloy, ran a small business. Apart from Peter, the other known children were Anne Mary, who joined the convent of the Sisters of St. Clare, and an older brother, or half-brother, Michael, who set up an apothecary’s shop in Waterford.Peter was born, therefore, in the decade which saw the American Revolution, the Suppression of the Jesuits and, in Ireland, the birth of Daniel O’Connell—destined to become ‘The Liberator’. The need to keep Ireland quiet during the American conflict, led to concessions to the Catholic population. The first of these was in 1778. Others followed when the French Revolution raised possibilities of unrest. In 1792 the establishment of Catholic colleges was allowed, and entry to the legal profession. These led to the founding of Carlow College and to Daniel O’Connell’s emergence as a lawyer. The following year the Irish parliament was obliged by the government to extend the parliamentary franchise to Catholics. Increased freedom, however, and the government’s connivance at the non-application of the penal laws, led to increased resentment against the laws themselves and, among middle-class Catholics, to a relishing of Edmund Burke’s celebrated reminder to the House of Commons in 1780, that ‘connivance is the relaxation of slavery, not the definition of liberty’.

-Richard Price, C.G.A. Oldendorp, C.G.A. Oldendorp's history of the Mission of the Evangelical Brethren on the Caribbean Islands of St. Thomas, St. Croix, and St. John. Edited by Johann Jakob Bossard. English edition and translation by Arnold R. Highfield and Vladimir Barac. Ann Arbor MI: Karoma, 1987. xxxv + 737 pp.-Peter J. Wilson, Lawrence E. Fisher, Colonial madness: mental health in the Barbadian social order. New Brunswick, N.J.: Rutgers University Press, 1985. xvi + 215 pp.-George N. Cave, R.B. le Page ,Acts of identity: Creloe-based approaches to language and ethnicity. Cambridge: Cambridge University Press, 1985. x + 275 pp., Andree Tabouret-Keller (eds)-H. Hoetink, Julia G. Crane, Saba silhouettes: life stories from a Caribbean island. Julia G. Crane (ed), New York: Vantage Press, 1987. x + 515 pp.-Sue N. Greene, Anne Walmsley ,Facing the sea: a new anthology from the Caribbean region. London and Kingston: Heinemann, 1986. ix + 151 pp., Nick Caistor, 190 (eds)-Melvin B. Rahming, Mark McWatt, West Indian literature and its social context. Cave Hill, Barbados, Department of English, 1985.-David Barry Gaspar, Rebecca J. Scott, Slave emancipation in Cuba: the transition to free labor, 1860-1899. Princeton, New Jersey: Princeton University Press, 1985. xviii + 319 pp.-Mary Butler, Louis A. Perez Jr., Cuba under the Platt agreement, 1902-1934. Pittsburgh: University of Pittsburgh Press, 1986. xvii + 410 pp.-Ana M. Rodríguez-Ward, Idsa E. Alegria Ortega, La comisión del status de Puerto Rico: su historia y significación. Río Piedras, Puerto Rico: Editorial Universitaria. 1982. ix + 214 pp.-Alain Buffon, Jean Crusol, Changer la Martinique: initiation a l'économie des Antilles. Paris: Editions Caribeennes, 1986. 96 pp.-Klaus de Albuquerque, Bonham C. Richardson, Panama money in Barbados, 1900-1920. Knoxville: University of Tennesse Press, 1985. xiv + 283 pp.-Steven R. Nachman, Marcel Fredericks ,Society and health in Guyana: the sociology of health care in a developing nation. Authors include Janet Fredericks. Durham: Carolina Academic Press, 1986. xv + 173 pp., John Lennon, Paul Mundy (eds)

Functional somatic symptoms and syndromes are a major health issue. They are common, costly, persistent and may be disabling. Most of the current literature pertains to specific syndromes defined by medical subspecialties. Indeed, each medical subspecialty seems to have at least one somatic syndrome. These include: irritable bowel syndrome (gastroenterology); chronic pelvic pain (gynaecology); fibromyalgia (rheumatology); non-cardiac chest pain (cardiology); tension headache (neurology); hyperventilation syndrome (respiratory medicine) and chronic fatigue syndrome (infectious disease). In 1999, Wessely and colleagues concluded on the basis of a literature review that there was substantial overlap between these conditions and challenged the acceptance of distinct syndromes as defined in the medical literature (Wessely et al, 1999). They proposed the concept of a general functional somatic syndrome. But is there any empirical evidence for such a general syndrome? Is it even a useful concept? Five years on, Professor Simon Wessely, King's College London, revisits this debate. He is opposed by Dr Peter White from St Bartholomew's Hospital and Queen Mary School of Medicine and Dentistry, London.

This address responds in some detail to the place and to the date of its delivery. It was on July 15th (1896) that Chelsea acquired the German statuette of More, which was unveiled in the Public Library on the 23rd: the then Vicar of Chelsea Old Church was one of the contributors to the purchase. Thomas More, a model parishioner, loved that church, embellished it, treated it as the heart of his family’s prayer life, and took an active part in its liturgies. He had his first wife’s mortal remains buried there and his own epitaph carved above her tomb. He often dated events by the Christian calendar . If he wished to die on July 6th, it was to unite his martyrdom with those of St Peter and St Thomas Becket. The month of July is exceptionally rich in Morean anniversaries: from the day of More’s trial on the 1st, the beautiful prayer he penned between his condemnation and his execution, the marriage of his beloved daughter, Margaret, on the 2nd. July 6th saw the accession of Queen Mary Tudor, which made it possible to publish the prison writings of More, and it saw the death in exile of Margaret Giggs, More’s adopted daughter. Erasmus, who died on July 12th, had been his first biographer through an open letter signed July 23rd (1519). It was in July that More assumed, and later resigned, the office of Undersheriff. In July the Chelsea Old Church was rededicated and the statue, bought by public subscription, was inaugurated on the Chelsea Embankment. More’s own voice joins our service through quotations from the prayer he composed in July 1535.

The influence of the Gospel lectionary (evangelistarion) on the iconography of medieval wall painting was rather sporadic. One of the rare testimonies that it did exist, nevertheless, is the specific iconographic formula for the scene of Christ in the house of Martha and Mary, preserved in a number of King Milutin's foundations - Gracanica (ca. 1320), Chilandar katholikon (1321) and St. Nicetas near Skopje (ca. 1324). In all three churches, the iconographic formula corresponds for the most part to the description in the Gospel (Lk 10, 38-42). A large number of figures were painted against an architectural background, intimating that the action in the event was taking place indoors (draw. 1, figs. 1, 2). Among the figures, only Christ is marked by a halo. He is sitting on a small wooden bench, and addressing a woman, who is standing in front of him. This is certainly Martha. Her sister Mary is sitting at the feet of Christ. Next to Christ is Peter, and one or two more disciples, while numerous onlookers, men and women, are depicted behind Martha. There is no mention of either them or the apostles in the Gospel of Luke. The appearance of the disciples' figures, however, is easy to explain because they appear usually in greater or lesser numbers with Christ, in the scenes from the cycle of Christ's Public Ministry. In addition to this, this passage from the Gospel intimates that Christ entered the village in the company of his disciples. As for the figures behind Martha, at a first glimpse, one would assume that they are Judeans, the same ones that sometimes, according to the Gospel of John (11:19-31), appear in the house of Martha and Mary in the episodes painted next to the Raising of Lazarus. Still, such an assumption is not plausible because among the mentioned figures in the depictions in Gracanica, Chilandar and St. Nicetas, one can distinguish a woman above the other figures, her right arm raised, addressing Christ. This figure enables an explanation for the unusual iconographic formula and indicates its connection with the evangelistarion. The section of the Gospel that speaks of Christ's visit to Martha and Mary (Lk 10:38-42) is read out during the liturgy of the feasts of the Birth and the Dormition of the Virgin and, in the lectionary, these five verses are accompanied by a reading of two another verses the Gospel of Luke (Lk 11:27-28). The two verses recount the conversation of Christ and a woman during the Saviour's address to the assembled crowd who tempted him, demanding a sign from Heaven. Recognizing the Lord, the woman raised her voice so as to be heard above the crowd and said: 'Blessed is the mother who gave you birth and nursed you'. Two different events and two separated passages from Luke are joined in the lectionary in such a way that from the combination of the readings, it proceeds that the mentioned woman is addressing Christ while he is speaking to Martha. As a result, an iconographic formula emerged that was applied in Gracanica, the Chilandar katholikon and in St. Nicetas near Skopje. Judging by the preserved examples, this formula was characteristic only of the painting in the foundations of King Milutin. None of the other known depictions of Christ's visit to Martha and Mary, Byzantine or Serbian included the figure of a third woman, singled out from the mass of onlookers speaking to Christ. With minor variations, the text of the closing verses of Chapter 10 of the Gospel of Luke was, in the main, almost literally illustrated. The origin of this unique iconographic formula in several of King Milutin's foundations remains unknown. The most logical thing would be that the combined illustration of the two separate passages from Luke's Gospel came from an illuminated lectionary of Byzantine origin. However, the quests for such a manuscript so far have not confirmed this assumption. In the only lectionary, known to us, which depicts Christ in the house of Martha and Mary - the Dionysiou cod. 587 - the iconographic formula is the pictorial expression of the last verses of Chapter 10 of the Gospel of Luke. The two verses of Chapter 11 in Luke's Gospel, which are also included in the text of the lection, read out during the liturgy of the Birth and of the Dormition of the Virgin, had no effect on the iconography of the scene of Christ in the house of Martha and Mary in the famous Dionysiou lectionary, even though in it, the mentioned scene illustrate this very lection. The scene is located in the place where the said lection appears for the first time in the lectionary, within the framework of the readings envisaged for the feast of the Birth of the Virgin (September 8). The second part of the lectionary which refers to the same lection, i.e. to its reading for the feast of the Dormition (August 15), is illuminated with the representation of the death of the Virgin. The Dormition of the Virgin is painted in the corresponding place in several more lectionaries, while beside the pericope that is read during the liturgy of the feast of the Birth of the Theotokos, sometimes there was an appropriate depiction of the Birth of the Virgin, or simply a single figure of the Virgin. Most often, however, that part of the lectionary was left without an illustration, which can be explained by the fact that the vast majority of illuminated Byzantine lectionaries either did not have any figural ornamentation or merely contained the portraits of the evangelists. The absence of narrative illustrations is particularly characteristic of the Byzantine lectionaries that originate from the Palaeologan era. The illumination of Serbian lectionaries from that epoch is also reduced to ornamental headpieces, initials, and, in some cases, the evangelist portraits. Nevertheless, one should not altogether exclude the possibility that in some unknown or unpublished Byzantine or Serbian manuscripts of the evangelistarion, there was an iconographic formula that was applied in the painting of King Milutin's foundations. In any case, it does not seem plausible that this unusual iconographic formula may have arrived from the West. The scene of Christ's visit to Martha and Mary was also presented in the Latin lectionaries based on the five Gospel verses in which it was described (Lk 10:38-42) even though, in the appropriate pericope of the lectionaries of the Roman Church, these five verses are also accompanied by a reading of two another verses the Gospel of Luke (Lk 11:27-28). The influence of the lectionaries is not visible even in the presentations of Christ's visit to Martha and Mary that are preserved in the medieval wall painting of the western European countries.

-Stanley L. Engerman, Heather Cateau ,Capitalism and slavery fifty years later: Eric Eustace Williams - A reassessment of the man and his work. New York: Peter Lang, 2000. xvii + 247 pp., S.H.H. Carrington (eds)-Philip D. Morgan, B.W. Higman, Writing West Indian histories. London: Macmillan Caribbean, 1999. xiv + 289 pp.-Daniel Vickers, Alison Games, Migration and the origins of the English Atlantic world. Cambridge MA: Harvard University Press, 1999. xiii + 322 pp.-Christopher L. Brown, Andrew Jackson O'Shaughnessy, An empire divided: The American revolution and the British Caribbean. Philadelphia: University of Pennsylvania Press, 2000. xviii + 357 pp.-Lennox Honychurch, Samuel M. Wilson, The indigenous people of the Caribbean. Gainesville: University Press of Florida, 1997. xiv + 253 pp.-Kenneth Bilby, Bev Carey, The Maroon story: The authentic and original history of the Maroons in the history of Jamaica 1490-1880. St. Andrew, Jamaica: Agouti Press, 1997. xvi + 656 pp.-Bernard Moitt, Doris Y. Kadish, Slavery in the Caribbean Francophone world: Distant voices, forgotten acts, forged identities. Athens: University of Georgia Press, 2000. xxiii + 247 pp.-Michael J. Guasco, Virginia Bernhard, Slaves and slaveholders in Bermuda, 1616-1782. Columbia: University of Missouri Press, 1999. xviii + 316 pp.-Michael J. Jarvis, Roger C. Smith, The maritime heritage of the Cayman Islands. Gainesville: University Press of Florida, 2000. xxii + 230 pp.-Paul E. Hoffman, Peter R. Galvin, Patterns of pillage: A geography of Caribbean-based piracy in Spanish America, 1536-1718. New York: Peter Lang, 1999. xiv + 271 pp.-David M. Stark, Raúl Mayo Santana ,Cadenas de esclavitud...y de solidaridad: Esclavos y libertos en San Juan,siglo XIX. Río Piedras: Centro de Investigaciones Sociales, Universidad de Puerto Rico, 1997. 204 pp., Mariano Negrón Portillo, Manuel Mayo López (eds)-Ada Ferrer, Philip A. Howard, Changing history: Afro-Cuban Cabildos and societies of color in the nineteenth century. Baton Rouge: Louisiana State University Press, 1998. xxii + 227 pp.-Alvin O. Thompson, Maurice St. Pierre, Anatomy of resistance: Anti-colonialism in Guyana 1823-1966. London: Macmillan, 1999. x + 214 pp.-Linda Peake, Barry Munslow, Guyana: Microcosm of sustainable development challenges. Aldershot, U.K. and Brookfield VT: Ashgate, 1998. x + 130 pp.-Stephen Stuempfle, Peter Mason, Bacchanal! The carnival culture of Trinidad. Philadelphia PA: Temple University Press, 1998. 191 pp.-Christine Chivallon, Catherine Benoît, Corps, jardins, mémoires: Anthropologie du corps et de l' espace à la Guadeloupe. Paris: CNRS Éditions, 2000. 309 pp.-Katherine E. Browne, Mary C. Waters, Black identities: Wsst Indian immigrant dreams and American realities. New York: Russell Sage Foundation; Cambridge MA: Harvard University Press, 1999. xvii + 413 pp.-Eric Paul Roorda, Bernardo Vega, Los Estados Unidos y Trujillo - Los días finales: 1960-61. Colección de documentos del Departamento de Estado, la CIA y los archivos del Palacio Nacional Dominicano. Santo Domingo: Fundación Cultural Dominicana, 1999. xx+ 783 pp.-Javier Figueroa-de Cárdenas, Charles D. Ameringer, The Cuban democratic experience: The Auténtico years, 1944-1952. Gainesville: University Press of Florida, 2000. ix + 230 pp.-Robert Lawless, Charles T. Williamson, The U.S. Naval mission to Haiti, 1959-1963. Annapolis MD: Naval Institute Press, 1999. xv + 395 pp.-Noel Leo Erskine, Arthur Charles Dayfoot, The shaping of the West Indian Church, 1492-1962. Kingston: The Press University of the West Indies; Gainesville: University Press of Florida, 1999. xvii + 360 pp.-Edward Baugh, Laurence A. Breiner, An introduction to West Indian poetry. Cambridge: Cambridge University Press, 1998. xxii + 261 pp.-Lydie Moudileno, Heather Hathaway, Caribbean waves: Relocating Claude McKay and Paule Marshall. Bloomington: Indiana University Press, 1999. xi + 201 pp.-Nicole Roberts, Claudette M. Williams, Charcoal and cinnamon: The politics of color in Spanish Caribbean literature. Gainesville: University Press of Florida, 2000. xii + 174 pp.-Nicole Roberts, Marie Ramos Rosado, La mujer negra en la literatura puertorriqueña: Cuentística de los setenta: (Luis Rafael Sánchez, Carmelo Rodríguez Torres, Rosario Ferré y Ana Lydia Vega). San Juan: Ed. de la Universidad de Puerto Rico, Ed. Cultural, and Instituto de Cultura Puertorriqueña, 1999. xxiv + 397 pp.-William W. Megenney, John H. McWhorter, The missing Spanish Creoles: Recovering the birth of plantation contact languages. Berkeley: University of California Press, 2000. xi + 281 pp.-Robert Chaudenson, Chris Corne, From French to Creole: The development of New Vernaculars in the French colonial world. London: University of Westminster Press, 1999. x + 263 pp.

J. M. MacKenzie. The Partition of Africa, 1880-1900. London and New York: Methuen, 1983. Pp. x, 48. Paper, $2.95. Review by Leslie C. Duly of Bemidji State University. C. Joseph Pusateri. A History of American Business. Arlington Heights, Illinois: Harlan Davidson, Inc., 1984. Pp. xii, 347. Cloth, $25.95; Paper, $15.95. Review by Paul H. Tedesco of Northeastern University. Russell F. Weigley. History of the United States Army. Enlarged edition. Bloomington: Indiana University Press, 1984. Pp. vi, 730. Paper, $10.95. Review by Calvin L. Christman of Cedar Valley College. Jonathan H. Turner, Royce Singleton, Jr., and David Musick. Oppression: A Socio-History of Black-White Relations in America. Chicago: Nelson-Hall, 1984. Cloth, $24.95; Paper, $11.95. Review by Thomas F. Armstrong of Georgia College. H. Warren Button and Eugene F. Provenzo, Jr. History of Education and Culture in America. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1983. Pp. xvii, 370. Cloth, $20.95. Review by Peter J. Harder. Vice President, Applied Economics, Junior Achievement Inc. David Stick. Roanoke Island: The Beginnings of English America. Chapel Hill and London: University of North Carolina Press, 1983. Pp. xiv, 266. Cloth, $14.95; Paper, $5.95. Review by Mary E. Quinlivan of the University of Texas of the Permian Basin. John B. Boles. Black Southerners 1619-1869. Lexington: The University Press of Kentucky, 1983. Pp. ix, 244. Cloth, $24.00; Paper, $9.00. Review by Kay King of Mountain View College. Elaine Tyler May. Great Expectations: Marriage and Divorce in Post-Victorian America. Chicago: University of Chicago Press, 1980. Pp. viii, 200. Cloth, $15.00; Paper, $6.95. Review by Barbara J. Steinson of DePauw University. Derek McKay and H. M. Scott. The Rise of the Great Powers, 1648-1815. London: Longman, 1983. Pp. 368. Paper, $13.95. Review by Linda Frey of the University of Montana. Jack S. Levy. War in the Modern Great Power System, 1495-1975. Lexington: The University Press of Kentucky, 1983. Pp. xiv, 215. Cloth, $24.00. Review by Bullitt Lowry of North Texas State University. Lionel Kochan and Richard Abraham. The Making of Modern Russia. Second Edition. New York: Penguin Books, 1983. Pp. 544. Paper, $7.95. Review by Pasquale E. Micciche of Fitchburg State College. D. C. B. Lieven. Russia and the Origins of the First World War. New York: St. Martin's Press, 1983. Pp. 213. Cloth, $25.00. Review by Joseph M. McCarthy of Suffolk University. John F. V. Kieger. France and the Origins of the First World War. New York: St. Martin's Press, 1983. Pp. vii, 201. Cloth, $25.00. Review by Robert B. Luehrs of Fort Hays State University. E. Bradford Burns. The Poverty of Progress: Latin Amerca in the Nineteenth Century. Berkeley: University of California Press, 1980. Pp. 185. Paper, $6.95. Review by Robert Fischer of the Southern Technical Institute. Anthony Seldon and Joanna Pappworth. By Word of Mouth: Elite Oral History. London and New York: Methuen, 1983. Pp. xi, 258. Cloth, $25.00; Paper, $12.95. Review by Jacob L. Susskind of the Pennsylvania State University, The Capitol Campus.

-Lennox Honychurch, Robert L. Paquette ,The lesser Antilles in the age of European expansion. Gainesville: University Press of Florida, 1996. xii + 383 pp., Stanley L. Engerman (eds)-Kevin A. Yelvington, Gert Oostindie, Ethnicity in the Caribbean: Essays in honor of Harry Hoetink. London: Macmillan Caribbean, 1996. xvi + 239 pp.-Aisha Khan, David Dabydeen ,Across the dark waters: Ethnicity and Indian identity in the Caribbean. London: Macmillan Caribbean, 1996. xi + 222 pp., Brinsley Samaroo (eds)-Tracey Skelton, Ralph R. Premdas, Ethnic conflict and development: The case of Guyana. Brookfield VT: Ashgate, 1995. xi + 205 pp.-Rosemarijn Hoefte, Basdeo Mangru, A history of East Indian resistance on the Guyana sugar estates, 1869-1948. Lewiston NY: The Edwin Mellen Press, 1996. xiv + 370 pp.-Rosemarijn Hoefte, Clem Seecharan, 'Tiger in the stars': The anatomy of Indian achievement in British Guiana 1919-29. London: Macmillan, 1997. xxviii + 401 pp.-Brian Stoddart, Frank Birbalsingh, The rise of Westindian cricket: From colony to nation. St. John's, Antigua: Hansib Publishing (Caribbean), 1996. 274 pp.-Donald R. Hill, Peter van Koningsbruggen, Trinidad Carnival: A quest for national identity. London: Macmillan Caribbean, 1997. ix + 293 pp.-Peter van Koningsbruggen, John Cowley, Carnival, Canboulay and Calypso: Traditions in the making. Cambridge: Cambridge University Press, 1996. xv + 293 pp.-Olwyn M. Blouet, George Gmelch ,The Parish behind God's back : The changing culture of rural Barbados. Ann Arbor: University of Michigan Press, 1997. xii + 240 pp., Sharon Bohn Gmelch (eds)-George Gmelch, Mary Chamberlain, Narratives of exile and return. London: Macmillan, 1997. xii + 236 pp.-Michèle Baj Strobel, Christiane Bougerol, Une ethnographie des conflits aux Antilles: Jalousie, commérages, sorcellerie. Paris: Presses Universitaires de France, 1997. 161 pp.-Abdollah Dashti, Randy Martin, Socialist ensembles: Theater and state in Cuba and Nicaragua. Minneapolis: University of Minnesota Press, 1994. xii + 261 pp.-Winthrop R. Wright, Jay Kinsbruner, Not of pure blood: The free people of color and racial prejudice in nineteenth-century Puerto Rico. Durham NC: Duke University Press, 1996. xiv + 176 pp.-Gage Averill, Deborah Pacini Hernandez, Bachata: A social history of a Dominican popular music. Philadelphia PA: Temple University Press, 1995. xxiii + 267 pp.-Vera M. Kutzinski, Lorna Valerie Williams, The representation of slavery in Cuban fiction. Columbia: University of Missouri Press, 1994. viii + 220 pp.-Peter Mason, Elmer Kolfin, Van de slavenzweep en de muze: Twee eeuwen verbeelding van slavernij in Suriname. Leiden: Koninklijk Instituut voor Taal-, Land- en Volkenkunde, 1997. 184 pp.-J. Michael Dash, Jean-Pol Madou, Édouard Glissant: De mémoire d'arbes. Amsterdam: Rodopi, 1996. 114 pp.-Ransford W. Palmer, Jay R. Mandle, Persistent underdevelopment: Change and economic modernization in the West Indies. Amsterdam: Gordon and Breach, 1996. xii + 190 pp.-Ramón Grossfoguel, Juan E. Hernández Cruz, Corrientes migratorias en Puerto Rico/Migratory trends in Puerto Rico. Edición Bilingüe/Bilingual Edition. San Germán: Caribbean Institute and Study Center for Latin America, Universidad Interamericana de Puerto Rico, 1994. 195 pp.-Gert Oostindie, René V. Rosalia, Tambú: De legale en kerkelijke repressie van Afro-Curacaose volksuitingen. Zutphen: Walburg Pers, 1997. 338 pp.-John M. Lipski, Armin J. Schwegler, 'Chi ma nkongo': Lengua y rito ancestrales en El Palenque de San Basilio (Colombia). Frankfurt: Vervuert, 1996. 2 vols., xxiv + 823 pp.-Umberto Ansaldo, Geneviève Escure, Creole and dialect continua: Standard acquisition processes in Belize and China (PRC). Amsterdam: John Benjamins, 1997. ix + 307 pp.

-James Sidbury, Peter Linebaugh ,The many-headed Hydra: Sailors, slaves, commoners, and the hidden history of the revolutionary Atlantic. Boston: Beacon Press, 2000. 433 pp., Marcus Rediker (eds)-Ray A. Kea, Herbert S. Klein, The Atlantic slave trade. Cambridge, U.K.: Cambridge University Press, 1999. xxi + 234 pp.-Johannes Postma, P.C. Emmer, De Nederlandse slavenhandel 1500-1850. Amsterdam: De Arbeiderspers, 2000. 259 pp.-Karen Racine, Mimi Sheller, Democracy after slavery: Black publics and peasant radicalism in Haiti and Jamaica. Gainesville: University Press of Florida, 2001. xv + 224 pp.-Clarence V.H. Maxwell, Michael Craton ,Islanders in the stream: A history of the Bahamian people. Volume two: From the ending of slavery to the twenty-first century. Athens: University of Georgia Press, 1998. xv + 562 pp., Gail Saunders (eds)-César J. Ayala, Guillermo A. Baralt, Buena Vista: Life and work on a Puerto Rican hacienda, 1833-1904. Chapel Hill: University of North Carolina Press, 1999. xix + 183 pp.-Elizabeth Deloughrey, Thomas W. Krise, Caribbeana: An anthology of English literature of the West Indies 1657-1777. Chicago: University of Chicago Press, 1999. xii + 358 pp.-Vera M. Kutzinski, John Gilmore, The poetics of empire: A study of James Grainger's The Sugar Cane (1764). London: Athlone Press, 2000. x + 342 pp.-Sue N. Greene, Adele S. Newson ,Winds of change: The transforming voices of Caribbean women writers and scholars. New York: Peter Lang, 1998. viii + 237 pp., Linda Strong-Leek (eds)-Sue N. Greene, Mary Condé ,Caribbean women writers: Fiction in English. New York: St. Martin's Press, 1999. x + 233 pp., Thorunn Lonsdale (eds)-Cynthia James, Simone A. James Alexander, Mother imagery in the novels of Afro-Caribbean women. Columbia: University of Missouri Press, 2001. x + 214 pp.-Efraín Barradas, John Dimitri Perivolaris, Puerto Rican cultural identity and the work of Luis Rafael Sánchez. Chapel Hill: University of North Carolina Press, 2000. 203 pp.-Peter Redfield, Daniel Miller ,The internet: An ethnographic approach. Oxford: Berg Publishers, 2000. ix + 217 pp., Don Slater (eds)-Deborah S. Rubin, Carla Freeman, High tech and high heels in the global economy: Women, work, and pink-collar identities in the Caribbean. Durham NC: Duke University Press, 2000. xiii + 334 pp.-John D. Galuska, Norman C. Stolzoff, Wake the town and tell the people: Dancehall culture in Jamaica. Durham NC: Duke University Press, 2000. xxviii + 298 pp.-Lise Waxer, Helen Myers, Music of Hindu Trinidad: Songs from the Indian Diaspora. Chicago: University of Chicago Press, 1998. xxxii + 510 pp.-Lise Waxer, Peter Manuel, East Indian music in the West Indies: Tan-singing, chutney, and the making of Indo-Caribbean culture. Philadelphia: Temple University Press, 2000. xxv + 252 pp.-Reinaldo L. Román, María Teresa Vélez, Drumming for the Gods: The life and times of Felipe García Villamil, Santero, Palero, and Abakuá. Philadelphia: Temple University Press, 2000. xx + 210 pp.-James Houk, Kenneth Anthony Lum, Praising his name in the dance: Spirit possession in the spiritual Baptist faith and Orisha work in Trinidad, West Indies. Amsterdam: Harwood Academic Publishers. xvi + 317 pp.-Raquel Romberg, Jean Muteba Rahier, Representations of Blackness and the performance of identities. Westport CT: Bergin & Garvey, 1999. xxvi + 264 pp.-Allison Blakely, Lulu Helder ,Sinterklaasje, kom maar binnen zonder knecht. Berchem, Belgium: EPO, 1998. 215 pp., Scotty Gravenberch (eds)-Karla Slocum, Nicholas Mirzoeff, Diaspora and visual culture: Representing Africans and Jews. London: Routledge, 2000. xiii + 263 pp.-Corey D.B. Walker, Paget Henry, Caliban's reason: Introducing Afro-Caribbean philosophy. New York: Routledge, 2000. xiii + 304 pp.-Corey D.B. Walker, Lewis R. Gordon, Existentia Africana: Understanding Africana existential thought. New York; Routledge, 2000. xiii +228 pp.-Alex Dupuy, Bob Shacochis, The immaculate invasion. New York: Viking, 1999. xix + 408 pp.-Alex Dupuy, John R. Ballard, Upholding democracy: The United States military campaign in Haiti, 1994-1997. Westport CT: Praeger, 1998. xviii + 263 pp.-Anthony Payne, Jerry Haar ,Canadian-Caribbean relations in transition: Trade, sustainable development and security. London: Macmillan, 1999. xxii + 255 pp., Anthony T. Bryan (eds)-Bonham C. Richardson, Sergio Díaz-Briquets ,Conquering nature: The environmental legacy of socialism in Cuba. Pittsburgh: University of Pittsburgh Press, 2000. xiii + 328 pp., Jorge Pérez-López (eds)-Neil L. Whitehead, Gérard Collomb ,Na'na Kali'na: Une histoire des Kali'na en Guyane. Petit Bourg, Guadeloupe: Ibis Rouge Editions, 2000. 145 pp., Félix Tiouka (eds)-Neil L. Whitehead, Upper Mazaruni Amerinidan District Council, Amerinidan Peoples Association of Guyana, Forest Peoples Programme, Indigenous peoples, land rights and mining in the Upper Mazaruni. Nijmegan, Netherlands: Global Law Association, 2000. 132 pp.-Salikoko S. Mufwene, Ronald F. Kephart, 'Broken English': The Creole language of Carriacou. New York: Peter Lang, 2000. xvi + 203 pp.-Salikoko S. Mufwene, Velma Pollard, Dread talk: The language of Rastafari. Kingston: Canoe Press: Montreal: McGill-Queen's University Press. Revised edition, 2000. xv + 117 pp.

David Brion Davis, Inhuman Bondage: The Rise and Fall of Slavery in the New World (Trevor Burnard)Louis Sala-Molins, Dark Side of the Light: Slavery and the French Enlightenment (R. Darrell Meadows)Stephanie E. Smallwood, Saltwater Slavery: A Middle Passage from Africa to American Diaspora (Stephen D. Behrendt)Ruben Gowricharn, Caribbean Transnationalism: Migration, Pluralization, and Social Cohesion (D. Aliss a Trotz)Vilna Francine Bashi, Survival of the Knitted: Immigrant Social Networks in a Stratified World (Riva Berleant)Dwaine E. Plaza & Frances Henry (eds.), Returning to the Source: The Final Stage of the Caribbean Migration Circuit (Karen Fog Olwig)Howard J. Wiarda, The Dutch Diaspora: The Netherlands and Its Settlements in Africa, Asia, and the Americas (Han Jordaan) J. Christopher Kovats-Bernat, Sleeping Rough in Port-au-Prince: An Ethnography of Street Children &Violence in Haiti (Catherine Benoît)Ginetta E.B. Candelario, Black Behind the Ears: Dominican Racial Identity from Museums to Beauty Shops (María Isabel Quiñones)Paul Christopher Johnson, Diaspora Conversions: Black Carib Religion and the Recovery of Africa (Sarah England)Jessica Adams, Michael P. Bibler & Cécile Accilien (eds.), Just Below South: Intercultural Performance in the Caribbean and the U.S. South (Jean Muteba Rahier)Tina K. Ramnarine, Beautiful Cosmos: Performance and Belonging in the Caribbean Diaspora (Frank J. Korom)Patricia Joan Saunders, Alien-Nation and Repatriation: Translating Identity in Anglophone Caribbean Literature (Sue N. Greene)Mildred Mortimer, Writings from the Hearth: Public, Domestic, and Imaginative Space in Francophone Women’s Fiction of Africa and the Caribbean (Jacqueline Couti)Colin Woodard, The Republic of Pirates: Being the True and Surprising Story of the Caribbean Pirates and the Man Who Brought Them Down (Sabrina Guerra Moscoso)Peter L. Drewett & Mary Hill Harris, Above Sweet Waters: Cultural and Natural Change at Port St. Charles, Barbados, c. 1750 BC – AD 1850 (Frederick H. Smith)Reinaldo Funes Monzote, From Rainforest to Cane Field in Cuba: An Environmental History since 1492 (Bonham C. Richardson)Jean Besson & Janet Momsen (eds.), Caribbean Land and Development Revisited (Michaeline A. Crichlow)César J. Ayala & Rafael Bernabe, Puerto Rico in the American Century: A History since 1898 (Juan José Baldrich)Mindie Lazarus-Black, Everyday Harm: Domestic Violence, Court Rites, and Cultures of Reconciliation (Brackette F. Williams)Learie B. Luke, Identity and Secession in the Caribbean: Tobago versus Trinidad, 1889-1980 (Rita Pemberton)Michael E. Veal, Dub: Soundscapes and Shattered Songs in Jamaican Reggae (Shannon Dudley)Garth L. Green & Philip W. Scher (eds.), Trinidad Carnival: The Cultural Politics of a Transnational Festival (Kim Johnson)Jocelyne Guilbault, Governing Sound: The Cultural Politics of Trinidad’s Carnival Musics (Donald R. Hill)Shannon Dudley, Music from Behind the Bridge: Steelband Spirit and Politics in Trinidad and Tobago (Stephen Stuempfle)Kevin K. Birth, Bacchanalian Sentiments: Musical Experiences and Political Counterpoints in Trinidad (Philip W. Scher)

A painting of the Virgin and Child, signed as “OPVUS P. PETRI”, from the former Fareham Collection (today at the Courtauld Institute of Art), has been known in the scholarly literature for a long time but has only been subject to tangential analyses. These studies attempted to attribute it to painters meeting relatively dubious criteria: that their name was Peter (Petar) and that they could be linked to the painting circle of Squarcione or, more specifically, to that of Carlo Crivelli with whose early works, especially the Virgin and Child (the Huldschinsky Madonna) at the Fine Arts Gallery in San Diego, the Courtauld painting shares obvious connections. Roberto Longhi ascribed it to the Paduan painter Pietro Calzetta in 1926, while Franz Drey, in 1929, considered it to be the work of Pietro Alemanno, Crivelli’s disciple, who worked in the Marche region during the last quarter of the fifteenth century. After the Second World War, the Courtauld painting was almost completely ignored by the experts. The only serious judgement was that expressed by Pietro Zampetti, who established that it was an almost exact copy of Crivelli’s Huldschinsky Madonna, meaning that if Calzetti had painted it, he would have done it while Carlo was still in the Veneto, before he went to Zadar.The search for information which can shed more light on the attribution of the Virgin and Child from the Courtauld is aided by the valuable records in the Fondazione Federico Zeri at the Università di Bologna. The holdings of the Fototeca Zeri include three different photographs of the Courtauld painting with brief but useful accompanying notes. Of particular importance is the intriguing inscription on the back of one of the photographs, which points to the painting’s Dalmatian origin. In a certain way, this opens the possibility that it might be linked to another painter who was close to the Crivelli brothers: the Zadar priest and painter Petar Jordanić. That he may have been the one who painted it is indicated by the signature itself, which could be read as “OPVUS P(RESBITERI) PETRI”.Archival records about Petar Jordanić provide almost no information about his work as a painter. Apart from his signature of 1493 on a no-longer extant polyptich from the Church of St Mary at Zadar, the only record of his artistic activities is one piece of information: that in 1500 he took part in a delegation which was sent from Zadar to its hinterland charged with the task of making drawings of the terrain which could be used to help defend the town against the Ottoman Turks. However, more than thirty documents which mention him do paint a picture of his life’s journey and his connection with Zadar. The most important basis for any consideration of a possible connection between Petar Jordanić and Carlo Crivelli can be found in the will of his father Marko Jordanov Nozdronja (in late 1468) where Petar was named as the executor, meaning that at this point he was of age. Therefore, it can be concluded that he was born between 1446 and 1448. This makes him old enough to have been taught by Carlo during his stay in Zadar from c. 1460 to 1466. Although relatively modest, the oeuvre of Petar Jordanić demonstrates striking connections with the paintings of Carlo and Vittore Crivelli, and Ivo Petricioli has already put forward a hypothesis that he may have been taught by one of the brothers.The comparison between the painting from the Courtauld Institute of Art in London and the known works of Petar Jordanić (the Virgin and Child from a private collection in Vienna; the Virgin and Child from the Parish Church at Tkon; fragments of a painted ceiling from Zadar Cathedral; the lost polyptich from the Church of St Mary at Zadar) reveals a multitude of similar features. Apart from the general resemblance in the physiognomies of the Virgin and Christ Child which represent the most conspicuous analogies, a number of very specific “Morellian” elements can also be noted in the manner in which the faces were painted. These similarities are particularly apparent when one compares the head of the Christ Child on the painting from London and his head on the one from Tkon, which are almost identically depicted. Further similarities between the London painting and the one at Vienna can be seen in the way in which landscapes were painted and in the similar decorations of the gold fabrics in the backgrounds with their undulating scrolls and sharp almond-shaped leaves.However, with regard to visual characteristics, it is apparent at first sight that the quality of the London painting is markedly higher and that it is stylistically more advanced than those works which are attributed with certainty to Jordanić. These differences can be explained by the possibility that this was a more or less direct copy of one of Carlo Crivelli’s painting, probably not the Huldschinsky Madonna but one that was very similar to it and subsequently lost.Naturally, if the London painting is attributed to Petar Jordanić, meaning that it was produced in Zadar, then the argument on the basis of which the Huldschinsky Madonna has been dated to the time before Crivelli’s arrival in Zadar becomes a counter-argument, and, in that way, corroborates the possibility that the Huldschinsky Madonna, which shares a large number of similar elements with the painting from the Courtauld Institute of Art, was created while Carlo was in Zadar.

-Alan L. Karras, Lauren A. Benton, Law and colonial cultures: Legal regimes in world history, 1400-1900. Cambridge: Cambridge University Press, 2002. xiii + 285 pp.-Sidney W. Mintz, Douglass Sullivan-González ,The South and the Caribbean. Jackson: University Press of Mississippi, 2001. xii + 208 pp., Charles Reagan Wilson (eds)-John Collins, Peter Redfield, Space in the tropics: From convicts to rockets in French Guiana. Berkeley: University of California Press, 2000. xiii + 345 pp.-Vincent Brown, Keith Q. Warner, On location: Cinema and film in the Anglophone Caribbean. Oxford: Macmillan, 2000. xii + 194 pp.-Ann Marie Stock, Jacqueline Barnitz, Twentieth-century art of Latin America. Austin: University of Texas Press, 2001. 416 pp.-Ineke Phaf, J.J. Oversteegen, Herscheppingen: De wereld van José Maria Capricorne. Emmastad, Curacao: Uitgeverij ICS Nederland/Curacao, 1999. 168 pp.-Halbert Barton, Frances R. Aparicio, Listening to Salsa: Gender, latin popular music, and Puerto Rican cultures. Hanover NH: Wesleyan University Press, 1998. xxi + 290 pp.-Pedro Pérez Sarduy, John M. Kirk ,Culture and the Cuban revolution: Conversations in Havana. Gainesville: University Press of Florida, 2001. xxvi + 188 pp., Leonardo Padura Fuentes (eds)-Luis Martínez-Fernández, Damián J. Fernández, Cuba and the politics of passion. Austin: University of Texas Press, 2000. 192 pp.-Eli Bartra, María de Los Reyes Castillo Bueno, Reyita: The life of a black Cuban woman in the twentieth century. Durham NC: Duke University Press, 2000. 182 pp.-María del Carmen Baerga, Felix V. Matos Rodríguez, Women and urban change in San Juan, Puerto Rico, 1820-1868. Gainesville: University Press of Florida, 1999. xii + 180 pp. [Reissued in 2001 as: Women in San Juan, 1820-1868. Princeton NJ: Markus Weiner Publishers.]-Kevin A. Yelvington, Winston James, Holding aloft the banner of Ethiopa: Caribbean radicalism in early twentieth-century America. New York: Verso, 1998. x + 406 pp.-Jerome Teelucksingh, O. Nigel Bolland, The politics of labour in the British Caribbean: The social origins of authoritarianism and democracy in the labour movement. Kingston: Ian Randle; Princeton NJ: Marcus Weiner, 2001. xxii + 720 pp.-Jay R. Mandle, Randolph B. Persaud, Counter-Hegemony and foreign policy: The dialectics of marginalized and global forces in Jamaica. Albany: State University of New York Press, 2001. xviii + 248 pp.-Patrick Bellegarde-Smith, Mary A. Renda, Taking Haiti: Military occupation and the culture of U.S. imperialism, 1915-1940. Chapel Hill: University of North Carolina Press, 2001. xvi + 414 pp.-James W. St. G. Walker, Maureen G. Elgersman, Unyielding spirits: Black women and slavery in early Canada and Jamaica. New York: Garland, 1999. xvii + 188 pp.-Madhavi Kale, David Hollett, Passage from India to El Dorado: Guyana and the great migration. Madison NJ: Fairleigh Dickinson University Press, 1999. 325 pp.-Karen S. Dhanda, Linda Peake ,Gender, ethnicity and place: Women and identities in Guyana. London: Routledge, 1999. xii + 228 pp., D. Alissa Trotz (eds)-Karen S. Dhanda, Moses Nagamootoo, Hendree's cure: Scenes from Madrasi life in a new world. Leeds, UK: Peepal Tree, 2000. 149 pp.-Stephen D. Glazier, Hemchand Gossai ,Religion, culture, and tradition in the Caribbean., Nathaniel Samuel Murrell (eds)-Michiel van Kempen, A. James Arnold, A history of literature in the Caribbean. Volume 2: English- and Dutch- speaking regions. (Vera M. Kuzinski & Ineke Phaf-Rheinberger, sub-eds.).Amsterdam/Philadelphia: John Benjamins, 2001. ix + 672 pp.-Frank Birbalsingh, Bruce King, Derek Walcott: A Caribbean life. New York: Oxford University Press, 2000. ix + 714 pp.-Frank Birbalsingh, Paula Burnett, Derek Walcott: Politics and poetics. Gainesville: University Press of Florida, 2001. xiii + 380 pp.-Jeanne Garane, Micheline Rice-Maximin, Karukéra: Présence littéraire de la Guadeloupe. New York: Peter Lang, 1998. x + 197 pp.-Jeanne Garane, Marie-Christine Rochmann, L'esclave fugitif dans la littérature antillaise: Sur la déclive du morne. Paris: Karthala, 2000. 408 pp.-Alasdair Pettinger, Lizabeth Paravisini-Gebert ,Women at sea: Travel writing and the margins of Caribbean discourse. New York: Palgrave, 2001. x + 301 pp., Ivette Romero-Cesareo (eds)

-Leslie G. Desmangles, Joan Dayan, Haiti, history, and the Gods. Berkeley: University of California Press, 1995. xxiii + 339 pp.-Barry Chevannes, James T. Houk, Spirits, blood, and drums: The Orisha religion in Trinidad. Philadelphia: Temple University Press, 1995. xvi + 238 pp.-Barry Chevannes, Walter F. Pitts, Jr., Old ship of Zion: The Afro-Baptist ritual in the African Diaspora. New York: Oxford University Press, 1993. xvi + 199 pp.-Robert J. Stewart, Lewin L. Williams, Caribbean theology. New York: Peter Lang, 1994. xiii + 231 pp.-Robert J. Stewart, Barry Chevannes, Rastafari and other African-Caribbean worldviews. London: Macmillan, 1995. xxv + 282 pp.-Michael Aceto, Maureen Warner-Lewis, Yoruba songs of Trinidad. London: Karnak House, 1994. 158 pp.''Trinidad Yoruba: From mother tongue to memory. Tuscaloosa: University of Alabama Press, 1996. xviii + 279 pp.-Erika Bourguignon, Nicola H. Götz, Obeah - Hexerei in der Karibik - zwischen Macht und Ohnmacht. Frankfurt am Main: Peter Lang, 1995. 256 pp.-John Murphy, Hernando Calvo Ospina, Salsa! Havana heat: Bronx Beat. London: Latin America Bureau, 1995. viii + 151 pp.-Donald R. Hill, Stephen Stuempfle, The steelband movement: The forging of a national art in Trinidad and Tobago. Philadelphia: University of Pennsylvania Press, 1995. xx + 289 pp.-Hilary McD. Beckles, Jay R. Mandle ,Caribbean Hoops: The development of West Indian basketball. Langhorne PA: Gordon and Breach, 1994. ix + 121 pp., Joan D. Mandle (eds)-Edmund Burke, III, Lewis R. Gordon ,Fanon: A critical reader. Oxford: Blackwell, 1996. xxi + 344 pp., T. Denean Sharpley-Whiting, Renée T. White (eds)-Keith Alan Sprouse, Ikenna Dieke, The primordial image: African, Afro-American, and Caribbean Mythopoetic text. New York: Peter Lang, 1993. xiv + 434 pp.-Keith Alan Sprouse, Wimal Dissanayake ,Self and colonial desire: Travel writings of V.S. Naipaul. New York : Peter Lang, 1993. vii + 160 pp., Carmen Wickramagamage (eds)-Yannick Tarrieu, Moira Ferguson, Jamaica Kincaid: Where the land meets the body: Charlottesville: University Press of Virginia, 1994. xiii + 205 pp.-Neil L. Whitehead, Vera Lawrence Hyatt ,Race, discourse, and the origin of the Americas: A new world view. Washington DC: Smithsonian Institution Press, 1995. xiii + 302 pp., Rex Nettleford (eds)-Neil L. Whitehead, Patricia Seed, Ceremonies of possession in Europe's conquest of the new world, 1492-1640. Cambridge: Cambridge University Press, 1995. viii + 199 pp.-Livio Sansone, Michiel Baud ,Etnicidad como estrategia en America Latina y en el Caribe. Arij Ouweneel & Patricio Silva. Quito: Ediciones Abya-Yala, 1996. 214 pp., Kees Koonings, Gert Oostindie (eds)-D.C. Griffith, Linda Basch ,Nations unbound: Transnational projects, postcolonial predicaments, and deterritorialized nation-states. Langhorne PA: Gordon and Breach, 1994. vii + 344 pp., Nina Glick Schiller, Cristina Szanton Blanc (eds)-John Stiles, Richard D.E. Burton ,French and West Indian: Martinique, Guadeloupe and French Guiana today. Charlottesville: University Press of Virginia; London: Macmillan Caribbean, 1995. xii + 202 pp., Fred Réno (eds)-Frank F. Taylor, Dennis J. Gayle ,Tourism marketing and management in the Caribbean. New York: Routledge, 1993. xxvi + 270 pp., Jonathan N. Goodrich (eds)-Ivelaw L. Griffith, John La Guerre, Structural adjustment: Public policy and administration in the Caribbean. St. Augustine: School of continuing studies, University of the West Indies, 1994. vii + 258 pp.-Luis Martínez-Fernández, Kelvin A. Santiago-Valles, 'Subject People' and colonial discourses: Economic transformation and social disorder in Puerto Rico, 1898-1947. Albany: State University of New York Press, 1994. xiii + 304 pp.-Alicia Pousada, Bonnie Urciuoli, Exposing prejudice: Puerto Rican experiences of language, race, and class. Boulder: Westview Press, 1996. xiv + 222 pp.-David A.B. Murray, Ian Lumsden, Machos, Maricones, and Gays: Cuba and homosexuality. Philadelphia: Temple University Press, 1996. xxvii + 263 pp.-Robert Fatton, Jr., Georges A. Fauriol, Haitian frustrations: Dilemmas for U.S. policy. Washington DC: Center for strategic & international studies, 1995. xii + 236 pp.-Leni Ashmore Sorensen, David Barry Gaspar ,More than Chattel: Black women and slavery in the Americas. Bloomington: Indiana University Press, 1996. xi + 341 pp., Darlene Clark Hine (eds)-A. Lynn Bolles, Verene Shepherd ,Engendering history: Caribbean women in historical perspective. Kingston: Ian Randle; London: James Currey, 1995. xxii + 406 pp., Bridget Brereton, Barbara Bailey (eds)-Bridget Brereton, Mary Turner, From chattel slaves to wage slaves: The dynamics of labour bargaining in the Americas. Kingston: Ian Randle; Bloomington: Indiana University Press; London: James Currey, 1995. x + 310 pp.-Carl E. Swanson, Duncan Crewe, Yellow Jack and the worm: British Naval administration in the West Indies, 1739-1748. Liverpool: Liverpool University Press, 1993. x + 321 pp.-Jerome Egger, Wim Hoogbergen, Het Kamp van Broos en Kaliko: De geschiedenis van een Afro-Surinaamse familie. Amsterdam: Prometheus, 1996. 213 pp.-Ellen Klinkers, Lila Gobardhan-Rambocus ,De erfenis van de slavernij. Paramaribo: Anton de Kom Universiteit, 1995. 297 pp., Maurits S. Hassankhan, Jerry L. Egger (eds)-Kevin K. Birth, Sylvia Moodie-Kublalsingh, The Cocoa Panyols of Trinidad: An oral record. London & New York: British Academic Press, 1994. xiii + 242 pp.-David R. Watters, C.N. Dubelaar, The Petroglyphs of the Lesser Antilles, the Virgin Islands and Trinidad. Amsterdam: Foundation for scientific research in the Caribbean region, 1995. vii + 492 pp.-Suzannah England, Mitchell W. Marken, Pottery from Spanish shipwrecks, 1500-1800. Gainesville: University Press of Florida, 1994. xvi + 264 pp.

-Sandra L. Richards, Judy S.J. Stone, Theatre. London: Macmillan Caribbean, 1994. xii + 268 pp.-Lowell Fiet, Errol Hill, The Jamaican stage, 1655-1900: profile of a colonial theatre. Amherst: University of Massachusetts Press, 1992. xiv + 346 pp.-Supriya Nair, Bruce King, V.S. Naipaul. New York: St. Martin's Press, 1993. viii + 170 pp.-Agnes Lugo-Ortiz, Donald E. Rice, The rhetorical uses of the authorizing figure: Fidel Castro and José Martí. Westport CT: Praeger, 1992. xviii + 163 pp.-Graciella Cruz-Taura, Juan A. Martínez, Cuban art and national identity: The Vanguardia painters, 1927-1950. Gainesville: University Press of Florida, 1994. xiv + 189 pp.-Graciella Cruz-Taura, Luis Camnitzer, New art of Cuba. Austin; University of Texas Press, 1994. xxx + 400 pp.-Gary Brana-Shute, Richard Price ,On the mall: Presenting Maroon tradition-bearers at the 1992 festival of American folklife. Bloomington: Folklore Institute, Indiana University, 1994. xi + 123 pp., Sally Price (eds)-Erika Bourguignon, Stephan Palmié, Das Exil der Götter: Geschichte und Vorstellungswelt einer afrokubanischen Religion. Frankfurt: Peter Lang, 1991. vii + 520 pp.-Carla Freeman, Daniel Miller, Modernity, an ethnographic approach: Dualism and mass consumption in Trinidad. Oxford: Berg Publishers, 1994. 340 pp.-Daniel A. Segal, Kelvin Singh, Race and class: Struggles in a colonial state: Trinidad 1917-1945. Kingston; The Press - University of the West Indies, 1994. xxii + 284 pp.-Evelyne Huber, Patsy Lewis, Jamaica: Preparing for the twenty-first century. Kingston: Ian Randle, 1994. xvi + 272 pp.-Diane Vernon, Elisa Janine Sobo, One blood: The Jamaican body. Albany NY: State University of New York Press, 1993. vii + 329 pp.-Robert Myers, Patrick L. Baker, Centring the periphery: Chaos. order and the ethnohistory of Dominica. Kingston: The Press - University of the West Indies, 1994. xxviii + 251 pp.-Riva Berleant-Schiller, Debra Evenson, Revolution in the balance: Law and society in contemporary Cuba. Boulder CO: Westview, 1994. xiii + 235 pp.-Riva Berleant-Schiller, Mindie Lazarus-Black, Legitimate acts and illegal encounters: Law and society in Antigua and Barbuda. Washington DC: Smithsonian Institution Press, 1994. xxv + 357 pp.-Michiel Baud, Luis Martínez-Fernández, Torn between empires: Economy, society, and patterns of political thought in the Hispanic Caribbean, 1840-1878. Athens: University of Georgia Press, 1994. ix + 333 pp.-Stanley L. Engerman, Jorge F. Pérez-López, The economics of Cuban sugar. Pittsburgh: University of Pittsburgh Press, 1991, xviii + 313 pp.-Rosario Espinal, Michiel Baud, Historia de un sueño: Los ferrocarriles públicos en la República Dominicana, 1880-1930. Santo Domingo: Fundación Cultural Dominicana, 1993. 145 pp.-Birgit Sonesson, Carlos Esteban Dieve, Las emigraciones canarias a Santo Domingo: Siglos XVII y XVIII. Santo Domingo: Fundación Cultural Dominicana, 1991. iii + 185 pp.-Erna Kerkhof, Juan Flores, Divided borders: Essays on Puerto Rican identity. Houston: Arte Público Press, 1993. 252 pp.-Cruz M. Nazario, Joan Koss-Chioino, Women as healers, women as patients: Mental health care and traditional healing in Puerto Rico. Boulder CO: Westview, 1992. xx + 237 pp.-Forrest D. Colburn, Andrés Serbin ,El Caribe y Cuba en la posguerra fría. Caracas: Editorial Nueva Sociedad, 1994. 272 pp., Joseph Tulchin (eds)-Winthrop R. Wright, Nina S. de Friedemann, La saga del negro: Presencia africana en Colombia. Santa Fe de Bogotá: Centro Editorial Javeriano, 1993. 117 pp.-Rita Giacalone, Francois Taglioni, Géopolitique des Petites Antilles: Influences européenne et nordaméricaine. Paris: Karthala, 1994. vii + 321 pp.-Daniel J. Crowley, Salikoko S. Mufwene, Africanisms in Afro-American language varieties. With the assistance of Nancy Condon. Athens: University of Georgia Press, 1993. vii + 512 pp.-Peter Bakker, Joan D. Hall ,Old English and new: Studies in language and linguistics in honor of Frederic G. Cassidy. New York: Garland, 1992. xxxiii + 460 pp., Nick Doane, Dick Ringler (eds)-Peter Bakker, Francis Byrne ,Atlantic meets Pacific: A global view of Pidginization and Creolization. Amsterdam and Philadelphia: John Benjamins, 1993. ix + 465 pp., John Holm (eds)-Jacques Arends, George L. Huttar ,Ndyuka. London: Routledge, 1994. 631 pp., Mary L. Huttar (eds)-P.C. Emmer, Henk den Heyer, De geschiedenis van de WIC. Zutphen, Netherlands: De Walburg Pers, 1994. 208 pp.-Wim Hoogbergen, A.F. Paula, 'Vrije' slaven: Een sociaal-historische studie over de dualistische slavenemancipatie op Nederlands Sint Maarten, 1816-1863. Zutphen, Netherlands: De Walburg Pers, 1993. 191 pp.-Wim Hoogbergen, Bea Brommer, Ik ben eigendom van ...: Slavenhandel en plantageleven. Wijk en Aalburg, Netherlands: Pictures Publishers, 1993. 144 pp.-Gert Oostindie, Ben Scholtens, Bosnegers en overheid in Suriname: De ontwikkeling van de politieke verhouding 1651-1992. Paramaribo: Afdeling Cultuurstudies/Minov, 1994. 237 pp.-Edward M. Dew, Marten Schalkwijk, Suriname: Het steentje in de Nederlandse schoen: Van onafhankelijkheid tot raamverdrag. Paramaribo: Firgos Suriname, 1994. 356 pp.

-Edward L. Cox, Judith A. Carney, Black rice: The African origin of rice cultivation in the Americas. Cambridge MA: Harvard University Press, 2001. xiv + 240 pp.-David Barry Gaspar, Brian Dyde, A history of Antigua: The unsuspected Isle. Oxford: Macmillan Education, 2000. xi + 320 pp.-Carolyn E. Fick, Stewart R. King, Blue coat or powdered wig: Free people of color in pre-revolutionary Saint Domingue. Athens: University of Georgia Press, 2001. xxvi + 328 pp.-César J. Ayala, Birgit Sonesson, Puerto Rico's commerce, 1765-1865: From regional to worldwide market relations. Los Angeles: UCLA Latin American Center Publications, 200. xiii + 338 pp.-Nadine Lefaucheur, Bernard Moitt, Women and slavery in the French Antilles, 1635-1848. Bloomington: Indiana University Press, 2001. xviii + 217 pp.-Edward L. Cox, Roderick A. McDonald, Between slavery and freedom: Special magistrate John Anderson's journal of St. Vincent during the apprenticeship. Jamaica: University of the West Indies Press, 2001. xviii + 309 pp.-Jaap Jacobs, Benjamin Schmidt, Innocence abroad: The Dutch imagination and the new world, 1570-1670. New York: Cambridge University Press, 2001. xxviii + 450 pp.-Wim Klooster, Johanna C. Prins ,The Low countries and the New World(s): Travel, Discovery, Early Relations. Lanham NY: University Press of America, 2000. 226 pp., Bettina Brandt, Timothy Stevens (eds)-Wouter Gortzak, Gert Oostindie ,Knellende koninkrijksbanden: Het Nederlandse dekolonisatiebeleid in de Caraïben, 1940-2000. Volume 1, 1940-1954; Volume 2, 1954-1975; Volume 3, 1975-2000. 668 pp. Amsterdam: Amsterdam University Press, 2001., Inge Klinkers (eds)-Richard Price, Ellen-Rose Kambel, Resource conflicts, gender and indigenous rights in Suriname: Local, national and global perspectives. Leiden, The Netherlands: self-published, 2002, iii + 266.-Peter Redfield, Richard Price ,Les Marrons. Châteauneuf-le-Rouge: Vents d'ailleurs, 2003. 127 pp., Sally Price (eds)-Mary Chamberlain, Glenford D. Howe ,The empowering impulse: The nationalist tradition of Barbados. Kingston: Canoe Press, 2001. xiii + 354 pp., Don D. Marshall (eds)-Jean Stubbs, Alejandro de la Fuente, A Nation for All: Race, Inequality, and Politics in Twentieth-Century Cuba. Chapel Hill: University of North Carolina Press, 2001. xiv + 449 pp.-Sheryl L. Lutjens, Susan Kaufman Purcell ,Cuba: The contours of Change. Boulder CO: Lynne Rienner, 2000. ix + 155 pp., David J. Rothkopf (eds)-Jean-Germain Gros, Robert Fatton Jr., Haiti's predatory republic: The unending transition to democracy. Boulder CO: Lynn Rienner, 2002. xvi + 237 pp.-Elizabeth McAlister, Beverly Bell, Walking on fire: Haitian Women's Stories of Survival and Resistance. Ithaca NY: Cornell University Press, 2001. xx + 253 pp.-Gérard Collomb, Peter Hulme, Remnants of conquest: The island Caribs and their visitors, 1877-1998. Oxford: Oxford University Press, 2000. 371 pp.-Chris Bongie, Jeannie Suk, Postcolonial paradoxes in French Caribbean Writing: Césaire, Glissant, Condé. New York: Oxford University Press, 2001. 216 pp.-Marie-Hélène Laforest, Caroline Rody, The Daughter's return: African-American and Caribbean Women's fictions of history. New York: Oxford University Press, 2001. x + 267 pp.-Marie-Hélène Laforest, Isabel Hoving, In praise of new travelers: Reading Caribbean migrant women's writing. Stanford CA: Stanford University Press, 2001. ix + 374 pp.-Catherine Benoît, Franck Degoul, Le commerce diabolique: Une exploration de l'imaginaire du pacte maléfique en Martinique. Petit-Bourg, Guadeloupe: Ibis Rouge, 2000. 207 pp.-Catherine Benoît, Margarite Fernández Olmos ,Healing cultures: Art and religion as curative practices in the Caribbean and its diaspora. New York: Palgrave, 2001. xxi + 236 pp., Lizabeth Paravisini-Gebert (eds)-Jorge Pérez Rolón, Charley Gerard, Music from Cuba: Mongo Santamaría, Chocolate Armenteros and Cuban musicians in the United States. Westport CT: Praeger, 2001. xi + 155 pp.-Ivelaw L. Griffith, Anthony Payne ,Charting Caribbean Development. Gainesville: University Press of Florida, 2001. xi + 284 pp., Paul Sutton (eds)-Ransford W. Palmer, Irma T. Alonso, Caribbean economies in the twenty-first century. Gainesville: University Press of Florida, 2002. 232 pp.-Glenn R. Smucker, Jennie Marcelle Smith, When the hands are many: Community organization and social change in rural Haiti. Ithaca NY: Cornell University Press, 2001. xii + 229 pp.-Kevin Birth, Nancy Foner, Islands in the city: West Indian migration to New York. Berkeley: University of California Press, 2001. viii + 304 pp.-Joy Mahabir, Viranjini Munasinghe, Callaloo or tossed salad? East Indians and the cultural politics of identity in Trinidad. Ithaca NY: Cornell University Press, 2001. xv + 315 pp.-Stéphane Goyette, Robert Chaudenson, Creolization of language and culture. Revised in collaboration with Salikoko S. Mufwene. London: Routledge, 2001. xxi + 340 pp.

- Wouter E.A. van Beek, Henri Maurier, Philosophie de L’Afrique Noire (2ème éd.), St. Augustin: Anthropos Institut, 1985. - Wouter E.A. van Beek, A.M. Hocart, Imagination and proof. Selected essays of A.M. Hocart, Edited and with an introduction by Rodney Needham, Tucson: University of Arizona Press, 1987. 130 pp. - Martin van Bruinessen, B.B. Hering, Studies on Indonesian Islam, Occasional Paper no. 19, Centre for Southeast Asian Studies, James Cook University of North Queensland, Townsville (Australia), 1986, 50 pp. - Martin van Bruinessen, B.B. Hering, Studies on Islam, Occasional Paper no. 22, Centre for Southeast Asian Studies, James Cook University of North Queensland, Townsville (Australia), 1987, 94 pp. - Martin van Bruinessen, L.B. Venema, Islam en macht: Een historisch-anthropolische perspectief, Assen/Maastricht: Van Gorcum, 1987. - H.J.M. Claessen, Colin Renfrew, Peer polity interaction and socio-political change, Cambridge: Cambridge University Press, 1986. 179 pp., maps, ills., index, bibl., John F. Cerry (eds.) - H. Dagmar, Fred R. Myers, Pintupi country, Pintupi self; Sentiment, place and politics among Western Desert aborigines, Washington etc.: Smithsonian Institution Press, Australian Institute of Aboriginal Studies. - Mies Grijns, Rosanne Rutten, Women workers of Hacienda Milagros; Wage labor and household subsistence on a Philippine sugar cane plantation. Publikatieserie Zuid- en Zuidoost-Azie no. 30, Amsterdam: Anthropologisch-Sociologisch Centrum, Universiteit van Amsterdam, 1982, x + 187 pp. - Mies Grijns, Ann Laura Stoler, Capitalism and confrontation in Sumatra’s plantation belt, 1870-1979, Newhaven: Yale University Press, 1985, xii + 244 pp. - Nico de Jonge, Rodney Needham, Mamboru. History and structure in a domain of Northwestern Sumba. Oxford: Clarendon Press, 1987, 202 pp. - Anton Ploeg, Kenneth E. Read, Return to the high valley. Coming full circle. Berkeley: University of California Press, 1986. xxi + 269 pp. - Rien Ploeg, Tom R. Zuidema, La Civilisation Inca au Cuzco, Collège de France, Essais et Conférences, Paris: Presses Universitaires de France, 1986. - Harry A. Poeze, E.E. van Delden, Klein repertorium; Index op tijdschriftartikelen met betrekking tot voormalig Nederlands-Indië, samengesteld door E. E. van Delden. Amsterdam: Koninklijk Instituut voor de Tropen. Deel 1, Tijdschrift voor het Binnenlandsch Bestuur 1887-1900, 1986, 79 pp. Deel 2, Tijdschrift voor het Binnenlandsch Bestuur 1900-1909, 1986 80 pp. Deel 3, Tijdschrift voor het Binnenlandsch Bestuur 1910-1917, 1987, 80 pp. - Harry A. Poeze, J.J.P. de Jong, Diplomatie of strijd; Een analyse van het Nederlands beleid tegenover de Indonesische revolutie 1945-1947. Amsterdam: Boom, 531 pp. - Harry A. Poeze, D.C.L. Schoonoord, De Mariniersbrigade 1943-1949; Wording en inzet in Indonesië. ‘s-Gravenhage: Afdeling Maritieme Historie van de Marinestaf. - R. de Ridder, Edmundo Magaña, Myth and the imaginary in the new world, Amsterdam: CEDLA, Latin America Studies no. 34, 1986. 500 pp. 64 ills., Peter Mason (eds.) - P.G. Rivière, Edmundo Magaña, Contribuciones al estudio de la mitología y astronomía de los indios de las Guayanas, Dordrecht-Providence: Foris Publications. 1987. - A. de Ruijter, P.E. de Josselin de Jong, Generalisatie in de culturele antropologie (Afscheidscollege ter gelegenheid van het neerleggen van het ambt van hoogleraar in de sociale wetenschappen aan de Rijksuniversiteit van Leiden op 12 juni 1987), 1987, Leiden: E.K. Brill. - Mary F. Somers Heidhues, Yoe-Sioe Liem, Überseechinesen - eine minderheit: Zur erforschung interethnischer vorurteile in Indonesien, Aachen: Edition Herodot im Rader-Verlag, 1986. - N.J.M. Zorgdrager, H. Beach, Contributions to circumpolar studies. Uppsala Research Reports in Cultural Anthropology no. 7, 1986. 181 pages.

It is known that the Church of the Nativity of the Blessed Virgin Mary at Silba was demolished in 1828 so as to provide the necessary building material for the completion of the new parish church which inherited the dedication from the old one. As we learn from the archival records, the demolition was authorized by the Archbishop of Zadar Josip Nowak who stipulated that the Franciscan Church of Our Lady of Carmel would function as the local parish church while the new one was being built. All that remains from the old church today is the bell tower which continued to be used by the new parish church. It is obvious from the schematic ground plan and the dimensions of the demolished church, recorded in the now lost document from the parish church archive, that it was a single-nave longitudinal structure with a rectangular sacristy to the east, two shallow chapels extending from the lateral walls and a porch of the lopica type (resembling a loggia) at the front which abutted onto the corner of the bell tower with its own south corner. Apart from the high altar, placed against the back wall, the church had three pairs of side altars. The analysis of the canonical visitations carried out during the second quarter of the seventeenth century demonstrates that the church, recorded for the first time in 1579, was a modest building in which the oil for the anointment of the sick was being kept because the local parish church of that time, dedicated to St Mark, was too far from the village. The church was provided with five side altars put up by the more distinguished individuals and members of the lay fraternities the most prominent of which was that of Our Lady of the Rosary after which the church was called by eighteenth-century locals. Based on the analysis of the 1670 visitation of Archbishop Evangelisto Parzaghi who described the renovation during which certain altars changed their places, the article argues that the church was completed just before this visit. The bell tower was mentioned as a campanile for the first time in 1678.By means of comparative analysis, it can be established that the Church of the Nativity of the Virgin at Silba belonged to the same architectural type as a large group of simple yet spacious churches which were built in rural communities along the east Adriatic coast by local masters during the seventeenth and eighteenth centuries. The activity of such masters on the island of Silba is corroborated by contemporary birth, marriage and death records as well as a number of monuments such as a tombstone in the Church of St Mark and the door lintel in the house of master builder Franić Lorencin (1660), both of which depict building and carving tools. The analysis of the land registry maps and topographical drawings of 1824 and 1833 shows that the church’s south wall, to the east of the chapel of Our Lady of the Rosary, was laid in a different direction compared to that of the rest of the wall, indicating that this portion belonged to an earlier layer of the building which, judging from everything, seems to have been medieval. Therefore, the wall was widened and extended towards the west during the rebuilding documented in the visitation of 1670. This possibility, which a future excavation of the site ought to be confirm, is strengthened by the frequency of such alterations as can be seen on the seventeenth- and eighteenth-century churches on the island of Ugljan and in particular on the Church of St Lawrence at Lukoran, built in 1632, which is the best example of that architectural type.Another feature of these churches is the lopica-type porch which stands out as an architectural element typical of Istria and the Quarnero gulf to which, geographically speaking, the island of Silba gravitates. The lopica porch of the Church of the Nativity at Silba had a particularly elongated plan and featured two symmetrical sets of three supports and an axial main entrance into the porch, that is, the church. It is unlikely that the porch was added prior to the late seventeenth century because during that time, Silba was exposed to the raids of the Turkish pirates who threatened it directly. It is certain that the bell tower was used for defensive purposes and the addition of a porch would have diminished its importance as a fortification structure and hampered the visual communication with the entrance to the church.The examination of the architecture of the bell tower revealed two different building phases: an earlier one which included the body of the bell tower and a later one which saw the addition of the pyramidal structure together with a shallow square drum. In its original form, the bell tower had a compact body featuring a round-headed opening at the centre of each side of the two topmost storeys. Their stylistically undefined morphology corresponds to modest bell towers which were built in this area from the late sixteenth to the eighteenth century. The original pyramidal top had to be dismantled in 1858 due to wear and tear and it was replaced by the present one which has oval openings at the bottom of each side of the drum. This structure is almost identical to the top of the bell tower of the Church of Our Lady of the Rosary at Preko on the island of Ugljan which was built in 1844.Based on the archival records, the article also establishes that the substantially repainted image of the Virgin and Child with SS Mark and Matthew, today at the high altar of the parish church, was originally larger. It was the object of ex-voto veneration and numerous offerings had been placed in its glass case. The painting was cropped so that it could be inserted into the niche of the marble altar piece designed by Ćiril M. Iveković (1898) which meant the loss of the two evangelists. According to the preserved contract and drawing, the lower part of the altar was set up in 1860 by Giovanni dalla Zonca, an altar maker from Vodnjan, and it featured the still preserved wooden statues of SS Peter and Paul which are dated to the mid-seventeenth century on the basis of their stylistic features. Therefore, it can be concluded that painting and the statues were taken from the high altar of the demolished church.

Syed Muhd Khairudin Aljunied, Rethinking Raffles; A study of Stamford Raffles’ discourse on religions amongst Malays. (Nathan Porath) Walter Angst, Wayang Indonesia; Die phantastische Welt des indonesischen Figurentheaters/The fantastic world of Indonesian puppet theatre. (Dick van der Meij) Adrienne Kappler and others, James Cook and the exploration of the Pacific. (H.J.M. Claesen) Aurel Croissant, Beate Martin and Sascha Kneip (eds), The politics of death; Political violence in Southeast Asia. (Freek Colombijn) Frank Dhont, Kevin W. Fogg and Mason C. Hoadley (eds), Towards an inclusive democratic Indonesian society; Bridging the gap between state uniformity and multicultural identity patterns. (Alexander Claver) Bronwen Douglas and Chris Ballard (eds), Foreign bodies; Oceania and the science of race, 1750-1940. (H.J.M. Claesen) Ricky Ganang, Jay Crain, and Vicki Pearson-Rounds, Kemaloh Lundayeh-English dictionary and bibliographic list of materials relating to the Lundayeh-Lun Bawang-Kelabit and related groups of Sarawak, Sabah, Brunei and East Kalimantan. (Michael Boutin) Jeffrey Hadler, Muslims and matriarchs; Cultural resilience in Indonesia through Jihad and Colonialism. (Franz von Benda-Beckmann) Uli Kozok, Kitab undang-undang Tanjung Tanah: Naskah Melayu yang tertua. (Arlo Griffiths) Alfonds van der Kraan, Murder and mayhem in seventeenth-century Cambodia; Anthony van Diemen vs. King Ramadhipati I. (Jeroen Rikkerink) Jean Michaud, ‘Incidental’ ethnographers; French Catholic missions on the Tonkin-Yunnan frontier, 1880-1930. (Nicholas Tapp) M.C. Ricklefs, Polarising Javanese society; Islamic and other visions (c. 1830-1930). (Matthew Isaac Cohen) Stuart Robson, Arjunawiwāha; The marriage of Arjuna of Mpu Kaṇwa. (Andrea Acri) László Székely and István Radnai, Dit altijd alleen zijn; Verhalen over het leven van planters en koelies in Deli (1914-1930). (Adrienne Zuiderweg) Patricia Tjiook-Liem (Giok Kiauw Nio Liem), De rechtspositie der Chinezen in Nederlands-Indië 1848-1942; Wetgevingsbeleid tussen beginsel en belang. (Mary Somers Heidhues) Zhou Daguan, A record of Cambodia: the land and its people. (Un Leang) REVIEW ESSAY Longitudinal studies in Javanese performing arts Benjamin Brinner, Music in Central Java; Experiencing music, expressing culture. Barbara Hatley, Javanese performances on an Indonesian stage; Contesting culture, embracing change. Felicia Hughes-Freeland, Embodied communities; Dance traditions and change in Java. (Matthew Isaac Cohen) REVIEW ESSAY Development and reform in Vietnam Stéphanie Balme and Mark Stephanie (eds), Vietnam’s new order; International perspectives on the state and reform in Vietnam. Sujian Guo, The political economy of Asian transition from communism. Ian Jeffries, Vietnam: a guide to economic and political developments. Pietro Masina, Vietnam’s development strategies. (Tran Quang Anh) KORTE SIGNALERINGEN Ulbe Bosma, Indiëgangers; Verhalen van Nederlanders die naar Indië trokken. Clara Brinkgreve, Met Indië verbonden; Een verhaal van vier generaties 1849-1949. Jack Botermans en Heleen Tichler, Het vergeten Indië; Stille getuigen van het dagelijks leven in het Indië van toen. Robin te Slaa en Edwin Klijn, De NSB; Ontstaan en opkomst van de Nationaal-Socialistische Beweging, 1931-1935. Mark Loderichs, Margaret Leidelmeijer, Johan van Langen en Jan Kompagnie, Verhalen in Documenten; Over het afscheid van Indië, 1940-1950. Frederik Erens en Adrienne Zuiderweg, Linggadjati, brug naar de toekomst; Soetan Sjahrir als een van de grondleggers van het vrije Indonesië. Peter Schumacher, met medewerking van Gerard de Boer, De zaak Aernout; Hardnekkige mythes rond een Indische moord ontrafeld. Cas Oorthuys, Een staat in wording; Fotoreportage van Cas Oorthuys over het Indonesië van 1947. René Kok, Erik Somers en Louis Zweers, Koloniale oorlog 1945-1949; Van Indië tot Indonesië. H.F. Veenendaal en J.P.W. Kelder, ZKH; Hoog spel aan het hof van Zijne Koninklijke Hoogheid; De geheime dagboeken van mr.dr.L.G. van Maasdijk. Ons Indië; 400 jaar Nederlandse sporen in Insulinde, de strijd om de onafhankelijkheid & 60 jaar Indonesië. (Harry A. Poeze)

Anthony Esler. The Human Venture. Englewood Cliffs, NJ: Prentice-Hall, 1986. Volume I: The Great Enterprise, a World History to 1500. Pp. xii, 340. Volume II: The Globe Encompassed, A World History since 1500. Pp. xii, 399. Paper, $20.95 each. Review by Teddy J. Uldricks of the University of North Carolina at Asheville. H. Stuart Hughes and James Wilkinson. Contemporary Europe: A History. Englewood Clifffs, NJ: Prentice-Hall, 1987. Sixth edition. Pp. xiii, 615. Cloth, $35.33. Review by Harry E. Wade of East Texas State University. Ellen K. Rothman. Hands and Hearts: A History of Courtship in America. Cambridge and London: Harvard University Press, 1987. Pp. xi, 370. Paper, $8.95. Review by Mary Jane Capozzoli of Warren County Community College. Bernard Lewis, ed. Islam: from the Prophet Muhammad to the Capture of Constantinople. Oxford and New York: Oxford University Press, 1987. Volume I: Politics and War. Pp.xxxvii, 226. Paper, $9.95. Volume II: Religion and Society. Pp. xxxix, 310. Paper, $10.95. Review by Calvin H. Allen, Jr. of The School of the Ozarks. Michael Stanford. The Nature of Historical Knowledge. New York: Basil Blackwell, 1986. Pp. vii, 196. Cloth, $45.00; paper, $14.95. Review by Michael J. Salevouris of Webster University. David Stricklin and Rebecca Sharpless, eds. The Past Meets The Present: Essays On Oral History. Lanham, MD: University Press of America, 1988. Pp. 151. Paper, $11.50. Review by Jacob L. Susskind of The Pennsylvania State University. Peter N. Stearns. World History: Patterns of Change and Continuity. New York: Harper and row, 1987. Pp. viii, 598. Paper, $27.00; Theodore H. Von Laue. The World Revolution of Westernization: The Twentieth Century in Global Perspective. New York: Oxford University Press, 1987. Pp. xx, 396. Cloth, $24.95. Review by Jayme A. Sokolow of the National Endowment for the Humanities. Marilyn J. Boxer and Jean R Quataert, eds. Connecting Spheres: Women in the Western World, 1500 to the Present. New York and Oxford: Oxford University Press, 1987. Pp. xvii, 281. Cloth, $29.95; Paper, $10.95. Review by Samuel E. Dicks of Emporia State University. Dietrich Orlow. A History of Modern Germany: 1870 to Present. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1987. Pp. xi, 371. Paper, $24.33. Review by Gordon R. Mork of Purdue University. Gail Braybon and Penny Summerfield. Out of the Cage: Women's Experiences in Two World Wars. Pandora: London and New York, 1987. Pp. xiii, 330. Paper, $14.95. Review by Paul E. Fuller of Transylvania University. Moshe Lewin. The Gorbachev Phenomenon: A Historical Interpretation. Berkeley and Los Angeles: University of California Press, 1988. Pp. xii, 176. Cloth, $16.95; David A. Dyker, ed. The Soviet Union Under Gorbachev: Prospects for Reform. London & New York: Croom Helm, 1987. Pp. 227. Cloth, $35.00. Review by Elizabeth J. Wilcoxson of Northern Essex Community College. Charles D. Smith, Palestine and the Arab-Israeli Conflict. New York: St. Martin's Press, 1988. Pp. viii, 308. Cloth, $35.00. Review by Arthur Q. Larson of Westmar College. Stephen G. Rabe. Eisenhower and Latin America: The Foreign Policy of Anticommunism. Chapel Hill & London: The University of North Carolina Press, 1988. Pp. 237. Cloth $29.95; paper, $9.95. Review by Donald J. Mabry of Mississippi State University. Earl Black and Merle Black. Politics and Society in the South. Cambridge and London: Harvard University Press, 1987. Pp. ix, 363. Cloth, $25.00. Review by Donn C. Neal of the Society of American Archivists. The Lessons of the Vietnam War: A Modular Textbook. Pittsburgh: Center for Social Studies Education, 1988. Teacher edition (includes 64-page Teacher's Manual and twelve curricular units of 31-32 pages each), $39.95; student edition, $34.95; individual units, $3.00 each. Order from Center for Social Studies Education, 115 Mayfair Drive, Pittsburgh, PA 15228. Review by Stephen S. Gosch of the University of Wisconsin-Eau Claire. Media Reviews Carol Kammen. On Doing Local History. Videotape (VIIS). 45 minutes. Presented at SUNY-Brockport's Institute of Local Studies First Annual Symposium, September 1987. $29.95 prepaid. (Order from: Dr. Ronald W. Herlan, Director, Institute of Local Studies, Room 180, Faculty Office Bldg., SUNY-Brockport. Brockport. NY 14420.) Review by Herbert Janick of Western Connecticut State University.

-Charles V. Carnegie, W. Jeffrey Bolster, Black Jacks: African American Seamen in the age of sail. Cambridge MA: Harvard University Press, 1997. xiv + 310 pp.-Stanley L. Engerman, Wim Klooster, Illicit Riches: Dutch trade in the Caribbean, 1648-1795. Leiden: KITLV Press, 1998. xiv + 283 pp.-Luis Martínez-Fernández, Emma Aurora Dávila Cox, Este inmenso comercio: Las relaciones mercantiles entre Puerto Rico y Gran Bretaña 1844-1898. San Juan: Editorial de la Universidad de Puerto Rico, 1996. xxi + 364 pp.-Félix V. Matos Rodríguez, Arturo Morales Carrión, Puerto Rico y la lucha por la hegomonía en el Caribe: Colonialismo y contrabando, siglos XVI-XVIII. San Juan: Editorial de la Universidad de Puerto Rico y Centro de Investigaciones Históricas, 1995. ix + 244 pp.-Herbert S. Klein, Patrick Manning, Slave trades, 1500-1800: Globalization of forced labour. Hampshire, U.K.: Variorum, 1996. xxxiv + 361 pp.-Jay R. Mandle, Kari Levitt ,The critical tradition of Caribbean political economy: The legacy of George Beckford. Kingston: Ian Randle, 1996. xxvi + 288., Michael Witter (eds)-Kevin Birth, Belal Ahmed ,The political economy of food and agriculture in the Caribbean. Kingston: Ian Randle; London: James Currey, 1996. xxi + 276 pp., Sultana Afroz (eds)-Sarah J. Mahler, Alejandro Portes ,The urban Caribbean: Transition to the new global economy. Baltimore: John Hopkins University Press, 1997. xvii + 260 pp., Carlos Dore-Cabral, Patricia Landolt (eds)-O. Nigel Bolland, Ray Kiely, The politics of labour and development in Trinidad. Barbados, Jamaica, Trinidad and Tobago: The Press University of the West Indies, 1996. iii + 218 pp.-Lynn M. Morgan, Aviva Chomsky, West Indian workers and the United Fruit Company in Costa Rica, 1870-1940. Baton Rouge: Louisiana State University Press, 1996. xiii + 302 pp.-Eileen J. Findlay, Maria del Carmen Baerga, Genero y trabajo: La industria de la aguja en Puerto Rico y el Caribe hispánico. San Juan: Editorial de la Universidad de Puerto Rico, 1993. xxvi + 321 pp.-Andrés Serbin, Jorge Rodríguez Beruff ,Security problems and policies in the post-cold war Caribbean. London: :Macmillan; New York: St. Martin's, 1996. 249 pp., Humberto García Muñiz (eds)-Alex Dupuy, Irwin P. Stotzky, Silencing the guns in Haiti: The promise of deliberative democracy. Chicago: University of Chicago Press, 1997. xvi + 294 pp.-Carrol F. Coates, Myriam J.A. Chancy, Framing silence: Revolutionary novels by Haitian women. New Brunswick NJ: Rutgers University Press, 1997. ix + 200 pp.-Havidán Rodríguez, Walter Díaz, Francisco L. Rivera-Batiz ,Island paradox: Puerto Rico in the 1990's. New York: Russel Sage Foundation, 1996. xi + 198 pp., Carlos E. Santiago (eds)-Ramona Hernández, Alan Cambeira, Quisqueya la Bella: The Dominican Republic in historical and cultural perspective. Armonk NY: M.E. Sharpe, 1996. xi + 272 pp.-Ramona Hernández, Emilio Betances ,The Dominican Republic today: Realities and perspectives. New York: Bildner Center for Western Hemisphere studies, CUNY, 1996. 205 pp., Hobart A. Spalding, Jr. (eds)-Bonham C. Richardson, Eberhard Bolay, The Dominican Republic: A country between rain forest and desert. Wekersheim, FRG: Margraf Verlag, 1997. 456 pp.-Virginia R. Dominguez, Patricia R. Pessar, A visa for a dream: Dominicans in the United States. Boston: Allyn and Bacon, 1995. xvi + 98 pp.-Diane Austin-Broos, Nicole Rodriguez Toulis, Believing identity: Pentecostalism and the mediation of Jamaican ethnicity and gender in England. Oxford NY: Berg, 1997. xv + 304 p.-Mary Chamberlain, Trevor A. Carmichael, Barbados: Thirty years of independence. Kingston: Ian Randle Publishers, 1996. xxxv + 294 pp.-Paul van Gelder, Gert Oostindie, Het paradijs overzee: De 'Nederlandse' Caraïben en Nederland. Amsterdam: Bert Bakker, 1997. 385 pp.-Roger D. Abrahams, Richard D.E. Burton, Afro-Creole: Power, Opposition, and Play in the Caribbean. Ithaca NY: Cornell University Press, 1997. x + 297 pp.-Roger D. Abrahams, Joseph Roach, Cities of the dead: Circum-Atlantic performance. New York NY: Columbia University Press, 1996. xiii + 328 pp.-George Mentore, Peter A. Roberts, From oral to literate culture: Colonial experience in the English West Indies. Kingston, Jamaica: The Press University of the West Indies, 1997. xii + 301 pp.-Emily A. Vogt, Howard Johnson ,The white minority in the Caribbean. Princeton NJ: Markus Wiener, 1998. xvi + 179 pp., Karl Watson (eds)-Virginia Heyer Young, Sheryl L. Lutjens, The state, bureaucracy, and the Cuban schools: Power and participation. Boulder CO: Westview Press, 1996. xiii + 239 pp.

The popular historical narrative of the batik Sidoarjo needs to be reexamined based on historical methodology so that there is no historical bias based only on oral stories of the general public. Many studies are trapped in an inaccurate understanding of local historicity. As a result, these various studies have failed to fit batik Sidoarjo into its full context, instead it has become a kind of narrative standardization on its characteristics and history. This study aims to criticize the historical construction that has been popular in relation to the basic understanding of batik Sidoarjo and to explain the position of batik Sidoarjo in the cultural framework of its people. This article is the author's attempt to provide an analysis or explanation that is different from the historical narrative of batik Sidoarjo which is commonly used in various discussions. This research is classified as a qualitative research, using the historical method which consists of four stages, namely heuristics, source criticism, interpretation, and historiography. This research uses historical and sociological approaches to collect, select, and critically examine historical sources of Sidoarjo batik, resulting in historical facts. The results showed that the historicity of batik Sidoarjo refers to the batik activities in the areas of Kedungcangkring, Jetis, Sekardangan, Gajah Mada St. (Peranakans), and Tulangan, all of which have a direct relationship with both Peranakans nor indigenous. Batik Sidoarjo is not framed by traditional rituals, nor is it under the control and domination of the royal aristocracy. Its growth is based on the factor of the economic needs of the supporting community, which tends to be a trading commodity. The presence of other groups of people or nations such as Peranakan Chinese, Indo-European, Dutch, Arabic contributed to the birth of Sidoarjo batik. Keywords: batik, Sidoarjo, historical criticism.AbstrakNarasi sejarah batik Sidoarjo yang populer perlu dikaji ulang dengan didasari metodologi sejarah sehingga tidak terjadi bias sejarah yang hanya berdasar pada cerita lisan masyarakat umum. Banyak penelitian yang terjebak dalam pemahaman historisitas setempat yang kurang tepat. Akibatnya, berbagai kajian tersebut tidak berhasil mendudukkan batik Sidoarjo sesuai dengan konteksnya secara utuh, malah menjadi semacam standardisasi narasi pada karakteristik maupun sejarahnya. Penelitian ini bertujuan untuk mengkritisi konstruksi sejarah yang telah populer terkait pemahaman dasar tentang batik Sidoarjo serta menjelaskan kedudukan batik Sidoarjo dalam kerangka budaya masyarakatnya. Artikel ini merupakan upaya penulis untuk memberikan analisis atau paparan yang berbeda dari narasi sejarah batik Sidoarjo yang umum dilakukan pada berbagai pembahasan. Penelitian ini tergolong dalam penelitian kualitatif, dengan menggunakan metode sejarah yang terdiri atas empat tahap, yaitu heuristik, kritik sumber, interpretasi, dan historiografi. Penelitian ini menggunakan pendekatan historis dan sosiologis untuk mengumpulkan, menyeleksi, dan menguji secara kritis sumber-sumber sejarah batik Sidoarjo, sehingga menghasilkan fakta sejarah. Hasil penelitian memperlihatkan bahwa historisitas batik Sidoarjo merujuk pada aktivitas pembatikan yang ada di wilayah Kedungcangkring, Jetis, Sekardangan, Jl. Gajah Mada (China Peranakan), dan Tulangan yang kesemuanya saling terkait memiliki hubungan langsung baik itu pembatikan China peranakan maupun pribumi. Batik Sidoarjo tidak dikerangkai oleh ritual adat, juga tidak di bawah kendali dan dominasi aristokrasi kraton. Pertumbuhannya didasari faktor kebutuhan ekonomi masyarakat pendukungnya, sifatnya cenderung merupakan komoditas dagang. Hadirnya golongan masyarakat atau bangsa lain seperti China Peranakan, Indo-Eropa, Belanda, Arab turut berpengaruh melahirkan batik Sidoarjo.Kata Kunci: batik, Sidoarjo, kritik sejarah. Author:Asy Syams Elya Ahmad : Universitas Negeri Surabaya References:Abbas, Irwan. (2014). Memahami Metodologi Sejarah antara Teori dan Praktek. ETNOHISTORI: Jurnal Ilmiah Kebudayaan dan Kesejerahan, 1(1), 33–41.Abdurrahman, Dudung. (1999). Metode Penelitian Sejarah. Yogyakarta: Logos.Ahmad, Asy Syams Elya. (2013). Kajian Estetik Batik Sidoarjo. Tesis. Tidak Diterbitkan. Bandung: Program Studi Magister Desain, Institut Teknologi Bandung.Anas, Biranul, Hasanuddin, Ratna Panggabean, Yanyan Sunarya. (1997). Indonesia Indah-Buku ke 8; “Batik”. Jakarta: Yayasan Harapan Kita/BP 3 TMII.Anshori, Yusak & Kusrianto, Adi. (2011). Keeksotisan Batik Jawa Timur. 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Yogyakarta: Magnum Pustaka Utama.Wibowo, Januar, Haryanto Tanuwijaya, Achmad Yanu A.F. (2016). “Rancang Bangun Management Information System Batik Tradisional Jawa Timur sebagai Upaya Pelestarian Warisan Budaya Bangsa”. Laporan Akhir Penelitian Hibah Bersaing. Tidak Diterbitkan. Surabaya: Institut Bisnis dan Informatika, STIKOM.Wirawan, Rizky S. & Trilaksana, Agus. (2015). Sejarah Industrialisasi Batik di Kampung Batik Jetis Sidoarjo Tahun 1970-2013. AVATARA, e-Journal Pendidikan Sejarah, 3(3), 480–486.Wulandari, Ari. (2011). Batik Nusantara; Makna Filosofis, Cara Pembuatan dan Industri Batik. Yogyakarta: Andi.Wulandari, S.E., Imam As’ary, Yudi Prasetyo. (2013). Perkembangan Motif Batik Jetis Sidoarjo dalam Tinjauan Sejarah. GENTA: Jurnal Pendidikan Sejarah, 1(1), 1–12.Yanuar. (2016, Oktober 19). Kampung Kuno Jetis Penghasil Batik Tulis Khas Sidoarjo. https://kabarinews.com/kampung-kuno-jetis-penghasil-batik-tulis-khas-sidoarjo/87296 (diakses tanggal 17 April 2021).

299 Gift in free alms by Reginald FitzPeter to Reading Abbey, for the health of the souls of, among others, himself, Peter FitzHerbert his father, and Herbert his brother, of the 40s annual rent which the abbot and monks of Waverley (Waverlegh') used to pay to him and to Herbert his brother for the land of Boyatt (Boveyate) on the feast of the Nativity of St Mary [8 Sept.]. Reading Abbey may distrain on the abbot and monks of Waverley at Boyatt in the event of non-payment of the rent. Warranty and sealing. Witnesses [omitted][c. May 1248]This rent was bequeathed to Reading in Herbert FitzPeter's testament, which was made before 24 May, 1248, by which date he had clearly died (see no. 324). Waverley Abbey had been in possession of Boyatt since at least 1189 (VCH Hants., iii. 442).

Kazimierz and Ewa (of Uwoyni) Burba, the wojskis (officials attending to the needs of soldiers’ families during wars) of Šiauliai and collators of the Church of St Peter and St Paul in Apytalaukis, donated the painting “The Sacred Heart of Jesus” to the high altar of the church in 1817. From 1755, when a fraternity of the Sacred Heart of Jesus was established, this altar had been decorated with an earlier painting of the same name. The painting donated by the Burba decorated the first tier of a new high altar erected after 1817 and the existing high altar that was built before 1920s (?). It is believed that due to its poor condition, the old painting was replaced with a copy during repairs in 1964, and it is this copy that is on the altar to date. In 2019, the painting was restored as it had lost many fragments of the paint layer, especially at the bottom. The prototype of this painting is the painting “The Sacred Heart of Jesus and the Eucharist” by Pietro Tedeschi (the Church of the Blessed Virgin Mary of Mount Carmel, Imola, 1780). It is believed that the painter used an engraving of this image, presumably by Lorenzo Capponi. The painting in the church in Apytalaukis is narrower and therefore the baroque composition created by Pietro Tedeschi is somewhat reduced and adjusted. In addition, the drawing, rhythm, and colours of the painting of 1817 are characteristic of the features of the classicist style and paintings of the Vilnius School of Art. Due to the analogies of stylistics and the wellknown fact of Kazimierz Burba’s acquaintance with the painter Jan Rustem, the painting is hypothetically attributed to this artist. The face of Jesus in the painting in Apytalaukis can be compared to Burba’s portrait by Jan Rustem (unfortunately, only a copy has survived). We propose the title “The Eucharistic Sacred Heart of Jesus” as it defines the iconography of the painting more precisely.

“As the old technologies become automatic and invisible, we find ourselves more concerned with fighting or embracing what’s new”—Dennis Baron, From Pencils to Pixels: The Stage of Literacy Technologies In a world where nothing is certain… and even the objectivity of science is qualified by relativity and uncertainty, the single human voice, telling its own story, can seem the only authentic way of rendering consciousness. – David Lodge (“Sense and Sensibility”) Leon Edel expressed the central puzzle of writing biography as “every life takes its own form and a biographer must find the ideal and unique literary form that will express it” (qtd. in Novarr 165). My primary challenge in writing Poisoned: The Trials of Mary Dean – a biography in the form of a (fictionalised) first-person memoir purportedly written by the subject herself – was the location of a textual voice for Mary that, if not her own, could have credibly belonged to a woman of her time, place and circumstance. The ‘Dean case’ caused a sensation across Australia in the mid-1890s when George Dean was arrested for the attempted murder of his 20-year-old wife, Mary. George was a handsome Sydney ferry master who had played the romantic lead in a series of spectacular rescues, flinging himself into the harbour to save women passengers who had fallen overboard. When on trial for repeatedly poisoning his wife, his actions and motivations were not probed; instead, Mary’s character and behaviour and, by extrapolation, those of the entire female sex, were examined and analysed. This approach climaxed in defence counsel claims that Mary poisoned herself to frame her husband, but George was found guilty and sentenced to hang, the mandatory punishment for attempted murder at that time. Despite the persuasive prosecution evidence and the jury’s unanimous verdict, the Sydney press initiated a public outcry. After a series of inflamed community meetings and with a general election approaching, the Premier called for a Royal Commission into Dean’s conviction. This inquiry came to the extraordinary conclusion that: the facts, as shown, are quite as compatible with the hypothesis that Mrs. Dean ... administered the arsenic to herself – possibly at the prompting of her mother and without any intention of taking a fatal dose – as that the poison was administered to her by her husband with an intent to kill. (Regina v George Dean 16) George was freed with a Royal Pardon and Mary was publicly reviled as a pariah of the lowest order. This unhappy situation continued even after it was revealed that her husband had confessed his guilt to his solicitor, and charges of conspiracy and perjury were brought against George and his lawyers who were then members of the New South Wales Parliament. Although the lawyers both escaped relatively unscathed, George Dean was gaoled for 14 years. This was despite Mary’s story having obvious potential for a compelling biographical narrative. To begin with, she experiences the terror of suspecting her own husband is poisoning her as she convalesces after the birth of their child. She survives repeated doses of strychnine and arsenic, only to confront the humiliating certainty that her husband was desperate to be rid of her. Then, weak and ill, she has to endure the ordeal of police-court proceedings and a criminal trial when she is damned as a witch conspiring with her wicked mother to ruin her husband. Withstanding assertions that her childhood home was a brothel and she a prostitute, she spends long weeks in hospital knowing her husband is under sentence of execution, only to be released, destitute, with a sickly child she has poisoned with her own breast milk. Still physically debilitated, she is called before a Royal Commission where she is again violently cross-examined and, on the day of her twenty-first birthday, is confronted with the knowledge that not only was her mother a transported convict, but that she is, herself, of illegitimate birth. When the Commission finds in her husband’s favour, Mary has to watch her poisoner pardoned, freed and feted as a popular celebrity, while she faces an increasingly viperous press, and is jeered at and spat on in the streets. Next, she is forced to testify at yet another series of public trials and finally, even when her husband confesses his crime and is gaoled for perjury (his Royal Pardon saving him from again facing an attempted murder charge), she is ostracised as the penniless wife of a common criminal and illegitimate daughter of a transported convict. Despite this, and having little more than the shame of divorce to look forward to, Mary nevertheless regains her health and, four years after her final court appearance, marries a respectable shopkeeper. A year later, in 1902, she gives birth to her second child. together with examples written by women of her time, class and education, fabricating an extended letter (written by Mary, but based on historical evidence) seemed a viable textual solution. For centuries, domestic letters were a major means of autobiographical expression for ‘non-literary’, working-class women and, moreover, a textual format within which Mary (silenced for over a century) could finally relate her own version of events. These decisions aligned with what John Burnett has identified as the most common motivations for a working-class person to write an autobiographical narrative: “belief that he [sic] had some important … personal triumph over difficulties and misfortune … to leave for one’s children or grandchildren” (11). This relatively common human desire also tailored neatly with a central theme animating Mary’s life – that ignorance about the past can poison your future. To create a textual voice for Mary in her narrative, I utilised the literary process of ‘ventriloquising’ or providing a believable (fictional) voice for a historical character – the term ‘literary ventriloquism’ was coined by David Lodge in 1987 for how novelists create (and readers ‘hear’) the various voices in literary works (100). While biographies including Andrew Motion’s Wainewright the Poisoner (2000) and, as Richard Freadman has noted, Gertrude Stein’s The Autobiography of Alice B. Toklas (1933) have effectively employed varieties of biographical ventriloquism, this is a literary device more frequently used by fiction writers. It is also interesting to note that when skilled fiction writers employ ventriloquism, their resulting works are often perceived as much as biography-histories as imaginative pieces. Peter Carey’s The True History of the Kelly Gang (2000) is the invented document of which Kelly biographers dream, an autobiographical account supposedly written by Kelly so his infant daughter might “comprehend the injustice we poor Irish suffered” (5), but the voice Carey created was so credible that historians (including Ian Jones and Alex McDermott) debated its authenticity. This was despite Carey making no claims for the historical accuracy of his work. Of course, I primarily tested my text against such press interviews, Mary’s own letters and the articulations of her voice reported in the trial and other court records. Not that the latter group of texts can be taken as ‘verbatim’ transcriptions. Although court and other legal records provide, as Karen Dubinskyhas noted, “a window into instances of personal life … we can hear people talking about love, emotional and sexual intimacy, power, betrayal and broken promises” (4), such texts are profoundly mediated documents. The citations we now read in print passed through many hands – Mary’s testimonies would have been initially noted by the court stenographer, then transcribed, corrected, edited, typeset, corrected again, printed and bound – with each stage in the process incorporating inaccuracies, omissions and changes into the text. And, however accurate, such transcripts are never complete, neither indicating the tone in which answers were given, nor the speakers’ hesitations, pauses or accompanying gestures. The transcripts I used also record many examples of Lyndal Roper’s “forced discourse”, where Mary was directed to give only usually abbreviated responses to questions, questions which no doubt often directed the tone, content and even wording of her answers (54). Despite these limitations, it was following Mary in court through these texts, cringing at the humiliation and bullying she was subjected to, rallying when she showed spirit and almost cheering when she was finally vindicated, which allowed me to feel a real human connection with her as my subject. It was via these texts (and her own letters) that I also became aware that Mary Dean had been a person who, at the same time as she was living her life, was also (as are we all) remembering, forgetting and, probably, fabricating stories about that life – stories which, at times, challenged and contradicted each other. My aim was always to move beyond finding a persuasive textual voice for Mary, that is one which seemed authentic (and suitable for a novel), to one able to tell some of the contradictory stories of Mary’s life, as she no longer could. Ultimately, I wanted every utterance of my textual rendering of her speech to declare (as J. M. Coetzee has one of his characters say): “I live, I suffer, I am here. With cunning and treachery, if necessary, I fight against becoming one of the forgotten ones of history” (3). Works Cited Allen, Judith A. Sex and Secrets: Crimes Involving Australian Women Since 1880. Melbourne: Oxford U P, 1990. Burnett, John, ed. Useful Toil: Autobiographies of Working People from the 1820s to the 1920s. London: Allen Lane, 1976. Carey, Peter. The True History of the Kelly Gang, St. Lucia: U of Queensland P, 2000. Coetzee, J. M. In the Heart of the Country. London: Secker and Warburg, 1977. Daily Telegraph, 9 October 1895: 5. Dubinsky, Karen. Improper Advances: Rape and Heterosexual Conflict in Ontario, 1880-1929. Chicago and London: U of Chicago P, 1993. Freadman, Richard. â??Prose and Cons of a Bizarre Lifeâ?. The Age 27 May 2000: Saturday Extra, 7. Holmes, Katie. Spaces in Her Day: Australian Womenâ??s Diaries of the 1920s-1930s. St. Leonards: Allen and Unwin, 1995. â??Interview with Mrs. Dean.â? Truth 5 May 1895: 7. Jones, Ian. â??Not in Nedâ??s Natureâ?. The Weekend Australian 18-9 Aug. 2001: R12-3. Lodge, David. â??After Bakhtin.â? The Linguistics of Writing. Ed. Nigel Fabb, Derek Attridge, Alan Durant and Colin MacCabe. New York: Methuen, 1987: 89-102. Lodge, David. â??Sense and Sensibilityâ?. The Guardian Unlimited 2 Nov. 2002. [accessed 12/11/02] <http://books.guardian.co..uk/review/story/0,12084,823955,00.php> McDermott, Alex. â??Ned Kellyâ??s Yawp.â? Australian Book Review Mar. 2002: 16-8. McDermott, Alex. â??The Apocalyptic Chant of Edward Kellyâ?. The Jerilderie Letter. Melbourne: Text, 2001. v-xxxiv. Motion, Andrew. Wainewright the Poisoner. London: Faber, 2000. Novarr, David. The Lines of Life: Theories of Biography, 1880-1970. West Layfayette, In.: Perdue U P, 1986. Peers, Juliet. What No Man Had Ever Done Before. Malvern, Vic.: Dawn Revival, 1992. Regina v George Dean: Report of the Royal Commission, Appointed Seventh Day of May, 1895. Sydney: Government, 1895. Roper, Lyndal. Oedipus and the Devil: Witchcraft, Sexuality and Religion in Early Modern Europe. London and New York: Routledge, 1994. Seymour, Mary. Letter to George Clements, 12 October 1891. Letters to Frank Brereton, 22 October 1891, 30 December 1891, 25 April 1892. Regina v George Dean: Report of the Royal Commission: 244-46. Spender, Dale. â??Journal on a Journal.â? Womenâ??s Studies International Forum 10.1 (1987): 1-5. Sydney Morning Herald. 9 October 1895: 8, 10 October 1895: 5. Links http://books.guardian.co..uk/review/story/0 Citation reference for this article MLA Style Brien, Donna Lee. "Imagining Mary Dean " M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0401/07-brien.php>. APA Style Brien, D. (2004, Jan 12). Imagining Mary Dean . M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0401/07-brien.php>

06–108Andrew, Michael D. (U New Hampshire, USA), Casey D. Cobb & Peter J. Giampietro, Verbal ability and teacher effectiveness. Journal of Teacher Education (Sage) 56.4 (2005), 343–354.06–109Beran, Tanya (U Calgary, Canada) & Claudio Violato, Ratings of university teacher instruction: How much do student and course characteristics really matter?Assessment & Evaluation in Higher Education (Routledge/Taylor&Francis) 30.6 (2005), 593–601.06–110Cadman, Kate (U Adelaide, Australia; kate.cadman@adelaide.edu.au), Towards a ‘pedagogy of connection’ in critical research education: A REAL story. Journal of English for Academic Purposes (Elsevier) 4.4 (2005), 353–367.06–111Francis, Dawn (James Cook U, Australia) & Louise Ingram-Starrs, The labour of learning to reflect. Teachers and Teaching: Theory and Practice (Routledge/Taylor&Francis) 11.6 (2005), 541–553.06–112Gordon, June A. (U California at Santa Cruz, USA), The crumbling pedestal: Changing images of Japanese teachers. Journal of Teacher Education (Sage) 56.5 (2005), 459–470.06–113Green, Catherine & Rosie Tanner (IVLOS Institute of Education, Utrecht U, the Netherlands; catherine_green@usamedia.tv), Multiple intelligences and online teacher education. ELT Journal (Oxford University Press) 59.4 (2005), 312–321.06–114Hsu, Shihkuan (National Taiwan U, Taiwan), Help-seeking behaviour of student teachers. Educational Research (Routledge/Taylor&Francis) 47.3 (2005), 307–318.06–115Kolesnikova, Irina L. (St Petersburg, Russia; vkolesni@rol), English or Russian? English language teacher training and education. World Englishes (Blackwell) 24.4 (2005), 471–476.06–116Leeman, Yvonne & Guuske Ledoux (U Amsterdam, the Netherlands), Teachers on intercultural education. Teachers and Teaching: Theory and Practice (Routledge/Taylor&Francis) 11.6 (2005), 575–589.06–117Longaker, Mark Garrett (U Texas at Austin, USA), Market rhetoric and the Ebonics debate. Written Communication (Sage) 22.4 (2005), 472–501.06–118Lovtsevich, Galina N. (Vladivostok, Russia; lovtsev@ext.dvgu.ru), Language teachers through the looking glass: Expanding Circle teachers' discourse. World Englishes (Blackwell) 24.4 (2005), 461–469.06–119McDonald, Ria (U South Africa, South Africa) & Daniel Kasule, The monitor hypothesis and English teachers in Botswana: Problems, varieties and implications for language teacher education. Language, Culture and Curriculum (Multilingual Matters) 18.2 (2005), 188–200.06–120Orland-Barak, Lily (U of Haifa, Israel), Lost in translation: Mentors learning to participate in competing discourses of practice. Journal of Teacher Education (Sage) 56.4 (2005), 355–366.06–121Postholm, May Britt (Norwegian U Science & Technology, Norway), The teacher shaping and creating dialogues in project work. Teachers and Teaching: Theory and Practice (Routledge/Taylor&Francis) 11.6 (2005), 519–539.06–122Poulou, Maria (U Crete, Greece), Educational psychology with teacher education. Teachers and Teaching: Theory and Practice (Routledge/Taylor&Francis) 11.6 (2005), 555–574.06–123Shahrzad, Saif (Université Laval, Quebec, Canada), Aiming for positive washback: A case study of international teaching assistants. Language Testing (Hodder Arnold) 23.1 (2006), 1–34.06–124Siew-Lian Wong, Mary (Batu Lintang Teachers' College, Malaysia; marywsl@yahoo.com), Language learning strategies and self-efficacy: Investigating the relationship in Malaysia. RELC Journal (Sage) 36.3 (2005), 245–269.06–125Sifakis, Nicos C. & Areti-Maria Sougari (Hellenic Open U, Greece), Pronunciation issues and EIL pedagogy in the periphery: A survey of Greek state school teachers' beliefs. TESOL Quarterly (Teachers of English to Speakers of Other Languages) 39.3 (2005), 467–488.06–126Yin Wa Chan, Alice (City U Hong Kong, China), Tactics employed and problems encountered by university English majors in Hong Kong in using a dictionary. Applied Language Learning (Defense Language Institute Foreign Language Center and Presidio of Monterey) 15.1 & 15.2 (2005), 1–27.

Dear Readers,We are delighted that this special issue includes book reviews from preschool to junior high readers!We would like to acknowledge Michelle St. Jean, Steven Campbell, Natalie Burns—the grade six and eight teachers from Ben Calf Robe - St. Clare Elementary/Junior High School—whose students completed the reviews as part of their class work. Assistant Principal Sonia Mangieri was our contact at the school who coordinated with the teachers to help make the vision of an issue entirely devoted to student reviews a reality. We would also like to thank Principal Rena Methuen for her school’s participation in this project. We are also grateful to teachers Ann Sheehan and Jenn Sych from the Child Study Centre’s Junior Kindergarten in the Faculty of Education at the University of Alberta for helping their students to provide class reviews of The Pirate’s Bed. Finally we would like to acknowledge our reviewers for contributing their thoughts on a wide range of reading materials and for sharing their favorite books and reading spots. Wishing you all a wonderful READ IN Week with enjoyable books and good friends.Warm wishes,Deakin Editors_________________________________________________________________Dear Readers,Welcome to this special edition of the Deakin Review. My name is Dr. Trudy Cardinal and I am very excited to be part of this edition highlighting the reviews of students from Ben Calf Robe St. Clare School and from the Child Study Centre’s Junior Kindergarten program in the University of Alberta’s Faculty of Education as part of the 2016 READ IN Week celebrations. This year’s theme is: One World, Many Voices, which was inspired in part by the words of Indigenous author Richard Wagamese in his introduction to One Story, One Song: “What binds us together as a human family is our collective yearning to belong, and we need to share our stories to achieve that” (2011, p. 5). As a Cree/Métis scholar I have always yearned to find children’s books that were more representative of the Cree/Métis life I lived as a little girl in northern Alberta but I never did find one. Rather I fell in love with Laura Ingalls Wilder from Little House on the Prairie and Lucy Maud Montgomery’s Anne of Green Gables feeling a kindred spirit in both of those characters – and yet, despite this love, I still yearned for more – someone more like me! Now, as a teacher educator and a Kokom (a Cree grandmother) I am so excited to find more and more beautiful children’s books, and more and more brilliant Indigenous authors who are creating stories that resonate with my soul. I can now go on grand adventures with Chuck in Jordon Wheeler’s Just a Walk. I see images of my niece Emma in Elizabeth Denny’s Jenneli’s Dance as she wins her first jigging prize and my heart-strings are tugged as I see the spitting image of my younger brother in the little boy in Peter Eyvindson’s Red Parka Mary. Finally, the yearning I have held for so long is beginning to abate as I come across such rich Indigenous literature depicting stories that are more representative of the life I lived as a Cree/Métis little girl. And in this issue, where the youngest readers are given opportunity to share stories of the books they are reading, Deakin Review helps to create spaces of belonging and nurtures the dreams of our youngest - now published - authors. Literacy, when we honor stories of lives, and create spaces for diverse voices in the ways that this issues does, contributes to that greater sense of belonging to which Richard Wagamese speaks. Happy reading!Trudy CardinalDr. Trudy Cardinal is an assistant professor in the department of Elementary Education at the University of Alberta. As a Cree/Métis scholar and Kokom (Cree grandmother), she has a particular passion for stories and storytelling including a love of children’s literature, especially literature written by and portraying the multiplicities in the lives of Indigenous youth and families. Her current favorite book is Just a Walk by Jordon Wheeler because it makes her laugh and think of the many adventures she went on when walking in the woods behind her house! __________________________________________________________Dear Readers,My name is Jill McClay, and I am a reader. Throughout my life, I have held a number of jobs and lived in three countries, but one constant in my life is that I have been a reader for as far back as my memory goes. I am delighted to co-introduce this special issue of the Deakin Review because this issue reminds me of the great variety of readers of all ages. In reading these young readers’ reviews of their favourite stories, I make many connections –they love some of my favourite books, and they like or dislike stories for the same reasons as I do.These young people love some of the stories that I love—the Harry Potter series, anything that John Green writes, Lumberjanes -- and some others I don’t know but now want to read. They read a wide range of literature, from fantasy, science fiction, nonfiction, romance, realistic fiction, manga other graphic stories, mysteries, stories with movie tie-ins, and more. When they explain why they like reading, I nod in agreement at many of their comments: Jerlaine sums up my thoughts best when she writes that she likes to read “because it makes you feel like you’re with different people and different times.” I too like the feeling Aiden expresses, “The author makes you kind of feel like you’re tagging along with the characters in this story.”The readers featured in this issue also dislike stories for some of the same reasons that I do – Nathaniel notes that he “didn't like the part when Obi Wan got captured because he got distracted by cookies. Jedi don't get distracted by cookies.” Fair point! I note that nonfiction draws both great approval and definite disapproval by various readers, reminding us that we all have different tastes.This issue of the Deakin Review, featuring the responses of young readers to their reading, reminds me of the importance of allowing young people to follow their interests in reading. There are stories and books for us all. As friends, teachers, parents, and librarians, we can help each other and young readers find the books that will be important to us by talking about the stories we like.Best wishes,Jill McClayDr. Jill McClay is the Associate Dean of Graduate Studies in the Faculty of Education at the University of Alberta. She likes to read most kinds of fiction, especially young adult novels, picture books, and stories of families through the generations. Her favourite place to read is in her comfy red chair. She doesn’t have a favourite book but likes to re-read some of her favourites occasionally.

IntroductionFirmly located within the discourse of visible culture as the lofty preserve of art exhibitions and museum artefacts, the noun “curate” has gradually transformed into the verb “to curate”. Williams writes that “curate” has become a fashionable code word among the aesthetically minded to describe a creative activity. Designers no longer simply sell clothes; they “curate” merchandise. Chefs no longer only make food; they also “curate” meals. Chosen for their keen eye for a particular style or a precise shade, it is their knowledge of their craft, their reputation, and their sheer ability to choose among countless objects which make the creative process a creative activity in itself. Writing from within the framework of “curate” as a creative process, this article discusses how the state banquet for Queen Elizabeth II, hosted by Irish President Mary McAleese at Dublin Castle in May 2011, was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity. The paper will focus in particular on how the menu for the banquet was created and how the banquet’s brief, “Ireland on a Plate”, was fulfilled.History and BackgroundFood has been used by nations for centuries to display wealth, cement alliances, and impress foreign visitors. Since the feasts of the Numidian kings (circa 340 BC), culinary staging and presentation has belonged to “a long, multifaceted and multicultural history of diplomatic practices” (IEHCA 5). According to the works of Baughman, Young, and Albala, food has defined the social, cultural, and political position of a nation’s leaders throughout history.In early 2011, Ross Lewis, Chef Patron of Chapter One Restaurant in Dublin, was asked by the Irish Food Board, Bord Bía, if he would be available to create a menu for a high-profile banquet (Mahon 112). The name of the guest of honour was divulged several weeks later after vetting by the protocol and security divisions of the Department of the Taoiseach (Prime Minister) and the Department of Foreign Affairs and Trade. Lewis was informed that the menu was for the state banquet to be hosted by President Mary McAleese at Dublin Castle in honour of Queen Elizabeth II’s visit to Ireland the following May.Hosting a formal banquet for a visiting head of state is a key feature in the statecraft of international and diplomatic relations. Food is the societal common denominator that links all human beings, regardless of culture (Pliner and Rozin 19). When world leaders publicly share a meal, that meal is laden with symbolism, illuminating each diner’s position “in social networks and social systems” (Sobal, Bove, and Rauschenbach 378). The public nature of the meal signifies status and symbolic kinship and that “guest and host are on par in terms of their personal or official attributes” (Morgan 149). While the field of academic scholarship on diplomatic dining might be young, there is little doubt of the value ascribed to the semiotics of diplomatic gastronomy in modern power structures (Morgan 150; De Vooght and Scholliers 12; Chapple-Sokol 162), for, as Firth explains, symbols are malleable and perfectly suited to exploitation by all parties (427).Political DiplomacyWhen Ireland gained independence in December 1921, it marked the end of eight centuries of British rule. The outbreak of “The Troubles” in 1969 in Northern Ireland upset the gradually improving environment of British–Irish relations, and it would be some time before a state visit became a possibility. Beginning with the peace process in the 1990s, the IRA ceasefire of 1994, and the Good Friday Agreement in 1998, a state visit was firmly set in motion by the visit of Irish President Mary Robinson to Buckingham Palace in 1993, followed by the unofficial visit of the Prince of Wales to Ireland in 1995, and the visit of Irish President Mary McAleese to Buckingham Palace in 1999. An official invitation to Queen Elizabeth from President Mary McAleese in March 2011 was accepted, and the visit was scheduled for mid-May of the same year.The visit was a highly performative occasion, orchestrated and ordained in great detail, displaying all the necessary protocol associated with the state visit of one head of state to another: inspection of the military, a courtesy visit to the nation’s head of state on arrival, the laying of a wreath at the nation’s war memorial, and a state banquet.These aspects of protocol between Britain and Ireland were particularly symbolic. By inspecting the military on arrival, the existence of which is a key indicator of independence, Queen Elizabeth effectively demonstrated her recognition of Ireland’s national sovereignty. On making the customary courtesy call to the head of state, the Queen was received by President McAleese at her official residence Áras an Uachtaráin (The President’s House), which had formerly been the residence of the British monarch’s representative in Ireland (Robbins 66). The state banquet was held in Dublin Castle, once the headquarters of British rule where the Viceroy, the representative of Britain’s Court of St James, had maintained court (McDowell 1).Cultural DiplomacyThe state banquet provided an exceptional showcase of Irish culture and design and generated a level of preparation previously unseen among Dublin Castle staff, who described it as “the most stage managed state event” they had ever witnessed (Mahon 129).The castle was cleaned from top to bottom, and inventories were taken of the furniture and fittings. The Waterford Crystal chandeliers were painstakingly taken down, cleaned, and reassembled; the Killybegs carpets and rugs of Irish lamb’s wool were cleaned and repaired. A special edition Newbridge Silverware pen was commissioned for Queen Elizabeth and Prince Philip to sign the newly ordered Irish leather-bound visitors’ book. A new set of state tableware was ordered for the President’s table. Irish manufacturers of household goods necessary for the guest rooms, such as towels and soaps, hand creams and body lotions, candle holders and scent diffusers, were sought. Members of Her Majesty’s staff conducted a “walk-through” several weeks in advance of the visit to ensure that the Queen’s wardrobe would not clash with the surroundings (Mahon 129–32).The promotion of Irish manufacture is a constant thread throughout history. Irish linen, writes Kane, enjoyed a reputation as far afield as the Netherlands and Italy in the 15th century, and archival documents from the Vaucluse attest to the purchase of Irish cloth in Avignon in 1432 (249–50). Support for Irish-made goods was raised in 1720 by Jonathan Swift, and by the 18th century, writes Foster, Dublin had become an important centre for luxury goods (44–51).It has been Irish government policy since the late 1940s to use Irish-manufactured goods for state entertaining, so the material culture of the banquet was distinctly Irish: Arklow Pottery plates, Newbridge Silverware cutlery, Waterford Crystal glassware, and Irish linen tablecloths. In order to decide upon the table setting for the banquet, four tables were laid in the King’s Bedroom in Dublin Castle. The Executive Chef responsible for the banquet menu, and certain key personnel, helped determine which setting would facilitate serving the food within the time schedule allowed (Mahon 128–29). The style of service would be service à la russe, so widespread in restaurants today as to seem unremarkable. Each plate is prepared in the kitchen by the chef and then served to each individual guest at table. In the mid-19th century, this style of service replaced service à la française, in which guests typically entered the dining room after the first course had been laid on the table and selected food from the choice of dishes displayed around them (Kaufman 126).The guest list was compiled by government and embassy officials on both sides and was a roll call of Irish and British life. At the President’s table, 10 guests would be served by a team of 10 staff in Dorchester livery. The remaining tables would each seat 12 guests, served by 12 liveried staff. The staff practiced for several days prior to the banquet to make sure that service would proceed smoothly within the time frame allowed. The team of waiters, each carrying a plate, would emerge from the kitchen in single file. They would then take up positions around the table, each waiter standing to the left of the guest they would serve. On receipt of a discreet signal, each plate would be laid in front of each guest at precisely the same moment, after which the waiters would then about foot and return to the kitchen in single file (Mahon 130).Post-prandial entertainment featured distinctive styles of performance and instruments associated with Irish traditional music. These included reels, hornpipes, and slipjigs, voice and harp, sean-nόs (old style) singing, and performances by established Irish artists on the fiddle, bouzouki, flute, and uilleann pipes (Office of Public Works).Culinary Diplomacy: Ireland on a PlateLewis was given the following brief: the menu had to be Irish, the main course must be beef, and the meal should represent the very best of Irish ingredients. There were no restrictions on menu design. There were no dietary requirements or specific requests from the Queen’s representatives, although Lewis was informed that shellfish is excluded de facto from Irish state banquets as a precautionary measure. The meal was to be four courses long and had to be served to 170 diners within exactly 1 hour and 10 minutes (Mahon 112). A small army of 16 chefs and 4 kitchen porters would prepare the food in the kitchen of Dublin Castle under tight security. The dishes would be served on state tableware by 40 waiters, 6 restaurant managers, a banqueting manager and a sommélier. Lewis would be at the helm of the operation as Executive Chef (Mahon 112–13).Lewis started by drawing up “a patchwork quilt” of the products he most wanted to use and built the menu around it. The choice of suppliers was based on experience but also on a supplier’s ability to deliver perfectly ripe goods in mid-May, a typically black spot in the Irish fruit and vegetable growing calendar as it sits between the end of one season and the beginning of another. Lewis consulted the Queen’s itinerary and the menus to be served so as to avoid repetitions. He had to discard his initial plan to feature lobster in the starter and rhubarb in the dessert—the former for the precautionary reasons mentioned above, and the latter because it featured on the Queen’s lunch menu on the day of the banquet (Mahon 112–13).Once the ingredients had been selected, the menu design focused on creating tastes, flavours and textures. Several draft menus were drawn up and myriad dishes were tasted and discussed in the kitchen of Lewis’s own restaurant. Various wines were paired and tasted with the different courses, the final choice being a Château Lynch-Bages 1998 red and a Château de Fieuzal 2005 white, both from French Bordeaux estates with an Irish connection (Kellaghan 3). Two months and two menu sittings later, the final menu was confirmed and signed off by state and embassy officials (Mahon 112–16).The StarterThe banquet’s starter featured organic Clare Island salmon cured in a sweet brine, laid on top of a salmon cream combining wild smoked salmon from the Burren and Cork’s Glenilen Farm crème fraîche, set over a lemon balm jelly from the Tannery Cookery School Gardens, Waterford. Garnished with horseradish cream, wild watercress, and chive flowers from Wicklow, the dish was finished with rapeseed oil from Kilkenny and a little sea salt from West Cork (Mahon 114). Main CourseA main course of Irish beef featured as the pièce de résistance of the menu. A rib of beef from Wexford’s Slaney Valley was provided by Kettyle Irish Foods in Fermanagh and served with ox cheek and tongue from Rathcoole, County Dublin. From along the eastern coastline came the ingredients for the traditional Irish dish of smoked champ: cabbage from Wicklow combined with potatoes and spring onions grown in Dublin. The new season’s broad beans and carrots were served with wild garlic leaf, which adorned the dish (Mahon 113). Cheese CourseThe cheese course was made up of Knockdrinna, a Tomme style goat’s milk cheese from Kilkenny; Milleens, a Munster style cow’s milk cheese produced in Cork; Cashel Blue, a cow’s milk blue cheese from Tipperary; and Glebe Brethan, a Comté style cheese from raw cow’s milk from Louth. Ditty’s Oatmeal Biscuits from Belfast accompanied the course.DessertLewis chose to feature Irish strawberries in the dessert. Pat Clarke guaranteed delivery of ripe strawberries on the day of the banquet. They married perfectly with cream and yoghurt from Glenilen Farm in Cork. The cream was set with Irish Carrageen moss, overlaid with strawberry jelly and sauce, and garnished with meringues made with Irish apple balsamic vinegar from Lusk in North Dublin, yoghurt mousse, and Irish soda bread tuiles made with wholemeal flour from the Mosse family mill in Kilkenny (Mahon 113).The following day, President McAleese telephoned Lewis, saying of the banquet “Ní hé go raibh sé go maith, ach go raibh sé míle uair níos fearr ná sin” (“It’s not that it was good but that it was a thousand times better”). The President observed that the menu was not only delicious but that it was “amazingly articulate in terms of the story that it told about Ireland and Irish food.” The Queen had particularly enjoyed the stuffed cabbage leaf of tongue, cheek and smoked colcannon (a traditional Irish dish of mashed potatoes with curly kale or green cabbage) and had noted the diverse selection of Irish ingredients from Irish artisans (Mahon 116). Irish CuisineWhen the topic of food is explored in Irish historiography, the focus tends to be on the consequences of the Great Famine (1845–49) which left the country “socially and emotionally scarred for well over a century” (Mac Con Iomaire and Gallagher 161). Some commentators consider the term “Irish cuisine” oxymoronic, according to Mac Con Iomaire and Maher (3). As Goldstein observes, Ireland has suffered twice—once from its food deprivation and second because these deprivations present an obstacle for the exploration of Irish foodways (xii). Writing about Italian, Irish, and Jewish migration to America, Diner states that the Irish did not have a food culture to speak of and that Irish writers “rarely included the details of food in describing daily life” (85). Mac Con Iomaire and Maher note that Diner’s methodology overlooks a centuries-long tradition of hospitality in Ireland such as that described by Simms (68) and shows an unfamiliarity with the wealth of food related sources in the Irish language, as highlighted by Mac Con Iomaire (“Exploring” 1–23).Recent scholarship on Ireland’s culinary past is unearthing a fascinating story of a much more nuanced culinary heritage than has been previously understood. This is clearly demonstrated in the research of Cullen, Cashman, Deleuze, Kellaghan, Kelly, Kennedy, Legg, Mac Con Iomaire, Mahon, O’Sullivan, Richman Kenneally, Sexton, and Stanley, Danaher, and Eogan.In 1996 Ireland was described by McKenna as having the most dynamic cuisine in any European country, a place where in the last decade “a vibrant almost unlikely style of cooking has emerged” (qtd. in Mac Con Iomaire “Jammet’s” 136). By 2014, there were nine restaurants in Dublin which had been awarded Michelin stars or Red Ms (Mac Con Iomaire “Jammet’s” 137). Ross Lewis, Chef Patron of Chapter One Restaurant, who would be chosen to create the menu for the state banquet for Queen Elizabeth II, has maintained a Michelin star since 2008 (Mac Con Iomaire, “Jammet’s” 138). Most recently the current strength of Irish gastronomy is globally apparent in Mark Moriarty’s award as San Pellegrino Young Chef 2015 (McQuillan). As Deleuze succinctly states: “Ireland has gone mad about food” (143).This article is part of a research project into Irish diplomatic dining, and the author is part of a research cluster into Ireland’s culinary heritage within the Dublin Institute of Technology. The aim of the research is to add to the growing body of scholarship on Irish gastronomic history and, ultimately, to contribute to the discourse on the existence of a national cuisine. If, as Zubaida says, “a nation’s cuisine is its court’s cuisine,” then it is time for Ireland to “research the feasts as well as the famines” (Mac Con Iomaire and Cashman 97).ConclusionThe Irish state banquet for Queen Elizabeth II in May 2011 was a highly orchestrated and formalised process. From the menu, material culture, entertainment, and level of consultation in the creative content, it is evident that the banquet was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity.The effects of the visit appear to have been felt in the years which have followed. Hennessy wrote in the Irish Times newspaper that Queen Elizabeth is privately said to regard her visit to Ireland as the most significant of the trips she has made during her 60-year reign. British Prime Minister David Cameron is noted to mention the visit before every Irish audience he encounters, and British Foreign Secretary William Hague has spoken in particular of the impact the state banquet in Dublin Castle made upon him. Hennessy points out that one of the most significant indicators of the peaceful relationship which exists between the two countries nowadays was the subsequent state visit by Irish President Michael D. Higgins to Britain in 2013. This was the first state visit to the United Kingdom by a President of Ireland and would have been unimaginable 25 years ago. The fact that the President and his wife stayed at Windsor Castle and that the attendant state banquet was held there instead of Buckingham Palace were both deemed to be marks of special favour and directly attributed to the success of Her Majesty’s 2011 visit to Ireland.As the research demonstrates, eating together unites rather than separates, gathers rather than divides, diffuses political tensions, and confirms alliances. It might be said then that the 2011 state banquet hosted by President Mary McAleese in honour of Queen Elizabeth II, curated by Ross Lewis, gives particular meaning to the axiom “to eat together is to eat in peace” (Taliano des Garets 160).AcknowledgementsSupervisors: Dr Máirtín Mac Con Iomaire (Dublin Institute of Technology) and Dr Michael Kennedy (Royal Irish Academy)Fáilte IrelandPhotos of the banquet dishes supplied and permission to reproduce them for this article kindly granted by Ross Lewis, Chef Patron, Chapter One Restaurant ‹http://www.chapteronerestaurant.com/›.Illustration ‘Ireland on a Plate’ © Jesse Campbell BrownRemerciementsThe author would like to thank the anonymous reviewers for their feedback and suggestions on an earlier draft of this article.ReferencesAlbala, Ken. The Banquet: Dining in the Great Courts of Late Renaissance Europe. 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Photograph by Gonzalo Echeverria (2010)“I must plunge again and again in the water of doubt” (Wittgenstein 1e). The Holy Grail in the phenomenology of religion (and, to a lesser extent, the sociology of religion) is a definition of religion that actually works, but, so far, this seems to have been elusive. Classical definitions of religion—substantive (e.g. Tylor) and functionalist (e.g. Durkheim)—fail, in part because they attempt to be in three places at once, as it were: they attempt to distinguish religion from non-religion; they attempt to capture what religions have in common; and they attempt to grasp the “heart”, or “core”, of religion. Consequently, family resemblance definitions of religion replace certainty and precision for its own sake with a more pragmatic and heuristic approach, embracing doubt and putting forward definitions that give us a better understanding (Verstehen) of religion. In this paper, I summarise some “new” definitions of religion that take this approach, before proposing and defending another one, defining religion as non-propositional and “apophatic”, thus accepting that doubt is central to religion itself, as well as to the analysis of religion.The question of how to define religion has had real significance in a number of court cases round the world, and therefore it does have an impact on people’s lives. In Germany, for example, the courts ruled that Scientology was not a religion, but a business, much to the displeasure of the Church of Scientology (Aldridge 15). In the United States, some advocates of Transcendental Meditation (TM) argued that TM was not a religion and could therefore be taught in public schools without violating the establishment clause in the constitution—the separation of church and state. The courts in New Jersey, and federal courts, ruled against them. They ruled that TM was a religion (Barker 146). There are other cases that I could cite, but the point of this is simply to establish that the question has a practical importance, so we should move on.In the classical sociology of religion, there are a number of definitions of religion that are quite well known. Edward Tylor (424) defined religion as a belief in spiritual beings. This definition does not meet with widespread acceptance, the notable exception being Melford Spiro, who proposed in 1966 that religion was “an institution consisting of culturally patterned interaction with culturally postulated super-human beings” (Spiro 96, see also 91ff), and who has bravely stuck to that definition ever since. The major problem is that this definition excludes Buddhism, which most people do regard as a religion, although some people try to get round the problem by claiming that Buddhism is not really a religion, but more of a philosophy. But this is cheating, really, because a definition of religion must be descriptive as well as prescriptive; that is, it must apply to entities that are commonly recognised as religions. Durkheim, in The Elementary Forms of Religious Life, proposed that religion had two key characteristics, a separation of the sacred from the profane, and a gathering together of people in some sort of institution or community, such as a church (Durkheim 38, 44). However, religions often reject a separation of the sacred from the profane. Most Muslims and many Calvinist Christians, for example, would insist strongly that everything—including the ostensibly profane—is equally subject to the sovereignty of God. Also, some religions are more oriented to a guru-pupil kind of relationship, rather than a church community.Weber tried to argue that religion should only be defined at the end of a long process of historical and empirical study. He is often criticised for this, although there probably is some wisdom in his argument. However, there seems to be an implicit definition of religion as theodicy, accounting for the existence of evil and the existence of suffering. But is this really the central concern of all religions?Clarke and Byrne, in their book Religion Defined and Explained, construct a typology of definitions, which I think is quite helpful. Broadly speaking, there are two types of classical definition. Firstly, there are substantive definitions (6), such as Tylor’s and Spiro’s, which posit some sort of common “property” that religions “have”—“inside” them, as it were. Secondly, functionalist definitions (Clarke and Byrne 7), such as Durkheim’s, define religion primarily in terms of its social function. What matters, as far as a definition of religion is concerned, is not what you believe, but why you believe it.However, these classical definitions do not really work. I think this is because they try to do too many things. For a strict definition of religion to work, it needs to tell us (i) what religions have in common, (ii) what distinguishes religion on the one hand from non-religion, or everything that is not religion, on the other, and (iii) it needs to tell us something important about religion, what is at the core of religion. This means that a definition of religion has to be in three places at once, so to speak. Furthermore, a definition of religion has to be based on extant religions, but it also needs to have some sort of quasi-predictive capacity, the sort of thing that can be used in a court case regarding, for example, Scientology or Transcendental Meditation.It may be possible to resolve the latter problem by a gradual process of adjustment, a sort of hermeneutic circle of basing a definition on extant religions and applying it to new ones. But what about the other problem, the one of being in three places at once?Another type identified by Clarke and Byrne, in their typology of definitions, is the “family resemblance” definition (11-16). This derives from the later Wittgenstein. The “family resemblance” definition of religion is based on the idea that religions commonly share a number of features, but that no one religion has all of them. For example, there are religious beliefs, doctrines and mythos—or stories and parables. There are rituals and moral codes, institutions and clergy, prayers, spiritual emotions and experiences, etc. This approach is of course less precise than older substantive and functional definitions, but it also avoids some of the problems associated with them.It does so by rethinking the point of defining religion. Instead of being precise and rigorous for the sake of it, it tries to tell us something, to be “productive”, to help us understand religion better. It eschews certainty and embraces doubt. Its insights could be applied to some schools of philosophy (e.g. Heideggerian) and practical spirituality, because it does not focus on what is distinctive about religion. Rather, it focuses on the core of religion, and, secondarily, on what religions have in common. The family resemblance approach has led to a number of “new” definitions (post-Durkheim definitions) being proposed, all of which define religion in a less rigorous, but, I hope, more imaginative and heuristic way.Let me provide a few examples, starting with two contrasting ones. Peter Berger in the late 1960s defined religion as “the audacious attempt to conceive of the entire universe as humanly significant”(37), which implies a consciousness of an anthropocentric sacred cosmos. Later, Alain Touraine said that religion is “the apprehension of human destiny, existence, and death”(213–4), that is, an awareness of human limitations, including doubt. Berger emphasises the high place for human beings in religion, and even a sort of affected certainty, while Touraine emphasises our place as doubters on the periphery, but it seems that religion exists within a tension between these two opposites, and, in a sense, encompasses them both.Richard Holloway, former Bishop of Edinburgh in the Scottish Episcopal Church and arch-nemesis of the conservative Anglicans, such as those from Sydney, defines religion as like good poetry, not bad science. It is easy to understand that he is criticising those who see religion, particularly Christianity, as centrally opposed to Darwin and evolution. Holloway is clearly saying that those people have missed the point of their own faith. By “good poetry”, he is pointing to the significance of storytelling rather than dogma, and an open-ended discussion of ultimate questions that resists the temptation to end with “the moral of the story”. In science (at least before quantum physics), there is no room for doubt, but that is not the case with poetry.John Caputo, in a very energetic book called On Religion, proposes what is probably the boldest of the “new” definitions. He defines religion as “the love of God” (1). Note the contrast with Tylor and Spiro. Caputo does not say “belief in God”; he says “the love of God”. You might ask how you can love someone you don’t believe in, but, in a sense, this paradox is the whole point. When Caputo says “God”, he is not necessarily talking in the usual theistic or even theological terms. By “God”, he means the impossible made possible (10). So a religious person, for Caputo, is an “unhinged lover” (13) who loves the impossible made possible, and the opposite is a “loveless lout” who is only concerned with the latest stock market figures (2–3). In this sense of religious, a committed atheist can be religious and a devout Catholic or Muslim or Hindu can be utterly irreligious (2–3). Doubt can encompass faith and faith can encompass doubt. This is the impossible made possible. Caputo’s approach here has something in common with Nietzsche and especially Kierkegaard, to whom I shall return later.I would like to propose another definition of religion, within the spirit of these “new” definitions of religion that I have been discussing. Religion, at its core, I suggest, is non-propositional and apophatic. When I say that religion is non-propositional, I mean that religion will often enact certain rituals, or tell certain stories, or posit faith in someone, and that propositional statements of doctrine are merely reflections or approximations of this non-propositional core. Faith in God is not a proposition. The Eucharist is not a proposition. Prayer is not, at its core, a proposition. Pilgrimage is not a proposition. And it is these sorts of things that, I suggest, form the core of religion. Propositions are what happen when theologians and academics get their hands on religion, they try to intellectualise it so that it can be made to fit within their area of expertise—our area of expertise. But, that is not where it belongs. Propositions about rituals impose a certainty on them, whereas the ritual itself allows for courage in the face of doubt. The Maundy Thursday service in Western Christianity includes the stripping of the altar to the accompaniment of Psalm 22 (“My God, my God, why hast Thou forsaken me”), ending the service without a dismissal (Latin missa, the origin of the English “mass”) and with the church in darkness. Doubt, confusion, and bewilderment are the heart and soul of this ritual, not orthodox faith as defined propositionally.That said, religion does often involve believing, of some kind (though it is not usually as central as in Christianity). So I say that religion is non-propositional and apophatic. The word “apophatic”, though not the concept, has its roots in Greek Orthodox theology, where St Gregory Palamas argues that any statement about God—and particularly about God’s essence as opposed to God’s energies—must be paradoxical, emphasising God’s otherness, and apophatic, emphasising God’s essential incomprehensibility (Armstrong 393). To make an apophatic statement is to make a negative statement—instead of saying God is king, lord, father, or whatever, we say God is not. Even the most devout believer will recognise a sense in which God is not a king, or a lord, or a father. They will say that God is much greater than any of these things. The Muslim will say “Allahu Akhbar”, which means God is greater, greater than any human description. Even the statement “God exists” is seen to be well short of the mark. Even that is human language, which is why the Cappadocian fathers (Saints Basil the Great, Gregory of Nyssa, and Gregory Naziansus) said that they believed in God, while refusing to say that God exists.So to say that religion is at its core non-propositional is to say that religious beliefs are at their core apophatic. The idea of apophasis is that by a process of constant negation you are led into silence, into a recognition that there is nothing more that can be said. St Thomas Aquinas says that the more things we negate about God, the more we say “God is not…”, the closer we get to what God is (139). Doubt therefore brings us closer to the object of religion than any putative certainties.Apophasis does not only apply to Christianity. I have already indicated that it applies also to Islam, and the statement that God is greater. In Islam, God is said to have 99 names—or at least 99 that have been revealed to human beings. Many of these names are apophatic. Names like The Hidden carry an obviously negative meaning in English, while, etymologically, “the Holy” (al-quddu-s) means “beyond imperfection”, which is a negation of a negation. As-salaam, the All-Peaceful, means beyond disharmony, or disequilibrium, or strife, and, according to Murata and Chittick (65–6), “The Glorified” (as-subbuh) means beyond understanding.In non-theistic religions too, an apophatic way of believing can be found. Key Buddhist concepts include sunyata, emptiness, or the Void, and anatta, meaning no self, the belief or realisation that the Self is illusory. Ask what they believe in instead of the Self and you are likely to be told that you are missing the point, like the Zen pupil who confused the pointing finger with the moon. In the Zen koans, apophasis plays a major part. One well-known koan is “What is the sound of one hand clapping?” Any logical answers will be dismissed, like Thomas Aquinas’s statements about God, until the pupil gets beyond logic and achieves satori, or enlightenment. Probably the most used koan is Mu—Master Joshu is asked if a dog has Buddha-nature and replies Mu, meaning “no” or “nothing”. This is within the context of the principle that everything has Buddha-nature, so it is not logical. But this apophatic process can lead to enlightenment, something better than logic. By plunging again and again in the water of doubt, to use Wittgenstein’s words, we gain something better than certainty.So not only is apophasis present in a range of different religions—and I have given just a few examples—but it is also central to the development of religion in the Axial Age, Karl Jaspers’s term for the period from about 800-200 BCE when the main religious traditions of the world began—monotheism in Israel (which also developed into Christianity and Islam), Hinduism and Buddhism in India, Confucianism and Taoism in China, and philosophical rationalism in Greece. In the early Hindu traditions, there seems to have been a sort of ritualised debate called the Brahmodya, which would proceed through negation and end in silence. Not the silence of someone admitting defeat at the hands of the other, but the silence of recognising that the truth lay beyond them (Armstrong 24).In later Hinduism, apophatic thought is developed quite extensively. This culminates in the idea of Brahman, the One God who is Formless, beyond all form and all description. As such, all representations of Brahman are equally false and therefore all representations are equally true—hence the preponderance of gods and idols on the surface of Hinduism. There is also the development of the idea of Atman, the universal Self, and the Buddhist concept anatta, which I mentioned, is rendered anatman in Sanskrit, literally no Atman, no Self. But in advaita Hinduism there is the idea that Brahman and Atman are the same, or, more accurately, they are not two—hence advaita, meaning “not two”. This is negation, or apophasis. In some forms of present-day Hinduism, such as the International Society for Krishna Consciousness (commonly known as the Hare Krishnas), advaita is rejected. Sometimes this is characterised as dualism with respect to Brahman and Atman, but it is really the negation of non-dualism, or an apophatic negation of the negation.Even in early Hinduism, there is a sort of Brahmodya recounted in the Rig Veda (Armstrong 24–5), the oldest extant religious scripture in the world that is still in use as a religious scripture. So here we are at the beginning of Axial Age religion, and we read this account of creation:Then was not non-existent nor existent: there was no realm of air, no sky beyond it.Death was not then, nor was there aught immortal.Darkness there was: at first concealed in darkness this All was indiscriminated chaos.All that existed then was void and form less.Sages who searched with their heart's thought discovered the existent's kinship in the non-existent.Who verily knows and who can here declare it, whence it was born and whence comes this creation?The Gods are later than this world's production. Who knows then whence it first came into being?He, the first origin of this creation, whether he formed it all or did not form it,Whose eye controls this world in highest heaven, he verily knows it, or perhaps he knows not.(Rig Veda Book 10, Hymn 129, abridged)And it would seem that this is the sort of thought that spread throughout the world as a result of the Axial Age and the later spread of Axial and post-Axial religions.I could provide examples from other religious traditions. Taoism probably has the best examples, though they are harder to relate to the traditions that are more familiar in the West. “The way that is spoken is not the Way” is the most anglicised translation of the opening of the Tao Te Ching. In Sikhism, God’s formlessness and essential unknowability mean that God can only be known “by the Guru’s grace”, to quote the opening hymn of the Guru Granth Sahib.Before I conclude, however, I would like to anticipate two criticisms. First, this may only be applicable to the religions of the Axial Age and their successors, beginning with Hinduism and Buddhism, Taoism and Confucianism, and early Jewish monotheism, followed by Jainism, Christianity, Islam and so on. I would like to find examples of apophasis at the core of other traditions, including Indigenous Australian and Native American ones, for example, but that is work still to be done. Focusing on the Axial Age does historicise the argument, however, at least in contrast with a more universal concept of religion that runs the risk of falling into the ahistorical homo religiosus idea that humans are universally and even naturally religious. Second, this apophatic definition looks a bit elitist, defining religion in terms that are relevant to theologians and “religious virtuosi” (to use Weber’s term), but what about the ordinary believers, pew-fillers, temple-goers? In response to such criticism, one may reply that there is an apophatic strand in what Niebuhr called the religions of the disinherited. In Asia, devotion to the Buddha Amida is particularly popular among the poor, and this involves a transformation of the idea of anatta—no Self—into an external agency, a Buddha who is “without measure”, in terms of in-finite light and in-finite life. These are apophatic concepts. In the Christian New Testament, we are told that God “has chosen the foolish things of this world to shame the wise, the weak to shame the strong…, the things that are not to shame the things that are” (1 Corinthians 1:27). The things that are not are the apophatic, and these are allied with the foolish and the weak, not the educated and the powerful.One major reason for emphasising the role of apophasis in religious thought is to break away from the idea that the core of religion is an ethical one. This is argued by a number of “liberal religious” thinkers in different religious traditions. I appreciate their reasons, and I am reluctant to ally myself with their opponents, who include the more fundamentalist types as well as some vocal critics of religion like Dawkins and Hitchens. However, I said that I would return to Kierkegaard, and the reason is this. Kierkegaard distinguishes between the aesthetic, the ethical and the religious. Of course, religion has an aesthetic and an ethical dimension, and in some religions these dimensions are particularly important, but that does not make them central to religion as such. Kierkegaard regarded the religious sphere as radically different from the aesthetic or even the ethical, hence his treatment of the story of Abraham going to Mount Moriah to sacrifice his son, in obedience to God’s command. His son was not killed in the end, but Abraham was ready to do the deed. This is not ethical. This is fundamentally and scandalously unethical. Yet it is religious, not because it is unethical and scandalous, but because it pushes us to the limits of our understanding, through the waters of doubt, and then beyond.Were I attempting to criticise religion, I would say it should not go there, that, to misquote Wittgenstein, the limits of my understanding are the limits of my world, whereof we cannot understand thereof we must remain silent. Were I attempting to defend religion, I would say that this is its genius, that it can push back the limits of understanding. I do not believe in value-neutral sociology, but, in this case, I am attempting neither. ReferencesAldridge, Alan. Religion in the Contemporary World. Cambridge: Polity, 2000.Aquinas, Thomas. “Summa of Christian Teaching”. An Aquinas Reader. ed. Mary Clarke. New York: Doubleday, 1972.Armstrong, Karen. The Great Transformation. New York: Alfred A. Knopf, 2006.Barker, Eileen. New Religious Movements: a Practical Introduction. London: HMSO, 1989.Berger, Peter. The Social Reality of Religion. Harmondsworth: Penguin, 1973.Caputo, John. On Religion. London: Routledge, 2001.Clarke, Peter, and Peter Byrne, eds. Religion Defined and Explained. New York: St Martin’s Press. 1993.Durkheim, Emile. The Elementary Forms of Religious Life. New York: Free Press, 1995.Holloway, Richard. Doubts and Loves. Edinburgh: Caqnongate, 2002.Jaspers, Karl. The Origin and Goal of History. Westport, Connecticut: Greenwood Press, 1977.Kierkegaard, Søren. Either/Or. London: Penguin, 1992.———. Fear and Trembling. London: Penguin, 1986.Murata, Sachiko, and William Chittick. The Vision of Islam. St Paul, Minnesota: Paragon House, 1994.Niebuhr, H. Richard. The Social Sources of Denominationalism. New York: Holt, 1929.Spiro, Melford. “Religion: Problems of Definition and Explanation.” Anthropological Approaches to the Study of Religion. Ed. Michael Banton. London: Tavistock, 1966. 85–126.Touraine, Alain. The Post-Industrial Society. London: Wilwood House, 1974.Tylor, Edward. Primitive Culture. London: Murray, 1903.Weber, Max. The Sociology of Religion. Boston: Beacon Press, 1991.Wittgenstein, Ludwig. Remarks on Frazer’s Golden Bough. Nottingham: Brynmill Press, 1979.

Integrity is fundamental to everyone involved in education – students, parents, teachers, lecturers, administrators and future employers, as well as the general public. It is hardly surprising therefore, that research on educational integrity continues to gather momentum, as evidenced by the growing number of conferences and seminars on this subject around the world. I am very pleased to report that while student cheating and plagiarism continue to be topics of interest, practitioners and researchers are also exploring the broader, social context and the changing, globalised and increasingly commercialised nature of education itself. The current issue of the International Journal for Educational Integrity is introduced by William Astore's Plenary Address from the Annual International Center for Academic Integrity Conference, held at Washington University in St Louis, Illinois in October this year. Astore spoke boldly to conference delegates of the 'wider dimensions of academic integrity', using anecdotes from his own experience as a military instructor at the Air Force Academy in Colorado Springs, and as a history professor at the Pennsylvania College of Technology. He convincingly argued that systemic breaches of integrity are far more harmful than individual lapses such as student cheating because they compromise the institution as a whole. In his Address, Astore was openly critical of the marketisation of higher education, a topic which was also explored at the 4th Asia-Pacific Conference on Educational Integrity: Creating an Inclusive Approach, held in September at the University of Wollongong in NSW, Australia. The four best refereed papers from the Asia-Pacific Conference are included in this issue of the IJEI. Kim awyer from the University of Melbourne, and Jackie Johnson and Mark Holub from the University of Western ustralia, provide a candid analysis of the decline in academic standards and integrity in Australian higher education. This paper provides a thorough overview of recent changes in Australian higher education. As Richard Davis commented in his review, "Critics of the modern university face an uphill task. Accused of advocating old, inefficient ways and lamenting a decadent past, they are easily silenced by self-satisfied colleagues enjoying their large research grants and consultancies. Some critics can do little more than condemn local personalities. All would be well if the vice-chancellor was less authoritarian or the university council less mean in its refusal of salary increases. The strength of the current paper lies in its remorseless analysis of the system which developed inexorably from the government's determination to educate more students while cutting its higher education costs. The 'new' corporate market-based university replaced the 'old' university dedicated to the ideals of free enquiry and education as an end in itself". Moving from the broad educational context to specific practices, the next four papers in this issue investigate issues of learning, teaching, assessment and adjudication. Clair Hughes from the University of Queensland addresses an apparent shortfall in Australian universities' implementation of 'Graduate Attributes' (GA), including the GA relating to ethical conduct. Hughes maintains that to authentically operationalise GAs, much more is needed than simply mapping specific attributes against existing programs and courses. Hughes argues for a whole of programme approach, the explicit inclusion of ethics in course teaching and assessment plans, and provides specific examples of how this may be achieved. Jon Yorke, Kathryn Lawson and Graham McMahon from Curtin University of Technology in Western Australia, ask how those who adjudicate breaches of academic integrity can reliably determine 'intent' in cases of plagiarism. The authors draw on a desktop study of institutional policies and procedures in 20 universities from Australia, US, Singapore, Hong Kong, India and the UK to analyse the way that 'intent' is defined and determined. Their findings indicate that despite the espoused significance of 'intent' in determining outcomes for alleged academic misconduct in many policies, there is inconsistency in the way that it is treated. The authors provide a preliminary series of 'probability factors' which might be used to determine 'intent' and call for further research in this little explored aspect of academic integrity. Grace McCarthy and Ann Rogerson from the University of Wollongong in NSW, Australia, share the results of a trial at the Sydney Business School where 61 international students were encouraged to use 'originality reports' provided by the software program Turnitin to assess the originality of their own work and thus avoid inadvertent plagiarism. In conjunction with hands-on support from teaching staff, students were permitted to submit as many drafts as necessary to Turnitin, with the result that all final submissions had a text match of 5% or less. As a consequence of the positive results of the trial, the use of Turnitin as a drafting mechanism, coupled with an extensive program of embedded support and supplementary workshops, has now been mandated for all subjects. The authors share further qualitative and quantitative data to support their thesis that "the use of text-matching software can be a powerful aid to help students improve their writing and to help academic staff identify potential plagiarism". The final paper in this issue is the only one not previously presented at one of the international conferences on academic integrity held during 2009. Mary Davis and Jude Carroll from Oxford Brookes University, using data collected over three years from cohorts of international students in the UK, also explore the role of text-matching software in plagiarism education, with a focus on the importance of formative feedback through tutorial intervention. As one part of an overall educative approach, students worked hand in hand with their tutors to read and interpret the Originality Reports of ungraded drafts of assignments prior to final submission. Students were also surveyed at the end of the module to ascertain their perceptions of the value of using Turnitin in this way. The data indicated that the approach taken at Oxford Brookes University resulted in reductions in the amount of plagiarism, over-reliance on sources, citations errors and insufficient paraphrasing. This study provides an example of best practice in the educational use of text-matching software and provides a potential counter to those who are concerned that the sole function of such software is to police and punish students. I hope that you enjoy this issue of the International Journal for Educational Integrity, and invite you to submit a paper for review directly to me at tracey.bretag@unisa.edu.au or respond to the Call for Papers for Volume 6(2) below. Tracey Bretag, IJEI Editor December 2009 Call for papers, Volume 6(2) 2010 Special issue of IJEI on 'digital technologies and educational integrity' Edited by Chris Moore and Ruth Walker This special issue seeks articles that address the impact of digital technologies on educational integrity. Many different terms have emerged in an attempt to capture the shifting terrain of media and users in various networked environments: 'social', 'participatory', 'user-generated' or simply 'new' media. Common to the online and interactive spaces of Web2.0 is the challenge of technologies and practices that are capable of changing the way we teach, learn, and share knowledge. How can we best engage and support students and colleagues coming to terms with the dynamics of these technologies and the development of new literacies? We are particularly interested in innovative research from scholars in cultural and media studies and/or the scholarship of teaching and learning, and welcome interest from the other disciplinary researchers, who might consider a broad range of questions about digital technologies that critically unpack the conversation about education integrity that goes beyond preoccupation with plagiarism and research ethics. Critical voices of concern, examples of best practice and consideration of the perceived impact of digital technology on institutional boundaries are keenly sought as is research exploring the collaborative approaches to social and participatory media that challenge conceptions about authorial identity and scholarly writing practices. Research examining the development of new literacies that celebrate the appropriation, adaptation and transformation of source material would fit well within the scope of this special issue. Abstract due date: 31 March 2010 Full paper deadline: 1 July 2010 Special issue release date: December 2010 Send all enquiries and 500 word abstract to the guest editors at ruth_walker@uow.edu.au With thanks to our reviewers in 2009: Kate Andre, University of South Australia Peter Bowden, University of Sydney Kylie Brass, University of Western Sydney Deborah Churchman, University of South Australia Geoffrey Crisp, University of Adelaide Richard Davis, University of Tasmania John Dearn, Australian National University Fiona Duggan Lawrence B. Ebert Teddi Fishman, Clemson University Neera Handa, University of Western Sydney Beverley Kokkin, University of South Australia Margaret Lightbody, University of Adelaide Nancy Matchett, University of Colorado Paul Moore, University of Wollongong Gerry Mullins, University of Adelaide Nicholas Proctor, University of South Australia Wendy Sutherland-Smith, Monash University Daniel Wueste, Clemson University

Over time, many groups have sought to offer alternatives to the dominant culture of the day; for example, the civil-rights movements, antiwar protests, and environmental activism of the 1960s and 1970s. Not all groupings however can be considered countercultural. Roberts makes a distinction between group culture where cultural patterns only influence part of one’s life, or for a limited period of time; and countercultures that are more wholistic, affecting all of life. An essential element in defining a counterculture is that it has a value-conflict with the dominant society (Yinger), and that it demonstrates viability over time: long enough to pass on the values to the next generation (Roberts). Each society has images of what it means to be a good citizen. These images are driven by ideology and communicated through media channels, educational values and government legislation. Ideologies are not neutral and compete for the “common sense” of citizens; seeking to shape desires and allegiance to a particular way of life. A way of life is expressed in the everyday practices, or routines and choices that make up an ordinary day, the sum of which express the values of individuals and communities. A number of groups or movements have sought to counter the values and practices of dominant cultures only to find themselves absorbed into it. For example, the surfing magazine Tracks was an Australian countercultural text that chronicled the authentic surfing lifestyle of the 1970s. As surfing became big business, the same magazine was transformed into a glossy lifestyle publication. The surfing lifestyle had become part of the expanding field of consumption and Tracks had become one more tool to promote it (Henderson). As the “counter” is absorbed into the dominant consumer culture, new ways to engage the hegemonic culture emerge that offer fresh possibilities of living and engaging in contemporary society. Positioning I hold to a critical postmodern perspective of consumption. That is, while I acknowledge some of the pleasures of consumption, I see a dominant posture of detachment as a result of consumer cultures increased distance from production, producers and the products we buy (Cavanaugh; Sandlin, Kahn, Darts and Tavin). The market is a powerful educator of individuals (Kincheloe; Steinberg), but it is not the only educator. Families, schools, churches and other interest groups also seek to educate, or shape, individuals. These competing influences do not however hold equal power. In many instances the families, schools, churches and interest groups have uncritically adopted the dominant ideology of the market and so reinforce the values of consumerism; such is its hegemonic power. I hold that individuals, and more importantly communities, have some agency to consume in alternative ways that give rise to the formation of different identities. I see critical practices as important in the awareness raising, or awakeness, and shaping of an individual and a community (Freire; Rautins and Ibrahim). Contemporary Cultures Consumption has become the organizing principle of many contemporary cultures (Hoechsmann). The message that to be a good citizen is to be a good consumer is pervasive and promoted as key to economic growth and the remedy to lift countries out of recession. This message of consumption falls on fertile ground with the development of consumerism, or consumer culture. Smart (5) sees this expressed as a way of life that is “perpetually preoccupied with the pursuit, possession, rapid displacement, and replacement of a seemingly inexhaustible supply of things.” These “things” have increasingly become luxury goods and services as opposed to the satisfaction of basic needs and wants (de Geus). Contemporary Alternatives There are examples of contemporary alternatives that open spaces for people to imagine that “another world is possible.” Sandlin, Kahn, Darts and Tavin (102, 103) call upon educators to “critically analyze what it might mean to resist a consumer society predicated on the normalization of overconsumption” and to “celebrate the creative and critical agency of all those who resist and interrogate the hegemony of multinational companies/industries.” A number of examples are worth celebrating and critically analysing to offer input in the engagement with the dominant culture of consumption. The examples of the Adbusters Media Foundation, Bill Talen’s work as a political-theatre activist, and the voluntary simplicity movement will be briefly examined before exploring the contribution of monasticism. The Adbusters Media Foundation produces a glossy bimonthly publication and website that seeks to unmask the destructive power of global corporations. Through the use of cultural resistance techniques such as “culture jamming,” Adbusters remix advertisements to catch the reader by surprise, to make the taken for granted problematic, and to open them to the possibility of an alternative view of reality. These “subvertisements” offer the opportunity for detournement; a turning around or a change in perspective (Darts; Sandlin and Callahan). As people get involved in “culture jamming” they become producers of artifacts and not just consumers of them. The work of Adbusters uses the tools of the media saturated consumer culture to critique that very culture (Rumbo). Advertising performs an ideological function within a consumer culture that addresses people as individual private consumers rather than citizens concerned for the public good (Scatamburlo-D’Annibale). Given the ubiquity of advertising, individuals become ambivalent to its messages but still soak in the dominant narrative. The very form of resistance reinforces the culture of the individualistic citizen as consumer. While it might be seen that the “culture jamming” artifacts of the Adbusters type might not have substantial effect on the broader public, it does provide an accessible means of resistive action for the individual (Haiven). Bill Talen is a political-theatre activist who plays the Southern evangelical preacher Reverend Billy as leader of the Church of Stop Shopping. The Reverend stages “retail interventions” or performances in public spaces and retail stores as an act of “culture jamming”. Reverend Billy uses humour, music, art and theatre in his “services” to create strangeness, discomfort or ambiguity in the lives of the public. In doing so he calls people into transitional spaces where what was normal is disrupted and they are free to imagine differently. This disruption that causes a movement into the unknown is a central pedagogical strategy that seeks to encourage people to question their taken for granted understandings of life (Littler; Sandlin, Learning). Reverend Billy and the Church of Stop Shopping offer a fuller bodied experience of “culture jamming” that engages both the body and the emotions. The act of creating culture together is what fosters a sense of community amongst culture jammers (Sandlin, Popular culture). And yet Reverend Billy and the Church of Stop Shopping appear not to be focused for their own good in that they have formed a number of coalitions with other organisations to work on campaigns that oppose global corporations and the influence of consumerism’s ideology on everyday life. Reverend Billy not only creates disruption in people’s relationship with consumption, he also provides an alternative place to belong. The voluntary simplicity movement involves a growing number of people who choose to limit their incomes and consumption because of new priorities in life. Those involved call into question the dominant cultures view of the “good life” in favour of a less materialistic lifestyle that is more “personally fulfilling, spiritually enlightening, socially beneficial, and environmentally sustainable” (Johnson 527). Grigsby’s research (qtd. in Johnson) found that participants were involved in forming their own identities through their lifestyle choices. The voluntary simplicity movement, it appears, is a niche for those who understand consumption from a postmodern perspective and participate in alternative lifestyle practices. Sandlin (Complicated) sees the formation of collective identity as crucial to a movement’s ability to effectively engage in external education. A shared vision, or telos, is central to that forming of collective identity. However, the voluntary simplicity movement is focused primarily on individual lifestyle changes, thus making it ineffectual as a collective to challenge dominant ideologies or to engage in external education to that end. Each of the examples above provides some insight into a considered engagement with the dominant culture: the creation of Adbuster like “culture jamming” artifacts provides an accessible means of engagement for the individual; Bill Talen’s interventions show an appreciation of the importance of community in supporting countercultural choices; and the voluntary simplicity movement promotes a “whole of life” approach to countercultural engagement. However, when comparing the above examples with Roberts’s definition of a counterculture they appear to be lacking. Roberts (121) holds that “the term counter-culture might best be reserved for groups which are not just a reaction formation to the dominant society, but which have a supporting ideology that allows them to have a relatively self-sufficient system of action.” The remainder of this article examines monasticism as an example of a counter-culture that offers an alternative model of “the good-life” based on a clear ideology and a fifteen hundred year history. Considering Monasticism As seen above, the work of countering the dominant ideology is not without its difficulties. bell hooks found that offering an education that enhances students’ journey to wholeness went against the anti-intellectualism of the current education system. What enabled her to stand within and resist the oppressive dominant culture, and offer alternatives, was the sustaining power of spirituality in her life, the basis of her hope. Tolliver and Tisdell appreciate that spirituality can be an elusive term, but that amongst the definitions offered there are commonalities. These are that: spirituality is about a connection to what is referred to by various names, such as the Life Force, God, a higher power or purpose, Great Spirit, or Buddha Nature. It is about meaning making and a sense of wholeness, healing and the interconnectedness of all things. […] As many have noted, those who value spirituality generally believe that it is possible for learners to come to a greater understanding of their core essence through transformative learning experiences that help them reclaim their authenticity. (Tolliver and Tisdell 38) There is a growing interest in the age-old traditions of Christian monasticism as a means of addressing the challenges of contemporary life (Adams; Jamison). When the BBC broadcast the television series The Monastery in 2005, millions of viewers tuned in to follow the way five ordinary men were affected by the experience of living in a monastery for forty days and nights. Similarly in Australia in 2007, the ABC broadcast the television series The Abbey that followed the experiences of five ordinary women enclosed for 33 days and nights in the space and routines of the Benedictine nuns at Jamberoo Abbey. It was when watching these television series that I was led to consider monasticism as an example of cultural resistance, and to ponder the contribution it might make to the conversation around counter-cultures. As an observer, I find something compelling about monasticism, however I am aware of the possibility of romanticising it as a way of life. The tensions, difficulties and struggles represented in the television series help to temper that. Benedictine spirituality is the foundation for life at the Worth Abbey (The Monastery) and the Jamberoo Abbey (The Abbey). The essential dynamic that underlies this spirituality is a shaping of life according to the Bible and the guidelines set out in the sixth century Rule of Benedict. Monastic life in a Benedictine abbey is marked by certain routines, or rhythms, that are designed to help the community better love God, self and one another (Benedict, chapter 4). “Listen” is the first word in the Rule of Benedict and is closely linked to silence (Benedict, chapter 6). As a key part of monastic life, silence gives the monastics the freedom and space to listen to God, themselves, one another, and the world around them. As Adams (18) points out, “the journey to knowing God must include the discipline of coming to know yourself, and that risky journey invariably starts in silence.” The rhythm of monastic life therefore includes times in the day for silence and solitude to facilitate listening and self-reflection. For Benedict, distractions in the head are actually noises inside the heart: the result of human desires and preoccupations. Silence, and the reflection that occurs within it, allows the monastic to listen for, and see their own relationship to, competing ideologies. This everyday practice of listening might be explained as paying attention to what is noticed, reflecting on it and the internal response to it. In this way listening is an active engagement with the words read (Irvine), the stories heard, the conversations had, and the objects used. Hoffman (200) observes that this practice of attentive listening is evident in decision making within the monastery. Seen in this way, silence acts as a critical practice counter to the educative agenda of consumerism. Physical work is a basic part of monastic life. All members of the community are expected to share the load so that there is no elitism, no avoiding work. This work is not to be seen as a burden but an outlet for creativity (Benedict, chapter 57). By being involved in the production of goods or the growing of crops for the community and others, monastics embody practices that resist the individual consumer identity that consumerism seeks to create. Monastics also come to appreciate the work involved in the products they create and so become more appreciative of, and place greater value on them. Material things are not privately owned but are to be seen as on loan so that they are treated with a level of gratitude and care (Benedict, chapter 32). This attitude of not taking things for granted actually increases the enjoyment and appreciation of them (De Waal). De Waal likens this attitude to the respect shown towards people and things at the Japanese tea ceremony. She says that “here in the most simple and yet profound ceremony there is time to gaze at things, to enjoy them, and to allow them to reveal themselves as they truly are” (87). Such a listening to what products truly are in the dominant consumer culture might reveal chairs made from the denuded forests that destroy habitats, or shoes made with child labour in unsafe conditions. The monastic involvement in work and their resulting handling of material things is a critical practice counter to the ideology of consumerism and the attitude towards products flooding markets today. Community is central to monastic life (Veilleux). Through vows, the monastic commits to life in a particular place with particular people. The commitment to stability means that when conflict arises or disagreements occur they need to be worked out because there is no running away. Because a commitment to working things out requires attention to what is real, monastic community acts as a counter of all that is not real. The creation of false need, the promise of fulfilment, and the creation of identity around consumption can be viewed through the same commitment to reality. This external stability is a reflection of inner stability marked by a unity and coherence of purpose and life (De Waal). A monastic community is formed around a shared telos that gives it a collective identity. While people are welcomed as guests into the community with Benedictine hospitality, the journey to becoming a member is intentionally difficult (Benedict, chapter 58). The importance of committing to community and the sharing of the collective telos is not a rushed decision. The stability and permanence of monastic commitment to community is a counter to the perpetual chasing and replacing of other goods and experiences that is a part of consumerism. The deliberate attention to practices that form a rhythm of life involving the whole person shows that monastic communities are intentional in their own formation. Prayer and spiritual reading are key parts of monastic life that demonstrate that spirituality is central in the formation of individuals and communities (Benedict, prologue). The formation is aligned to a particular ideology that values humanity as being made in the image of God and therefore the need to focus on the connection with God. A holistic humanity addresses issues and development of the mind, body and spirit. Examining Ideology The television series The Monastery and The Abbey demonstrate that when guests enter a monastic community they are able to experience an alternative model of “the good life”. If, as Roberts suggests, a counter-culture looks to reform society by providing an alternative model, then change is based upon seeing the alternative. The guests in the monastic community are involved in discussions that make explicit the monastic ideology and how it shapes the countercultural values and practices. In doing so, the guests are invited to listen to, or examine the consumerist ideology that permeates their society and shapes their everyday experiences. In evaluating the conflicting ideologies, the guests are free to choose an alternative view, which, as the television series showed are not necessarily that of the monastic community, and may in fact remain that of consumerism. Conclusion While ideologies are not neutral, they are often invisible. The dominant ideology of consumerism reduces citizens to individualistic consumers and naturalises the need for never ending consumption. A number of groups or movements attempt to expose the logic of consumerism and offer alternative ways of consuming. Each has their own strengths and weaknesses; some are absorbed into the very culture they seek to counter while others remain apart. Christian monasticism, based on the Bible and the Rule of Benedict, engages in the social practices of listening, physical work, and commitment to community. The formation of individuals, and the community, is based explicitly on an ideology that values humanity as made in God’s image. This model has stood the test of time and shown itself to be a legitimate counterculture that is in value-conflict with the current dominant culture of consumption. References Adams, Ian. Cave, Refectory, Road. Norwich: Canterbury Press, 2010. Benedict and Patrick Barry. Saint Benedict’s Rule. Mahweh, New Jersey: Hidden Spring, 2004. Cavanaugh, William. Being Consumed: Economics and Christian Desire. Grand Rapids, Michigan: Eerdmans, 2008. Darts, David. “Visual Culture Jam: Art, Pedagogy, and Creative Resistance.” Studies in Art Education 45 (2004):313–327. De Geus, Marius. “Sustainable Hedonism: The Pleasures of Living within Environmental Limits.” The Politics and Pleasures of Consuming Differently. Eds. Kate Soper, Martin Ryle, and Lyn Thomas. London: Palgrave MacMillian. 2009. 113–129 De Waal, Esther. Seeking God: The Way of St Benedict. London: Fount, 1996. Freire, Paulo. Pedagogy of the Oppressed. London: Penguin, 1970. Grigsby, Mary. Buying Time and Getting By: The Voluntary Simplicity Movement. Albany, NY: State University of New York Press, 2004. Haiven, Max. “Privatized Resistance: AdBusters and the Culture of Neoliberalism.” The Review of Education, Pedagogy, and Cultural Studies 29 (2007): 85–110. Henderson, Margaret. “The Big Business of Surfing’s Oceanic Feeling: Thirty Years of Tracks Magazine.” Growing Up Postmodern: Neoliberalism and the War on the Young. Ed. Ronald Strickland. London: Rowman & Littlefield, 2002. 141–167 hooks, Bell. Teaching Community. New York: Routledge, 2003. Hoechsmann, Michael. “Rootlessness, Reenchantment, and Educating Desire: A Brief History of the Pedagogy of Consumption.” Critical Pedagogies of Consumption. Eds. Jennifer Sandlin & Peter McLaren. New York: Routledge, 2010. 23–35. Hoffman, Mary. “Ora et Labora (Prayer and Work): Spirituality, Communication and Organizing in Religious Communities”. JCR 30 (2007): 187–212. Irvine, R. D.G. “How to Read: Lectio Divina in an English Benedictine Monastery”. Culture and Religion 11.4 (2010):395–411. Jamison, Christopher. Finding Sanctuary. London: Weidenfeld & Nicolson, 2006. Johnson, Brett. “Simply Identity Work? The Voluntary Simplicity Movement.” Qualitative Sociology 24.4 (2004): 527–530. Kincheloe, Joe. “Consuming the All-American Corporate Burger: McDonald’s “Does It All for You”. Critical Pedagogies of Consumption. Eds. Jennifer Sandlin & Peter McLaren. New York: Routledge, 2010. 137–147. Littler, Jo. “Beyond the Boycott: Anti-Consumerism, Cultural Change and the Limits of Reflexivity”. Cultural Studies 19.2 (2005): 227–252. Rautins, Cara, and Awad Ibrahim. “Wide-Awakeness: Toward a Critical Pedagogy of Imagination, Humanism, Agency, and Becoming.” International Journal of Critical Pedagogy 3.3 (2011): 24–36.Reverend Billy and the Stop Shopping Choir. 2014. 26 Nov. 2014 ‹http://www.revbilly.com›. Roberts, Keith. “Toward a Generic Concept of Counter-Culture.” Sociological Focus 11.2 (1978): 111–126. Rumbo, Joseph. “Consumer Resistance in a World of Advertising Clutter: The Case of Adbusters”. Psychology & Marketing 19.2 (2002): 127–148. Sandlin, Jennifer. “Popular Culture, Cultural Resistance, and Anticonsumption Activism: An Exploration of Culture Jamming as Critical Adult Education.” New Directions for Adult and Continuing Education 115 (2007): 73–82. Sandlin, Jennifer. “Complicated Simplicity: Moral Identity Formation and Social Movement Learning in the Voluntary Simplicity Movement.” Adult Education Quarterly 59.4 (2009): 298–317. Sandlin, Jennifer. “Learning to Survive the ‘Shopocalypse’: Reverend Billy’s Anti-Consumption ‘Pedagogy of the Unknown’.” Critical Studies in Education 51.3 (2010): 295–311. Sandlin, Jennifer, and Jamie Callahan. “Deviance, Dissonance, and Detournement.” Journal of Consumer Culture 9.1 (2009): 79–115. Sandlin, Jennifer, Richard Kahn, David Darts, and Kevin Tavin. “To Find the Cost of Freedom: Theorizing and Practicing a Critical Pedagogy of Consumption.” Journal for Critical Education Policy Studies 7.2 (2009): 98–123. Scatamburlo-D’Annibale, V. “Beyond the Culture Jam.” Critical Pedagogies of Consumption. Eds. Jennifer Sandlin & Peter McLaren. New York: Routledge, 2010. 224–236. Smart, Barry. Consumer Society: Critical Issues and Environmental Consequences. London: Sage, 2010. Steinberg, Shirley. “Barbie: The Bitch Can Buy Anything.” Critical Pedagogies of Consumption. Eds. Jennifer Sandlin & Peter McLaren. New York: Routledge, 2010. 148–156. Tolliver, Derise, and Elizabeth Tisdell. “Engaging Spirituality in the Transformative Higher Education Classroom.” New Directions for Adult and Continuing Education 109 (2006): 37–47. Veilleux, Armand. “Identity with Christ: Modeling our Lives on RB 72.” Cistercian Studies Quarterly 45.1 (2010):13–33. Yinger, Milton. “Contraculture and Subculture.” American Sociological Review 25 (1960): 625–635.

Susanne Bier and David Farr’s 2016 television adaptation of John le Carré’s novel The Night Manager (“Manager”) indexes the resilience of traditional Christian misogyny in contemporary British-American media. In the first episode of the series, Sophie (Aure Atika)’s partner Freddie Hamid (David Avery) brutally beats her. In the subsequent scene, despite her scars, Sophie has a sex scene with the eponymous night manager Pine (Tom Hiddlestone). Sophie’s eye socket and the left side of her face bear fresh bruises and wounds throughout the sex scene. And in the sixth and final episode, Pine and Jed (Elizabeth Debicki) have sex after she has been tortured at length by her partner Roper’s (Hugh Laurie) henchman, at Roper’s request. Jed’s neck, face, and arms bear bruises from the torture.These sex scenes function as a space of revelation. I interpret the women’s wounds and injuries alongside a feminist-critical tradition of reading noir on screen. Inaugurated by Ann Kaplan’s 1978 Women in Film Noir, many feminist commentators have since made the claim that women in noir achieve a peculiar significance, and their key scenes a subversive meaning; “in excess of” their punitive treatment within the narrative (Kaplan 5; Harvey 31; Tasker Working Girls 117). My reading emphasizes a tension between Manager’s patriarchal narrative framing and these two sex scenes that I argue disrupt and subvert the former.That Sophie and Jed are brutalised by their partners does not tell us much: it is a routine expectation in British-American film and television that “bad guys” are tough on “their” chicks. It is only after these violent encounters with their partners, when the women share “romantic” moments with Pine, that the text’s patriarchal entitlement is laid bare (“revelation” stems from Late Latin revelare to “lay bare”). Forgetting about their cuts, injuries and bruises, they desire Pine, remove their clothes, and are stimulated, stimulating, pleasuring, and pleasured. Director Bier and writer Farr assume that a 2016 British and American audience will (i) find these encounters between Sophie and Pine, and Pine and Jed, to be romantic and tender; and also (ii) find Pine’s behavior consistent with that of a “savior”. These expectations regarding audience complicity are truly revelatory.Sophie and Jed’s wounds constitute a space of revelation: the wounds are in excess of, and spill over, the patriarchal narrative framing. Their wounds indicate that the narrative has approached a moment of excessive patriarchal entitlement—emphasising extreme power imbalances between Pine and the women—and break through the narrative framing and encourage feminist enquiry. I use feminist legal theorist Catharine MacKinnon’s theory of consent to argue that, given this blatant power inequity, it could be interpreted the characters have different perspectives of the sexual act and it is questionable whether the women are in fact consenting (182).Critical ReceptionAcademic engagement with John le Carré’s well-respected espionage novels continues to emerge, including the books of Myron Aronoff, Tony Barley, Matthew Bruccoli and Judith Baughman, John Cobbs, David Monaghan, Peter Lewis and Peter Wolfe. There are a small number of academic commentaries exploring the screen adaptations of his novels, including Eric Morgan’s “Whores and Angels” and Geraint D’Arcy’s “Essentially, Another Man’s Woman”. Unfortunately, there are almost no academic commentaries on Manager, with the exception of Gunhild Agger’s “Geopolitical Location and Plot in The Night Manager”, and none that focus on the handling of gender themes within it.However, there are abundant mainstream media articles and reviews of Manager. I randomly selected seven of these articles and reviews in order to gauge the response to these sex scenes within a 2016 British-American media community. I looked at articles and reviews by Hal Boedeker, Caitlin Flynn, Tim Goodman, Jeff Jensen, Tom Lamont, Jasper Rees, and Claire Webb. None of the articles mention the theme of “gender” or note the gendered violence in the series. The reviews are complicit with the patriarchal narrative framing, and introduce Sophie and Jed in terms of their physical appearances and in their relation to principal male characters. “Beautiful and pale” Jed is “girlfriend of Bogeyman arms dealer” (Jensen), and is also referred to as “Roper’s long-legged trophy girlfriend” (Rees). Sophie, in a “sultry brunette corner” is a “tempting, tragic damsel-in-distress” (Rees) and “arouses Pine” (Jensen). However, reviewers describe the character Burr (who is male in the novel but played by Olivia Colman in the series) with greater dignity and detail. Introducing the character Sophie (Aure Atika), reviewer Tom Goodman does not refer to her by character or actress name despite the fact he introduces male characters by both. Instead, Sophie is a “beautiful connected woman” and is subsequently referred to as “the woman” (Goodman). This anonymity of Sophie as character, and Atika as actor, indexes the Christian misogyny in operation here: in Genesis, Adam only names Eve after the fall of man (New International Version, Gen. 3:20). Goodman’s textual erasure supports Sophie’s vulnerability and expendability within the narrative logic. Indeed, the reviews recapitulate stock noir themes, suggesting that the women are seductively manipulative: Goodman implies that both Bier and Debicki both deploy beauty so as to distract or beguile (Goodman), and Jensen notes that the women are “sultry with danger” (Jensen).Commentators and reviewers have likened Manager, with good reason, to screen adaptations of Ian Fleming’s James Bond novels. This is a useful comparison for the purposes of clarifying my own analytical approach. Lisa Funnell and Klaus Dodds’s Geographies, Genders and Geopolitics of James Bond, endorse a feminist geopolitical sensibility that audits which bodies are vulnerable, and which are disposable (14). Bond, like Manager’s Pine, is fundamentally privileged and invulnerable (14). Their account of Bond also describes Pine: “white, cis-gender, middle-class, heterosexual, able-bodied… British, attended Cambridge… he can move, act, and perform; gain access to places, spaces and resources” (1). Sophie’s vulnerability counterpoints Pine’s privilege. Against Pine’s athletic form and blond features stands the “foreign” Sophie, iterated through an emphasis on her dark features, silk dresses (that reference kaftans), and accented language (she delivers English language lines with a strong accent and discloses to Pine that she has tried to “Anglicise” her identity and has changed name). Sophie’s social and financial precarity seems behind her decision to become the mistress of violent gangster Freddie Hamid (in “Episode One” Sophie explains that Hamid “owns her”). By the end of this episode Hamid has violently beaten her then later murdered her. And even though the character Jed is white and American, it is implied that financial necessity is behind her choice of Richard Roper as partner. Jed is violently tortured and beaten in “Episode Six”.Funnell and Dodds also note Bond’s capacity to sexually satisfy women as a key dimension of his hegemonic masculinity (1). In Manager, the spectator is presumed complicit with the narrative framing and is expected to uncritically accept Pine’s extreme desirability to women. The assumption of Pine’s sexiness and sexual competency together constitute his entitlement, made clear in sex scenes between him and Sophie, and him and Jed. These sex scenes follow events of gendered violence and I raise the possibility that they also constitute instances of gendered violence.Noir Feminine ArchetypesReviewers have pointed out that Manager engages with the noir tradition (Jensen). Sophie and Jed are both “fallen” women, reflecting the Christian heritage of the noir tradition, though incarnate different noir archetypes (Allen 6). Mysterious and seductive Sophie emerges as a femme fatale in the first episode: the dark and seductive girlfriend of gangster Freddie Hamid, Sophie entrusts Pine with delicate and dangerous information, leading him into a dark world. In Milton’s Paradise Lost, the snake convinces Eve that the fruit does not bring death but instead knowledge. Eve wishes to share this knowledge with her partner “but keep the odds of knowledge in my power / without co-partner?” ultimately precipitating the fall of Adam and mankind (Milton 818). Sophie shares information regarding Hamid and Roper’s illegal arms deal with Pine. There are two transgressions on her part: she shares her partner’s confidential information with Pine and then has an affair with him. Hamid murders Sophie for the betrayals. However, Sophie’s murder does not erase her narrative significance: the event motivates protagonist Pine in his chief quest to ‘bring Roper down’, and as Boedeker concurs, the narrative’s action is “driven by this event”. Indeed, Yvonne Tasker notes the dual function of the femme fatale: she is both “an archetype which suggests an equation between female sexuality, death and danger” and also “functions as the vibrant centre of the narrative” (Tasker 117).Pine’s later love interest Jed is an example of the more complicated “good-bad girl” noir type, as Andrew Spicer has usefully coined it (92). The “good-bad girl” occupies a morally ambiguous space between the (dangerously sexy) femme fatale and (fundamentally decent) “girl-next-door” (Spicer 92). Both “good” and “bad”, Jed is unmarried but living with villain Roper, whom she has presumably selected out of economic necessity; she is a mother, but this does not bestow her with maternal legitimacy as she keeps her son a secret and is physically remote from him. Jed finds “real love” with Pine and betrays Roper in assisting Pine’s espionage plot. Roper’s henchman punishes Jed for the betrayal (in the torture scene Roper laments “I saw how you looked at him last night”; “Episode 6”).Despite the routine sexism and punitive thrust of the noir narrative, the women’s “romantic” sex scenes with Pine are laden with subversive significance. In her analysis of women in noir, Sylvia Harvey argues:Despite the ritual punishment of acts of transgression, the vitality with which these acts are endowed produces an excess of meaning which cannot finally be contained. Narrative resolutions cannot recuperate their subversive significance. (31)The visibility of Sophie and Jed’s wounds throughout their respective sex scenes with Pine signals an excessive patriarchal entitlement that disrupts the narrative logic and invites us to question the women’s perspectives. My analysis of the scenes is informed by feminist legal theorist Catharine MacKinnon’s argument that under unequal power relations consent is fraught, if not impossible (180). MacKinnon argues that women’s beliefs and reactions are shaped by power inequality, including the threat of male violence, economic dependence, and need (175).Analysis of Sophie and Pine’s InteractionsI first analyse Sophie’s dialogue because I seek to demonstrate that there is a communication breakdown in play: Sophie is asking Pine for help and safety while Pine thinks she is seducing him. Sophie’s verbal exchanges with Pine can be read in two different ways: (i) according to the patriarchal narrative framing (the spectator is positioned alongside Pine, seeing Sophie as scopophilic object); or (ii) from a feminist perspective that takes Sophie’s situation and perspective into account (Mulvey 835-36). Sophie’s language is legible as flirtation. If we are uncritically complicit with the narrative framing, Sophie is usually trying to arrange time alone with Pine because she desires him. However, if we emphasise Sophie’s perspective, she is asking for privacy, discretion, and help to stay alive (and to save the lives of others too, given that she is foiling an arms deal). Catharine MacKinnon’s observation that “men are systematically conditioned not even to notice what women want” plays out elegantly in the scenes between Pine and Sophie (181). Pine manages to discern that Sophie needs some sort of help, but shows no regard for her perspective or the significant power inequality between the two of them. From their earliest interaction in “Episode One” Sophie addresses Pine in a flirtatious way. In an audacious request, although it is ‘below’ his duties as manager she insists he make her a coffee and cheekily demands he sit with her while she drinks it. Their interaction is a standard flirtatious tête-à-tête, entailing the playful query “what do you [Pine] know of me?” Sophie begs Pine to copy some documents for her in his office even though he points out that his colleague performs such duties. Sophie suggestively demands “I would prefer to use your office”. It seems that by insisting on time alone with him, Sophie’s goal is that Pine does the task, rather than the task be done per se. However, it promptly transpires that Sophie sought a private location in order to share classified information with him, having noted at an earlier date Pine’s friendship with a British diplomat. She asks him to “hold onto” the documents “in case something happens to her”.Pine nonetheless passes on these classified documents to this contact.Sophie and Pine’s next interaction follows a similar pattern: she rings him from her hotel room and asks him to bring her a scotch. He suggests alternative ways she can procure a drink, yet she confirms the real object of her desire (“I want you”). Pine smirks as he approaches her room. Sophie’s declaration appears as (i) a desirous statement and invitation to come to her room for sex but it is in fact (ii) a demand that Pine (specifically) comes to her room, because she wants to know with whom he shared the documents and to reveal to him the injuries she received as a punishment for his leak.After realising the danger he has put her in, Pine takes her to a remote house to secure her safety. Once inside, she implores “why do you sit so far away?” which sounds like a request for closeness, perhaps even that he touch her. Yet the extent of her desired proximity, and the nature of the touch she requests, can be interpreted in (at least) two ways. Certainly, Pine believes that she desires sexual intercourse with him. The spectator is meant to interpret this request along those lines by virtue of Atika’s seductive delivery. Pine explains that he sits with distance “out of respect” and Sophie teases “is that why you came all the way here, to respect me?” This remark reveals Sophie’s assumption that Pine’s assistance has been transactional (help in exchange for sex) and the content indicates the kind of sex she assumes he expects (“disrespectful” sex, or at least sex that playfully skirts the boundaries of respect). In a declaration that stands up as a positive affirmation of consent under British and American law, Sophie announces: “I want one of your many selves to sleep with me tonight.”From a freshly bruised eye socket, Sophie lovingly stares at Pine. Extra-diegetic strings instruct us that the moment is romantic. Pine strokes the (unbruised side) side of her face. Could her question “why do you sit so far away?” have been a request that he sit near her, place an arm around her shoulder, hold her hand, stroke her forehead, perhaps even tend to her wounds? Might the request that he “sleep with [her] tonight” have been a request that he sleep in the cottage, albeit on the floor?Sophie and Pine are subsequently displayed naked, limbs entangled. A new shot, a close-up of the right side of her face, displays a scab atop her eyebrow, a deeply bruised eye socket, further bruises down her cheeks, and a split lip. The muscular, broad Pine is atop Sophie and thrusting; Sophie’s split lip smiles in ecstasy and gratitude. A post-coital shot follows: she stares lovingly down at him with her facial injuries on full display, her dark eyes stare into his lucid green. Pine asks Sophie’s “real name”. Samira recounts that she changed her name to Sophie in order to “be more Western”. The power inequality is manifest on gendered, cultural, social, and physical lines: in order to advance her social position, Samira has sought to Anglicise herself and partnered with a violent (though influential) criminal (who has recently brutalised her). Her life is in danger, she is (depicted as) dark and foreign and ostensibly has no social or support network (is isolated enough to appeal to a hotel manager for help). Meanwhile, Pine is Western university-educated, a spectacle of white male athletic privilege, and has elite connections with British intelligence.Catharine MacKinnnon argues that consent is only a meaningful option if the parties are equally powerful (174). Sophie’s extreme vulnerability renders their situations patently unequal. As MacKinnon argues “when perspective is bound up with situation, and [that] situation is unequal, whether or not a contested interaction is authoritatively considered rape comes down to whose meaning wins” (182). I do not argue that Pine rapes Sophie per se. However, the revealing of Sophie’s injuries efficiently articulates the power inequality in their situations and thus problematises a straightforward assumption of her consent. MacKinnon’s argues that rape occurs “somewhere between” the following three factors (182). First, “what the woman actually wanted” (Sophie wanted to save the lives of others (by foiling an arms deal) and not die for the breach). Second, “what she was able to express about what she wanted” (class/gender/race power dynamics may have frustrated Sophie’s ability to articulate her needs and might have motivated her sexually suggestive tenor). Third, “what the man comprehended she wanted” (Pine assumes that Sophie, like all women, sexually desire him).Analysis of Jed and Pine’s InteractionsThe injustice of Pine and Sophie’s sexual encounter finds its counterpart in Pine’s sexual encounter with Jed in the final episode of the series (“Episode Six”). Roper discovers that Jed has given a third party (Pine and his colleagues) access to his private (incriminating) files. Roper instructs his henchman to torture Jed until she identifies this third party. The henchman holds Jed by the back of her neck and dunks her head repeatedly into bathwater. The camera reveals deep bruises on her arms. Jed refuses to identify her beloved (Pine) as the ‘rat’, yet the astute Roper nevertheless surmises “you must care deeply about the person you are protecting”.Alas, the dominant narrative must go on: Roper and Pine attend to an arms deal; the deal fails because Pine has set Roper up to appear as though he has robbed the buyers (and so on). Burr and Pine’s mission to “bring down” Roper has been completed. I keep wondering what Roper’s henchman has been doing to Jed during this “men’s business”. Alas, after Pine has completed the job, we encounter Jed again. She is in bed, her limbs entangled with Pine’s. The camera positioning and shot sequencing are almost identical to the sex scene between Pine and Sophie in “Episode One”. A medium close-up from the left reveals Pine thrusting atop Jed. Through pale moonlight the viewer discerns injures on Jed’s face and chin.The morning after this (brief) sex scene, Pine and Jed discuss her imminent departure (“home” to New York, to be reunited with her son). Debicki’s performance is tremendously tender: her lip trembles, her voice shakes as she swallows tears. Jed is sad because she is bidding Pine farewell, and, as she verbalises to Pine, she is nervous about whether her son will “recognise her”. Does Jed’s torture also give her grounds to weep and tremble? Ever a gentleman, Pine clasps her hand, and while marching her to her taxi, we see more bruises atop her left arm.I am also not arguing that Pine raped Jed. Yet given what Jed had endured earlier that day – torture by drowning, as commissioned and witnessed by her own partner – was sexual intercourse what she desired or needed? The visibility of Jed’s injuries throughout the sex scene marks an apotheosis of patriarchal entitlement. Might a fraternal or (even remedial) touch have been Pine’s first priority? Does Jed need a hug? Does she need ice? Had Pine been educated or socialised in a different tradition, one remotely attuned to what anyone might need after a disastrously traumatic and violent event, he might not have found penetrative sex an appropriate remedy. Pine’s absolute security in his own sexual desirability meant that he found the activity suitable, yet her injuries break my blind faith in his sexiness. I wish to raise the possibility that intercourse after this event might have compounded the violent events Jed endured that day. Contrary to the narrative’s implication, penetrative intercourse (even with Tom Hiddleston) might not heal Sophie or Jed’s wounds.ConclusionI am not a humourless feminist immune to the entertaining (and often entertainingly preposterous) dimensions of the spy and action genre. In fact, I enthusiastically await subsequent screen adaptations of le Carré’s work and the next Bond instalment. This is not a call to “cancel” a genre, text, director or writer. Biblically, a “revelation” has always instructed humans on how to live in this life. These sex scenes do not merely lay bare extreme patriarchal entitlement but might instruct directors and writers working within the genre to keep wounds, and wounded women, out of their sex scenes. I think that is a modest request. ReferencesAgger, Gunhild. “Geopolitical Location and Plot in The Night Manager.” Journal of Scandinavian Cinema 7 (2017): 27-42.Allen, Virginia. The Femme Fatale: Erotic Icon. Troy, New York: The Whitston Publishing Company, 1983.Aronoff, Myron. The Spy Novels of John le Carré: Balancing Ethics and Politics. New York: St. Martin’s, 1999.Barley, Tony. Taking Sides: The Fiction of John le Carré. 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New York: St. Martin’s, 1986.Morgan, Eric. “Whores and Angels of Our Striving Selves: The Cold War Films of John le Carré, Then and Now.” Historical Journal of Film, Radio and Television 36.1 (2016): 88-103.Mulvey, Laura. “Visual Pleasure and the Narrative Cinema.” Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 833-44.The Night Manager. Dir. S. Bier. Screenplay D. Farr. UK/USA: BBC and AMC, 2016.Rees, Jasper. “The Night Manager, Episode 1: Brilliant Event Drama.” The Telegraph, 20 Apr. 2016. 2 June 2020 <http://www.telegraph.co.uk/tv/2016/02/19/the-night-manager-episode-1-event-drama-of-the-highest-calibre/>.Scheppele, Kim. “The Reasonable Woman.” The Responsive Community, Rights and Responsibilities 1.4 (1991): 36–47.Tasker, Yvonne. Working Girls: Gender and Sexuality in Popular Cinema. London: Routledge, 1998.———. “Women in Film Noir.” A Companion to Film Noir. Eds. Andrew Spicer and Helen Hanson. Chichester: Wiley-Blackwell, 2013. 353-68.Sauerberg, Lars Ole. Secret Agents in Fiction. London: Macmillan, 1984.Webb, Claire. “Where to Find the Plush Hotels and Lush Locations in The Night Manager”. Radio Times, 21 Feb. 2016. 2 June 2020 <http://www.radiotimes.com/ news/2016-02-21/where-to-find-the-plush-hotels-and-lush-locations-inthe-night-manager>.Wolfe, Peter. Corridors of Deceit: The World of John le Carré. Madison, WI: Popular P, 1987.

Introduction As street protests and clashes between citizens and authorities in places as different as Ferguson, Missouri and Hong Kong in autumn 2014 demonstrate, everyday life in many parts of the world is characterised by conflicting and competing sets of cultural norms, values, and practices. The idea that groups create cultures that stand in contrast to “mainstream” or “dominant culture” is nothing new—sociology’s earliest scholars sought cultural explanations for social “dysfunctions” such as anomie and deviance. Yet our interest in this article is not about the problems that marginalised and non-normative groups face, but rather with the cultures that are created as part of dealing with those problems. Milton Yinger begins his 1982 book, Countercultures: The Promise and Peril of a World Turned Upside Down, by contrasting multiple perspectives on countercultures. Some thinkers have characterised countercultures as not only a mundane feature of social life, but as a necessary one: Countercultures and the many types of intentional communities they commonly create are not social aberrations. For thousands of years there have been attempts to provide alternatives for the existing social order in response to the perennial grounds for dissent: hierarchy and privilege […,] disgust with hedonism and consumerism […, and] a decline in the quality of life. (Yinger, Countercultures 1) Others, however, have discursively delegitimised countercultures by characterising them as something in between naiveté and unschooled arrogance. Speaking specifically about hippies in the 1960s, Bell argued that the so-called counter-culture was a children’s crusade that sought to eliminate the line between fantasy and reality and act out in life its impulses under a banner of liberation. It claimed to mock bourgeois prudishness, when it was only flaunting the closet behavior of its liberal parents. It claimed to be new and daring when it was only repeating in more raucous form […] the youthful japes of a Greenwich Village bohemia of a half century before. It was less a counter-culture than a counterfeit culture. (xxvi-xxvii) If Bell is at all right, then perhaps countercultures may be better understood as subcultures, a term that may not require the idea of opposition (but see Gelder; Williams, Subcultural). To tease this distinction out, we want to consider the value of the counterculture concept for the study of oppositional subcultures. Rather than uncritically assuming what counter means, we take a more analytical view of how “counter,” as similar to other terms such as “resistant” and “oppositional,” has been articulated by social scientists. In doing this, we focus our attention on scholarly works that have dealt explicitly with group cultures “that sharply contradict the dominant norms and values of the society of which that group is a part” (Yinger, Countercultures 3). The Relationship between Counterculture and Subculture Many scholars point to the Chicago School of sociology as developing the first clear articulation of subcultural groups that differed clearly from mainstream society (see for example, Gelder and Thornton; Hannerz, E.; Williams, Youth). Paul G. Cressey, Frederic Thrasher, and later William Foote Whyte each provide exemplary empirical studies of marginal groups that were susceptible to social problems and therefore more likely to develop cultures that were defined as problematic for the mainstream. Robert Merton argued that marginalised groups formed as individuals tried to cope with the strain they experienced by their inability to access the cultural means (such as good education and good jobs) needed to achieve mainstream cultural goals (primarily, material success and social status), but Albert Cohen and others subsequently argued that such groups often reject mainstream culture in favour of a new, alternative culture instead. Within a few years, conceptual distinctions among these alternative cultures were necessary, with counterculture and subculture being disambiguated in American sociology. Yinger originally employed the term contraculture but eventually switched to the more common counterculture. Subculture became most often tied either to the study of religious and ethnic enclaves (Mauss) or to deviance and delinquency (Arnold), while counterculture found its currency in framing the cultures of more explicitly political groups and movements (see for example, Cushman; George and Starr). Perhaps the clearest analytical distinction between the terms suggested that subculture refer to ascribed differences based upon socio-economic status, ethnicity, religion (and so on) in relation to the mainstream, whereas counterculture should refer to groups rooted in an explicit rejection of a dominant culture. This is similar to the distinction that Ken Gelder makes between subcultures based upon marginalisation versus non-normativity. Counterculture became best used wherever the normative system of a group contains, as a primary element, a theme of conflict with the values of the total society, where personality variables are directly involved in the development and maintenance of the group's values, and wherever its norms can be understood only by reference to the relationships of the group to a surrounding dominant culture. (Yinger, Contraculture 629) Even at that time, however, such a neat distinction was problematic. Sociologist Howard S. Becker demonstrated that jazz musicians, for example, experienced a problem shared in many service occupations, namely that their clients did not possess the ability to judge properly the value of the service rendered, yet nevertheless sought to control it. As a consequence, a subculture emerged based on the opposition of “hip” musicians to their “square” employers’ cultural sensibilities. Yet Becker framed their experiences as subcultural rather than countercultural, as deviant rather than political (Becker 79-100). Meanwhile, the political connotations of “counterculture” were solidifying during the 1960s as the term became commonly used to describe aspects of the civil rights movement in the US, hippie culture, and the anti-Vietnam or peace movement. By the end of the 1960s, subculture and counterculture had become analytically distinct terms within sociology. Cultural Studies and the Class-ification of Counterculture The reification of subculture and counterculture as ontologically distinct phenomena was more or less completed in the 1970s through a series of publications on British youth cultures and subcultures (see Hall and Jefferson; Hebdige; Mungham and Pearson). The Centre for Contemporary Cultural Studies (CCCS) in particular expended a great deal of collective mental energy theorising the material base upon which cultures—and in particular spectacular youth subcultures such as mods and punk—exist. As with Marxist analyses of culture more generally, class was considered a key analytic variable. In the definitive theoretical statement on subculture, Clarke, Hall, Jefferson, and Roberts argued that “the most fundamental groups are the social classes, and the major cultural configurations will be […] ‘class cultures’” (13). Subcultures were thus seen as ideological reactions to the material conditions experienced and made meaningful within working class “parent culture.” This is what made youth subcultures sub—a part of the working-class—as well as cultural—the process of expressing their structural position. Given the Marxist orientation, it should go without saying that subcultures, as working-class youth cultures, were seen as naturally in a state of conflict with bourgeois culture. But that approach didn’t account well for counter-currents that emerged from within the middle-class, whose relationship with the means of production was markedly different, and so the concept of counterculture was appropriated to describe a distinctly middle-class phenomenon. The idea that counterculture represented an overtly political response from within the dominant culture itself fitted with work by Theodore Roszak and Frank Musgrove, and later Yinger (Countercultures) and Ulf Hannerz, who each defined counterculture through its political and activist orientations stemming from a crisis within the middle-class. To further differentiate the concepts, the CCCS dismissed the collective aspect of middle-class resistance (see Clarke et al., 58-9, for a list of phenomena they considered exemplary of middle-class counterculture), describing it as more “diffuse, less group-oriented, [and] more individualised” than its working-class counterpart, the latter “clearly articulated [as] ‘near’ or ‘quasi’-gangs” (Clarke et al. 60). And whereas subcultures were centred on leisure-time activities within working-class environments, countercultures were concerned with a blurring of the boundaries between work and leisure. This conceptualisation was problematic at best, not least because it limits counterculture to the middle-class and subculture to the working class. It also gave considerably more agency and consequence to middle-class youths. It seemed that countercultures, with their individualist tendencies, offered individuals and groups choices about what and how to resist, as well as some expectations for social change, while subculturalists, locked within an unfortunate class position, could only resist dominant culture “at the profoundly superficial level of appearances” (Hebdige 17). Beyond the Limits of Class Cultures By 1980 cultural studies scholars had begun disassembling the class-basis of subcultures (see for example, G. Clarke; McRobbie; Griffin). Even though many studies still focused on stylised forms of opposition, subcultural scholarship increasingly emphasised subcultures such as punk as reflecting a more explicitly politicised resistance against the dominant or mainstream culture. Some scholars suggested that “mainstream culture” was used as a contrastive device to exaggerate the distinctiveness of those who self-identity as different (see U. Hannerz; Copes and Williams), while others questioned what subcultures could be seen as existing independently from, or in assumed opposition to (see Blackman; Thornton). In such cases, we can see a move toward reconciling the alleged limits of subculture as a countercultural concept. Instead of seeing subcultures as magical solutions and thus inevitably impotent, more recent research has considered the agency of social actors to overcome social divisions such as race, gender, and class. On the dance floor in particular, youth culture was theorised as breaking free of its class-binding shackles. Along with this break came the rhetorical distancing from CCCS’s definitions of subculture. The attempted development of “post-subculture” studies around the Millennium focused on consumptive behaviours among certain groups of youths and concluded that consumption rather than opposition had become a hallmark of youth culture broadly (see Bennett, Popular; Huq; Muggleton). For these scholars, the rave and club cultures of the 1990s, and others since, represent youth culture as hedonistic and relatively apolitical. “Post-subculture” studies drew in part on Steve Redhead’s postmodern approach to youth culture as found in The Clubcultures Reader and its companion text, From Subcultures to Clubcultures (Redhead). These texts offered a theoretical alternative to the CCCS’s view of oppositional subcultures and recognition that subcultural style could no longer be understood as a representation of ideological strain among working-class youths. Carried forward in volumes by David Muggleton and Rupert Weinzierl,,among others, “post-subcultural” scholarship criticised prior subcultural research for having objectified/reified mainstream/subcultural boundaries and authenticities, echoing Gary Clarke’s remark that the sharp distinction between us and them “rests upon [subculturalists’] consideration of the rest of society as being straight, incorporated in a consensus, and willing to scream undividedly loud in any moral panic” (71). Instead, the mixtures of punk, mod, skinhead and/or hippy styles among club-goers signalled “entirely new ways of understanding how young people perceive the relationship between music taste and visual style…revealing the infinitely malleable and interchangeable nature of the latter as these are appropriated and realised by individuals as aspects of consumer choice” (Bennett, Subcultures 613). Reincorporating the Counter into Subculture Studies The postmodern focus on cultural fluidity, individuality, and consumption highlights to some extent the agency that individuals have to make choices about the cultures in which they participate. To be sure, the postmodern and post-subculture critiques of class-based subculture studies were quite influential in the development of more recent subcultural scholarship, though not necessarily as they were intended. Much of the theoretical rhetoric of post-subculture scholarship (over-)emphasised heterogeneity, contingency, and play, which drew attention away from the collective identities and practices that continue to characterise many subcultures and groups. Fortunately, other scholars over the last decade have been critical of that approach’s failure to deal with perennial concerns related to participation in alternative cultural groups, including consumption (Buckingham), voice (Bae and Ivashkevich), education (Tuck and Yang), and group affiliation (Pilkington), among others. We want to follow this trajectory by explicitly reiterating the continuing significance of the “counter” aspects of subcultures. Two trends in social theory are exemplary in this reiteration. The first trend is a growing interest in re-theorizing resistance to refer to “a contribution to progressive transformations and radical changes in social and cultural structures” (Johansson and Lalander) rather than to a set of styles and practices through which working-class youth impotently rage against the machine. Resistance is qualitatively different from rebellion, which is often framed in terms of unconscious or irrational behaviour (Raby); resistance is first and foremost intentional. Subcultures articulate resistance to mainstream/dominant culture and may be measured across several continua, including passive to active, micro to macro, covert to overt, individual to collective, and local to global (see Williams, Resistance; E. Hannerz). Participants in countercultures see themselves as being more critically aware of what is happening in the world than the average person, believe that they act on that critical awareness in their thoughts, words, and/or deeds, and electively detach themselves from “involuntary or unconscious commitments” (Leary 253) to mainstream culture, refusing to uncritically follow the rules. The concept of resistance thus gives some momentum to attempts to clarify the extent to which members of alternative cultures intentionally break with the mainstream. The links between resistance and counterculture are explicitly dealt with in recent scholarship on music subcultures. Graham St John’s work on electronic dance music culture (EDMC), for example, offers a complex analysis of resistant practices that he conceptualizes as countercultural. Participation in EDMC is seen as more than simple hedonism. Rather, EDMC provides the scripts necessary for individuals to pursue freedom from various forms of perceived oppression in everyday life. At a more macro level, Madigan Fichter’s study of counterculture in Romania similarly frames resistance and political dissent as key variables in the articulation of a counterculture. Some recent attempts at invoking counterculture seem less convincing. Noting that counterculture is a relatively “unpopular term in social scientific research,” Hjelm, Kahn-Harris, and LeVine nevertheless proceed to theorize heavy metal as countercultural by drawing on the culture’s “transgressive” (14) qualities and “antagonistic […] attempts to shock and provoke [as well as] those occasions when metal, by its very presence, is shocking” (15). Other studies have similarly articulated “countercultures” in terms of behaviours that transgress mainstream sensibilities (see for example, Arthur and Sherman; Kolind). It is debatable at best, however, whether hedonism, transgression, or provocation are sufficient qualities for counterculture without concomitant cultural imperatives for both resistance and social change. This leads into a brief comment on a second trend, which is the growing interconnectedness of social theories that attend to subcultures on the one hand and “new” social movements (NSMs) on the other. “Traditional” social movements, such as the civil rights and labour movements, have been typically organised by and for people excluded in some way from full rights to participate in society, for example the rights to political participation or basic economic protection. NSMs, however, often involve people who already enjoy full rights as members of society, but who reject political and economic processes that injure them or others, such as marginalised groups, animals, or the environment. Some movements are contentious in nature, such as the Occupy-movement, and thus quite clearly antagonistic toward mainstream political-economy. NSM theories (see Pichardo), however, also theorize the roles of culture and collective identity in supporting both opposition to dominant processes and strategies for alternative practices. Other NSMs foster lifestyles that, through the minutiae of everyday practice, promote a ground-up reaction to dominant political-economic practices (see Haenfler, Johnson, and Jones). Both contentious and lifestyle movements are relatively diffuse and as such align with traditional conceptualisations of both subculture and counterculture. NSM theory and subcultural theories are thus coming together in a moment where scholars are seeking distinctly cultural understandings of collective lifestyles of resistance and social change. Conclusion Recent attempts to rephrase subcultural theory have combined ideas of the Birmingham and Chicago Schools with more contemporary approaches such as social constructivism and new social movements theory. Together, they recognise a couple of things. First, culture is not the determining structure it was once theorised to be. The shift in understanding subcultural groups as rooted in ascribed characteristics—being naturally different due to class, ethnicity, age, or to location (Park; Cohen; Clarke et al.)—to one in which subcultures are intentional articulations created by people, highlights the agency of individuals and groups to create culture. The break with realist/objectivist notions of culture offers promising opportunities for understanding resistance and opposition more generally. Second, the “counter” continues to be relevant in the study of subcultures. Subcultural participation these days is characterised as much or more by non-normativity than by marginalisation. As such, subcultures represent intentional protests against something outside themselves. Of course, we do not mean to suggest this is always and everywhere the case. 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IntroductionCulinary education in Ireland has long been influenced by culinary education being delivered in catering colleges in the United Kingdom (UK). Institutionalised culinary education started in Britain through the sponsorship of guild conglomerates (Lawson and Silver). The City & Guilds of London Institute for the Advancement of Technical Education opened its central institution in 1884. Culinary education in Ireland began in Kevin Street Technical School in the late 1880s. This consisted of evening courses in plain cookery. Dublin’s leading chefs and waiters of the time participated in developing courses in French culinary classics and these courses ran in Parnell Square Vocational School from 1926 (Mac Con Iomaire “The Changing”). St Mary’s College of Domestic Science was purpose built and opened in 1941 in Cathal Brugha Street. This was renamed the Dublin College of Catering in the 1950s. The Council for Education, Recruitment and Training for the Hotel Industry (CERT) was set up in 1963 and ran cookery courses using the City & Guilds of London examinations as its benchmark. In 1982, when the National Craft Curriculum Certification Board (NCCCB) was established, CERT began carrying out their own examinations. This allowed Irish catering education to set its own standards, establish its own criteria and award its own certificates, roles which were previously carried out by City & Guilds of London (Corr). CERT awarded its first certificates in professional cookery in 1989. The training role of CERT was taken over by Fáilte Ireland, the State tourism board, in 2003. Changing Trends in Cookery and Culinary Textbooks at DIT The Dublin College of Catering which became part of the Dublin Institute of Technology (DIT) is the flagship of catering education in Ireland (Mac Con Iomaire “The Changing”). The first DIT culinary award, was introduced in 1984 Certificate in Diet Cookery, later renamed Higher Certificate in Health and Nutrition for the Culinary Arts. On the 19th of July 1992 the Dublin Institute of Technology Act was enacted into law. This Act enabled DIT to provide vocational and technical education and training for the economic, technological, scientific, commercial, industrial, social and cultural development of the State (Ireland 1992). In 1998, DIT was granted degree awarding powers by the Irish state, enabling it to make major awards at Higher Certificate, Ordinary Bachelor Degree, Honors Bachelor Degree, Masters and PhD levels (Levels six to ten in the National Framework of Qualifications), as well as a range of minor, special purpose and supplemental awards (National NQAI). It was not until 1999, when a primary degree in Culinary Arts was sanctioned by the Department of Education in Ireland (Duff, The Story), that a more diverse range of textbooks was recommended based on a new liberal/vocational educational philosophy. DITs School of Culinary Arts currently offers: Higher Certificates Health and Nutrition for the Culinary Arts; Higher Certificate in Culinary Arts (Professional Culinary Practice); BSc (Ord) in Baking and Pastry Arts Management; BA (Hons) in Culinary Arts; BSc (Hons) Bar Management and Entrepreneurship; BSc (Hons) in Culinary Entrepreneurship; and, MSc in Culinary Innovation and Food Product Development. From 1942 to 1970, haute cuisine, or classical French cuisine was the most influential cooking trend in Irish cuisine and this is reflected in the culinary textbooks of that era. Haute cuisine has been influenced by many influential writers/chefs such as Francois La Varenne, Antoine Carême, Auguste Escoffier, Ferand Point, Paul Bocuse, Anton Mosiman, Albert and Michel Roux to name but a few. The period from 1947 to 1974 can be viewed as a “golden age” of haute cuisine in Ireland, as more award-winning world-class restaurants traded in Dublin during this period than at any other time in history (Mac Con Iomaire “The Changing”). Hotels and restaurants were run in the Escoffier partie system style which is a system of hierarchy among kitchen staff and areas of the kitchens specialising in cooking particular parts of the menu i.e sauces (saucier), fish (poissonnier), larder (garde manger), vegetable (legumier) and pastry (patissier). In the late 1960s, Escoffier-styled restaurants were considered overstaffed and were no longer financially viable. Restaurants began to be run by chef-proprietors, using plate rather than silver service. Nouvelle cuisine began in the 1970s and this became a modern form of haute cuisine (Gillespie). The rise in chef-proprietor run restaurants in Ireland reflected the same characteristics of the nouvelle cuisine movement. Culinary textbooks such as Practical Professional Cookery, La Technique, The Complete Guide to Modern Cooking, The Art of the Garde Mange and Patisserie interpreted nouvelle cuisine techniques and plated dishes. In 1977, the DIT began delivering courses in City & Guilds Advanced Kitchen & Larder 706/3 and Pastry 706/3, the only college in Ireland to do so at the time. Many graduates from these courses became the future Irish culinary lecturers, chef-proprietors, and culinary leaders. The next two decades saw a rise in fusion cooking, nouvelle cuisine, and a return to French classical cooking. Numerous Irish chefs were returning to Ireland having worked with Michelin starred chefs and opening new restaurants in the vein of classical French cooking, such as Kevin Thornton (Wine Epergne & Thorntons). These chefs were, in turn, influencing culinary training in DIT with a return to classical French cooking. New Classical French culinary textbooks such as New Classical Cuisine, The Modern Patisserie, The French Professional Pastry Series and Advanced Practical Cookery were being used in DIT In the last 15 years, science in cooking has become the current trend in culinary education in DIT. This is acknowledged by the increased number of culinary science textbooks and modules in molecular gastronomy offered in DIT. This also coincided with the launch of the BA (Hons) in Culinary Arts in DIT moving culinary education from a technical to a liberal education. Books such as The Science of Cooking, On Food and Cooking, The Fat Duck Cookbook and Modern Gastronomy now appear on recommended textbooks for culinary students.For the purpose of this article, practical classes held at DIT will be broken down as follows: hot kitchen class, larder classes, and pastry classes. These classes had recommended textbooks for each area. These can be broken down into three sections: hot kitche, larder, and pastry. This table identifies that the textbooks used in culinary education at DIT reflected the trends in cookery at the time they were being used. Hot Kitchen Larder Pastry Le Guide Culinaire. 1921. Le Guide Culinaire. 1921. The International Confectioner. 1968. Le Repertoire De La Cuisine. 1914. The Larder Chef, Classical Food Preparation and Presentation. 1969. Patisserie. 1971. All in the Cooking, Books 1&2. 1943 The Art of the Garde Manger. 1973. The Modern Patissier. 1986 Larousse Gastronomique. 1961. New Classic Cuisine. 1989. Professional French Pastry Series. 1987. Practical Cookery. 1962. The Curious Cook. 1990. Complete Pastrywork Techniques. 1991. Practical Professional Cookery. 1972. On Food and Cooking. The Science and Lore of the Kitchen. 1991. On Food and Cooking: The Science and Lore of the Kitchen. 1991 La Technique. 1976. Advanced Practical Cookery. 1995. Desserts: A Lifelong Passion. 1994. Escoffier: The Complete Guide to the Art of Modern Cookery. 1979. The Science of Cooking. 2000. Culinary Artistry. Dornenburg, 1996. Professional Cookery: The Process Approach. 1985. Garde Manger, The Art and Craft of the Cold Kitchen. 2004. Grande Finales: The Art of the Plated Dessert. 1997. On Food and Cooking: The Science and Lore of the Kitchen. 1991. The Science of Cooking. 2000. Fat Duck Cookbook. 2009. Modern Gastronomy. 2010. Tab.1. DIT Culinary Textbooks.1942–1960 During the first half of the 20th century, senior staff working in Dublin hotels, restaurants and clubs were predominately foreign born and trained. The two decades following World War II could be viewed as the “golden age” of haute cuisine in Dublin as many award-wining restaurants traded in the city at this time (Mac Con Iomaire “The Emergence”). Culinary education in DIT in 1942 saw the use of Escoffier’s Le Guide Culinaire as the defining textbook (Bowe). This was first published in 1903 and translated into English in 1907. In 1979 Cracknell and Kaufmann published a more comprehensive and update edited version under the title The Complete Guide to the Art of Modern Cookery by Escoffier for use in culinary colleges. This demonstrated that Escoffier’s work had withstood the test of the decades and was still relevant. Le Repertoire de La Cuisine by Louis Saulnier, a student of Escoffier, presented the fundamentals of French classical cookery. Le Repertoire was inspired by the work of Escoffier and contains thousands of classical recipes presented in a brief format that can be clearly understood by chefs and cooks. Le Repertoire remains an important part of any DIT culinary student’s textbook list. All in the Cooking by Josephine Marnell, Nora Breathnach, Ann Mairtin and Mor Murnaghan (1946) was one of the first cookbooks to be published in Ireland (Cashmann). This book was a domestic science cooking book written by lecturers in the Cathal Brugha Street College. There is a combination of classical French recipes and Irish recipes throughout the book. 1960s It was not until the 1960s that reference book Larousse Gastronomique and new textbooks such as Practical Cookery, The Larder Chef and International Confectionary made their way into DIT culinary education. These books still focused on classical French cooking but used lighter sauces and reflected more modern cooking equipment and techniques. Also, this period was the first time that specific books for larder and pastry work were introduced into the DIT culinary education system (Bowe). Larousse Gastronomique, which used Le Guide Culinaire as a basis (James), was first published in 1938 and translated into English in 1961. Practical Cookery, which is still used in DIT culinary education, is now in its 12th edition. Each edition has built on the previous, however, there is now criticism that some of the content is dated (Richards). Practical Cookery has established itself as a key textbook in culinary education both in Ireland and England. Practical Cookery recipes were laid out in easy to follow steps and food commodities were discussed briefly. The Larder Chef was first published in 1969 and is currently in its 4th edition. This book focuses on classical French larder techniques, butchery and fishmongery but recognises current trends and fashions in food presentation. The International Confectioner is no longer in print but is still used as a reference for basic recipes in pastry classes (Campbell). The Modern Patissier demonstrated more updated techniques and methods than were used in The International Confectioner. The Modern Patissier is still used as a reference book in DIT. 1970s The 1970s saw the decline in haute cuisine in Ireland, as it was in the process of being replaced by nouvelle cuisine. Irish chefs were being influenced by the works of chefs such as Paul Boucuse, Roger Verge, Michel Guerard, Raymond Olivier, Jean & Pierre Troisgros, Alain Senderens, Jacques Maniere, Jean Delaveine and Michel Guerard who advanced the uncomplicated natural presentation in food. Henri Gault claims that it was his manifesto published in October 1973 in Gault-Millau magazine which unleashed the movement called La Nouvelle Cuisine Française (Gault). In nouvelle cuisine, dishes in Carème and Escoffier’s style were rejected as over-rich and complicated. The principles underpinning this new movement focused on the freshness of ingredients, and lightness and harmony in all components and accompaniments, as well as basic and simple cooking methods and types of presentation. This was not, however, a complete overthrowing of the past, but a moving forward in the long-term process of cuisine development, utilising the very best from each evolution (Cousins). Books such as Practical Professional Cookery, The Art of the Garde Manger and Patisserie reflected this new lighter approach to cookery. Patisserie was first published in 1971, is now in its second edition, and continues to be used in DIT culinary education. This book became an essential textbook in pastrywork, and covers the entire syllabus of City & Guilds and CERT (now Fáilte Ireland). Patisserie covered all basic pastry recipes and techniques, while the second edition (in 1993) included new modern recipes, modern pastry equipment, commodities, and food hygiene regulations reflecting the changing catering environment. The Art of the Garde Manger is an American book highlighting the artistry, creativity, and cooking sensitivity need to be a successful Garde Manger (the larder chef who prepares cold preparation in a partie system kitchen). It reflected the dynamic changes occurring in the culinary world but recognised the importance of understanding basic French culinary principles. It is no longer used in DIT culinary education. La Technique is a guide to classical French preparation (Escoffier’s methods and techniques) using detailed pictures and notes. This book remains a very useful guide and reference for culinary students. Practical Professional Cookery also became an important textbook as it was written with the student and chef/lecturer in mind, as it provides a wider range of recipes and detailed information to assist in understanding the tasks at hand. It is based on classical French cooking and compliments Practical Cookery as a textbook, however, its recipes are for ten portions as opposed to four portions in Practical Cookery. Again this book was written with the City & Guilds examinations in mind. 1980s During the mid-1980s, many young Irish chefs and waiters emigrated. They returned in the late-1980s and early-1990s having gained vast experience of nouvelle and fusion cuisine in London, Paris, New York, California and elsewhere (Mac Con Iomaire, “The Changing”). These energetic, well-trained professionals began opening chef-proprietor restaurants around Dublin, providing invaluable training and positions for up-and-coming young chefs, waiters and culinary college graduates. The 1980s saw a return to French classical cookery textbook such as Professional Cookery: The Process Approach, New Classic Cuisine and the Professional French Pastry series, because educators saw the need for students to learn the basics of French cookery. Professional Cookery: The Process Approach was written by Daniel Stevenson who was, at the time, a senior lecturer in Food and Beverage Operations at Oxford Polytechnic in England. Again, this book was written for students with an emphasis on the cookery techniques and the practices of professional cookery. The Complete Guide to Modern Cooking by Escoffier continued to be used. This book is used by cooks and chefs as a reference for ingredients in dishes rather than a recipe book, as it does not go into detail in the methods as it is assumed the cook/chef would have the required experience to know the method of production. Le Guide Culinaire was only used on advanced City & Guilds courses in DIT during this decade (Bowe). New Classic Cuisine by the classically French trained chefs, Albert and Michel Roux (Gayot), is a classical French cuisine cookbook used as a reference by DIT culinary educators at the time because of the influence the Roux brothers were having over the English fine dining scene. The Professional French Pastry Series is a range of four volumes of pastry books: Vol. 1 Doughs, Batters and Meringues; Vol. 2 Creams, Confections and Finished Desserts; Vol. 3 Petit Four, Chocolate, Frozen Desserts and Sugar Work; and Vol. 4 Decorations, Borders and Letters, Marzipan, Modern Desserts. These books about classical French pastry making were used on the advanced pastry courses at DIT as learners needed a basic knowledge of pastry making to use them. 1990s Ireland in the late 1990s became a very prosperous and thriving European nation; the phenomena that became known as the “celtic tiger” was in full swing (Mac Con Iomaire “The Changing”). The Irish dining public were being treated to a resurgence of traditional Irish cuisine using fresh wholesome food (Hughes). The Irish population was considered more well-educated and well travelled than previous generations and culinary students were now becoming interested in the science of cooking. In 1996, the BA (Hons) in Culinary Arts program at DIT was first mooted (Hegarty). Finally, in 1999, a primary degree in Culinary Arts was sanctioned by the Department of Education underpinned by a new liberal/vocational philosophy in education (Duff). Teaching culinary arts in the past had been through a vocational education focus whereby students were taught skills for industry which were narrow, restrictive, and constraining, without the necessary knowledge to articulate the acquired skill. The reading list for culinary students reflected this new liberal education in culinary arts as Harold McGee’s books The Curious Cook and On Food and Cooking: The Science and Lore of the Kitchen explored and explained the science of cooking. On Food and Cooking: The Science and Lore of the Kitchen proposed that “science can make cooking more interesting by connecting it with the basic workings of the natural world” (Vega 373). Advanced Practical Cookery was written for City & Guilds students. In DIT this book was used by advanced culinary students sitting Fáilte Ireland examinations, and the second year of the new BA (Hons) in Culinary Arts. Culinary Artistry encouraged chefs to explore the creative process of culinary composition as it explored the intersection of food, imagination, and taste (Dornenburg). This book encouraged chefs to develop their own style of cuisine using fresh seasonal ingredients, and was used for advanced students but is no longer a set text. Chefs were being encouraged to show their artistic traits, and none more so than pastry chefs. Grande Finale: The Art of Plated Desserts encouraged advanced students to identify different “schools” of pastry in relation to the world of art and design. The concept of the recipes used in this book were built on the original spectacular pieces montées created by Antoine Carême. 2000–2013 After nouvelle cuisine, recent developments have included interest in various fusion cuisines, such as Asia-Pacific, and in molecular gastronomy. Molecular gastronomists strive to find perfect recipes using scientific methods of investigation (Blanck). Hervè This experimentation with recipes and his introduction to Nicholos Kurti led them to create a food discipline they called “molecular gastronomy”. In 1998, a number of creative chefs began experimenting with the incorporation of ingredients and techniques normally used in mass food production in order to arrive at previously unattainable culinary creations. This “new cooking” (Vega 373) required a knowledge of chemical reactions and physico-chemical phenomena in relation to food, as well as specialist tools, which were created by these early explorers. It has been suggested that molecular gastronomy is “science-based cooking” (Vega 375) and that this concept refers to conscious application of the principles and tools from food science and other disciplines for the development of new dishes particularly in the context of classical cuisine (Vega). The Science of Cooking assists students in understanding the chemistry and physics of cooking. This book takes traditional French techniques and recipes and refutes some of the claims and methods used in traditional recipes. Garde Manger: The Art and Craft of the Cold Kitchen is used for the advanced larder modules at DIT. This book builds on basic skills in the Larder Chef book. Molecular gastronomy as a subject area was developed in 2009 in DIT, the first of its kind in Ireland. The Fat Duck Cookbook and Modern Gastronomy underpin the theoretical aspects of the module. This module is taught to 4th year BA (Hons) in Culinary Arts students who already have three years experience in culinary education and the culinary industry, and also to MSc Culinary Innovation and Food Product Development students. Conclusion Escoffier, the master of French classical cuisine, still influences culinary textbooks to this day. His basic approach to cooking is considered essential to teaching culinary students, allowing them to embrace the core skills and competencies required to work in the professional environment. Teaching of culinary arts at DIT has moved vocational education to a more liberal basis, and it is imperative that the chosen textbooks reflect this development. This liberal education gives the students a broader understanding of cooking, hospitality management, food science, gastronomy, health and safety, oenology, and food product development. To date there is no practical culinary textbook written specifically for Irish culinary education, particularly within this new liberal/vocational paradigm. There is clearly a need for a new textbook which combines the best of Escoffier’s classical French techniques with the more modern molecular gastronomy techniques popularised by Ferran Adria. References Adria, Ferran. Modern Gastronomy A to Z: A Scientific and Gastronomic Lexicon. London: CRC P, 2010. Barker, William. The Modern Patissier. London: Hutchinson, 1974. Barham, Peter. The Science of Cooking. Berlin: Springer-Verlag, 2000. Bilheux, Roland, Alain Escoffier, Daniel Herve, and Jean-Maire Pouradier. Special and Decorative Breads. New York: Van Nostrand Reinhold, 1987. Blanck, J. "Molecular Gastronomy: Overview of a Controversial Food Science Discipline." Journal of Agricultural and Food Information 8.3 (2007): 77-85. Blumenthal, Heston. The Fat Duck Cookbook. London: Bloomsbury, 2001. Bode, Willi, and M.J. Leto. The Larder Chef. Oxford: Butter-Heinemann, 1969. Bowe, James. Personal Communication with Author. Dublin. 7 Apr. 2013. Boyle, Tish, and Timothy Moriarty. Grand Finales, The Art of the Plated Dessert. New York: John Wiley, 1997. Campbell, Anthony. Personal Communication with Author. Dublin, 10 Apr. 2013. Cashman, Dorothy. "An Exploratory Study of Irish Cookbooks." Unpublished M.Sc Thesis. Dublin: Dublin Institute of Technology, 2009. Ceserani, Victor, Ronald Kinton, and David Foskett. Practical Cookery. London: Hodder & Stoughton Educational, 1962. Ceserani, Victor, and David Foskett. Advanced Practical Cookery. London: Hodder & Stoughton Educational, 1995. Corr, Frank. Hotels in Ireland. Dublin: Jemma, 1987. Cousins, John, Kevin Gorman, and Marc Stierand. "Molecular Gastronomy: Cuisine Innovation or Modern Day Alchemy?" International Journal of Hospitality Management 22.3 (2009): 399–415. Cracknell, Harry Louis, and Ronald Kaufmann. Practical Professional Cookery. London: MacMillan, 1972. Cracknell, Harry Louis, and Ronald Kaufmann. Escoffier: The Complete Guide to the Art of Modern Cookery. New York: John Wiley, 1979. Dornenburg, Andrew, and Karen Page. Culinary Artistry. New York: John Wiley, 1996. Duff, Tom, Joseph Hegarty, and Matt Hussey. The Story of the Dublin Institute of Technology. Dublin: Blackhall, 2000. Escoffier, Auguste. Le Guide Culinaire. France: Flammarion, 1921. Escoffier, Auguste. The Complete Guide to the Art of Modern Cookery. Ed. Crachnell, Harry, and Ronald Kaufmann. New York: John Wiley, 1986. Gault, Henri. Nouvelle Cuisine, Cooks and Other People: Proceedings of the Oxford Symposium on Food and Cookery 1995. Devon: Prospect, 1996. 123-7. Gayot, Andre, and Mary, Evans. "The Best of London." Gault Millau (1996): 379. Gillespie, Cailein. "Gastrosophy and Nouvelle Cuisine: Entrepreneurial Fashion and Fiction." British Food Journal 96.10 (1994): 19-23. Gisslen, Wayne. Professional Cooking. Hoboken: John Wiley, 2011. Hanneman, Leonard. Patisserie. Oxford: Butterworth-Heinemann, 1971. Hegarty, Joseph. Standing the Heat. New York: Haworth P, 2004. Hsu, Kathy. "Global Tourism Higher Education Past, Present and Future." Journal of Teaching in Travel and Tourism 5.1/2/3 (2006): 251-267 Hughes, Mairtin. Ireland. Victoria: Lonely Planet, 2000. Ireland. Irish Statute Book: Dublin Institute of Technology Act 1992. Dublin: Stationery Office, 1992. James, Ken. Escoffier: The King of Chefs. Hambledon: Cambridge UP, 2002. Lawson, John, and Harold, Silver. Social History of Education in England. London: Methuen, 1973. Lehmann, Gilly. "English Cookery Books in the 18th Century." The Oxford Companion to Food. Oxford: Oxford UP, 1999. 227-9. Marnell, Josephine, Nora Breathnach, Ann Martin, and Mor Murnaghan. All in the Cooking Book 1 & 2. Dublin: Educational Company of Ireland, 1946. Mac Con Iomaire, Máirtín. "The Changing Geography and Fortunes of Dublin's Haute Cuisine Restaurants, 1958-2008." Food, Culture and Society: An International Journal of Multidisiplinary Research 14.4 (2011): 525-45. ---. "Chef Liam Kavanagh (1926-2011)." Gastronomica: The Journal of Food and Culture 12.2 (2012): 4-6. ---. "The Emergence, Development and Influence of French Haute Cuisine on Public Dining in Dublin Restaurants 1900-2000: An Oral History". PhD. Thesis. Dublin: Dublin Institute of Technology, 2009. McGee, Harold. The Curious Cook: More Kitchen Science and Lore. New York: Hungry Minds, 1990. ---. On Food and Cooking the Science and Lore of the Kitchen. London: Harper Collins, 1991. Montague, Prosper. Larousse Gastronomique. New York: Crown, 1961. National Qualification Authority of Ireland. "Review by the National Qualifications Authority of Ireland (NQAI) of the Effectiveness of the Quality Assurance Procedures of the Dublin Institute of Technology." 2010. 18 Feb. 2012 ‹http://www.dit.ie/media/documents/services/qualityassurance/terms_of_ref.doc› Nicolello, Ildo. Complete Pastrywork Techniques. London: Hodder & Stoughton, 1991. Pepin, Jacques. La Technique. New York: Black Dog & Leventhal, 1976. Richards, Peter. "Practical Cookery." 9th Ed. Caterer and Hotelkeeper (2001). 18 Feb. 2012 ‹http://www.catererandhotelkeeper.co.uk/Articles/30/7/2001/31923/practical-cookery-ninth-edition-victor-ceserani-ronald-kinton-and-david-foskett.htm›. Roux, Albert, and Michel Roux. New Classic Cuisine. New York: Little, Brown, 1989. Roux, Michel. Desserts: A Lifelong Passion. London: Conran Octopus, 1994. Saulnier, Louis. Le Repertoire De La Cuisine. London: Leon Jaeggi, 1914. Sonnenschmidt, Fredric, and John Nicholas. The Art of the Garde Manger. New York: Van Nostrand Reinhold, 1973. Spang, Rebecca. The Invention of the Restaurant: Paris and Modern Gastronomic Culture. Cambridge: Harvard UP, 2000. Stevenson, Daniel. Professional Cookery the Process Approach. London: Hutchinson, 1985. The Culinary Institute of America. Garde Manger: The Art and Craft of the Cold Kitchen. Hoboken: New Jersey, 2004. Vega, Cesar, and Job, Ubbink. "Molecular Gastronomy: A Food Fad or Science Supporting Innovation Cuisine?". Trends in Food Science & Technology 19 (2008): 372-82. Wilfred, Fance, and Michael Small. The New International Confectioner: Confectionary, Cakes, Pastries, Desserts, Ices and Savouries. 1968.

I wake up early, questions buzzing through my mind. While I sip my morning cup of tea and read The Guardian online, the writer, restless because I’m ignoring her, walks around firing questions.“Expecting the patriarchy to want to share its enormous wealth and power with women is extremely naïve.”I nod. Outside the window pieces of sky are framed by trees, fluffy white clouds alternate with bright patches of blue. The sweet, heady first wafts of lavender and citrus drift in through the open window. Spring has come to Hvar. Time to get to work.The more I understand about narcissism, the more I understand the world. I didn’t understand before. In the 1990s.“No—you knew, but you didn’t know at the same time.”I kept telling everybody The River Ophelia wasn’t about sex, (or the sex wasn’t about sex), it was about power. Not many people listened or heard, though. Only some readers.I’ve come here to get away. To disappear. To write.I can’t find the essay I want for my article about the 1990s. I consider the novel I’m reading, I Love Dick by Chris Kraus and wonder whether I should write about it instead? It’s just been reprinted, twenty years after its initial release. The back cover boasts, “widely considered to be the most important feminist novel of the past two decades.” It was first published in the 1990s. So far it’s about a woman named Chris who’s addictively obsessed with an unavailable man, though I’m yet to unravel Kraus’s particular brand of feminism—abjection? Maybe, maybe … while I think, I click through my storage folder. Half way through, I find a piece I wrote about Kathy Acker in 1997, a tribute of sorts that was never published. The last I’d heard from Kathy before this had been that she was heading down to Mexico to try shark cartilage for her breast cancer. That was just before she died.When I was first introduced to the work of Foucault and Deleuze, it was very political; it was about what was happening to the economy and about changing the political system. By the time it was taken up by the American academy, the politics had gone to hell. (Acker qtd. in Friedman 20)Looking back, I’d have to say my friendship with Kathy Acker was intense and short-lived.In the original I’d written “was a little off and on.” But I prefer the new version. I first met Kathy in person in Sydney, in 1995. We were at a World Art launch at Ariel bookshop and I remember feeling distinctly nervous. As it turned out, I needn’t have been. Nervous, that is.Reading this now brings it all back: how Kathy and I lost touch in the intervening two years and the sudden fact of her death. I turn to the end and read, “She died tragically, not only because she was much too young, but because American literature seems rather frumpy without her, of cancer on the 30th November 1997, aged 53.”The same age as I am now. (While some believe Kathy was 50 when she died, Kathy told me she lied about her age even to the point of changing her passport. Women who lie about their age tend to want to be younger than they are, so I’m sticking with 53.) This coincidence spooks me a little.I make a cup of tea and eat some chocolate.“This could work …” the writer says. My reasons for feeling nervous were historical. I’d spoken to Kathy once previously (before the publication of The River Ophelia on the phone from Seattle to San Francisco in 1993) and the conversation had ended abruptly. I’d wanted to interview Kathy for my PhD on American fiction but Kathy wouldn’t commit. Now I was meeting her face to face and trying to push the past to the back of my mind.The evening turned out to be a memorable one. A whole bunch of us—a mixture of writers, publishers, academics and literati—went out to dinner and then carried on drinking well into the night. I made plans to see Kathy again. She struck me as a warm, generous, sincere and intensely engaging person. It seemed we might become friends. I hesitated: should I include the rest? Or was that too much?The first thing Kathy had said when we were introduced was, “I loved your book, The River Ophelia. I found it as soon as I arrived. I bought it from the bookshop at the airport. I saw your amazing cover and then I read on the back that it was influenced by the work of Kathy Acker. I was like, wow, no one in America has ever put that on the back cover of a novel. So I read it immediately and I couldn’t put it down. I love the way you’ve deconstructed the canon but still managed to put a compelling narrative to it. I never did that.”Why didn’t I include that? It had given me more satisfaction than anything anyone else had said.I remember how quickly I abandoned my bestselling life in Sydney, sexual harassment had all but ruined my career, and exchanged it for an uncertain future in London. My notoriety as an author was damaging my books and my relationship with my publisher had become toxic. The first thing I did in London was hire a lawyer, break my contract with Picador and take both novels out of print.Reality intrudes in the form of a phone call from my mother. Terminally ill with cancer, she informs me that she’s off her food. For a retired chef, the loss of appetite is not inconsiderable. Her dying is a dull ache, a constant tiredness and sadness in me. She’s just arrived in London. I will go there next week to meet her.(1)I first came across Kathy’s work in 1991. I’d just finished my MA thesis on postmodernism and parody and was rewarding myself with some real reading (i.e. not related to my thesis) when I came across the novel Don Quixote. This novel had a tremendous impact on me. Those familiar with DQ may recall that it begins with an abortion that transforms its female narrator into a knight.When she was finally crazy because she was about to have an abortion, she conceived of the most insane idea that any woman can think of. Which is to love. How can a woman love? By loving someone other than herself. (Acker Quixote 9)Kathy’s opening sentences produced a powerful emotional response in me and her bold confronting account of an abortion both put me in touch with feelings I was trying to avoid and connected these disturbing feelings with a broader political context. Kathy’s technique of linking the personal and emotional with the political changed the way I worked as a writer.I’d submitted the piece as an obituary for publication to an Australian journal; the editor had written suggestions in the margin in red. All about making the piece a more conventional academic essay. I hadn’t been sure that was what I wanted to do. Ambitious, creative, I was trying to put poststructuralist theory into practice, to write theoretical fiction. It’s true, I hadn’t been to the Sorbonne, but so what? What was the point of studying theory if one didn’t put it into practice? I was trying to write like French theorists, not to write about them. The editor’s remarks would have made a better academic essay, it’s just I’m not sure that’s where I wanted to go. I never rewrote it and it was never published.I first encountered I Love Dick (2017) during a film course at the AFTVRS when the lecturer presented a short clip of the adaptation for the class to analyse. When I later saw the novel in a bookshop I bought a copy. Given my discovery of the unpublished obituary it is also a bit spooky that I’m reading this book as both Chris Kraus and Kathy Acker had relationships with academic and Semiotext(e) publisher Sylvère Lotringer. Chris as his wife, Kathy as his lover. Kraus wrote a biography of Acker called After Kathy Acker: A Biography, which seems fairly unsympathetic according to the review I read in The Guardian. (Cooke 2017) Intrigued, I add Kraus’s biography to my growing pile of Acker related reading, the Acker/Wark letters I’m Very Into You and Olivia Laing’s novel, Crudo. While I’ve not read the letters yet, Crudo’s breathless yet rhythmic layering of images and it’s fragmented reflections upon war, women and politics reminded me less of Acker and more of Woolf; Mrs Dalloway, in fact.(2)What most inspired me, and what makes Kathy such a great writer, is her manner of writing politically. For the purposes of this piece, when I say Kathy writes politically, I’m referring to what happens when you read her books. That is, your mind—fuelled by powerful feelings—makes creative leaps that link everyday things and ideas with political discourses and debates (for Kathy, these were usually critiques of bourgeois society, of oedipal culture and of the patriarchy).In the first pages of Don Quixote, for example, an abortion becomes synonymous with the process of becoming a knight. The links Kathy makes between these two seemingly unrelated events yields a political message for the creative reader. There is more at stake than just gender-bending or metamorphoses here: a reversal of power seems to have taken place. A relatively powerless woman (a female victim except for the fact that in having an abortion she’s exerting some measure of control over her life), far from being destroyed by the experience of aborting her foetus, actually gains power—power to become a knight and go about the world fulfilling a quest. In writing about an abortion in this way, Kathy challenges our assumptions about this controversial topic: beyond the moral debate, there are other issues at stake, like identity and power. An abortion becomes a birth, rather than a banal tragedy.When I think about the 1990s, I automatically think of shoulder pads, cocktails and expense accounts (the consumption of the former, in my case, dependent on the latter). But on reflection, I think about the corporatisation of the publishing industry, the Backlash and films like Thelma and Louise, (1991) Basic Instinct (1992) and Single White Female (1992). It occurs to me that the Hollywood movie star glamorous #MeToo has its origin in the turbulent 1990s Backlash. When I first saw each of these films I thought they were exciting, controversial. I loved the provocative stance they took about women. But looking back I can’t help wondering: whose stories were they really, why were we hearing them and what was the political point?It was a confusing time in terms of debates about gender equality.Excluding the premise for Thelma and Louise, all three films present as narrative truth scenarios that ran in stark contrast to reality. When it came to violence and women, most domestic homicide and violence was perpetrated by men. And violence towards women, in the 1990s, was statistically on the rise and there’s little improvement in these statistics today.Utter chaos, having a British passport never feels quite so wonderful as it does in the arrivals hall at Heathrow.“Perhaps these films allow women to fantasise about killing the men who are violent towards them?”Nyah, BI is chick killing chick … and think about the moral to the story. Fantasy OK, concrete action painful, even deadly.“Different story today …”How so?“Violent female protagonists are all the rage and definitely profitable. Killing Eve (2018) and A Simple Favour (2018).”I don’t have an immediate answer here. Killing Eve is a TV series, I think aloud, A Simple Favour structurally similar to Single White Female … “Why don’t you try self-publishing? It’ll be 20 years since you took The River Ophelia out of print, bit of an anniversary, maybe it’s time?”Not a bad idea. I’m now on the tube to meet mum at her bed and breakfast but the writer is impatient to get back to work. Maybe I should just write the screenplay instead?“Try both. If you don’t believe in your writing, who else will?”She has a point. I’m not getting anywhere with my new novel.A message pips through on Facebook. Want to catch up?What? Talk about out of the blue. I haven’t heard from Sade in twenty years … and how on earth did he get through my privacy settings?After meeting mum, the next thing I do is go to the doctor. My old doctor from West Kensington, she asks me how I’m going and I say I’m fine except that mum’s dying and this awful narcissistic ex-partner of mine has contacted me on Facebook. She recommends I read the following article, “The Highly Sensitive Person and the Narcissist” (Psychology Today).“Sometimes being a kind caring person makes you vulnerable to abusers.”After the appointment I can’t get her words out of my head.I dash into a Starbucks, I’m in Notting Hill just near the tube station, and read the article on my laptop on wifi. I highlight various sections. Narcissists “have a complete lack of empathy for others including their own family and friends, so that they will take advantage of people to get their own needs and desires met, even if it hurts someone.” That sounds about right, Sade could always find some way of masking his real motives in charm, or twisting reality around to make it look like things weren’t his fault, they were mine. How cleverly he’d lied! Narcissists, I read, are attracted to kind, compassionate people who they then use and lie to without remorse.But the bit that really makes me sit up is towards the end of the article. “For someone on the outside looking at a relationship between a highly sensitive person and a narcissist, it’s all too easy to blame the HSP. How and why would anyone want to stay in such a relationship?” Narcissists are incredibly good at making you doubt yourself, especially the part of you that says: this has happened before, it’ll happen again. You need to leave.The opening paragraph of the psychology textbook I read next uses Donald Trump as an example. Trump is also Patrick Bateman’s hero, the misogynistic serial killer protagonist of Bret Easton Ellis’s notorious American Psycho. Despite an earlier version that broadly focused on New York fiction of the 1990s, Ellis’s novel and the feminist outcry it provoked became the central topic of my PhD.“Are you alright mum?”I’ve just picked Mum up and I’m driving her to Paris for a night and then on to Switzerland where she’s going to have voluntary euthanasia. Despite the London drizzle and the horrific traffic the whole thing has a Thelma and Louise feel about it. I tell mum and she laughs.“We should watch it again. Have you seen it since it first came out?”“Sounds like a good idea.”Mum, tiny, pointy-kneed and wearing an out-of-character fluoro green beanie given to her at the oncology clinic in Sydney, is being very stoic but I can tell from the way she constantly wrings her hands that she’s actually quite terrified.“OK Louise,” she says as I unfold her Zimmer frame later that evening.“OK Thelma,” I reply as she walks off towards the hotel.Paris is a treat. My brother is waiting inside and we’re hoping to enjoy one last meal together.Mum didn’t want to continue with chemo at 83, but she’s frightened of dying a horrific death. As we approach hotel reception Mum can’t help taking a detour to inspect the dinner menu at the hotel restaurant.“Oysters naturel. That sounds nice.”I smile, wait, and take her by the elbow.I’ve completely forgotten. The interview/review I wrote of Acker’s Pussy, King of the Pirates, in 1995 for Rolling Stone. Where is it? I open my laptop and quickly click through the endless publicity and reviews of The River Ophelia, the interview/review came out around the same time the novel was published, but I can’t find it. I know I had it out just a few months ago, when I was chasing up some freelance book reviews.I make a fresh pot of tea from the mini bar, green, and return to my Acker tribute. Should I try to get it published? Here, or back in Australia? Ever the émigré’s dilemma. I decide I like the Parisian sense of style in this room, especially the cotton-linen sheets.Finally, I find it, it’s in the wrong folder. Printing it out, I remember how Kathy had called her agent and publisher in New York, and her disbelief when I’d told her the book hadn’t been picked up overseas. Kathy’s call resulted in my first New York agent. I scrutinise its pages.Kathy smiles benign childlike creativity in the larger photo, and gestures in passionate exasperation in the smaller group, her baby face framed by countless metal ear piercings. The interview takes place—at Kathy’s insistence—on her futon in her hotel room. My memories clarify. It wasn’t that we drifted apart, or rather we did, but only after men had come between us first. Neither of us had much luck in that department.(4)Kathy’s writing is also political because her characters don’t act or speak the way you’d expect them to. They don’t seem to follow the rules or behave in the way your average fictional character tends to do. From sentence to sentence, Kathy’s characters either change into different people, or live revolutionary lives, or even more radical still, live impossible lives.When the narrator of DQ transforms herself into a knight (and lives an impossible life); she turns a situation in which she is passive and relatively powerless—she is about to be operated on and drugged—into an empowering experience (and lives a creative revolutionary life). Ironically, getting power means she turns herself into a male knight. But Kathy gets around the problem that power is male by not letting things rest there. The female, aborting Kathy isn’t actually replaced by a male knight, bits of him are just grafted onto her. Sure, she sets out on a quest, but the other aspects of her empowerment are pretty superficial: she does adopt a new name (which is more like a disguise), and identity (appearance); and picks up a bad habit or two—a tendency to talk in the language used by knights.“But who’s the father?” the writer wants to know. “I mean isn’t that the real question here?”No, that is exactly not the real question here and not the point. It is not about who the father is—it’s about what happens to a woman who has an unwanted unplanned pregnancy.The phone rings. It’s my brother. Mum’s waiting for me downstairs and the oysters are beckoning.(5)The idea that writing could be political was very appealing. The transformation between my first novel, Marilyn’s Almost Terminal New York Adventure and my second, The River Ophelia (Picador insisted on publishing them in reverse chronology) was partly a result of my discovery of Kathy’s work and the ideas it set off in me. Kathy wasn’t the first novelist to write politically, but she was the first female novelist to do so in a way that had an immediate impact on me at an emotional level. And it was this powerful emotional response that inspired me as a writer—I wanted to affect my readers in a similar way (because reading Kathy’s work, I felt less alone and that my darkest experiences, so long silenced by shame and skirted around in the interests of maintaining appearances, could be given a voice).We’re driving through Switzerland and I’m thinking about narcissism and the way the narcissists in my personal and professional life overshadowed everything else. But now it’s time to give the rest of the world some attention. It’s also one way of pulling back the power from the psychopaths who rule the world.As we approach Zurich, my mother asks to pull over so she can use the ladies. When she comes out I can see she’s been crying. Inside the car, she reaches for my hand and clasps it. “I don’t know if I’m strong enough to say goodbye.”“It’s alright Mum,” I say and hold her while we both cry.A police car drives by and my mother’s eyes snag. Harassed by the police in Australia and unable to obtain Nembutal in the UK, Mum has run out of options.To be a woman in this society is to find oneself living outside the law. Maybe this is what Acker meant when she wrote about becoming a pirate, or a knight?Textual deconstruction can be a risky business and writers like Acker walk a fine line when it comes to the law. Empire of the Senseless ran into a plagiarism suit in the UK and her publishers forced Acker to sign an apology to Harold Robbins (Acker Hannibal Lecter 13). My third novel Dependency similarly fell foul of the law when I discovered that in deconstructing gossip and myths about celebrities, drawing on their lives and then making stuff up, the result proved prophetic. When my publisher, Harper Collins, refused to indemnify me against potential unintended defamation I pulled the book from its contract on the advice of a lawyer. I was worth seven million pounds on paper at that point, the internet travel site my then husband and I had founded with Bob Geldof had taken off, and the novel was a radical hybrid text comprised of Rupert Murdoch’s biography, Shakespeare’s King Lear and Hello Magazine and I was worried that Murdoch might come after me personally. I’d fictionalised him as a King Lear type, writing his Cordelia out of his will and leaving everything to his Goneril and Reagan.Recent theoretical studies argue that Acker’s appropriation and deconstruction constitute a feminist politics as “fragmentation” (June 2) and as “agency” (Pitchford 22). As Acker puts it. “And then it’s like a kid: suddenly a toy shop opens up and the toy shop was called culture.” (Acker Hannibal Lecter 11).We don’t easily fit in a system that wasn’t ever designed to meet our needs.(6)By writing about the most private parts of women’s lives, I’ve tried to show how far there is to go before women and men are equal on a personal level. The River Ophelia is about a young woman whose public life might seem a success from the outside (she is a student doing an honours year at university in receipt of a scholarship), but whose private life is insufferable (she knows nothing about dealing with misogyny on an intimate level and she has no real relationship-survival skills, partly as a result of her family history, partly because the only survival skills she has have been inscribed by patriarchy and leave her vulnerable to more abuse). When Justine-the-character learns how to get around sexism of the personal variety (by re-inventing her life through parodies of classic texts about oedipal society) she not only changes her life, but she passes on her new-found survival skills to the reader.A disturbing tale about a young university student who loses herself in a destructive relationship, The River Ophelia is a postmodern novel about domestic violence and sexual harassment in the academy, contrary to its marketing campaign at the time. It’s protagonist, Justine, loves Sade but Sade is only interested in sex; indeed, he’s a brutish sex addict. Despite this, Justine can’t seem to leave: for all her education, she’s looking for love and commitment in all the wrong places. While the feminist lore of previous generations seems to work well in theory, Justine can’t seem to make it work in practise. Owning her power and experimenting with her own sexuality only leaves her feeling more despairing than before. Unconventional, compelling and controversial, The River Ophelia became an instant best-seller and is credited with beginning the Australian literary movement known as grunge/dirty realism.But there is always the possibility, given the rich intertextuality and self referentiality, that The River Ophelia is Justine’s honours thesis in creative writing. In this case, Sade, Juliette, Ophelia, Hamlet, Bataille, Simone, Marcelle and Leopold become hybrids made up from appropriated canonical characters, fragments of Justine’s turbulent student’s world and invented sections. But The River Ophelia is also a feminist novel that partly began as a dialogue with Ellis whose scandalous American Psycho it parodies even as it reinvents. This creative activity, which also involves the reader by inviting her to participate in the textual play, eventually empowers Justine over the canon and over her perpetrator, Sade.Another hotel room. This one, just out of Zürich, is tiny. I place my suitcase on the rack beneath the window overlooking the narrow street and start to unpack.“Hasn’t this all been said before, about The River Ophelia?” The writer says, trying out the bed. I’m in the middle of an email about self-publishing a new edition of TRO.Some of it. While the grunge label has been refuted, Acker’s influence has been underplayed.Acker often named her protagonists after herself, so losing the Acker part of my textual filiation plays into the whole grunge/dirty realism marketing campaign. I’ve talked about how I always name protagonists after famous women but not linked this to Acker. Bohemia Beach has a protagonist named after Cathy as in Wuthering Heights. Justine of The River Ophelia was doubly an Acker trait: firstly, she was named Justine after De Sade’s character and is a deconstruction of that character, and secondly she was named Justine self-reflexively after me, as a tribute to Kathy as in Kathy Goes to Haiti.The other context for The River Ophelia that has been lost is to do with the early work of Mary Gaitskill, and Catherine Texier. The narcissists were so destructive and so powerful they left no time for the relatively more subtle Gaitskill or Texier. Prototypes for Sex in the City, the 1990s was also a time when Downtown New York women writers explored the idea that gender equality meant women could do anything men did sexually, that they deserved the full gamut of libertine sexual freedoms. Twenty years on it should also be said that women who push the envelope by writing women protagonists who are every bit as sexually transgressive as men, every bit as addictively self-destructive as male protagonists deserve not to be shamed for that experimentation. They deserve to be celebrated and read.AfterwordI’d like to remember Kathy as I knew her briefly in Sydney. A bottle-blonde with a number two haircut, a leopard-skin bikini and a totally tattooed body, she swam a surprisingly genteel breast-stroke in the next lane in one of the world’s most macho lap-swimming pools.ReferencesA Simple Favour. Dir. Paul Feig. Lionsgate, 2018.Acker, Kathy. Don Quixote. London: Collins, 1986.———. Empire of the Senseless. New York: Grove, 1988.———. Hannibal Lecter, My Father. New York: Semiotext(e), 1991.———. Kathy Goes to Haiti. New York: Grove Press/Atlantic Monthly, 1994.——— and McKenzie Wark. I’m Very into You: Correspondence 1995-1996. New York: Semiotext(e), 2015.Basic Instinct. Dir. Paul Verhoeven. TriStar Pictures, 1992.Brontë, Emily. Wuthering Heights. New York: Norton and Co, 2003.Bushnell, Candace. Sex in the City. United States: Grand Central Publishing, 1996.Cooke, Rachel. “Review of After Kathy Acker: A Biography by Chris Kraus—Baffling Life Study.” The Guardian 4 Sep. 2017. 4 Dec. 2018 <https://www.theguardian.com/books/2017/sep/04/after-kathy-acker-a-biography-chris-kraus-review>.Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987.Ellis, Bret Easton. American Psycho. New York: Vintage, 1991.Ettler, Justine. Bohemia Beach. Melbourne: Transit Lounge. 2018.———. “Kathy Acker: King of the Pussies.” Review of Pussy, King of the Pirates, by Kathy Acker. Rolling Stone. Nov. 1995: 60-61.———. Marilyn’s Almost Terminal New York Adventure. Sydney: Picador, 1996.———. “La Trobe University Essay: Bret Easton Ellis’s Glamorama, and Catherine Texier’s Break Up.” Australian Book Review, 1995.———. The Best Ellis for Business: A Re-Examination of the Mass Media Feminist Critique of “American Psycho.” PhD. Sydney: University of Sydney, 2013.———. The River Ophelia. Sydney: Picador, 1995.Faludi, Susan. Backlash: The Undeclared War against American Women. New York: Crown, 1991.Friedman, Ellen G. “A Conversation with Kathy Acker.” The Review of Contemporary Fiction 9.3 (Fall 1989): 20-21.Gaitskill, Mary. Bad Behaviour. New York: Random House, 1988.I Love Dick. Dir. Jill Soloway. Amazon Video, 2017.June, Pamela B. The Fragmented Female Body and Identity: The Postmodern Feminist and Multiethnic Writings of Toni Morrison, Therese Huk, Kyung Cha, Phyllis Alesia Perry, Gayl Jones, Emma Perez, Paula Gunn Allen, and Kathy Acker. New York: Peter Lang Publishing, 2010.Killing Eve. Dir. Phoebe Waller-Bridge. BBC America, 2018.Kraus, Chris. After Kathy Acker: A Biography. London: Penguin, 2017.———. I Love Dick. London: Serpent’s Tail, 2016.Laing, Olivia. Crudo. London: Picador, 2018.Lee, Bandy. The Case of Donald Trump: 27 Psychiatrists and Mental Health Experts Assess a President. New York: St Martin’s Press. 2017.Lombard, Nancy, and Lesley McMillan. “Introduction.” Violence against Women. Eds. Nancy Lombard and Lesley McMillan. London: Jessica Kingsley Publishers, 2013.Pitchford, Nicola. Tactical Readings: Feminist Postmodernism in the Novels of Kathy Acker and Angela Carter. London: Associated Uni Press, 2002.Schiffrin, André. The Business of Books: How International Conglomerates Took Over Publishing and Changed the Way We Read. London and New York: Verso, 2000.Shakespeare, William. King Lear. London: Penguin Classics, 2015.Siegle, Robert. Suburban Ambush: Downtown Writing and the Fiction of Insurgency. United States: John Hopkins Press, 1989.Single White Female. Dir. Barbet Schroeder. Columbia Pictures, 1992.Texier, Catherine. Panic Blood. London: Collins, 1991.Thelma and Louise. Dir. Ridley Scott. Metro-Goldwyn-Mayer, 1991.Ward, Deborah. “Sense and Sensitivity: The Highly Sensitive Person and the Narcissist.” Psychology Today (16 Jan. 2012). 4 Dec. 2018 <https://www.psychologytoday.com/us/blog/sense-and-sensitivity/201201/the-highly-sensitive-person-and-the-narcissist>.

IntroductionIn March 2015, I visited the Lambing Flat Folk Museum (established 1967) in the “cherry capital of Australia”, the town of Young, New South Wales, in preparation for a student excursion. Like other Australian folk museums, this museum focuses on the ordinary and the everyday of rural life, and is heavily reliant on local history, local historians, volunteers, and donated objects for the collection. It may not sound as though the Lambing Flat Folk Museum (LFFM) holds much potential for a fashion curator, as fashion exhibitions have become high points of innovation in exhibition design. It is quite a jolt to return to old style folk museums, when travelling shows such as Alexander McQueen: Savage Beauty (Metropolitan Museum of Art 2011 – V&A Museum 2015) or The Fashion World of Jean Paul Gaultier (V&A Museum 2011­ – NGV 2014) are popping up around the globe. The contrast stimulated this author to think on the role and the power of curators. This paper will show that the potential for fashion as a vehicle for demonstrating ideas other than through rubrics of design or history has been growing. We all wear dress. We express identity, politics, status, age, gender, social values, and mental state through the way we dress each and every day. These key issues are also explored in many museum exhibitions.Small museums often have an abundance of clothing. For them, it is a case of not only managing and caring for growing collections but also curating objects in a way that communicates regional and often national identity, as well as narrating stories in meaningful ways to audiences. This paper argues that the way in which dress is curated can greatly enhance temporary and permanent exhibitions. Fashion curation is on the rise (Riegels Melchior). This paper looks at why this is so, the potential for this specialisation in curation, the research required, and the sensitivity needed in communicating ideas in exhibitions. It also suggests how fashion curation skills may facilitate an increasing demand.Caring for the AudienceThe paper draws on a case study of how Chinese people at the LFFM are portrayed. The Chinese came to the Young district during the 1860s gold rush. While many people often think the Chinese were sojourners (Rolls), that is, they found gold and returned to China, many actually settled in regional Australia (McGowan; Couchman; Frost). At Young there were riots against the Chinese miners, and this narrative is illustrated at the museum.In examining the LFFM, this paper points to the importance of caring for the audience as well as objects, knowing and acknowledging the current and potential audiences. Caring for how the objects are received and perceived is vital to the work of curators. At this museum, the stereotypic portrayal of Chinese people, through a “coolie” hat, a fan, and two dolls dressed in costume, reminds us of the increased professionalisation of the museum sector in the last 20 years. It also reminds us of the need for good communication through both the objects and texts. Audiences have become more sophisticated, and their expectations have increased. Displays and accompanying texts that do not reflect in depth research, knowledge, and sensitivities can result in viewers losing interest quickly. Not long into my visit I began thinking of the potential reaction by the Chinese graduate students. In a tripartite model called the “museum experience”, Falk and Dierking argue that the social context, personal context, and physical context affect the visitor’s experience (5). The social context of who we visit with influences enjoyment. Placing myself in the students’ shoes sharpened reactions to some of the displays. Curators need to be mindful of a wide range of audiences. The excursion was to be not so much a history learning activity, but a way for students to develop a personal interest in museology and to learn the role museums can play in society in general, as well as in small communities. In this case the personal context was also a professional context. What message would they get?Communication in MuseumsStudies by Falk et al. indicate that museum visitors only view an exhibition for 30 minutes before “museum fatigue” sets in (249–257). The physicality of being in a museum can affect the museum experience. Hence, many institutions responded to these studies by placing the key information and objects in the introductory areas of an exhibition, before the visitor gets bored. As Stephen Bitgood argues, this can become self-fulfilling, as the reaction by the exhibition designers can then be to place all the most interesting material early in the path of the audience, leaving the remainder as mundane displays (196). Bitgood argues there is no museum fatigue. He suggests that there are other things at play which curators need to heed, such as giving visitors choice and opportunities for interaction, and avoiding overloading the audience with information and designing poorly laid-out exhibitions that have no breaks or resting points. All these factors contribute to viewers becoming both mentally and physically tired. Rather than placing the onus on the visitor, he contends there are controllable factors the museum can attend to. One of his recommendations is to be provocative in communication. Stimulating exhibitions are more likely to engage the visitor, minimising boredom and tiredness (197). Xerxes Mazda recommends treating an exhibition like a good story, with a beginning, a dark moment, a climax, and an ending. The LFFM certainly has those elements, but they are not translated into curation that gives a compelling narration that holds the visitors’ attention. Object labels give only rudimentary information, such as: “Wooden Horse collar/very rare/donated by Mr Allan Gordon.” Without accompanying context and engaging language, many visitors could find it difficult to relate to, and actively reflect on, the social narrative that the museum’s objects could reflect.Text plays an important role in museums, particularly this museum. Communication skills of the label writers are vital to enhancing the museum visit. Louise Ravelli, in writing on museum texts, states that “communication needs to be more explicit and more reflexive—to bring implicit assumptions to the surface” (3). This is particularly so for the LFFM. Posing questions and using an active voice can provoke the viewer. The power of text can be seen in one particular museum object. In the first gallery is a banner that contains blatant racist text. Bringing racism to the surface through reflexive labelling can be powerful. So for this museum communication needs to be sensitive and informative, as well as pragmatic. It is not just a case of being reminded that Australia has a long history of racism towards non-Anglo Saxon migrants. A sensitive approach in label-writing could ask visitors to reflect on Australia’s long and continued history of racism and relate it to the contemporary migration debate, thereby connecting the present day to dark historical events. A question such as, “How does Australia deal with racism towards migrants today?” brings issues to the surface. Or, more provocatively, “How would I deal with such racism?” takes the issue to a personal level, rather than using language to distance the issue of racism to a national issue. Museums are more than repositories of objects. Even a small underfunded museum can have great impact on the viewer through the language they use to make meaning of their display. The Lambing Flat Roll-up Banner at the LFFMThe “destination” object of the museum in Young is the Lambing Flat Roll-up Banner. Those with a keen interest in Australian history and politics come to view this large sheet of canvas that elicits part of the narrative of the Lambing Flat Riots, which are claimed to be germane to the White Australia Policy (one of the very first pieces of legislation after the Federation of Australia was The Immigration Restriction Act 1901).On 30 June 1861 a violent anti-Chinese riot occurred on the goldfields of Lambing Flat (now known as Young). It was the culmination of eight months of growing conflict between European and Chinese miners. Between 1,500 and 2,000 Europeans lived and worked in these goldfields, with little government authority overseeing the mining regulations. Earlier, in November 1860, a group of disgruntled European miners marched behind a German brass band, chasing off 500 Chinese from the field and destroying their tents. Tensions rose and fell until the following June, when the large banner was painted and paraded to gather up supporters: “…two of their leaders carrying in advance a magnificent flag, on which was written in gold letters – NO CHINESE! ROLL UP! ROLL UP! ...” (qtd. in Coates 40). Terrified, over 1,270 Chinese took refuge 20 kilometres away on James Roberts’s property, “Currawong”. The National Museum of Australia commissioned an animation of the event, The Harvest of Endurance. It may seem obvious, but the animators indicated the difference between the Chinese and the Europeans through dress, regardless that the Chinese wore western dress on the goldfields once the clothing they brought with them wore out (McGregor and McGregor 32). Nonetheless, Chinese expressions of masculinity differed. Their pigtails, their shoes, and their hats were used as shorthand in cartoons of the day to express the anxiety felt by many European settlers. A more active demonstration was reported in The Argus: “ … one man … returned with eight pigtails attached to a flag, glorifying in the work that had been done” (6). We can only imagine this trophy and the de-masculinisation it caused.The 1,200 x 1,200 mm banner now lays flat in a purpose-built display unit. Viewers can see that it was not a hastily constructed work. The careful drafting of original pencil marks can be seen around the circus styled font: red and blue, with the now yellow shadowing. The banner was tied with red and green ribbon of which small remnants remain attached.The McCarthy family had held the banner for 100 years, from the riots until it was loaned to the Royal Australian Historical Society in November 1961. It was given to the LFFM when it opened six years later. The banner is given key positioning in the museum, indicating its importance to the community and its place in the region’s memory. Just whose memory is narrated becomes apparent in the displays. The voice of the Chinese is missing.Memory and Museums Museums are interested in memory. When visitors come to museums, the work they do is to claim, discover, and sometimes rekindle memory (Smith; Crane; Williams)—-and even to reshape memory (Davidson). Fashion constantly plays with memory: styles, themes, textiles, and colours are repeated and recycled. “Cutting and pasting” presents a new context from one season to the next. What better avenue to arouse memory in museums than fashion curation? This paper argues that fashion exhibitions fit within the museum as a “theatre of memory”, where social memory, commemoration, heritage, myth, fantasy, and desire are played out (Samuels). In the past, institutions and fashion curators often had to construct academic frameworks of “history” or “design” in order to legitimise fashion exhibitions as a serious pursuit. Exhibitions such as Fashion and Politics (New York 2009), Fashion India: Spectacular Capitalism (Oslo 2014) and Fashion as Social Energy (Milan 2015) show that fashion can explore deeper social concerns and political issues.The Rise of Fashion CuratorsThe fashion curator is a relative newcomer. What would become the modern fashion curator made inroads into museums through ethnographic and anthropological collections early in the 20th century. Fashion as “history” soon followed into history and social museums. Until the 1990s, the fashion curator in a museum was seen as, and closely associated with, the fashion historian or craft curator. It could be said that James Laver (1899–1975) or Stella Mary Newton (1901–2001) were the earliest modern fashion curators in museums. They were also fashion historians. However, the role of fashion curator as we now know it came into its own right in the 1970s. Nadia Buick asserts that the first fashion exhibition, Fashion: An Anthology by Cecil Beaton, was held at the Victoria and Albert Museum, curated by the famous fashion photographer Cecil Beaton. He was not a museum employee, a trained curator, or even a historian (15). The museum did not even collect contemporary fashion—it was a new idea put forward by Beaton. He amassed hundreds of pieces of fashion items from his friends of elite society to complement his work.Radical changes in museums since the 1970s have been driven by social change, new expectations and new technologies. Political and economic pressures have forced museum professionals to shift their attention from their collections towards their visitors. There has been not only a growing number of diverse museums but also a wider range of exhibitions, fashion exhibitions included. However, as museums and the exhibitions they mount have become more socially inclusive, this has been somewhat slow to filter through to the fashion exhibitions. I assert that the shift in fashion exhibitions came as an outcome of new writing on fashion as a social and political entity through Jennifer Craik’s The Face of Fashion. This book has had an influence, beyond academic fashion theorists, on the way in which fashion exhibitions are curated. Since 1997, Judith Clark has curated landmark exhibitions, such as Malign Muses: When Fashion Turns Back (Antwerp 2004), which examine the idea of what fashion is rather than documenting fashion’s historical evolution. Dress is recognised as a vehicle for complex issues. It is even used to communicate a city’s cultural capital and its metropolitan modernity as “fashion capitals” (Breward and Gilbert). Hence the reluctant but growing willingness for dress to be used in museums to critically interrogate, beyond the celebratory designer retrospectives. Fashion CurationFashion curators need to be “brilliant scavengers” (Peoples). Curators such as Clark pick over what others consider as remains—the neglected, the dissonant—bringing to the fore what is forgotten, where items retrieved from all kinds of spheres are used to fashion exhibitions that reflect the complex mix of the tangible and intangible that is present in fashion. Allowing the brilliant scavengers to pick over the flotsam and jetsam of everyday life can make for exciting exhibitions. Clothing of the everyday can be used to narrate complex stories. We only need think of the black layette worn by Baby Azaria Chamberlain—or the shoe left on the tarmac at Darwin Airport, having fallen off the foot of Mrs Petrov, wife of the Russian diplomat, as she was forced onto a plane. The ordinary remnants of the Chinese miners do not appear to have been kept. Often, objects can be transformed by subsequent significant events.Museums can be sites of transformation for its audiences. Since the late 1980s, through the concept of the New Museum (Vergo), fashion as an exhibition theme has been used to draw in wider museum audiences and to increase visitor numbers. The clothing of Vivienne Westwood, (34 Years in Fashion 2005, NGA) Kylie Minogue (Kylie: An Exhibition 2004­–2005, Powerhouse Museum), or Princess Grace (Princess Grace: Style Icon 2012, Bendigo Art Gallery) drew in the crowds, quantifying the relevance of museums to funding bodies. As Marie Riegels Melchior notes, fashion is fashionable in museums. What is interesting is that the New Museum’s refrain of social inclusion (Sandell) has yet to be wholly embraced by art museums. There is tension between the fashion and museum worlds: a “collision of the fashion and art worlds” (Batersby). Exhibitions of elite designer clothing worn by celebrities have been seen as very commercial operations, tainting the intellectual and academic reputations of cultural institutions. What does fashion curation have to do with the banner mentioned previously? It would be miraculous for authentic clothing worn by Chinese miners to surface now. In revising the history of Lambing Flat, fashion curators need to employ methodologies of absence. As Clynk and Peoples have shown, by examining archives, newspaper advertisements, merchants’ account books, and other material that incidentally describes the business of clothing, absence can become present. While the later technology of photography often shows “Sunday best” fashions, it also illustrates the ordinary and everyday dress of Chinese men carrying out business transactions (MacGowan; Couchman). The images of these men bring to mind the question: were these the children of men, or indeed the men themselves, who had their pigtails violently cut off years earlier? The banner was also used to show that there are quite detailed accounts of events from local and national newspapers of the day. These are accessible online. Accounts of the Chinese experience may have been written up in Chinese newspapers of the day. Access to these would be limited, if they still exist. Historian Karen Schamberger reminds us of the truism: “history is written by the victors” in her observations of a re-enactment of the riots at the Lambing Flat Festival in 2014. The Chinese actors did not have speaking parts. She notes: The brutal actions of the European miners were not explained which made it easier for audience members to distance themselves from [the Chinese] and be comforted by the actions of a ‘white hero’ James Roberts who… sheltered the Chinese miners at the end of the re-enactment. (9)Elsewhere, just out of town at the Chinese Tribute Garden (created in 1996), there is evidence of presence. Plaques indicating donors to the garden carry names such as Judy Chan, Mrs King Chou, and Mr and Mrs King Lam. The musically illustrious five siblings of the Wong family, who live near Young, were photographed in the Discover Central NSW tourist newspaper in 2015 as a drawcard for the Lambing Flat Festival. There is “endurance”, as the title of NMA animation scroll highlights. Conclusion Absence can be turned around to indicate presence. The “presence of absence” (Meyer and Woodthorpe) can be a powerful tool. Seeing is the pre-eminent sense used in museums, and objects are given priority; there are ways of representing evidence and narratives, and describing relationships, other than fashion presence. This is why I argue that dress has an important role to play in museums. Dress is so specific to time and location. It marks specific occasions, particularly at times of social transitions: christening gowns, bar mitzvah shawls, graduation gowns, wedding dresses, funerary shrouds. Dress can also demonstrate the physicality of a specific body: in the extreme, jeans show the physicality of presence when the body is removed. The fashion displays in the museum tell part of the region’s history, but the distraction of the poor display of the dressed mannequins in the LFFM gets in the way of a “good story”.While rioting against the Chinese miners may cause shame and embarrassment, in Australia we need to accept that this was not an isolated event. More formal, less violent, and regulated mechanisms of entry to Australia were put in place, and continue to this day. It may be that a fashion curator, a brilliant scavenger, may unpick the prey for viewers, placing and spacing objects and the visitor, designing in a way to enchant or horrify the audience, and keeping interest alive throughout the exhibition, allowing spaces for thinking and memories. Drawing in those who have not been the audience, working on the absence through participatory modes of activities, can be powerful for a community. Fashion curators—working with the body, stimulating ethical and conscious behaviours, and constructing dialogues—can undoubtedly act as a vehicle for dynamism, for both the museum and its audiences. As the number of museums grow, so should the number of fashion curators.ReferencesArgus. 10 July 1861. 20 June 2015 ‹http://trove.nla.gov.au/›.Batersby, Selena. “Icons of Fashion.” 2014. 6 June 2015 ‹http://adelaidereview.com.au/features/icons-of-fashion/›.Bitgood, Stephen. “When Is 'Museum Fatigue' Not Fatigue?” Curator: The Museum Journal 2009. 12 Apr. 2015 ‹http://onlinelibrary.wiley.com/doi/10.1111/j.2151-6952.2009.tb00344.x/abstract›. Breward, Christopher, and David Gilbert, eds. Fashion’s World Cities. Oxford: Berg Publications, 2006.Buick, Nadia. “Up Close and Personal: Art and Fashion in the Museum.” Art Monthly Australia Aug. (2011): 242.Clynk, J., and S. Peoples. “All Out in the Wash.” Developing Dress History: New Directions in Method and Practice. Eds. Annabella Pollen and Charlotte Nicklas C. London: Bloomsbury, forthcoming Sep. 2015. Couchman, Sophia. “Making the ‘Last Chinaman’: Photography and Chinese as a ‘Vanishing’ People in Australia’s Rural Local Histories.” Australian Historical Studies 42.1 (2011): 78–91.Coates, Ian. “The Lambing Flat Riots.” Gold and Civilisation. Canberra: The National Museum of Australia, 2011.Clark, Judith. Spectres: When Fashion Turns Back. London: V&A Publications, 2006.Craik, Jennifer. The Face of Fashion. Oxon: Routledge, 1994.Crane, Susan. “The Distortion of Memory.” History and Theory 36.4 (1997): 44–63.Davidson, Patricia. “Museums and the Shaping of Memory.” Heritage Museum and Galleries: An Introductory Reader. Ed. Gerard Corsane. Oxon: Routledge, 2005.Discover Central NSW. Milthorpe: BMCW, Mar. 2015.Dethridge, Anna. Fashion as Social Energy Milan: Connecting Cultures, 2005.Falk, John, and Lyn Dierking. The Museum Experience. Washington: Whaleback Books, 1992.———, John Koran, Lyn Dierking, and Lewis Dreblow. “Predicting Visitor Behaviour.” Curator: The Museum Journal 28.4 (1985): 249–57.Fashion and Politics. 13 July 2015 ‹http://www.fitnyc.edu/5103.asp›.Fashion India: Spectacular Capitalism. 13 July 2015 ‹http://www.tereza-kuldova.com/#!Fashion-India-Spectacular-Capitalism-Exhibition/cd23/85BBF50C-6CB9-4EE5-94BC-DAFDE56ADA96›.Frost, Warwick. “Making an Edgier Interpretation of the Gold Rushes: Contrasting Perspectives from Australia and New Zealand.” International Journal of Heritage Studies 11.3 (2005): 235-250.Mansel, Philip. Dressed to Rule: Royal and Court Costumes from Louis XIV to Elizabeth II. New Haven: Yale UP, 2005.Mazda, Xerxes. “Exhibitions and the Power of Narrative.” Museums Australia National Conference. Sydney, Australia. 23 May 2015. Opening speech.McGowan, Barry. Tracking the Dragon: A History of the Chinese in the Riverina. Wagga Wagga: Museum of the Riverina, 2010.Meyer, Morgan, and Kate Woodthorpe. “The Material Presence of Absence: A Dialogue between Museums and Cemeteries.” Sociological Research Online (2008). 6 July 2015 ‹http://www.socresonline.org.uk/13/5/1.html›.National Museum of Australia. “Harvest of Endurance.” 20 July 2015 ‹http://www.nma.gov.au/collections/collection_interactives/endurance_scroll/harvest_of_endurance_html_version/home›. Peoples, Sharon. “Cinderella and the Brilliant Scavengers.” Paper presented at the Fashion Tales 2015 Conference, Milan, June 2015. Ravelli, Louise. Museum Texts: Communication Frameworks. Oxon: Routledge, 2006.Riegels Melchior, Marie. “Fashion Museology: Identifying and Contesting Fashion in Museums.” Paper presented at Exploring Critical Issues, Mansfield College, Oxford, 22–25 Sep. 2011. Rolls, Eric. Sojourners: The Epic Story of China's Centuries-Old Relationship with Australia. St Lucia: U of Queensland P, 1992.Samuels, Raphael. Theatres of Memory. London: Verso, 2012.Sandell, Richard. “Social Inclusion, the Museum and the Dynamics of Sectorial Change.” Museum and Society 1.1 (2003): 45–62.Schamberger, Karen. “An Inconvenient Myth—the Lambing Flat Riots and Birth of a Nation.” Paper presented at Foundational Histories Australian Historical Conference, University of Sydney, 6–10 July 2015. Smith, Laurajane. The Users of Heritage. Oxon: Routledge, 2006.Vergo, Peter. New Museology. Chicago: U of Chicago P, 1989.Williams, Paul. Memorial Museums: The Global Rush to Commemorate Atrocities. Oxford: Berg Publishers, 2007.

IntroductionThis paper addresses two separate notions of embodiment – western maternal embodiment and art making as a form of embodied critical resistance. It takes as its subject breeder; my unpublished five minute video installation from 2012, which synthesises these two separate conceptual framings of embodiment as a means to visually and conceptually rupture dominant ideologies surrounding Australian motherhood. Emerging from a paradoxical landscape of fear, loathing and desire, breeder is my dark satirical take on ambivalent myths surrounding suburban Australian motherhood. Portraying my white, heavily pregnant body breeding, cooking and consuming pink, sugar-coated butterflies, breeder renders literal the Australian mother as both idealised nation-builder and vilified, self-indulgent abuser. A feminine reification of Goya’s Saturn Devouring His Children, breeder attempts to make visible my own grapplings with maternal ambivalence, to complicate even further, the already strained position of motherhood within the Australian cultural imaginary. Employing the mediums of video and performance to visually manifest an ambivalent protagonist who displays both nurturing maternal ideals and murderous inclinations, breeder pushes contradictory maternal expectations to their breaking point and challengingly offers the following proposition: “This is what you want; but what you’ll get is so much more than you bargained for” (Grosz 136). Drawing upon critical, feminist theorising that challenges idealised views of motherhood; accounts of motherhood by mothers themselves; as well as my own personal grapplings with maternal expectations, this paper weaves reflexive writing with textual analysis to explore how an art-based methodology of embodied critical resistance can problematise representations of motherhood within Australia. By visualising the disjuncture between dominant representations of motherhood that have saturated Australian mainstream media since the late 1990s and the complex ambivalent reality of some women’s actual experiences of mothering, this paper discusses how breeder’s intimate portrayal of maternal domesticity at the limits of tolerability, critically resists socially acceptable mothering practices by satirising the cultural construct of motherhood as a means “to use it, deform it, and make it groan and protest” (Nietzsche qtd. in Gutting).Contradictory Maternal KnowledgeImages of motherhood are all around us; communicating ideals and stereotypes that tell us how mothers should feel, think and act. But these images and the concepts of motherhood that underpin them are full of contradictions. Cultural representations of the idealised and sometimes “yummy mummy” - middle class, attractive, healthy, sexy and heterosexual – (see Fraser; Johnson), contrast with depictions of “bad” mothers, leading to motherhood being simultaneously idealised and demonised within the popular press (Bullen et al.; McRobbie, Top Girls; McRobbie, In the Aftermath; McRobbie, Reflections on Feminism; Walkerdine et al.). Mothers own accounts of motherhood reflect these unsettling contradictions (Miller; Thomson et al.; Wilkinson). Claiming the maternal experience is both “heaven and hell” due to the daily experience of irreconcilable and contradictory feelings (Coward), mothers (myself included), silently struggle between feelings of extreme love and opposing feelings of failure, despair and hate as we get caught up in trying to achieve a set of ideals that promulgate standards of perfection that are beyond our reach. Surrounded by images of motherhood that do not resonate with the contradictory nature of the lived maternal experience, mothers are “torn in two” as we desperately try to reconcile or find absolution for maternal emotions that dominant cultural representations of motherhood render unacceptable. According to Roszika Parker, this complicated and contradictory experience where a mother has both loving and hating feelings for her child is that of maternal ambivalence; a form of exquisite suffering that oscillates between the overwhelming affect of blissful gratification and the raw edges of bitter resentment (Parker 1). As Parker states, maternal ambivalence refers to:Those fleeting (or not so fleeting) feelings of hatred for a child that can grip a mother, the moment of recoil from a much loved body, the desire to abandon, to smash the untouched plate of food in a toddler’s face, to yank a child’s arm while crossing the road, scrub too hard with a face cloth, change the lock on an adolescent or the fantasy of hurling a howling baby out of the window (5).However, it is not only feelings of hatred that stir up ambivalence in the mother, so too can the overwhelming intensity of love itself render the rush of ambivalence so surprising and so painful. Commenting on the extreme contradictory emotions that fill a mother and how not only excessive hatred, but excessive love can turn dangerously fatal, Parker turns to Simone De Beauvoir’s idea of “carnal plenitude”; that is, where the child elicits from the mother, the emotion of domination; where the child becomes the “other” who is both prey and double (30). For Parker, De Beauvoir’s “carnal plenitude” is imaged by mothers in a myriad of ways, from a desire to gobble up the child, to feelings of wanting to gather the child into a fatal smothering hug. Commenting on her own unsettling love/hate relationship with her child, Adrienne Rich describes her experiences of maternal ambivalences as “the murderous alternation between bitter resentment and raw-edged nerves and blissful gratification and tenderness” (363). Unable to come to terms with this paradox at the core of the unfolding process of motherhood, our culture defends itself against this illogical ambivalence in the mother by separating the good nurturing mother from the bad neglectful mother in an attempt to deny the fact that they are one and the same. Resulting in a culture that either denigrates or idealises mothers, we are constantly presented with images of the good perfect nurturing mother and her murderous alter ego; the bad fatal mother who neglects and smothers. This means that how a mother feels about mothering or the meaning it has for her, is heavily determined by cultural representations of motherhood. Arguing for a creative transformation of the maternal that breaches the mutual exclusivities that separate motherhood, I am called to action by Susan Rubin Suleiman, who writes (quoting psychoanalyst Helene Deutsch): “Mothers don’t write, they are written” (Suleiman 5). As a visual attempt to negotiate, translate and thus “write” my lived experience of Australian motherhood, breeder gives voice to the raw material of contradictory (and often taboo experiences) surrounding maternal embodiment and subjectivity. Hijacking and redeploying contradictory understandings and representations of Australian motherhood to push maternal ideals to their breaking point, breeder seeks to create a kind of “mother trouble” that challenges the disjuncture between dominant social constructions of motherhood designed to keep us assigned to our proper place. Viscerally embracing the reality that much of life with small children revolves around loss of control and disintegration of physical boundaries, breeder visually explores the complex and contradictory performances surrounding lived experiences of mothering within Australia to complicate even further the already strained position of western maternal embodiment.Situated Maternal KnowledgeOver the last decade and a half, women’s bodies and their capacity to reproduce have become centre stage in the unfolding drama of Australian economic policy. In 1999 fears surrounding dwindling birth-rates and less future tax revenue, led then Victorian Premier Jeff Kennett to address a number of exclusive private girls’ schools. Making Australia-wide headlines, Kennett urged these affluent young women to abandon their desire for a university degree and instead invited them to consider motherhood as the ultimate career choice (Dever). In 2004, John Howard’s Liberal government made headlines as they announced the new maternity allowance; a $3000 lump-sum financial incentive for women to leave work and have babies. Ending this announcement by urging the assembled gathering of mostly male reporters to go home and have “one for the Dad, one for the Mum and one for the Country” (Baird and Cutcher 103), Federal Treasurer Peter Costello made a last ditch effort to save Baby Boomers from their imminent pensionless doom. Failing to come to terms with the impending saturation of the retirement market without the appropriate tax payer support, the Liberal Government turned baby-making into the ultimate Patriotic act as they saw in women bodies, the key to prevent Australia’s looming economic crisis. However, not all women’s bodies were considered up to the job of producing the longed for “Good tax-paying Citizen” (Tyler). Kennett only visited exclusive private girls’ schools (Ferrier), headhunting only the highest calibre of affluent breeders. Blue-collar inter-mingling was to be adamantly discouraged. Costello’s 2004 “baby bonus” catch-cry not only caused international ire, but also implicitly relegated the duty of child-bearing patriotism to a normalised heterosexual, nuclear family milieu. Unwed or lesbian mothers need not apply. Finally, as government spokespeople repeatedly proclaimed that the new maternity allowance was not income tested, this suggested that the target nation-builder breeder demographic was the higher than average income earner. Let’s get it straight people – only highly skilled, high IQ’s, heterosexual, wedded, young, white women were required in this exclusive breeding program (see Allen and Osgood; Skeggs; Tyler). And if the point hadn’t already been made perfectly clear, newspaper tabloids, talkback radio and current affairs programs all over the country were recruited to make sure the public knew exactly what type of mother Australia was looking for. Out of control young, jobless single mothers hit the headlines as fears abounded that they were breeding into oblivion. An inherently selfish and narcissistic lot, you could be forgiven for thinking that Australia was running rampant with so-called bogan single mothers, who left their babies trapped in hot airless cars in casino carparks all over the country as they spent their multiple “baby bonus’” on booze, ciggies, LCD’s and gambling (see Milne; O’Connor; Simpson and Dowling). Sucking the economy dry as they leeched good tax-payer dollars from Centrelink, these undesirables were the mothers Australia neither needed nor wanted. Producing offspring relegated to the category of bludgerhood before they could even crawl, these mothers became the punching bag for the Australian cultural imaginary as newspaper headlines screamed “Thou Shalt Not Breed” (Gordon). Seen as the embodiment of horror regarding the ever out-of-control nature of women’s bodies, these undesirable mothers materialised out of a socio-political landscape that although idealised women’s bodies as Australia’s economic saviour, also feared their inability to be managed and contained. Hoarding their capacity to reproduce for their own selfish narcissistic desires, these white trash mothers became the horror par excellence within the Australian cultural imaginary as they were publically regarded as the vilified evil alter-ego of the good, respectable white affluent young mother Australian policy makers were after. Forums all over the country were inundated. “Yes,” the dominant voices seemed to proclaim: “We want to build our population. We need more tax-paying citizens. But we only want white, self-less, nurturing, affluent mothers. We want women who can breed us moral upstanding subjects. We do not want lazy good for nothing moochers.” Emerging from this paradoxical maternal landscape of fear, loathing and desire, breeder is a visual and performative manifestation of my own inability to come to terms with the idealisation and denigration of motherhood within Australia. Involving a profound recognition that the personal is still the political, I not only attempt to visually trace the relationship between popular Australian cultural formations and individual experiences, but also to visually “write” my own embodied grapplings with maternal ambivalence. Following the premise that “critique without resistance is empty and resistance without critique is blind” (Hoy 6), I find art practice to be a critically situated and embodied act that can openly resist the power of dominant ideologies by highlighting maternal corporeal transgressions. A creative destablising action, I utilise the mediums of video and performance within breeder to explore personal, historical and culturally situated expectations of motherhood within Australia as a means to subvert dominant ideologies of motherhood within the Australian cultural imaginary. Performing Maternal KnowledgeReworking Goya’s Romantic Gothic vision of fatherhood in Saturn Devouring His Children, breeder is a five minute two-screen video performance that puts an ironic twist to the “good” and “bad” myths of Australian motherhood. Depicting myself as the young white heavily pregnant protagonist breeding monarch butterflies in my suburban backyard, sugar-coating, cooking and then eating them, breeder uses an exaggerated kitsch aesthetic to render literal the Australian mother as both idealistic nation-builder and self-indulgent abuser. Selfishly hoarding my breeding potential for myself, luxuriating and devouring my “offspring” for my own pleasure and delight rather than for the common good, breeder simultaneously defies and is complicit with motherhood expectations within the suburban Australian imaginary. Filmed in my backyard in the southern suburbs of Perth, Western Australia, breeder manifests my own maternal ambivalence and deliberately complicates the dichotomous and strained position motherhood holds in western society. Breeder is presented as a two screen video installation. The left screen is a fast-paced, brightly coloured, jump-cut narrative with a pregnant protagonist (myself). It has three main scenes or settings: garden, kitchen and terrace. The right screen is a slow-moving flow of images that shows the entire monarch butterfly breeding cycle in detail; close ups of eggs slowly turning into caterpillars, caterpillars creating cocoons and the gradual opening of wings as butterflies emerge from cocoons. All the while, the metamorphic cycle is aided by the pregnant protagonist, who cares for them until she sets them free of their breeding cage. In the left screen, apricot roses, orange trees, yellow hibiscus bushes, lush green lawns, a swimming pool and an Aussie backyard garden shed are glimpsed as the pregnant protagonist runs, jumps and sneaks up on butterflies while brandishing a red-handled butterfly net; dressed in red high heels and a white lace frock. Bunnies with pink bows jump, dogs in pink collars bark and a very young boy dressed in a navy-blue sailor suit all make cameo appearances as large monarch butterflies are collected and placed inside a child’s cherry red insect container. In a jump-cut transition, the female protagonist appears in a stark white kitchen; now dressed in a bright pink and apricot floral apron and baby-pink hair ribbon tied in a bow in her blonde ponytail. Standing behind the kitchen bench, she carefully measures sugar into a bowl. She then adds pink food colouring into the crystal white sugar, turning it into a bright pink concoction. Cracking eggs and separating them, she whisks the egg whites to form soft marshmallow peaks. Dipping a paint brush into the egg whites, she paints the fluffy mixture onto the butterflies (now dead), which are laid out on a well-used metal biscuit tray. Using her fingers to sprinkle the bright pink sugar concoction onto the butterflies, she then places them into the oven to bake and stands back with a smile. In the third and final scene, the female protagonist sits down at a table in a garden terrace in front of French-styled doors. Set for high tea with an antique floral tea pot and cup, lace table cloth and petit fours, she pours herself a cup of tea. Adding a teaspoon of sugar, she stirs and then selects a strawberry tart from a three-tiered high-tea stand that holds brightly iced cupcakes, cherry friands, tiny lemon meringue pies, sweet little strawberry tarts and pink sugar coated butterflies. Munching her way through tarts, pies, friands and cupcakes, she finally licks her lips and fuchsia tipped fingers and then carefully chooses a pink sugar coated butterfly. Close ups of her crimson coated mouth show her licking the pink sugar-crumbs from lips and fingers as she silently devours the butterfly. Leaning back in chair, she smiles, then picks up a pink leather bound book and relaxes as she begins to read herself into the afternoon. Screen fades to black. ConclusionAs a mother I am all fragmented, contradictory; full of ambivalence, love, guilt and shame. After seventeen years and five children, you would think that I would be used to this space. Instead, it is a space that I battle to come to terms with each and every day. So how to strategically negotiate engrained codes of maternity and embrace the complexities of embodied maternal knowledge? Indeed, how to speak of the difficulties and incomparable beauties of the maternal without having those variously inflected and complex experiences turn into clichés of what enduring motherhood is supposed to be? Visually and performatively grappling with my own fallout from mothering ideals and expectations where sometimes all I feel I am left with is “a monster of selfishness and intolerance” (Rich 363), breeder materialises my own experiences with maternal ambivalence and my inability to reconcile or negotiate multiple contradictory identities into a single maternal position. Ashamed of my self, my body, my obsessions, my anger, my hatred, my rage, my laughter, my sorrow and most of all my oscillation between a complete and utter desire to kill each and every one of my children and an overwhelming desire to gobble them all up, I make art work that is embedded in the grime and grittiness of my everyday life as a young mother living in the southern suburbs of Western Australia. A life that is most often mundane, sometimes sad, embarrassing, rude and occasionally heartbreaking. A life filled with such simple joy and such complicated sorrow. A life that in reality, is anything but manageable and contained. Although this is my experience, I know that I am not the only one. As an artist I engage in the embodied and critically resistant practice of sampling from my “mother” identities in order to bring out multiple, conflictive responses that provocatively encourage new ways of thinking and acknowledging embodied maternal knowledge. Although claims abound that this results in a practice that is “too personal” or “too specific” (Liss xv), I do not believe that this in fact risks reifying essentialism. Despite much feminist debate over the years regarding essentialist/social constructivist positions, I would still rather use my body as a site of embodied knowledge then rhetorically give it up. Acting as a disruption and challenge to the concepts of idealised or denigrated maternal embodiment, the images and performances of motherhood in breeder then, are more than simple acknowledgements of the reality of the good and bad mother, or acts reclaiming an identity that they taught me to despise (Cliff) or rebelling against having to be a "woman" at all. Instead, breeder is a lucid and explicit declaration of intent that politely refuses to keep every maternal body in its place.References Allen, Kim, and Jane Osgood. “Young Women Negotiating Maternal Subjectivities: The Significance of Social Class.” Studies in the Maternal. 1.2 (2009). 30 July 2012 ‹www.mamsie.bbk.ac.uk›.Almond, Barbara. The Monster Within. Berkeley: University of California Press, 2011.Baird, Marian, and Leanne Cutcher. “’One for the Father, One for the Mother and One for the Country': An Examination of the Construction of Motherhood through the Prism of Paid Maternity Leave.” Hecate 31.2 (2005): 103-113. Bullen, Elizabeth, Jane Kenway, and Valerie Hey. “New Labour, Social Exclusion and Educational Risk Management: The Case of ‘Gymslip Mums’.” British Educational Research Journal. 26.4 (2000): 441-456.Cliff, Michelle. Claiming an Identity They Taught Me to Despise. Michigan: Persephone Press, 1980.Coward, Ross. “The Heaven and Hell of Mothering: Mothering and Ambivalence in the Mass Media.” In Wendy Hollway and Brid Featherston, eds. Mothering and Ambivalence. London: Routledge, 1997.Dever, Maryanne. “Baby Talk: The Howard Government, Families and the Politics of Difference.” Hecate 31.2 (2005): 45-61Ferrier, Carole. “So, What Is to Be Done about the Family?” Australian Humanities Review (2006): 39-40.Fraser, Liz. The Yummy Mummy Survival Guide. New York: Harper Collins, 2007.Gutting, Gary. Foucault: A Very Short Introduction. New York: Oxford University Press, 2005.Gordon, Josh. “Thou Shalt Not Breed.” The Age, 9 May 2010.Grosz, Elizabeth. Volatile Bodies. St Leonards: Allen and Unwin, 1986.Hoy, David C. Critical Resistance. Cambridge: MIT Press, 2005.Johnson, Anna. The Yummy Mummy Manifesto: Baby, Beauty, Body and Bliss. New York: Ballantine, 2009.Liss, Andrea. Feminist Art and the Maternal. Minneapolis: University of Minnesota Press, 2009.McRobbie, Angela. “Top Girls: Young Women and the Post-Feminist Sexual Contract.” Cultural Studies. 21. 4. (2007): 718-737.---. In the Aftermath of Feminism: Gender, Culture and Social Change. London: Sage. 2008.---. “Reflections on Feminism, Immaterial Labour and the Post-Fordist Regime.” New Formations 70 (Winter 2011): 60-76. 30 July 2012 ‹http://dx.doi.org.dbgw.lis.curtin.edu.au/10.3898/NEWF.70.04.2010›.Miller, Tina. Making Sense of Motherhood: A Narrative Approach. Cambridge: Cambridge University Press. 2005.Milne, Glenn. “Baby Bonus Rethink.” The Courier Mail 11 Nov. 2006. 30 Sep. 2011 ‹http://www.couriermail.com.au/news/national-old/baby-bonus-rethink/story-e6freooo-1111112507517›.O’Connor, Mike. “Baby Bonus Budget Handouts a Luxury We Can Ill Afford.” The Courier Mai. 5 Dec. 2011. 30 Apr. 2012 ‹http://www.couriermail.com.au/news/opinion/handouts-luxury-we-can-ill-afford/story-e6frerdf-1226213654447›.Parker, Roszika. Mother Love/Mother Hate, London: Virago Press, 1995.Rich, Adrienne. “Anger and Tenderness.” In M. Davey, ed. Mother Reader. New York: Seven Stories Press, 2001.Simpson, Kirsty, and Jason Dowling. “Gambling Soars in Child Bonus Week”. The Sunday Age Aug. 2004. 28 Apr. 2012 ‹http://www.couriermail.com.au/news/opinion/handouts-luxury-we-can-ill-afford/story-e6frerdf-1226213654447›.Skeggs, Beverly. Formations of Class and Gender: Becoming Respectable. London: Sage, 1997.Suleiman, Susan. “Writing and Motherhood,” Mother Reader Ed. Moyra Davey. New York: Seven Stories Press, 2001. 113-138Thomson, Rachel, Mary Jane Kehily, Lucy Hadfield, and Sue Sharpe. Making Modern Mothers. Bristol: Policy Press, 2011. 30 July 2012 ‹http://www.policypress.co.uk/display.asp?K=9781847426055&sf1=keyword&st1=motherhood&m=1&dc=16›.Tyler, Imogen. “’Chav Mum, Chav Scum’: Class Disgust in Contemporary Britain.” Feminist Media Studies 8.2. (2008): 17-34. 31 July 2012 http://dx.doi.org/10.1080/14680770701824779›.Walkerdine, Valerie, Helen Lucey, and Melody June. Growing Up Girl: Psychosocial Explorations of Gender and Class. London: Palgrave. 2001. Wilkinson, Tony. Uncertain Surrenders: The Coexistence of Beauty and Menace in the Maternal Bond and Photography. PhD thesis. Perth: Edith Cowan University, 2012. 31 July 2012 ‹http://ro.ecu.edu.au/cgi/viewcontent.cgi?article=1458&context=theses›.

Introduction: Our current obsession with the lives of others “Biography—that is to say, our creative and non-fictional output devoted to recording and interpreting real lives—has enjoyed an extraordinary renaissance in recent years,” writes Nigel Hamilton in Biography: A Brief History (1). Ian Donaldson agrees that biography is back in fashion: “Once neglected within the academy and relegated to the dustier recesses of public bookstores, biography has made a notable return over recent years, emerging, somewhat surprisingly, as a new cultural phenomenon, and a new academic adventure” (23). For over a decade now, commentators having been making similar observations about our obsession with the intimacies of individual people’s lives. In a lecture in 1994, Justin Kaplan asserted the West was “a culture of biography” (qtd. in Salwak 1) and more recent research findings by John Feather and Hazel Woodbridge affirm that “the undiminished human curiosity about other peoples lives is clearly reflected in the popularity of autobiographies and biographies” (218). At least in relation to television, this assertion seems valid. In Australia, as in the USA and the UK, reality and other biographically based television shows have taken over from drama in both the numbers of shows produced and the viewers these shows attract, and these forms are also popular in Canada (see, for instance, Morreale on The Osbournes). In 2007, the program Biography celebrated its twentieth anniversary season to become one of the longest running documentary series on American television; so successful that in 1999 it was spun off into its own eponymous channel (Rak; Dempsey). Premiered in May 1996, Australian Story—which aims to utilise a “personal approach” to biographical storytelling—has won a significant viewership, critical acclaim and professional recognition (ABC). It can also be posited that the real home movies viewers submit to such programs as Australia’s Favourite Home Videos, and “chat” or “confessional” television are further reflections of a general mania for biographical detail (see Douglas), no matter how fragmented, sensationalized, or even inane and cruel. A recent example of the latter, the USA-produced The Moment of Truth, has contestants answering personal questions under polygraph examination and then again in front of an audience including close relatives and friends—the more “truthful” their answers (and often, the more humiliated and/or distressed contestants are willing to be), the more money they can win. Away from television, but offering further evidence of this interest are the growing readerships for personally oriented weblogs and networking sites such as MySpace and Facebook (Grossman), individual profiles and interviews in periodical publications, and the recently widely revived newspaper obituary column (Starck). Adult and community education organisations run short courses on researching and writing auto/biographical forms and, across Western countries, the family history/genealogy sections of many local, state, and national libraries have been upgraded to meet the increasing demand for these services. Academically, journals and e-mail discussion lists have been established on the topics of biography and autobiography, and North American, British, and Australian universities offer undergraduate and postgraduate courses in life writing. The commonly aired wisdom is that published life writing in its many text-based forms (biography, autobiography, memoir, diaries, and collections of personal letters) is enjoying unprecedented popularity. It is our purpose to examine this proposition. Methodological problems There are a number of problems involved in investigating genre popularity, growth, and decline in publishing. Firstly, it is not easy to gain access to detailed statistics, which are usually only available within the industry. Secondly, it is difficult to ascertain how publishing statistics are gathered and what they report (Eliot). There is the question of whether bestselling booklists reflect actual book sales or are manipulated marketing tools (Miller), although the move from surveys of booksellers to electronic reporting at point of sale in new publishing lists such as BookScan will hopefully obviate this problem. Thirdly, some publishing lists categorise by subject and form, some by subject only, and some do not categorise at all. This means that in any analysis of these statistics, a decision has to be made whether to use the publishing list’s system or impose a different mode. If the publishing list is taken at face value, the question arises of whether to use categorisation by form or by subject. Fourthly, there is the bedeviling issue of terminology. Traditionally, there reigned a simple dualism in the terminology applied to forms of telling the true story of an actual life: biography and autobiography. Publishing lists that categorise their books, such as BookScan, have retained it. But with postmodern recognition of the presence of the biographer in a biography and of the presence of other subjects in an autobiography, the dichotomy proves false. There is the further problem of how to categorise memoirs, diaries, and letters. In the academic arena, the term “life writing” has emerged to describe the field as a whole. Within the genre of life writing, there are, however, still recognised sub-genres. Academic definitions vary, but generally a biography is understood to be a scholarly study of a subject who is not the writer; an autobiography is the story of a entire life written by its subject; while a memoir is a segment or particular focus of that life told, again, by its own subject. These terms are, however, often used interchangeably even by significant institutions such the USA Library of Congress, which utilises the term “biography” for all. Different commentators also use differing definitions. Hamilton uses the term “biography” to include all forms of life writing. Donaldson discusses how the term has been co-opted to include biographies of place such as Peter Ackroyd’s London: The Biography (2000) and of things such as Lizzie Collingham’s Curry: A Biography (2005). This reflects, of course, a writing/publishing world in which non-fiction stories of places, creatures, and even foodstuffs are called biographies, presumably in the belief that this will make them more saleable. The situation is further complicated by the emergence of hybrid publishing forms such as, for instance, the “memoir-with-recipes” or “food memoir” (Brien, Rutherford and Williamson). Are such books to be classified as autobiography or put in the “cookery/food & drink” category? We mention in passing the further confusion caused by novels with a subtitle of The Biography such as Virginia Woolf’s Orlando. The fifth methodological problem that needs to be mentioned is the increasing globalisation of the publishing industry, which raises questions about the validity of the majority of studies available (including those cited herein) which are nationally based. Whether book sales reflect what is actually read (and by whom), raises of course another set of questions altogether. Methodology In our exploration, we were fundamentally concerned with two questions. Is life writing as popular as claimed? And, if it is, is this a new phenomenon? To answer these questions, we examined a range of available sources. We began with the non-fiction bestseller lists in Publishers Weekly (a respected American trade magazine aimed at publishers, librarians, booksellers, and literary agents that claims to be international in scope) from their inception in 1912 to the present time. We hoped that this data could provide a longitudinal perspective. The term bestseller was coined by Publishers Weekly when it began publishing its lists in 1912; although the first list of popular American books actually appeared in The Bookman (New York) in 1895, based itself on lists appearing in London’s The Bookman since 1891 (Bassett and Walter 206). The Publishers Weekly lists are the best source of longitudinal information as the currently widely cited New York Times listings did not appear till 1942, with the Wall Street Journal a late entry into the field in 1994. We then examined a number of sources of more recent statistics. We looked at the bestseller lists from the USA-based Amazon.com online bookseller; recent research on bestsellers in Britain; and lists from Nielsen BookScan Australia, which claims to tally some 85% or more of books sold in Australia, wherever they are published. In addition to the reservations expressed above, caveats must be aired in relation to these sources. While Publishers Weekly claims to be an international publication, it largely reflects the North American publishing scene and especially that of the USA. Although available internationally, Amazon.com also has its own national sites—such as Amazon.co.uk—not considered here. It also caters to a “specific computer-literate, credit-able clientele” (Gutjahr: 219) and has an unashamedly commercial focus, within which all the information generated must be considered. In our analysis of the material studied, we will use “life writing” as a genre term. When it comes to analysis of the lists, we have broken down the genre of life writing into biography and autobiography, incorporating memoir, letters, and diaries under autobiography. This is consistent with the use of the terminology in BookScan. Although we have broken down the genre in this way, it is the overall picture with regard to life writing that is our concern. It is beyond the scope of this paper to offer a detailed analysis of whether, within life writing, further distinctions should be drawn. Publishers Weekly: 1912 to 2006 1912 saw the first list of the 10 bestselling non-fiction titles in Publishers Weekly. It featured two life writing texts, being headed by an autobiography, The Promised Land by Russian Jewish immigrant Mary Antin, and concluding with Albert Bigelow Paine’s six-volume biography, Mark Twain. The Publishers Weekly lists do not categorise non-fiction titles by either form or subject, so the classifications below are our own with memoir classified as autobiography. In a decade-by-decade tally of these listings, there were 3 biographies and 20 autobiographies in the lists between 1912 and 1919; 24 biographies and 21 autobiographies in the 1920s; 13 biographies and 40 autobiographies in the 1930s; 8 biographies and 46 biographies in the 1940s; 4 biographies and 14 autobiographies in the 1950s; 11 biographies and 13 autobiographies in the 1960s; 6 biographies and 11 autobiographies in the 1970s; 3 biographies and 19 autobiographies in the 1980s; 5 biographies and 17 autobiographies in the 1990s; and 2 biographies and 7 autobiographies from 2000 up until the end of 2006. See Appendix 1 for the relevant titles and authors. Breaking down the most recent figures for 1990–2006, we find a not radically different range of figures and trends across years in the contemporary environment. The validity of looking only at the top ten books sold in any year is, of course, questionable, as are all the issues regarding sources discussed above. But one thing is certain in terms of our inquiry. There is no upwards curve obvious here. If anything, the decade break-down suggests that sales are trending downwards. This is in keeping with the findings of Michael Korda, in his history of twentieth-century bestsellers. He suggests a consistent longitudinal picture across all genres: In every decade, from 1900 to the end of the twentieth century, people have been reliably attracted to the same kind of books […] Certain kinds of popular fiction always do well, as do diet books […] self-help books, celebrity memoirs, sensationalist scientific or religious speculation, stories about pets, medical advice (particularly on the subjects of sex, longevity, and child rearing), folksy wisdom and/or humour, and the American Civil War (xvii). Amazon.com since 2000 The USA-based Amazon.com online bookselling site provides listings of its own top 50 bestsellers since 2000, although only the top 14 bestsellers are recorded for 2001. As fiction and non-fiction are not separated out on these lists and no genre categories are specified, we have again made our own decisions about what books fall into the category of life writing. Generally, we erred on the side of inclusion. (See Appendix 2.) However, when it came to books dealing with political events, we excluded books dealing with specific aspects of political practice/policy. This meant excluding books on, for instance, George Bush’s so-called ‘war on terror,’ of which there were a number of bestsellers listed. In summary, these listings reveal that of the top 364 books sold by Amazon from 2000 to 2007, 46 (or some 12.6%) were, according to our judgment, either biographical or autobiographical texts. This is not far from the 10% of the 1912 Publishers Weekly listing, although, as above, the proportion of bestsellers that can be classified as life writing varied dramatically from year to year, with no discernible pattern of peaks and troughs. This proportion tallied to 4% auto/biographies in 2000, 14% in 2001, 10% in 2002, 18% in 2003 and 2004, 4% in 2005, 14% in 2006 and 20% in 2007. This could suggest a rising trend, although it does not offer any consistent trend data to suggest sales figures may either continue to grow, or fall again, in 2008 or afterwards. Looking at the particular texts in these lists (see Appendix 2) also suggests that there is no general trend in the popularity of life writing in relation to other genres. For instance, in these listings in Amazon.com, life writing texts only rarely figure in the top 10 books sold in any year. So rarely indeed, that from 2001 there were only five in this category. In 2001, John Adams by David McCullough was the best selling book of the year; in 2003, Hillary Clinton’s autobiographical Living History was 7th; in 2004, My Life by Bill Clinton reached number 1; in 2006, Nora Ephron’s I Feel Bad About My Neck: and Other Thoughts on Being a Woman was 9th; and in 2007, Ishmael Beah’s discredited A Long Way Gone: Memoirs of a Boy Soldier came in at 8th. Apart from McCulloch’s biography of Adams, all the above are autobiographical texts, while the focus on leading political figures is notable. Britain: Feather and Woodbridge With regard to the British situation, we did not have actual lists and relied on recent analysis. John Feather and Hazel Woodbridge find considerably higher levels for life writing in Britain than above with, from 1998 to 2005, 28% of British published non-fiction comprising autobiography, while 8% of hardback and 5% of paperback non-fiction was biography (2007). Furthermore, although Feather and Woodbridge agree with commentators that life writing is currently popular, they do not agree that this is a growth state, finding the popularity of life writing “essentially unchanged” since their previous study, which covered 1979 to the early 1990s (Feather and Reid). Australia: Nielsen BookScan 2006 and 2007 In the Australian publishing industry, where producing books remains an ‘expensive, risky endeavour which is increasingly market driven’ (Galligan 36) and ‘an inherently complex activity’ (Carter and Galligan 4), the most recent Australian Bureau of Statistics figures reveal that the total numbers of books sold in Australia has remained relatively static over the past decade (130.6 million in the financial year 1995–96 and 128.8 million in 2003–04) (ABS). During this time, however, sales volumes of non-fiction publications have grown markedly, with a trend towards “non-fiction, mass market and predictable” books (Corporall 41) resulting in general non-fiction sales in 2003–2004 outselling general fiction by factors as high as ten depending on the format—hard- or paperback, and trade or mass market paperback (ABS 2005). However, while non-fiction has increased in popularity in Australia, the same does not seem to hold true for life writing. Here, in utilising data for the top 5,000 selling non-fiction books in both 2006 and 2007, we are relying on Nielsen BookScan’s categorisation of texts as either biography or autobiography. In 2006, no works of life writing made the top 10 books sold in Australia. In looking at the top 100 books sold for 2006, in some cases the subjects of these works vary markedly from those extracted from the Amazon.com listings. In Australia in 2006, life writing makes its first appearance at number 14 with convicted drug smuggler Schapelle Corby’s My Story. This is followed by another My Story at 25, this time by retired Australian army chief, Peter Cosgrove. Jonestown: The Power and Myth of Alan Jones comes in at 34 for the Australian broadcaster’s biographer Chris Masters; the biography, The Innocent Man by John Grisham at 38 and Li Cunxin’s autobiographical Mao’s Last Dancer at 45. Australian Susan Duncan’s memoir of coping with personal loss, Salvation Creek: An Unexpected Life makes 50; bestselling USA travel writer Bill Bryson’s autobiographical memoir of his childhood The Life and Times of the Thunderbolt Kid 69; Mandela: The Authorised Portrait by Rosalind Coward, 79; and Joanne Lees’s memoir of dealing with her kidnapping, the murder of her partner and the justice system in Australia’s Northern Territory, No Turning Back, 89. These books reveal a market preference for autobiographical writing, and an almost even split between Australian and overseas subjects in 2006. 2007 similarly saw no life writing in the top 10. The books in the top 100 sales reveal a downward trend, with fewer titles making this band overall. In 2007, Terri Irwin’s memoir of life with her famous husband, wildlife warrior Steve Irwin, My Steve, came in at number 26; musician Andrew Johns’s memoir of mental illness, The Two of Me, at 37; Ayaan Hirst Ali’s autobiography Infidel at 39; John Grogan’s biography/memoir, Marley and Me: Life and Love with the World’s Worst Dog, at 42; Sally Collings’s biography of the inspirational young survivor Sophie Delezio, Sophie’s Journey, at 51; and Elizabeth Gilbert’s hybrid food, self-help and travel memoir, Eat, Pray, Love: One Woman’s Search for Everything at 82. Mao’s Last Dancer, published the year before, remained in the top 100 in 2007 at 87. When moving to a consideration of the top 5,000 books sold in Australia in 2006, BookScan reveals only 62 books categorised as life writing in the top 1,000, and only 222 in the top 5,000 (with 34 titles between 1,000 and 1,999, 45 between 2,000 and 2,999, 48 between 3,000 and 3,999, and 33 between 4,000 and 5,000). 2007 shows a similar total of 235 life writing texts in the top 5,000 bestselling books (75 titles in the first 1,000, 27 between 1,000 and 1,999, 51 between 2,000 and 2,999, 39 between 3,000 and 3,999, and 43 between 4,000 and 5,000). In both years, 2006 and 2007, life writing thus not only constituted only some 4% of the bestselling 5,000 titles in Australia, it also showed only minimal change between these years and, therefore, no significant growth. Conclusions Our investigation using various instruments that claim to reflect levels of book sales reveals that Western readers’ willingness to purchase published life writing has not changed significantly over the past century. We find no evidence of either a short, or longer, term growth or boom in sales in such books. Instead, it appears that what has been widely heralded as a new golden age of life writing may well be more the result of an expanded understanding of what is included in the genre than an increased interest in it by either book readers or publishers. What recent years do appear to have seen, however, is a significantly increased interest by public commentators, critics, and academics in this genre of writing. We have also discovered that the issue of our current obsession with the lives of others tends to be discussed in academic as well as popular fora as if what applies to one sub-genre or production form applies to another: if biography is popular, then autobiography will also be, and vice versa. If reality television programming is attracting viewers, then readers will be flocking to life writing as well. Our investigation reveals that such propositions are questionable, and that there is significant research to be completed in mapping such audiences against each other. This work has also highlighted the difficulty of separating out the categories of written texts in publishing studies, firstly in terms of determining what falls within the category of life writing as distinct from other forms of non-fiction (the hybrid problem) and, secondly, in terms of separating out the categories within life writing. Although we have continued to use the terms biography and autobiography as sub-genres, we are aware that they are less useful as descriptors than they are often assumed to be. In order to obtain a more complete and accurate picture, publishing categories may need to be agreed upon, redefined and utilised across the publishing industry and within academia. This is of particular importance in the light of the suggestions (from total sales volumes) that the audiences for books are limited, and therefore the rise of one sub-genre may be directly responsible for the fall of another. Bair argues, for example, that in the 1980s and 1990s, the popularity of what she categorises as memoir had direct repercussions on the numbers of birth-to-death biographies that were commissioned, contracted, and published as “sales and marketing staffs conclude[d] that readers don’t want a full-scale life any more” (17). Finally, although we have highlighted the difficulty of using publishing statistics when there is no common understanding as to what such data is reporting, we hope this study shows that the utilisation of such material does add a depth to such enquiries, especially in interrogating the anecdotal evidence that is often quoted as data in publishing and other studies. Appendix 1 Publishers Weekly listings 1990–1999 1990 included two autobiographies, Bo Knows Bo by professional athlete Bo Jackson (with Dick Schaap) and Ronald Reagan’s An America Life: An Autobiography. In 1991, there were further examples of life writing with unimaginative titles, Me: Stories of My Life by Katherine Hepburn, Nancy Reagan: The Unauthorized Biography by Kitty Kelley, and Under Fire: An American Story by Oliver North with William Novak; as indeed there were again in 1992 with It Doesn’t Take a Hero: The Autobiography of Norman Schwarzkopf, Sam Walton: Made in America, the autobiography of the founder of Wal-Mart, Diana: Her True Story by Andrew Morton, Every Living Thing, yet another veterinary outpouring from James Herriot, and Truman by David McCullough. In 1993, radio shock-jock Howard Stern was successful with the autobiographical Private Parts, as was Betty Eadie with her detailed recounting of her alleged near-death experience, Embraced by the Light. Eadie’s book remained on the list in 1994 next to Don’t Stand too Close to a Naked Man, comedian Tim Allen’s autobiography. Flag-waving titles continue in 1995 with Colin Powell’s My American Journey, and Miss America, Howard Stern’s follow-up to Private Parts. 1996 saw two autobiographical works, basketball superstar Dennis Rodman’s Bad as I Wanna Be and figure-skater, Ekaterina Gordeeva’s (with EM Swift) My Sergei: A Love Story. In 1997, Diana: Her True Story returns to the top 10, joining Frank McCourt’s Angela’s Ashes and prolific biographer Kitty Kelly’s The Royals, while in 1998, there is only the part-autobiography, part travel-writing A Pirate Looks at Fifty, by musician Jimmy Buffet. There is no biography or autobiography included in either the 1999 or 2000 top 10 lists in Publishers Weekly, nor in that for 2005. In 2001, David McCullough’s biography John Adams and Jack Welch’s business memoir Jack: Straight from the Gut featured. In 2002, Let’s Roll! Lisa Beamer’s tribute to her husband, one of the heroes of 9/11, written with Ken Abraham, joined Rudolph Giuliani’s autobiography, Leadership. 2003 saw Hillary Clinton’s autobiography Living History and Paul Burrell’s memoir of his time as Princess Diana’s butler, A Royal Duty, on the list. In 2004, it was Bill Clinton’s turn with My Life. In 2006, we find John Grisham’s true crime (arguably a biography), The Innocent Man, at the top, Grogan’s Marley and Me at number three, and the autobiographical The Audacity of Hope by Barack Obama in fourth place. Appendix 2 Amazon.com listings since 2000 In 2000, there were only two auto/biographies in the top Amazon 50 bestsellers with Lance Armstrong’s It’s Not about the Bike: My Journey Back to Life about his battle with cancer at 20, and Dave Eggers’s self-consciously fictionalised memoir, A Heartbreaking Work of Staggering Genius at 32. In 2001, only the top 14 bestsellers were recorded. At number 1 is John Adams by David McCullough and, at 11, Jack: Straight from the Gut by USA golfer Jack Welch. In 2002, Leadership by Rudolph Giuliani was at 12; Master of the Senate: The Years of Lyndon Johnson by Robert Caro at 29; Portrait of a Killer: Jack the Ripper by Patricia Cornwell at 42; Blinded by the Right: The Conscience of an Ex-Conservative by David Brock at 48; and Louis Gerstner’s autobiographical Who Says Elephants Can’t Dance: Inside IBM’s Historic Turnaround at 50. In 2003, Living History by Hillary Clinton was 7th; Benjamin Franklin: An American Life by Walter Isaacson 14th; Dereliction of Duty: The Eyewitness Account of How President Bill Clinton Endangered America’s Long-Term National Security by Robert Patterson 20th; Under the Banner of Heaven: A Story of Violent Faith by Jon Krakauer 32nd; Leap of Faith: Memoirs of an Unexpected Life by Queen Noor of Jordan 33rd; Kate Remembered, Scott Berg’s biography of Katharine Hepburn, 37th; Who’s your Caddy?: Looping for the Great, Near Great and Reprobates of Golf by Rick Reilly 39th; The Teammates: A Portrait of a Friendship about a winning baseball team by David Halberstam 42nd; and Every Second Counts by Lance Armstrong 49th. In 2004, My Life by Bill Clinton was the best selling book of the year; American Soldier by General Tommy Franks was 16th; Kevin Phillips’s American Dynasty: Aristocracy, Fortune and the Politics of Deceit in the House of Bush 18th; Timothy Russert’s Big Russ and Me: Father and Son. Lessons of Life 20th; Tony Hendra’s Father Joe: The Man who Saved my Soul 23rd; Ron Chernow’s Alexander Hamilton 27th; Cokie Roberts’s Founding Mothers: The Women Who Raised our Nation 31st; Kitty Kelley’s The Family: The Real Story of the Bush Dynasty 42nd; and Chronicles, Volume 1 by Bob Dylan was 43rd. In 2005, auto/biographical texts were well down the list with only The Year of Magical Thinking by Joan Didion at 45 and The Glass Castle: A Memoir by Jeanette Walls at 49. In 2006, there was a resurgence of life writing with Nora Ephron’s I Feel Bad About My Neck: and Other Thoughts on Being a Woman at 9; Grisham’s The Innocent Man at 12; Bill Buford’s food memoir Heat: an Amateur’s Adventures as Kitchen Slave, Line Cook, Pasta-Maker, and Apprentice to a Dante-Quoting Butcher in Tuscany at 23; more food writing with Julia Child’s My Life in France at 29; Immaculée Ilibagiza’s Left to Tell: Discovering God amidst the Rwandan Holocaust at 30; CNN anchor Anderson Cooper’s Dispatches from the Edge: A Memoir of War, Disasters and Survival at 43; and Isabella Hatkoff’s Owen & Mzee: The True Story of a Remarkable Friendship (between a baby hippo and a giant tortoise) at 44. In 2007, Ishmael Beah’s discredited A Long Way Gone: Memoirs of a Boy Soldier came in at 8; Walter Isaacson’s Einstein: His Life and Universe 13; Ayaan Hirst Ali’s autobiography of her life in Muslim society, Infidel, 18; The Reagan Diaries 25; Jesus of Nazareth by Pope Benedict XVI 29; Mother Teresa: Come be my Light 36; Clapton: The Autobiography 40; Tina Brown’s The Diana Chronicles 45; Tony Dungy’s Quiet Strength: The Principles, Practices & Priorities of a Winning Life 47; and Daniel Tammet’s Born on a Blue Day: Inside the Extraordinary Mind of an Autistic Savant at 49. Acknowledgements A sincere thank you to Michael Webster at RMIT for assistance with access to Nielsen BookScan statistics, and to the reviewers of this article for their insightful comments. Any errors are, of course, our own. References Australian Broadcasting Commission (ABC). “About Us.” Australian Story 2008. 1 June 2008. ‹http://www.abc.net.au/austory/aboutus.htm>. 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