Journal articles on the topic 'Victorian manse'

Henry Mansel, writing in 1863, was confident in his prediction that the current popular vogue for sensation novels was an ephemeral phase, soon to pass into a deserved oblivion. Yet by the end of a decade marked by extensive and frequently hysterical debates over the genre, the future Poet Laureate, Alfred Austin, was still bemoaning the ubiquity of sensation fiction: “the world may congratulate itself when the last sensational novel has been written and forgotten” (424). Mansel and Austin would doubtless have been astounded (and appalled) at the current status of mid-Victorian sensation fiction in the realm of academic scholarship. Far from being a long-forgotten, inconsequential moment in literary history, the sensation novels of authors such as Wilkie Collins, Mary Elizabeth Braddon, Ellen Wood, and Ouida have prompted a plethora of critical studies, which have impacted on our wider understanding of the dynamics and influences of mid-Victorian literary and publishing practices.

In the April issue of the Quarterly Review of 1863, H. L. Mansel, Waynflete Professor of Metaphysical Philosophy at Oxford, disparaged “sensation” novels by comparing them to cheap fashion wear. “A commercial atmosphere floats around works of this class, redolent of the manufactory and the shop,” he taunted, “The public want novels and novels must be made – so many yards of printed stuff, sensation pattern, to be ready by the beginning of the season” (500). To scholars of Victorian literature, Mansel's analogy now serves as a commonplace for literary commercialism. Its other emphasis, which is on fashion, however, has received less attention. This paper examines Wilkie Collins's use of dress in Armadale (1864-66), as presented in the example of Lydia Gwilt's favoured attire, a “black gown and a red Paisley shawl”; and suggests that Collins uses the Paisley shawl to provide an indirect reference to the Indian Mutiny. In particular, the essay argues that as well as generating a humanised reading of Lydia's character, her shawl is a powerful metaphor to symbolize mid-century anxieties about class and empire.

This article examines Juana Manso’s Mistérios del Plata, published in Rio de Janeiro in 1852, in the context of what the authors argue was a global mystery novel tradition. Where previous scholars have argued that mid-nineteenth century mysteries novels are a mere subset of the crime literature genre, the authors take a different approach: they point out that these novels were a transnational corpus of texts which incorporated many genres. Outside of Europe, in the Empire of Brazil, Manso adapted the form of the mysteries tradition but extended its parameters. Manso’s novel was different to the European mysteries novel because, unlike her male counterparts Eugene Sue and George W.M. Reynolds, she told a tale of political refugees who fled from Juan Rosas’s Argentina into Uruguay and then Brazil. The authors contend that a consideration of Latin American mysteries novel, with a case study on Manso’s text, is one means through which scholars of Victorian popular fiction can begin conversations with researchers from outside the Anglosphere and become truly “global.”

Free-living common wombats (Vombatus ursinus) living at high densities on pastoral land (1.9 wombats ha–1) had most of their burrows (83%) confined to a 20-m-wide strip of remnant riparian vegetation adjacent to pasture (24 burrows ha–1). The ratio of wombats to 'active' burrows (being used by wombats) was 1.0. Wombats shared burrows extensively, with a mean of 3.1 ± 0.3 (s.e.), range 2–9 wombats using each burrow (n = 37). The majority (70%) of occupied burrows contained several wombats independent of age, sex and stage of reproduction. On average, wombats used the same burrow for 3.8 consecutive nights before changing to another. Home ranges of wombats overlapped completely. Adult males had larger home ranges than females with young (7.3 ± 0.6, 6.1–8.3 ha, n = 3 versus 3.8 ± 0.5, 2.4–5.0 ha, n = 4, respectively). Distances travelled and the area used each night by wombats decreased in late winter and spring, when food was more abundant. Breeding occurred throughout the year but there was a cluster of births in summer. Lactation was associated with weight loss in females of several kilograms. Usually larger (30 kg) males that shared burrows or used burrows near (<300 m) to the burrows used by a female sired her young; however, occasionally wombats that used widely separated burrows (>700 m) bred. Adult males had a greater head length to weight ratio than adult females. Adult males generally emerged from their burrows shortly after dusk and 30 min before adult females. Ectoparasites such as ticks, mites, fleas and lice were common but the mite Sarcoptes scabiei was not found nor were there signs of sarcoptic mange in the population.

Abstract A description is provided for Lachnum sulphureum. Some information on its associated organisms and substrata, dispersal and transmission, habitats and conservation status is given, along with details of its geographical distribution (Africa (Morocco, Rwanda), North America (Canada (Manitoba, Ontario), USA (California, Colorado, Connecticut, Delaware, Indiana, Iowa, Maine, Massachusetts, Michigan, New York, North Dakota, Oregon, Pennsylvania, South Dakota, Tennessee, Washington)), South America (Brazil (Rio Grande do Sul)), Asia (Republic of Georgia, India (Himachal Pradesh, Jammu and Kashmir, Uttarakhand), Japan, Kazakhstan (Almaty Oblast, East Kazakhstan), Nepal, Russia (Altai Krai, Khanty-Mansi Autonomous Okrug, Primorsky Krai), Turkey), Australasia (Australia (Victoria), New Zealand (also Kermadek Islands)), Europe (Austria, Belgium, Czech Republic, Denmark, Estonia, Finland, France, Germany, Hungary, Ireland, Italy, Luxembourg, Netherlands, Norway, Poland, Portugal, Russia (Kursk Oblast, Leningrad Oblast, Mari El Republic, Moscow Oblast, Vladimir Oblast), Serbia, Slovakia, Spain, Sweden, Switzerland, Ukraine, UK)).

Abstract A description is provided for Trichodelitschia bisporula, a dung-inhabiting fungus. Some information on its associated organisms and substrata, dispersal and transmission, habitats and conservation status is given, along with details of its geographical distribution (Africa (Egypt, Morocco, South Africa, Zimbabwe), North America (Canada (Manitoba, Newfoundland & Labrador, Nova Scotia, Ontario, Yukon), USA (Alaska, Arkansas, Colorado, Idaho, Massachusetts, Nebraska, New York, South Dakota, Tennessee, Utah)), Central America (Panama), South America (Argentina, Chile, Falkland Islands/Malvinas), Arctic Ocean (Denmark (Greenland)), Asia (India (Goa, Tamil Nadu), Japan, Russia (Chukotka Autonomous Okrug, Khanty-Mansi Autonomous Okrug)), Atlantic Ocean (Spain (Canary Islands)), Australasia (Australia (New South Wales, South Australia, Tasmania, Victoria, Western Australia), New Zealand), Europe (Belgium, Bulgaria, Czech Republic, Denmark (including Faroe Islands), Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy (including Sicily), Netherlands, Norway, Portugal, Russia (Kursk Oblast, Mari El Republic, Moscow Oblast, Murmansk Oblast, Pskov Oblast, Republic of Kalmykia), Slovakia, Spain, Sweden, Ukraine, UK)).

Abstract A description is provided for Calycina herbarum. Some information on its associated organisms and substrata, dispersal and transmission, economic impacts, habitats and conservation status is given, along with details of its geographical distribution (Africa (Morocco, Sao Tome and Principe), North America (Canada (British Columbia, Newfoundland and Labrador, Ontario, Quebec), USA (Arizona, California, Colorado, Idaho, Illinois, Indiana, Iowa, Maine, Massachussetts, Michigan, Minneapolis, Montana, New Hampshire, New Jersey, New York, North Carolina, North Dakota, Ohio, Oregon, Pennsylvania, South Carolina, Texas, Utah, Washington, West Virginia, Wyoming)), South America (Argentina, Brazil (Rio Grande do Sul), Chile, Colombia), Asia (Armenia, Azerbaijan, China (Anhui, Beijing, Qinghai), Republic of Georgia, India (Himachal Pradesh, Uttarakhand), Japan, Kazakhstan (Almaty Oblast, East Kazakhstan), Nepal, Philippines, Russia (Kamchatka Krai, Khabarovsk Krai, Khanty-Mansi Autonomous Okrug, Primorsky Krai, Sakhalin Oblast), South Korea, Turkey), Australasia (Australia (Victoria)), Europe (Andorra, Austria, Belarus, Belgium, Czech Republic, Denmark, Estonia, Finland, France, Germany, Hungary, Ireland, Italy, Lithuania, Netherlands, Norway, Poland, Romania, Russia (Leningrad Oblast, Moscow Oblast, Smolensk Oblast), Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Ukraine, UK)).

Abstract A description is provided for Cerioporus squamosus, which causes a white rot of hardwood on living and recently dead broadleaf trees, entering the tree through wounds caused by, for example, lightning, windthrow, soe break and damage by humans and animals. Some information on its associated organisms and substrata, dispersal and transmission, habitats and conservation status is given, along with details of its geographical distribution (Africa (Eritrea, Uganda), Asia (Afghanistan, Armenia, China (Hainan, Heilongjiang, Xinjiang Uighur Autonomous Region), Georgia, India (Himachal Pradesh, Jammu and Kashmir, Uttarakhand, West Bengal), Iran, Japan, Kazakhstan (Aktobe, Almaty, East Kazakhstan, Karagandy, Kostanay, Pavlodar, South Kazakhstan, West Kazakhstan, Zhambyl), Mongolia, Nepal, Pakistan, Russia (Amur Oblast, Chelyabinsk Oblast, Irkutsk Oblast, Kamchatka Krai, Khabarovsk Krai, Khanty-Mansi Autonomous Okrug, Novosibirsk Oblast, Primorsky Krai, Sverdlovsk Oblast, YamaloNenets Autonomous Okrug), South Korea, Taiwan, Tajikistan, Turkey, Turkmenistan, Uzbekistan), Australasia (Australia (Victoria), New Zealand), Central America (Costa Rica), Europe (Albania, Andorra, Austria, Belarus, Belgium, Bulgaria, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Isle of Man, Italy, Jersey, Latvia, Liechtenstein, Lithuania, Luxembourg, Moldova, Montenegro, Netherlands, Norway, Poland, Portugal, Romania, Russia (Belgorod Oblast, Bryansk Oblast, Chuvash Republic, Ivanovo Oblast, Kaliningrad Oblast, Kaluga Oblast, Kirov Oblast, Krasnodar Krai, Kursk Oblast, Leningrad Oblast, Moscow Oblast, Nizhny Novgorod Oblast, Orenburg Oblast, Oryol Oblast, Penza Oblast, Perm Krai, Republic of Bashkortostan, Republic of Mordovia, Republic of North Ossetia-Alania, Republic of Tatarstan, Ryazan Oblast, Samara Oblast, Saratov Oblast, Stavropol Krai, Tambov Oblast, Tula Oblast, Tver Oblast, Udmurt Republic, Ulyanovsk Oblast, Vladimir Oblast, Volgograd Oblast, Voronezh Oblast, Yaroslavl Oblast), Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Ukraine, UK), (North America (Canada (British Columbia, Manitoba, New Brunswick, Nova Scotia, Ontario, Prince Edward Island, Quebec, Saskatchewan, Yukon), Mexico, USA (Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, District of Columbia, Florida, Georgia, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, New Hampshire, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin)), South America (Brazil (São Paulo), Chile, Ecuador, Paraguay))).

Abstract A description is provided for Fuligo septica, a myxomycete which occurs on litter, fallen leaves, bark, decorticated branches, rotten stumps, fallen trunks, rotten wood and burnt logs of a very wide range of plants. Some information on its associated organisms and substrata, interactions and habitats, economic impacts, intraspecific variation, dispersal and transmission and conservation status is given, along with details of its geographical distribution (AFRICA: Algeria, Burundi, Democratic Republic of the Congo, Equatorial Guinea, Eritrea, Lesotho, Liberia, Madagascar, Malawi, Mayotte, Morocco, Nigeria, Sierra Leone, South Africa, Tanzania, Tunisia, Uganda, Zimbabwe; NORTH AMERICA: Canada (Alberta, British Columbia, Manitoba, New Brunswick, Newfoundland, Northwest Territories, Nova Scotia, Nunavut, Ontario, Prince Edward Island, Quebec), Mexico, USA (Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, Florida, Georgia, Idaho, Illinois, Indiana, Iowa, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin, Wyoming), Mexico; CENTRAL AMERICA: Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua, Panama; SOUTH AMERICA: Argentina, Bolivia, Brazil (Bahia, Maranhão, Paraiba, Pernambuco, Roraima, Santa Catarina, São Paulo, Sergipe), Chile, Ecuador (including Galapagos), French Guiana, Guyana, Paraguay, Peru, Uruguay, Venezuela; ASIA: Brunei, China (Fujian, Guizhou, Jiangsu, Zhejiang), Georgia, India (Assam, Chandigarh, Himachal Pradesh, Tamil Nadu, Uttar Pradesh, Uttarakhand), Indonesia, Iran, Japan, Jordan, Kazakhstan (Akmola, Aktobe, Almaty, East Kazakhstan, Karaganda, former Kokshetau, Kostanai, North Kazakhstan, Pavlodar, former Tselinograd, West Kazakhstan), Malaysia, Nepal, North Korea, Pakistan, Papua-New Guinea, Philippines, Russia (Altai Krai, Khanty-Mansi Autonomous Okrug, Krasnoyarsk Krai, Magadan Oblast, Novosibirsk Oblast, Tyumen Oblast), Singapore, South Korea, Turkey, Uzbekistan, Vietnam; ATLANTIC OCEAN: Spain (Canary Islands); AUSTRALASIA: Australia (New South Wales, Queensland, South Australia, Tasmania, Victoria, Western Australia), New Zealand; CARIBBEAN: American Virgin Islands, Antigua and Barbuda, Cuba, Dominica, Dominican Republic, Guadeloupe, Jamaica, Martinique, Puerto Rico, Saint Lucia, Trinidad and Tobago; EUROPE: Andorra, Austria, Belarus, Belgium, Croatia, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Moldova, Netherlands, Norway, Poland, Portugal, Romania, Russia (Astrakhan Oblast, Chelyabinsk Oblast, Chuvash Republic, Kaliningrad Oblast, Komi Republic, Krasnodarsk Krai, Kursk Oblast, Leningrad Oblast, Moscow Oblast, Murmansk Oblast, Orenburg Oblast, Pskov Oblast, Republic of Karelia, Stavropol Krai, Tver Oblast, Volgograd Oblast), Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Turkey, Ukraine, UK; INDIAN OCEAN: Christmas Island, Mauritius, Réunion, Seychelles; PACIFIC OCEAN: French Polynesia, Marshall Islands, New Caledonia, Solomon Islands, USA (Hawaii)).

Abstract A description is provided for Lycogala epidendrum, a wood-inhabiting myxomycete which occurs on dead branches, twigs and wood, rotten logs, stumps and trunks, cut logs and other woody debris. Some information on its associated organisms and substrata, interactions and habitats, economic impacts, intraspecific variation, dispersal and transmission and conservation status is given, along with details of its geographical distribution (Algeria, Angola, Burundi, Cameroon, Congo, Democratic Republic of the Congo, Egypt, Liberia, Malawi, Morocco, Nigeria, Rwanda, Sierra Leone, South Africa, Tanzania, Uganda, Zambia; Canada (Alberta, British Columbia, New Brunswick, Newfoundland, Nova Scotia, Ontario, Prince Edward Island, Quebec, Saskatchewan), Mexico, USA (Alaska, Arizona, California, Connecticut, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode Island, South Carolina, Tennessee, Texas, Vermont, Virginia, Washington, West Virginia); Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua, Panama; Argentina, Chile, Colombia, Brazil (Acre, Amazonas, Maranhão, Pará, Paraiba, Pernambuco, Piauí, Rio de Janeiro, Rio Grande do Norte, Rio Grande do Sul, Roraima, Santa Catarina, São Paulo, Sergipe), Ecuador (including Galapagos), French Guiana, Guyana, Paraguay, Peru, Suriname, Uruguay, Venezuela; China (Fujian, Guangxi, Guizhou, Hainan, Jiangxi, Sichuan, Xinjiang, Yunnan, Zhejiang), Georgia, India (Assam, Chandigarh, Himachal Pradesh, Jammu & Kashmir, Karnataka, Maharashtra, Sikkim, Tamil Nadu, West Bengal), Indonesia, Iran, Japan, Kazakhstan (Almaty, East Kazakhstan, Kostanay, North Kazakhstan, former Kokchetau, former Taldy-Kurgan, former Tselinograd), Kyrgyzstan, Malaysia, Mongolia, Nepal, Papua-New Guinea, Philippines, Russia (Altai, Altai Krai, Chukotka Autonomous Okrug, Kamchatka Krai, Khabarovsk Krai, Khanty-Mansi Autonomous Okrug, Krasnoyarsk Krai, Magadan Oblast, Novosibirsk Oblast, Primorsky Krai, Tomsk Oblast, Yamalo-Nenets Autonomous Okrug), Singapore, South Korea, Sri Lanka, Taiwan, Thailand, Turkey, Uzbekistan, Vietnam; Bahamas, Spain (Canary Islands); Australia (New South Wales, Northern Territory, Queensland, South Australia, Tasmania, Victoria, Western Australia), New Zealand; American Virgin Islands, Antigua and Barbuda, Cuba, Dominica, Dominican Republic, Grenada, Guadeloupe, Jamaica, Martinique, Puerto Rico, Saint Lucia, Trinidad and Tobago; Andorra, Austria, Belgium, Bulgaria, Croatia, Czech Republic, Denmark (including Faroe Islands), Estonia, Finland, France, Germany, Greece, Iceland, Ireland, Italy, Kosovo, Latvia, Liechtenstein, Lithuania, Luxembourg, Moldova, Netherlands, Norway, Poland, Portugal, Romania, Russia (Kaliningrad Oblast, Krasnodar Krai, Leningrad Oblast, Moscow Oblast, Rostov Oblast, Vladimir Oblast, Volgograd Oblast), Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Ukraine, UK; Christmas Island, Mauritius, Réunion, Seychelles; Cook Islands, French Polynesia, New Caledonia, USA (Hawaii)).

Abstract A description is provided for Laetiporus sulphureus growing on a wide range of woody plants. Some information on its taxonomy, morphology, dispersal and transmission and conservation status is given, along with details of its geographical distribution (Cameroon, Democratic Republic of the Congo, Equatorial Guinea, Ethiopia, Kenya, Senegal, South Africa, Tanzania, Tunisia, Armenia, Azerbaijan, China (Guangxi, Jiangxi, Sichuan, Xinjiang Autonomous Region), Republic of Georgia, India (Assam, Chhattisgarh, Himachal Pradesh, Jammu and Kashmir, Kerala, Meghalaya, Rajasthan, Sikkim, Uttarakhand, Uttar Pradesh, West Bengal), Indonesia, Iran, Israel, Japan, Kazakhstan (Aktobe, Almaty, East Kazakhstan, South Kazakhstan, West Kazakhstan), Laos, Mongolia, Nepal, Pakistan, Philippines, Russia (Altai Krai, Altai Republic, Amur Oblast, Irkutsk Oblast, Khabarovsk Krai, Khanty-Mansi Autonomous Okrug, Novosibirsk Oblast, Omsk Oblast, Primorsky Krai, Republic of Buryatia, Republic of Khakassia, Sakha Republic, Sakhalin Oblast, Sverdlovsk Oblast, Tomsk Oblast, Tyumen Oblast, Yamalo-Nenets Autonomous Okrug), Korea Republic, Taiwan, Turkey, Uzbekistan, Bermuda, Spain (Canary Islands), Australia (New South Wales, Northern Territory, Queensland, Tasmania, Victoria, Western Australia), New Zealand, Dominica, Guadeloupe, Jamaica, Trinidad and Tobago, Belize, Costa Rica, Honduras, Panama, Austria, Belarus, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Irish Republic, Isle of Man, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Montenegro, Netherlands, Norway, Poland, Portugal, Romania, Russia (Astrakhan Oblast, Belgorod Oblast, Bryansk Oblast, Chuvash Republic, Ivanovo Oblast, Kaliningrad Oblast, Kaluga Oblast, Kirov Oblast, Krasnodar Krai, Kursk Oblast, Leningrad Oblast, Moscow Oblast, Nizhny Novgorod Oblast, Novgorod Oblast, Orenburg Oblast, Penza Oblast, Pskov Oblast, Republic of Adygea, Republic of Bashkortostan, Republic of Dagestan, Republic of Mordovia, Republic of North Ossetia-Alania, Republic of Tatarstan, Samara Oblast, Saratov Oblast, Stavropol Krai, Tambov Oblast, Tula Oblast, Tver Oblast, Ulyanovsk Oblast, Vladimir Oblast, Volgograd Oblast, Voronezh Oblast, Yaroslavl Oblast), Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Ukraine, UK, Mauritius, Réunion, Canada (British Columbia, Manitoba, New Brunswick, Nova Scotia, Ontario, Quebec), Mexico, USA (Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, District of Columbia, Florida, Georgia, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, New Hampshire, New Jersey, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin, Hawaii), Argentina, Brazil (Amazonas, Bahia, Distrito Federal, Espírito Santo, Paraná, Pernambuco, Rio de Janeiro, Rio Grande do Sul, Santa Catarina, São Paulo), Chile, Colombia, Ecuador, Guyana, Venezuela) and hosts (Quercus, Salix, Prunus, Fagus and Populus spp.).

Abstract A description is provided for Tremella mesenterica, a parasite on mycelium of (perhaps exclusively) Peniophora spp. Some information on its associated organisms and substrata, dispersal and transmission, habitats and conservation status is given, along with details of its geographical distribution (Africa (Benin, Democratic Republic of the Congo, Morocco, South Africa, Tunisia), Asia (Armenia, Azerbaijan, China (Hong Kong, Sichuan, Yunnan), Georgia, India (Chhattisgarh, Karnataka, Kerala, Madhya Pradesh, Maharashtra, Meghalaya, Sikkim), Iran, Israel, Japan, Kazakhstan (Almaty, East Kazakhstan), Lebanon, Malaysia, Philippines, Russia (Altai Krai, Amur Oblast, Irkutsk Oblast, Jewish Autonomous Oblast, Kamchatka Krai, Khabarovsk Krai, Khanty-Mansi Autonomous Okrug, Omsk Oblast, Primorsky Krai, Sakha Republic, Sakhalin Oblast, Sverdlovsk Oblast, Tyumen Oblast, Yamalo-Nenets Autonomous Okrug), South Korea, Sri Lanka, Taiwan, Tajikistan, Turkey, Turkmenistan, Uzbekistan), Australasia (Australia (Australian Capital Territory, New South Wales, Northern Territory, Queensland, South Australia, Tasmania, Victoria, Western Australia), New Zealand), Caribbean (Jamaica, Puerto Rico), Central America (Costa Rica, Honduras, Panama), Europe (Austria, Belarus, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Faroe Islands, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Isle of Man, Italy, Jersey, Liechtenstein, Lithuania, Luxembourg, Moldova, Netherlands, Norway, Poland, Portugal, Romania, Russia (Arkhangelsk Oblast, Belgorod Oblast, Bryansk Oblast, Chuvash Republic, Ivanovo Oblast, Kaliningrad Oblast, Kaluga Oblast, Kirov Oblast, Komi Republic, Kostroma Oblast, Krasnodar Krai, Kursk Oblast, Leningrad Oblast, Mari El Republic, Moscow Oblast, Murmansk Oblast, Nizhny Novgorod Oblast, Novgorod Oblast, Perm Krai, Pskov Oblast, Republic of Adygea, Republic of Bashkortostan, Republic of Dagestan, Republic of Mordovia, Republic of Tatarstan, Tula Oblast, Tver Oblast, Udmurt Republic, Vladimir Oblast, Voronezh Oblast, Yaroslavl Oblast), Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Ukraine, UK), Indian Ocean (Réunion), North America (Canada (Alberta, British Columbia, New Brunswick, Newfoundland and Labrador, Northwest Territories, Nova Scotia, Ontario, Prince Edward Island, Quebec, Saskatchewan, Yukon), Mexico, USA (Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, District of Columbia, Florida, Georgia, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Nebraska, Nevada, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin, Wyoming)), Pacific Ocean (USA (Hawaii)), South America (Argentina, Brazil (Bahia, Mato Grosso do Sul, Minas Gerais, Paraná, Rio Grande do Sul, Rio de Janeiro, Santa Catarina, São Paulo), Chile, Colombia, Ecuador, French Guiana, Guyana, Peru, Venezuela)).

Abstract A description is provided for Arcyria cinerea, one of the most consistently abundant and widespread myxomycete species associated with lianas, aerial woody remnants, leaves and inflorescences in tropical and mangrove forests. Some information on its associated organisms and substrata, interaction and habitats, infraspecific variation, dispersal and transmission, and conservation status is given, along with details of its geographical distribution (AFRICA: Algeria, Angola, Burundi, Cameroon, Democratic Republic of the Congo, Egypt, Equatorial Guinea, Gambia, Kenya, Liberia, Madagascar, Malawi, Mayotte, Morocco, Mozambique, Nigeria, Rwanda, Sierra Leone, Somalia, South Africa, Tanzania, Tunisia, Uganda, Western Sahara, Zambia, Zimbabwe; NORTH AMERICA: Canada (Alberta, British Columbia, Manitoba, New Brunswick, Ontario, Quebec, Saskatchewan), Mexico, USA (Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, Florida, Georgia, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, New Hampshire, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, Tennessee, Texas, Vermont, Virginia, West Virginia); CENTRAL AMERICA: Belize, Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua, Panama; SOUTH AMERICA: Argentina, Bolivia, Brazil (Alagoas, Amazonas, Bahia, Ceara, Mato Grosso, Minas Gerais, Paraiba, Parana, Pernambuco, Rio Grande do Norte, Rio Grande do Sul, Rondonia, Roraima, Santa Catarina, Sao Paulo, Sergipe), Chile, Colombia, Ecuador (including Galapagos), French Guiana, Guyana, Paraguay, Peru, Surinam, Venezuela; ANTARCTICA: Antarctica; ASIA: China (Anhui, Guangdong, Guangxi, Heilongjiang, Hong Kong, Jiangsu, Kwangtung, Yunnan), Christmas Island, Georgia, India (Assam, Chandigarh, Himachal Pradesh, Jammu & Kashmir, Karnataka, Madhya Pradesh, Maharashtra, Orissa, Uttarakhand, Uttar Pradesh, West Bengal), Indonesia, Iran, Japan, Kazakhstan (Aktobe, Atyrau, Pavlodar, West Kazakhstan), Laos, Nepal, Papua-New Guinea, Philippines, Russia (Altai Krai, Altai Republic, Chukotka Autonomous Okrug, Irkutsk Oblast, Khabarovsk Krai, Khanty-Mansi Autonomous Okrug, Krasnoyarsk Krai, Magadan Oblast, Primorsky Krai, Republic of Buryatia, Sakhalin Oblast, Tyumen Oblast, Yamalo-Nenets Autonomous Okrug), Singapore, Sri Lanka, Taiwan, Thailand, Turkey, Uzbekistan, Vietnam. Atlantic OCEAN: Ascension Island, Spain (Canary Islands); AUSTRALASIA: Australia (New South Wales, Northern Territory, Queensland, Tasmania, Victoria, Western Australia), New Zealand, Raoul Island; CARIBBEAN: American Virgin Islands, Antigua and Barbuda, Bahamas, Cuba, Dominica, Dominican Republic, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Puerto Rico, Trinidad & Tobago; EUROPE: Andorra, Austria, Belgium, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Iceland, Ireland, Italy, Lithuania, Luxembourg, Moldova, Netherlands, Norway, Poland, Portugal, Romania, Russia (Astrakhan Oblast, Chelyabinsk Oblast, Kalinigrad Oblast, Komi Republic, Krasnodar Krai, Kursk Oblast, Leningrad Oblast, Moscow Oblast, Murmansk Oblast, Orenburg Oblast, Perm Krai, Republic of Bashkortostan, Republic of Karelia, Rostov Oblast, Smolensk Oblast, Tver Oblast, Voronezh Oblast, Volgograd Oblast, Vologda Oblast), Slovakia, Slovenia, Spain, Sweden, Switzerland, Ukraine, UK; Indian OCEAN: Mauritius, Reunion, Seychelles; Pacific OCEAN: French Polynesia, New Caledonia, USA (Hawaii)).

Abstract A description is provided for Ganoderma applanatum. Sporophores of this fungus are found on both living and dead trees, where the fungus causes a decay of heartwood resulting in a white soft spongy heart and butt rot. Some information on its associated organisms and substrata, dispersal and transmission, habitats and conservation status is given, along with details of its geographical distribution (Africa (Angola, Benin, Congo, Democratic Republic of the Congo, Equatorial Guinea, Ivory Coast, Kenya, Madagascar, Morocco, Mozambique, São Tomé and Principe, Sierra Leone, South Africa, Sudan, Tanzania, Togo), Asia (Azerbaijan, Brunei Darussalam, China (Anhui, Fujian, Gansu, Guangdong, Guangxi, Guizhou, Hainan, Hebei, Heilongjiang, Henan, Hong Kong, Hunan, Jiangsu, Jiangxi, Jilin, Nei Mongol Autonomous Region, Qinghai, Shaanxi, Shanxi, Sichuan, Xinjiang, Yunnan, Zhejiang), Christmas Island, Cyprus, Georgia, India (Assam, Chhattisgarh, Gujarat, Himachal Pradesh, Jammu & Kashmir, Karnataka, Kerala, Madhya Pradesh, Maharashtra, Meghalaya, Orissa, Punjab, Rajasthan, Uttarakhand, Uttar Pradesh, West Bengal), Indonesia, Iran, Israel, Japan, Kazakhstan (Almaty, East Kazakhstan, Kostanay, South Kazakhstan), Laos, Malaysia, Nepal, North Korea, Oman, Pakistan, Papua New Guinea, Philippines, Russia (Altai Krai, Altai Republic, Irkutsk Oblast, Kamchatka Krai, Kemerovo Oblast, Khanty-Mansi Autonomous Okrug, Krasnoyarsk Krai, Novosibirsk Oblast, Omsk Oblast, Primorsky Krai, Sakha Republic, Sverdlovsk Oblast, Tomsk Oblast, Tyumen Oblast, YamaloNenets Autonomous Okrug), Singapore, South Korea, Sri Lanka, Taiwan, Tajikistan, Thailand, Turkey, Uzbekistan, Vietnam), Australasia (Australia (Australian Capital Territory, New South Wales, Northern Territory, Queensland, South Australia, Tasmania, Victoria, Western Australia), New Zealand), Caribbean (American Virgin Islands, British Virgin Islands, Cuba, Dominican Republic, Guadeloupe, Haiti, Jamaica, Puerto Rico, Trinidad and Tobago), Central America (Belize, Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua, Panama. Europe: Austria, Belarus, Belgium, Bulgaria, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Ireland, Isle of Man, Italy, Latvia, Lithuania, Luxembourg, Netherlands, Norway, Poland, Portugal, Republic of North Macedonia, Romania, Russia (Arkhangelsk Oblast, Belgorod Oblast, Bryansk Oblast, Chuvash Republic, Ivanovo Oblast, Kaliningrad Oblast, Kaluga Oblast, Kirov Oblast, Kostroma Oblast, Krasnodar Krai, Kursk Oblast, Leningrad Oblast, Mari El Republic, Moscow Oblast, Nizhny Novgorod Oblast, Orenburg Oblast, Oryol Oblast, Penza Oblast, Perm Krai, Pskov Oblast, Republic of Bashkortostan, Republic of Tatarstan, Samara Oblast, Smolensk Oblast, Tula Oblast, Tver Oblast, Udmurt Republic, Vladimir Oblast, Vologda Oblast, Voronezh Oblast, Yaroslavl Oblast), Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Ukraine, UK), Indian Ocean (Seychelles. North America: Canada (Alberta, British Columbia, Manitoba, New Brunswick, Newfoundland and Labrador, Northwest Territories, Nova Scotia, Ontario, Prince Edward Island, Quebec, Saskatchewan), Mexico, USA (Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, District of Columbia, Florida, Georgia, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, New Hampshire, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin, Wyoming)), Pacific Ocean (American Samoa, Cook Islands, Federated States of Micronesia, Fiji, French Polynesia, Guam, Marshall Islands, Samoa, Tuvalu, USA (Hawaii)), South America (Argentina, Bolivia, Brazil (Acre, Alagoas, Amapá, Amazonas, Bahia, Espírito Santo, Minas Gerais, Pará, Paraíba, Paraná, Pernambuco, Rio de Janeiro, Rio Grande do Sul, Rondônia, Roraima, Santa Catarina, São Paulo), Chile, Colombia, Ecuador, French Guiana, Peru, Suriname, Uruguay, Venezuela)).

In 1858 EBB declared her son Pen “shall be a ‘citizen of the world’ after my own heart & ready for the millennium.”[i] Living in Italy for most of the fifteen years of her married life and passionately supporting Italian unification and independence in her mature poetry, Elizabeth Barrett Browning proudly regarded herself as “a citizen of the world.” But world citizenship is a perspective toward which EBB[ii] strove in her juvenilia long before she employed the phrase. Much of her childhood writing expresses her compulsion to address social and political issues and to transcend national prejudices in doing so. Recent critics have illuminated EBB’s gender and political views in fascinating detail. Marjorie Stone, to cite one example, has ably traced EBB’s commitment to “a poetry of the present and ‘the Real’” and her “turn towards human and contemporary subjects, away from the self-confessedly mystical and abstract subject matter of her 1838 volume….”[iii] We should recognize, however, that a strong political impulse surfaces in even her earliest writings and in her recollections of childhood. Her letters from early childhood demonstrate her precocious interest in power negotiations between nations, and also between individual citizens and governments. At age six, for example, she informed her mother and father that “the Rusians has beat the french killd 18.000 men and taken 14000 prisners”--an account which, though mistakenly attributing victory to the wrong side, documents her early interest in the Napoleonic wars (31 August 1812, BC 1: 9). More telling for consideration of her aesthetic-political theory, her earliest known poem—composed in the month she turned six—in four lines critiques the British government’s policy of impressing civilians (even Americans) to serve in the British navy.[iv] Entitled “On the Cruelty of Forcement to Man: Alluding to the Press Gang” (1812), it suggests in its final two lines the viewer’s--specifically the extremely young female poet’s--responsibility to grapple with the moral and ethical implications of this military practice: Ah! the poor lad in yonder boat, Forced from his wife, his friends, his home, Now gentle Maiden how can you, Look at the misery of his doom![v] Her last two lines pose a question that will shape her poetic career: How can you represent disturbing issues that demand your attention? Although her brief first poem does not resolve this conundrum, by expressing her query as an exclamation, she leaves no uncertainty that she must do so. [i] The Brownings’ Correspondence, 26 vols. to date, ed. Philip Kelley, et al. (Winfield, KS, and Waco, TX: Wedgestone Press, 1984- ), vol. 25, p. 98; hereafter cited parenthetically as BC. For discussion of EBB’s views on the cosmopolitan education of her son and its relationship to her poetic practice, see Beverly Taylor, “Elizabeth Barrett Browning and the Politics of Childhood,” Victorian Poetry 46 (2008): 405-27; and Christopher M. Keirstead, “‘He Shall Be a “Citizen of the World”’: Cosmopolitanism and the Education of Pen Browning,” Browning Society Notes 32 (2007): 74-82. EBB associated the concept “citizen” or “citizeness of the world” with both personal experience and international political concerns. In 1852 she wrote to her beloved distant kinsman and friend John Kenyon about her bitter estrangement from England, on the personal level fostered particularly by her father’s obdurate refusal to reconcile following her marriage, and on the political level, by England’s failure to support Italy’s independence: “I’m a citizeness of the world now, you see, and float loose” (BC 17: 70). [ii] To avoid the confusion of using her maiden name (Elizabeth Barrett Barrett) and her married name, throughout the essay I refer to Elizabeth Barrett Browning by the initials she frequently used to sign her manuscripts and letters. Both she and Robert Browning expressed pleasure that her initials and characteristic signature would not change with their marriage (BC 11: 248-49). [iii] Marjorie Stone, Elizabeth Barrett Browning (Basingstoke: Palgrave Macmillan, 1995), pp. 27, 24-25. Yet even so magisterial a study as Isobel Armstrong’s Victorian Poetry: Poetry, Poetics and Politics (London: Routledge, 1993), while it ranges beyond the traditional canon to include many women and working-class writers, scarcely mentions EBB. [iv] What were you thinking about at age six? Britain’s practice of seizing sailors from merchant ships and forcing them to serve in the Royal Navy (“forcement” or “impressment”) constituted one cause the United States declared war on England in 1812, while England was still at war with France. The London Times discussed the problem of impressment. See, e.g., “Parliamentary Proceedings,” 26 June 1812; “American Papers,” 10 March 1812; as well as editorial comment calling impressment “the disgrace of England and of a civilized age” (“Upon Hearing Cuxhaven,” 3 October 1811). On naval impressment see Nicholas Rogers, The Press Gang: Naval Impressment and Its Opponents in Georgian Britain (London: Continuum, 2007), esp. pp. 134-38. [v] First published in H. Buxton Forman’s edition of EBB’s Hitherto Unpublished Poems and Stories with an Inedited Autobiography, vol. 1 (Boston: Bibliophile Society, 1914), p. 31; subsequently cited as HUP. Punctuation follows that of the manuscript copied into a notebook by EBB’s mother, in the Berg collection of the New York Public Library; see The Browning Collections: A Reconstruction with Other Memorabilia, compiled by Philip Kelley & Betty A. Coley (Winfield, KS: Armstrong Browning Library of Baylor University, The Browning Institute, Mansel Publishing, Wedgestone Press, 1984), D666. All quotations from EBB’s works follow The Works of Elizabeth Barrett Browning, 5 vols., vol. eds. Sandra Donaldson, Rita Patteson, Marjorie Stone, and Beverly Taylor (London: Pickering and Chatto, 2010); subsequently cited as WEBB. EBB’s juvenilia appear in vol. 5, this first poem on pp. 159-60. On this poem and other juvenilia, see Beverly Taylor, “Childhood Writings of Elizabeth Barrett Browning: ‘At four I first mounted Pegasus,’” The Child Writer from Austen to Woolf, ed. Christine Alexander and Juliet McMaster (Cambridge: Cambridge University Press, 2005), pp. 138-53.

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.

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. 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