Articles de revues sur le sujet « Oahu Railway and Land Company »

This article explores the shifting relationship between the state and the rural elites in Sichuan during the last decades of the Qing dynasty through the lens of taxation and public debt by using a creditor-debtor model as a theoretical framework. Sichuan’s unique rewarded land tax surcharge, called the “Contribution” and levied since 1864, established a relationship of symbolic and economic indebtedness of the imperial and local state to the taxpayer. Western-inspired reforms after 1898 directly attacked the symbolic and economic bonds established by the Contribution. The Railway Rent Share tax shifted the creditor-debtor relationship from the state to the public Sichuan-Hankou Railway Company by making individual taxpayers into shareholders. When Beijing eventually banned what it saw as a privatization of taxation and decided to nationalize the railway company, this ignited the Railway Protection Movement, which precipitated the 1911 Revolution in Sichuan.

Grondkaart or block maps are documents of evidence of ownership of assets which are assets for an institution or company that must be protected. There are several things that are still debatable regarding the position or legality of Grondkaart itself. One of the state companies that still uses Grondkaart as proof of ownership of its land assets is PT. Kereta Api Indonesia (Persero) or PT. KAI. Land assets of PT. KAI is the legacy of the Dutch railway company which was affected by nationalization, the land often causes disputes due to evidence of land ownership in the form of Grondkaart which is not regulated in Law Number 5 of 1960 and Government Regulation Number 24 of 1997. The rapid development of the current railway must be supported. with the security and management of assets as one of the main capital so that the seizure and control of assets of PT. KAI by unauthorized parties and illegally will not happen again. The problem of this research is how is the position of Grondkaart as proof of land tenure by PT. Kereta Api Indonesia (Persero) Tanjung Karang Regional Division IV Office according to Land Law in Indonesia, and What are the legal consequences of using Grondkaart as proof of land tenure by PT. Kereta Api Indonesia (Persero) Regional Division IV Tanjung Karang Office. This type of research is field research (Field Research) and is carried out descriptively, the problem approach is carried out by empirical juridical, the data used are primary and secondary data, data collection techniques are interviews, observation and documentation, data processing is done by editing, coding , Reconstructing, and Systematizing, then the data were analyzed qualitatively.Keyword:: Grondkaart, Railway, Land Law, Dispute

Penelitian ini ingin menjawab bagaimana pemanfaatan tanah aset PT. Kereta Api Indonesia oleh pihak ketiga. Pemanfaatan tanah aset bertujuan untuk pengembangan potensi dan penunjang kegiatan usaha PT. KAI. Namun terdapat pemanfaatan tanah aset untuk kegiatan diluar perkeretaapian. Penelitian ini merupakan penelitian hukum dengan metode yuridis empiris, dengan spesifikasi deskriptif analisis. Penelitian menemukan bahwa bentuk pemanfaatan tanah aset oleh pihak ketiga antara lain bangun guna serah, bangun serah guna, kerjasama operasi, kerjasama usaha, sewa, dan pinjam pakai. Pemanfaatan tanah aset yang dilaksanakan PT. KAI adalah dengan cara sewa dan pemberian hak guna bangunan di atas HPL. Alasan pemberian pemanfaatan tanah aset diluar penunjang kegiatan usaha untuk mengoptimalkan seluruh aset yang ada, agar PT. KAI mendapat manfaat dan pemasukan dari tanah-tanah tersebut. Hal ini bertentangan dengan Undang-Undang Pokok Agraria dan tidak sejalan dengan Peraturan Direksi PT. KAI. Implikasinya perbuatan tersebut bisa dianggap batal demi hukum atau dianggap tidak pernah ada. Land Assets Utilization of Indonesian Railway Company (PT KAI) by Third Party This study aims to answer how the use of land assets of Indonesian Railway Company (PT. KAI) by third party. The purpose use of land assets is to develop potential and to support business activities of PT. KAI. However, the use of land assets also for other activities outside the railway. This is legal research by applying empiric juridical method, with descriptive analysis specifications. The study found that the form of land assets utilization by third party included build operate and transfer (BOT), build transfer and operate (BTO), joint operations, business cooperation, leasing, and lend-use. Land assets utilization carried out by PT. KAI is by leasing and granting building rights title over management rights (HPL). Other reasons for granting land assets utilization are to support business activities and to optimize all existing assets so that PT. KAI gets benefits and income from these lands. This is contrary to the Agrarian Principle Law and not in line with the Directors' Regulations of PT. KAI. The implication of this action can be considered null and void or considered never existed.

Grondkaart or block maps are documents that prove the ownership of assets which are wealth for an institution or company that must be maintained. There are several things that are still being debated regarding the position or legality of Grondkaart itself. One state company that still uses Grondkaart as proof of ownership of its land assets is PT. Kereta Api Indonesia (Persero) or PT. KAI. Land assets PT. KAI is a legacy of the Dutch railroad company which was subject to nationalization, the land often causes disputes due to evidence of land tenure in the form of Grondkaart which is not regulated in Law Number 5 of 1960 and Government Regulation Number 24 of 1997. The formulation of the problem in this article is (1) What is the position of Grondkaart as a basis for rights or evidence of land tenure according to Indonesian Agrarian Law? (2) How is the legal protection and legal certainty of Grondkaart as proof of land ownership by PT KAI so that it can provide a solution to land problems for the residents of Miji Mojokerto? The research method used in this article is the normative legal research method with statutory, conceptual and case approaches. The technique used in the analysis of legal material is to use grammatical interpretation and systematic interpretation. The results showed that Grondkaart's position was not regulated in Law No. 5 of 1960 concerning Basic Agrarian Regulations and Government Regulation No. 10 of 1960 Jo. Government Regulation Number 24 of 1997 concerning Land Registration, this has resulted in that Grondkaart is not a strong proof of ownership of railway land, but can be used as a basis for ownership or as the basis for PT. Kereta Api Indonesia (Persero) to register their land in order to obtain a strong Certificate of Land Rights. Grondkaart is proof of PT KAI's land ownership which if in the process of securing assets a dispute occurs it can be used as proof of ownership where rights have never been renewed.

Regional cooperation in rail transport can help participating countries diversify their trade patterns. Improved rail transport can also help attract foreign direct investment, increase participation in global production networks and the scale of related trade in manufactured goods, and diversify exports. Improved rail infrastructure will increase global competitiveness and spur economic development. In addition, improved rail infrastructure will help regional cooperation and integration through improved connectivity between people, goods and services. The operation is carried out by a railway company, providing transport between train stations or freight customer facilities. Power is provided by locomotives which either draw electric power from a railway electrification system or produce their own power, usually by diesel engines or, historically, steam engines. Most tracks are accompanied by a signalling system. Railways are a safe land transport system when compared to other forms of transport. Railway transport is capable of high levels of passenger and cargo utilisation and energy efficiency but is often less flexible and more capital-intensive than road transport, when lower traffic levels are considered. Railways are a climate-smart and efficient way to move people and freight. Keywords: railway, transport, improvement, transportation, transit, passenger, development, delivery, traffic, technology, vehicles.

The Indonesian railway transportation has adventages in term of capacity, efficiency, trafic, and safety compared to the other types of land transportations. At present, the Indonesian Railway Company has 519 locomotives, and 1643 passenger cars, that transport about 184 million man-trip each year[1,2]. Unfortunately, the rate of train collisions in Indonesian railway system was very high. In the last ten years, 2352 train accidents have happened which claimed 997 lives and left 2638 people injured. The record shows that 110 of those accidents were train to train collisions[1]. This paper consider the structural impact behavior of Indonesian passenger railway car subject to collision forces. This characteristic is very important parameter for passenger protection during the course of collision[3-5]. The vehicle structure should be able to absorb the huge impact energy or impact force to ensure the passenger safety[6-9]. The impact energy of cars-train is evaluated using the principle of multibody dynamics[10,11]. The vehicle structure under impact load is analyzed using the finite element method. The principal of symmetry is adopted, so the collision scene could be simulated as collision between the vehicle with a rigid wall. The analysis result shows that the structure is collapse at the passenger area (saloon) which is in agreement with the real collision. Modification is proposed to protect the passenger area by introducing crush zone area and impact energy absorber.

A procedure for determining the optimal location of the conveyor route in a mining company is described in the paper. The decision making process takes into account factors related to legislation as well as technical and environmental constraints. It results in multi-criteria optimization procedure that evaluates the availability of land for the location of the route of belt conveyors transporting the product from the mine to the railway depot. The aim of the analysis is to identify the best location for the belt conveyor that minimize the impact of the route on the environment and local society and use existing technical infrastructure. The approach is implemented in GIS platform, to provide decision support system.

The land used for the construction of the railway infrastructure is state land under the management control of the Indonesian Railways Company or known as P.T. Kereta Api Indonesia (PT. KAI). If the land is not used based on its function, the government will take over to manage the land for development. The effectiveness of this development will have a positive impact in the future, which is better than before. An important issue, in this case, is related to the construction of a station market by the Regency Governments on state land managed by PT. KAI and creates discrepancies with the tenants as third parties. This study used the legal research method to analyze the problems with the black letter law paradigm. Data collection techniques in this study used library research by collecting legal materials. Legal materials were analyzed deductively using interpretation methods (hermeneutics). The results found that it is possible to take legal actions by transferring the fixed assets of PT. KAI in the form of land to the Ponorogo Regency Government. The legal action can later be made based on the agreement between the tenants as a third party, PT. KAI, and the Ponorogo Regency Government. The effectiveness of the construction of the station market can be achieved with the support of all parties, especially the management of the market and merchants as actors in economic activities in the market.

In Japan, the transportation system is the lifeblood of the country in order to ease the flow of people, goods, and information, supporting the achievement of optimum economic resources allocation. To that end, the transportation service should be fairly evenly available and affordable purchasing power. This is a literature study, whose main data sources are books, literature, records, and reports that have to do with the subject matter being solved. The results show that Japanese transportation system is very modern, comfortable, secure, punctual, and well-organized, as well as outstanding in service and responsible, so that people use public transport rather than private cars. Transportation in Japan as in other countries includes land, sea, and air transports. On land, there is a transport in the form of excellent trains and become a major transportation in Japan. In addition, there are also subway trains. To connect between islands, especially the four largest islands (Hokkaido, Honshu, Shikoku, and Kyushu) there are ferries as a means of crossing. Also available is a comprehensive international air service through two major airlines, Japan Airlines and All Nippon Airways, as well as foreign airlines based on the operators who fly all over the world. Transportation in Japan is generally accommodated by Japan Railway (JR), the state-owned company JR Bus, JR Train, and others.

In Japan, the transportation system is the lifeblood of the country in order to ease the flow of people, goods, and information, supporting the achievement of optimum economic resources allocation. To that end, the transportation service should be fairly evenly available and affordable purchasing power. This is a literature study, whose main data sources are books, literature, records, and reports that have to do with the subject matter being solved. The results show that Japanese transportation system is very modern, comfortable, secure, punctual, and well-organized, as well as outstanding in service and responsible, so that people use public transport rather than private cars. Transportation in Japan as in other countries includes land, sea, and air transports. On land, there is a transport in the form of excellent trains and become a major transportation in Japan. In addition, there are also subway trains. To connect between islands, especially the four largest islands (Hokkaido, Honshu, Shikoku, and Kyushu) there are ferries as a means of crossing. Also available is a comprehensive international air service through two major airlines, Japan Airlines and All Nippon Airways, as well as foreign airlines based on the operators who fly all over the world. Transportation in Japan is generally accommodated by Japan Railway (JR), the state-owned company JR Bus, JR Train, and others.

Indonesia's vast territory makes transportation one of the most important needs for Indonesian people. One of them is land transportation, of various kinds of land transportation, trains are one of the favorite transportation of the Indonesian people. By using the train, people can move from one area to another in a relatively short time and safely. PT Kereta Api Indonesia is a company that offers rail transportation services. One of the stations owned by PT Kereta Api Indonesia is Malang Kota Baru Station which is located in Malang City, East Java province, where this city is known as one of the tourist destinations of the Indonesian people. Therefore the management of the Malang Kota Baru Railway Station needs to provide satisfaction for customers who travel through this station. In the research being carried out, researchers will examine the effect of the variable dimensions of service quality, access, price, and employee competence on customer satisfaction at Malang City Baru Station. The type of research used is quantitative research using multiple linear regression analysis. The data was distributed using a questionnaire, and was addressed to 400 respondents who were passengers at Malang Kota Baru Station. The results showed that service quality and access variables had a significant influence on customer satisfaction. Meanwhile, other variables, namely price and employee competence, have no significant effect on customer satisfaction at Malang Kota Baru station.

Based on materials from the Russian State Historical Archive of the Far East and a number of other sources, the present article examines the activities of the Manchurian Agricultural Society (MAS). Founded in Harbin in 1912, MAS was actively involved in the developing of fertile land along the SinoEastern Railway (Kitaisko-vostochnaia zheleznaya doroga) strip. As the article points out, the leadership of the Company also came up with plans for the colonization of Northern Manchuria, the territory of which belonged to China. So far historians never considered the activities of MAS from this angle; MAS has so far been credited with the role of a conductor of Russian agricultural knowledge, through training specialists for agriculture in Manchuria and offering agro-technical education to the population living along the Sino-East Railway. Until Russia entered the First World War, MAS had some chances of obtaining support for its project in commercial and industrial circles, which were interested in strengthening Russian influence in northeast China. The author notes that serious adjustments in the activities of MAS were due to changes in the international political situation in 1914-1915. Circles in the Russian government were interested in maintaining friendly relations with their eastern neighbors, China and Japan. It is shown that in the changing political environment, without receiving support from the Russian government and the Governor-General of the Amur Province, the Company was able to redirect its activities. Its leadership concentrated on trying to create a special Colonization Society and a subsidizing Colonization Bank, whose funds were to be composed of shares, bonds, and treasury subsidies. The goal of this new Society and the Bank was to support Russia's economic undertakings in the Far East - the organization of agricultural and industrial enterprises, and the provision of financial and technical assistance to them. However, the First World War, which went very badly for Russia, did not allow for a realization of these plans. The problems of the colonization of the region were not resolved.

Sabah (previously known as British North Borneo) occupies the whole of the northern portion of the island of Borneo, covering an area of 76, 115 square kilometres. Its immediate neighbours are Brunei, Sarawak and Kalimantan (Indonesian Borneo). From 1882 to 1942, Sabah was administered by the British North Borneo (Chartered) Company. The territory possessed three main attractions: its timber, its reputed minerals and its land. Timber has now grown to be amajor export commodity, second only to petroleum. With the exception of deposits of coal and some gold, economic resources of other sought-after minerals were not proven during the period. The land proved to be the most valuable asset. Many crops were experimented with: tobacco, sugar cane, coffee, coconuts and rubber and they laid the basis for the economic development of the territory. The expansion of these crops was largely assisted by the introduction of a modern transport system which supplemented the original means of communication, the rivers. The railway in particular provided the impetus for the rubber boom on the west coast. In turn, this resulted in the emergence of an export-oriented economy, specializing in rubber, timber, copra and tobacco. From 1942, Sabah was occupied by the Japanese until its liberation in 1945. After a brief period under military administration, it became a British Colony in 1946. Under colonial rule from 1946 to 1963 the previous pattern of economic exploitation continued.

The article discusses the main positive and negative factors that determine the volume of the cargo base of the east-west transboundary transport corridors passing through the territory of Georgia. The emphasis is placed on the problems of the development of rail transport to the Caspian Sea and water transport along the route of the Caspian and then the Black Sea. The new evolutionary concept for attracting additional cargo on Eurasian routes is proposed. In addition, the author discusses the global maritime container services, which are represented by transnational corporations that carry out significant assets in the world market, and own fleets of container ships, containers, container terminals in ports, dry ports, and land transport systems. Cargo shipping lines and a wide clientele were established. The article notes that business concentration processes continue in the market to ensure a continuous and efficient transport and logistics process, to reduce the cost of cargo delivery, to meet better the needs of customers, and to strengthen the competitive advantages compared to other maritime and land operators, trains. The work includes the examples of the world's largest companies in the field of container shipping: Maersk Lines (Denmark), Mediterranean Shipping Company (Switzerland), and CMA CGM (France), which have created a powerful alliance called the P3 Network, which includes the creation of Joint Vessel Traffic Operations Center. The alliance aims to provide the worthy European response to China's growing influence on the global transport sector. The article mentions Georgia's interest in integration into the European transport system. Keywords: Railway transport, transport corridors, containerization of cargo flows, transport engineering.

This paper discusses the characteristics, investments and impacts of the Chinese One Belt One Road (OBOR) initiative in the Eastern Mediterranean ports and Eastern European countries with particular emphasis on its realization in Greece in the port of Piraeus and the so-called Land-Sea bridge railway connections of this port to Eastern European countries. For Greece, the investments of Chinese company Cosco in the two container terminals of the port of Piraeus and later on for the acquisition of majority share for the whole of the port, has increased the traffic on the port in terms of containers and made it, within just a few years, the no. 1 port for containers in the Mediterranean and one of the top 5 in Europe. At the same time, it has caused some serious local objections concerning plans for expansion of port activities into areas that compete with similar local activities. The paper also discusses the concerns of the EU as a whole and of some European governments in the Chinese OBOR investments in the area of Eastern Mediterranean and Europe and concludes with a discussion on the pros and the cons of the OBOR initiative for the region as a whole.

The development modes of transportation in Indonesia led to competition in the various modes such as by land; sea and air were increasing. Railway is one mode of transportation, especially as the most dominated by the passenger in Bandung. Due to higher competition pattern, efforts were made to improve passenger satisfaction. Various complaints can occur, and will increase if not addressed promptly so that the company should seek to restore service (service recovery) that passengers are satisfied. This study was conducted to determine how the implementation of the program service recovery Argo Gede Train, perceived satisfaction of passengers and how much influence the program service recovery on customer satisfaction.The object of this research was Argo Gede Train passenger route Bandung-Jakarta. The independent variable in this study was a service recovery program (X), and the dependent variable was customer satisfaction (Y). The type of research was descriptive verification, through explanatory survey method with simple random sampling technique, and 100 respondents were analyzed by linear regression analysis. The data used in this study are primary data and secondary data, with data collection through interviews, direct observations, and questionnaires' research, and literature studies. The results showed in the service recovery program, has improved the accuracy of the biggest scores. The results showed that the service recovery program has the effect of 47.80% on customer satisfaction to note that the service recovery program has a significant impact on customer satisfaction. Keywords: Service Recovery, Customer Satisfaction

Deborah Warner is one of the most exciting of the generation of directors who emerged during the 'eighties – incidentally claiming for women a natural entrance into a profession previously dominated by men. In 1980 she formed the Kick Theatre Company, with whom over the following, formative years of her career she directed The Good Person of Szechwan, The Tempest, Measure for Measure, King Lear, Coriolanus, and Woyzeck. In 1988, following a production for the RSC of Titus Andronicus in the previous year, she became one of the company's resident directors, staging King John and Electra before moving in 1990 as an associate director to the National, where her first two productions were of The Good Person with Fiona Shaw and King Lear with Brian Cox. During the 'nineties, she has extended both the nature and the range of her work, directing Shaw in Hedda Gabler in Dublin, Coriolanus in German at the Salzburg Festival, Don Giovanni at Glyndbourne – and, in 1994–95, the season she discusses below, a revival of Beckett's Footfalls at the Garrick, controversially banned by the Beckett Estate, a dramatization of Eliot's seminal inter-war poem The Waste Land, premiered in Brussels, Richard II at the Cottesloe, with a woman, Fiona Shaw, in the title-role, and a project for the London International Festival of Theatre site-specific to the old railway hotel at St. Pancras. In September 1995 she discussed her recent and future work with Geraldine Cousin, who teaches Theatre Studies in the University of Warwick, where she has just completed a study of contemporary plays by women entitled Women in Dramatic Place and Time.

Ever since we started air transportation, we have found new ways of traveling more safely everyday with technologies that push the limits of our imagination. Air transport has been connecting the continents with each other. Increased the volume of trade and made it easier to trade with the HUB concept. Airline companies are in the advertising competition while the safety of the flight is at the forefront. Each is more aimed at flying to the region and more often operating. At this point, the limits of competition have been so difficult that our lives have entered different levels of service, including low-cost and traditional. Low-cost airline companies aimed to reduce their costs by cutting some services in the airplane. such as the right to baggage being offered as a separate entitlement other than the ticket price. this service does not mean to cut off safety precautions regularly. Airlines continue to keep all security systems as strong as ever. The purpose of these discontinuities is to make as much of the costs of course as possible and to offer cheaper tickets to passengers. On the other hand, traditional airlines aim to keep passengers 'journeys as comfortable as possible by keeping passengers' services at a nearly luxurious level. Whichever is chosen depends on the needs of the traveller at the moment. Of course, it is no surprise that air travel in the world is so popular. Despite the fact that it is the most expensive transportation vehicle compared to land, sea and railway transportation, İt has always been the first preferred transportation facility by making the travel speed and the intercontinental passage very easy. This intensive preference certainly ensured the formation of HUB centers. HUB is a transfer center built on the world we mean. There are various transfer centers in the world. The most important feature for a HUB is the fact that it is the center of the transfer points. This ensures that the traveler or objects reach the point where they need to reach it strategically in the fastest and safest way without making too many transfers. When we examine in this context as a HUB HUB is a natural Ataturk Airport in Turkey. Ataturk Airport is located on an area of 11,776,961 m2. The terminal with a capacity of 27.5 million passengers per annum has an area of 330.500 m2, 62,500 m2 domestic lines terminal and 268,000 m2 international lines terminal. Ataturk Airport has three pists. Two concrete paved runways is 3000x45 meters. The other is 2600x60 meters and it is covered with Asphalt (Stone Mastic). The right of intention is owned by DHMİ (State Airports Authority) and the terminal operator is TAV Holding. Ataturk Airport is a 60-year-old city that serves the nearest million passengers and is an important hub. Ataturk Airport, shortly growing today, Europe is the fourth largest, the world's 13th airport has become. Ataturk Airport serves more than 160 passengers daily giving. Ataturk Airport has a great advantage due to its location which connects Asia and Europe. which Ataturk Airport is the 6th airport with the highest hub connection worldwide. Today, 128 airline companies from the Ataturk Airport make an entrance to and depart from Ataturk Airport with 276 destinations in 110 countries of the world. Among them airline companies internationally among the world's greatest; Lutfhansa, Air France, KLM and more. When we look at domestic airline companies, we see that HUB carrier is Turkish Airlines with a market share of 75%. Onur Air, Atlas Global and Pegasus Airlines are other stakeholders. When we look at low-cost airline companies that operate at Ataturk Airport, we can say that there are few at the level that can be tried compared to the traditional airlines and domestic airlines. We can see that the biggest traditional local airline company is Turkish Airlines. Pegasus Airlines is the local airline company that has taken the lead in terms of low-cost service. Market share for service type, the result is as follows; Traditional airline companies are the ones that make the most flights to Ataturk airport with a rate of 98.4%. Low cost carriers are operating at 0.9% at Ataturk Airport, including Onur Air and Pegasus Airlines.

Gyula Germanus or Hajji Julius Abdul-Karim Germanus, Hungarian Muslim Orientalist Professor (1884-1979) was a well-known scholar and popular figure in Hungary from the turn of the century until late seventies. He was an Arabist, teacher, professor, writer, traveller, literary historian as well MP in Hungary (1958-1966) and member of many academies abroad. He converted to Islam in Delhi in 1930, and he was the first Hungarian to make a pilgrimage to Mecca (Hajj) in 1935. In this paper, I would like to describe in more detail his first major trip abroad, which took him to Bosnia and Herzegovina in the summer of 1902. The 17-year-old Germanus, a newly graduated, well-informed, educated, multilingual and already interested in Eastern culture, had a lifetime of experiences on his journey. Based partly on one of his memoirs and partly on a radio play he wrote and found in the Germanus bequest, I will outline in detail a chronicle of his days in Bosnia. First he travelled by train from Budapest to Banja Luka, where he visited the only Trappist monastery in the Balkans, and then he wrote a brief history of the Trappist order in his book. He then travelled with his companions by coach along a wild and scenic road carved into the valley of the Vrbas river towards Jajce. He noted that the Hungarian soldiers who invaded Bosnia and Herzegovina in 1878 had named the province “the land of curved mountains” for a reason. It is in Jajce that he had his greatest and most astonishing adventure, when he walked into a café in the evening, where he was greeted with great affection by the regular Bosniaks, especially after it turns out that he speaks Turkish. So he spends the evening in good company and is amply entertained. This first impression of the kindness and hospitality of the Muslim people of the East will stayed with him for the rest of his life. Jajca was followed by a journey by narrow-gauge railway to Sarajevo, the capital of Bosnia. In addition to describing the city and its sights, Germanus also reported that he had made a new and very dear friend, the intelligent Ahmed Mustafa, a shariat law student. After meeting him, they talked about the Islamic religion, the Quran, shariat and visited the bazaar. Afterwards they had dinner and Germanus invited his new friend to visit Hungary, who accompanied him to Grazová and then to Raguza. They also discovered Raguza together and said goodbye to each other. From there Germanus travelled to Cattaro, then to Cetinje in Montenegro, where he had interesting and instructive adventures, and after a long and difficult ordeal, including two days of starvation, he arrived in Fiume, where he was helped by an acquaintance of his father’s, and was able to travel home in peace. In the conclusion, I will explain that six years after Germanus’ visit, the Austro-Hungarian Empire annexed Bosnia and Herzegovina to the Empire, and tensions between the peoples of the Balkans escalated, leading to the Sarajevo assassination attempt on 28 June 1914, which soon afterwards led to the outbreak of the First World War. Germanus never forgot his first trip and the positive experiences he had here. He had sympathy for the Bosniaks and helped them in Hungary when veteran soldiers and officers stranded in Hungary after the First World War founded an Islamic religious community in 1931 under the leadership of former Military Imam Husein Hilmi Durić . Germanus, who was already a Muslim, supported them, mobilised his network of contacts for them and took on the role of secretary-general of the so-called “Gül Baba Cultural Committee”. I believe that the teenager Germanus’ personality development was greatly influenced by his trip in 1902 and the friendly, welcoming atmosphere that surrounded him.

Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar Russia. Research and publications. The subject of Kharkiv theatre as a part of Ukrainian theatre history development in noted period was highlighted in XIX century by the famous writer, literary critic, culture and public activist Hrigoriy Kvitka-Osnovianenko and by Mykola Cherniaiev – a journalist, literary and theatre critic, reviewer of the newspaper “Yuzhnyi krai” (one of the largest provincial newspapers of the XIX century), where his articles about history of theatre organization in Kharkiv was published. In the XX century this period is covered by famous theatre critics: Alexander Klinchin (in the monographs about the Ukrainian theatre prominent figures Mykhailo Shchepkin, Mykola Rybakov, Liubov Mlotkovska), Arkadii Pletniov (in the study “At the origin of the Kharkiv theatre”), Rostyslav Pylypchuk (in “Materials about the Ukrainian theatre history. From the foundation to the beginning of the twentieth century”), Yu. Polyakova (in numerous publications and the preface to M. Cherniaiev’s book “From Kharkiv’s theatrical antiquity”); ethnographers Andrii Paramonov, Volodymyr Titar (in “The materials for the Kharkiv Theatre history of 1780–1934”). The objective of this study is to attempt to supplement the scientific research of famous theatrical scholars (primarily A. Pletnov and M. Cherniaiev) with materials that were found in the Kharkiv region State Archives. The main material. Entrepreneur Liudvig Mlotkovskyi, who headed the Kharkiv theatre from the autumn of 1834 to the spring of 1843, played a significant role in the theatre history of above mentioned period. In 1839 Mlotkovskyi was allocated a piece of land in Kharkiv free of charge to build a theatre. The first stone building of the theater for 1020 seats was opened in 1841. Furthermore, the land was allocated to Mlotkovskyi’s ownership, he was obliged to comply with some terms among which was compulsory that the theatre director was appointed by the governor. As the first director of the new theatre the Count Hendrikov Oleksandr Ivanovych (1806–1881) was elected and approved. Unfortunately, no materials or documents about Hendrikov’s activity in the theatre were found. However, it is known that during the time of his directorship, due to difficulties and debts, the entrepreneur Mlotkovskyi left Kharkiv. The theatre’s premises were first leased to touring troupes (companies), and in 1853, Mlotkovsky donated it to his daughter, the dramatic actress Vera Liudvygovna Mlotkovska-Diukova. Thus, further theatrical activities in Kharkiv were connected with the Diukov’s entrepreneurial family and the managers of the theatre: Alferaki, Petrovskyi, Lviv and Shcherbyna. They faced the difficult task of theatre revival and getting back its fame. Mykola Dmytrovych Alferaki (1815–1860), Collegia Advisor, a nobleman, held the post from 1845 to 1849. As the director, he paid the debts and additionally invested his own money for the theatre development and improvement. From 1849 to 1856 Engineer-Lieutenant Colonel Petrovskyi was the director of the theater. Archival materials describing Petrovskyi’s directorship were located. He tried to save the situation by means of more democratic drama repertoire that was interesting for general public. Mykhailo PavlovychLvov (1819–1867) was the next theatre director appointed. He was an architect, the member of St. Petersburg Academy of Arts, the professor of Kharkiv University. Lvov purchased costumes, scenery, and library; he spent some money to restore the theatre premises. In addition to being in charge of the Kharkiv Theatre, Lvov rented Poltava Theatre and the railway station for 8 years. What his administration was like is not definitely known, but he served as the director to 1857. At the end of 1850’s and beginning of 1860’s the post of the theatre director was taken up by an experienced entrepreneur Ivan Oleksandrovych Shcherbyna (1821–1869). He had the theatre boxes reconstructed, started a permanent ballet company that worked in the theater for 3 years, alternating ballet performances with spectacles of touring companies and the permanent drama troupe stage enters. The time of Shcherbyna directorship at the Kharkiv Drama Theatre appeared to be the most favourable for the Ukrainian repertoire, when along with Russian drama products the plays by Ukrainian authors were staged, such as I. P. Kotliarevskyi, H. F. Kvitka-Osnovianenko, D. Dmytrenko etc. Conclusions. Basing on previously published studies of famous theatre critics and ethnographers and attempting to combine the results of their research with the materials found in Kharkiv State regional archive we conclude: Kharkiv was one of the provincial theatre art centers in the XIX century. Not only theatrical entrepreneurs, but also provincial authorities took part in theatre formation and development. The latters tried to control the repertoire policy through the theatre directors appointed by them. Despite the discouraging conditions connected with the difficulties and censorship oppression some progressive theatre directors, such as Petrovskyi and Shcherbyna, ignored the bans and staged prohibited by censorship dramas. It happened not only for the sake of commercial benefits, but also because the banned drama pieces were the most interesting for the general population, it were modern, democratic and satisfied the needs of the audience. This study does not claim to be complete. Its objectives are to combine some historical finds with modern researches about Kharkiv theatre development, and partly fill in the gaps relating to the activity of the entrepreneurs and directors who headed the Kharkiv theatre in 1840–1860s; the work in this direction will continued.

This article uses archival records to study the litigation surrounding the land grant to the Calgary and Edmonton Railway, which was the first railway to approach Edmonton and Fort Macleod. The Dominion of Canada granted 1,888,448 acres of land in Alberta to the Calgary and Edmonton Railway Company to assist in financing construction of the line and also attempted to shield these lands from local taxation. The C & E went to Court to obtain mines and minerals in the land grant and in an effort to avoid local taxation. The authors analyze these cases and outline the implications of the decisions, particularly in the creation of private mineral title in western Canada.

Nos inícios do século XX, a construção da ferrovia que ligou São Paulo ao Rio Grande do Sul desencadeou profunda transformação, econômica, demográfica e política, com a poderosa e súbita intrusão da economia capitalista no planalto de Santa Catarina e Paraná, na região do Contestado, Brasil meridional. A construtora, uma concessionária norte-americana, recebeu o direito de explorar e operar essa via, e uma faixa de terra com 30 km. de largura, disposta de ambos os lados dos trilhos e ao longo de todo seu percurso. Destinava-se à exploração madeireira, assim como ao assentamento de colonos, sobretudo de origem estrangeira. Para tanto, os antigos posseiros, criadores de gado, agricultores, coletores de pinhão e de erva-mate foram expulsos das terras que exploravam, e que foram cobertas por aquela faixa, gerando hordas de sem-terras que se reagruparam em torno de carismáticos líderes messiânicos. Os chefes políticos regionais, ligados aos grandes terratenentes e apoiados na Igreja Católica, sentiram-se ameaçados pelos ajuntamentos milenaristas, e desencadearam a repressão armada. Isso deflagrou uma guerra sem quartel, que durou de 1912 a 1916. Este artigo busca entender os fatores do colapso final desse movimento social, analisando seus aspectos militares. PALAVRAS-CHAVE: movimentos sociais, insurreição social, milenarismo, Guerra do Contestado, Brasil. LIMITATIONS OF A COUNTRY WAR: contemplaying the mulitary aspects of the Contestado (1912-1916) In the beginnings of the XX century, the construction of the railway linking São Paulo to Rio Grande do Sul unleashed deep economic, demographic and political transformations, with the sudden and powerful intrusion of the capitalistic economics on the hills of Santa Catarina and Paraná, in the Contestado region, in Southern Brazil. The construction company, a North-american concessionary, was given the right to explore and operate this railway and also a strip of land with a width of 30 km.on both sides of the railway tracks and along its whole length. It was destined to the logging and settling of specially foreign farmers. The former squatters, cattle raisers pine and mate collectors were thus expelled from the lands on which they lived and worked that were covered by that 30 km landstrip, generating an army of landless people who regrouped around messianic, charismatic leaders. The regional political chiefs, linked to big landowners and supported by the Catholic Church, felt threatened by these milenarists groups, and unleashed the armed repression. This caused a no quarters war that lasted from 1912 to 1916. This paper strives to understand the factors in the final collapse of this social movement, analysing its military aspects. KEY WORD: social movements, popular insurrections, milenarism, contestado war, Brazil. LIMITATIONS D'UNE GUERRE SERTANEJA: reflexion sur les aspects militaires du Contestado (1912-1916) Dans les débuts du XX ème siècle, la construction de la voie ferroviaire qui liait São Paulo à Rio Grande du Sud a provoqué une profonde transformation économique, démographique et politique, avec la puissante et soudaine intrusion de l'économie capitaliste du planalto de Santa Catarina et du Paraná, dans la région du Contestado, Brésil méridional. L'entreprise de construction, une concessionaire nord-américaine, a reçu le droit d'exploiter et de réaliser des opérations sur cette voie, ainsi que sur une bande de terrain de 30 km de large, disposée de chacun des deux côtés des rails et tout au long de son parcours. Elle se destinait à l'exploitation du bois, bien comme à l'installation de colons, surtout ceux d'origine étrangère. C'est ainsi que les anciens propriétaires, éleveurs de bétail, agriculteurs, cueilleurs de pinhão (fruit tropical) et d'herbe à thé ont été expulsés des terres qu'ils exploitaient et que celles-ci ont été recouvertes par cette bande de terrain, donnant ainsi lieu à des hordes de sans-terre qui se sont regroupés autour de leaders charismatiques et messianiques. Les chefs politiques régionaux, liés aux grands propriétaires des terres et soutenus par l'Eglise Catholique, se sont sentis menacés par les regroupements millénairistes, et ont déclanché la répression armée. Ceci a provoqué une guerre sans quartier, qui a duré de 1912 à 1916. Cet article cherche à comprendre les facteurs du collapse final de ce mouvement social, en analisant ses aspects militaires. MOTS-CLES: mouvements sociaux, insurrections populaires, millénairisme, guerre du Contestado, Brésil. Publicação Online do Caderno CRH: http://www.cadernocrh.ufba.br

Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mixed international space (Godden). Putatively discrete national cinemas weave in and out of each other on many levels. One such level concerns the reception critics give to films. This article will drill down to the level of the reception of two examples of Australian gothic film-making by two well-known American critics. Rayner’s comparison of Australian gothic with American film noir is useful; however, it begs the question of how American critics such as Pauline Kael and Andrew Sarris influentially shaped the reception of Australian gothic in America and in other locations (such as Australia itself) where their reviews found an audience either at the time or afterwards. The significance of the present article rests on the fact that, as William McClain observes, following in Rick Altman’s footsteps, “critics form one of the key material institutions that support generic formations” (54). This article nurtures the suggestion that knowing how Australian gothic cinema was shaped, in its infancy, in the increasingly important American market (a market of both commerce and ideas) might usefully inform revisionist studies of Australian cinema as a national mode. A more nuanced, globally informed representation of the origins and development of Australian gothic cinema emerges at this juncture, particularly given that American film reviewing in the 1970s and 1980s more closely resembled what might today be called film criticism or even film theory. The length of individual reviews back then, the more specialized vocabulary used, and above all the tendency for critics to assume more knowledge of film history than could safely be assumed in 2014—all this shows up the contrast with today. As Christos Tsiolkas notes, “in our age… film reviewing has been reduced to a thumbs-up or a thumbs-down” (56)! The 1970s and 1980s is largely pre-Internet, and critical voices such as Kael and Sarris dominated in print. The American reviews of Australian gothic films demonstrate how a different consciousness suffuses Kael’s and Sarris’s engagements with “Antipodean” (broadly Australian and New Zealand) cinema. Rayner’s locally specific definition of Australian gothic is distorted in their interpretations of examples of the genre. It will be argued that this is symptomatic of a particular blindspot, related to the politics and art of place, in the American reception of Wake in Fright (initially called Outback in America), directed by the Canadian Ted Kotcheff (1971) and The Year of Living Dangerously, directed by Peter Weir (1982). Space and argument considerations force this article to focus on the reviews of these films, engaging less in analysis of the films themselves. Suffice to say that they all fit broadly within Rayner’s definition of Australian gothic cinema. As Rayner states, three thematic concerns which permeate all the films related to the Gothic sensibility provide links across the distinctions of era, environment and character. They are: a questioning of established authority; a disillusionment with the social reality that that authority maintains; and the protagonist’s search for a valid and tenable identity once the true nature of the human environment has been revealed. (25) “The true nature of the human environment….” Here is the element upon which the American reviews of the Australian gothic founder. Explicitly in many films of this mode, and implicitly in nearly all of them, is the “human environment” of the Australian landscape, which operates less as a backdrop and more as a participating element, even a character, in the drama, saturating the mise-en-scène. In “Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion’s Films,” Eva Rueschmann quotes Ross Gibson’s thesis from South of the West: Postcolonialism and the Narrative Construction of Australia that By featuring the land so emphatically… [Australian] films stake out something more significant than decorative pictorialism. Knowingly or unknowingly, they are all engaging with the dominant mythology of white Australia. They are all partaking of the landscape tradition which, for two hundred years, has been used by white Australians to promote a sense of the significance of European society in the “Antipodes”. (Rueschmann) The “emphatic” nature of the land in films like Wake in Fright, Mad Max 2 and Picnic at Hanging Rock actively contributes to the “atmosphere” of Australian gothic cinema (Rayner 25). This atmosphere floats across Australian film and literature. Many of the films mentioned in this article are adaptations from books, and Rayner himself stresses the similarity between Australian gothic and gothic literature (25). Significantly, the atmosphere of Australian gothic also floats across the fuzzy boundary between the gothic and road movies or road literature. Mad Max 2: The Road Warrior is obviously a road movie as well as a gothic text; so is Wake in Fright in its way; even Picnic at Hanging Rock contains elements of the road movie in all that travelling to and from the rock. Roads, then, are significant for Australian gothic cinema, for the road traverses the Australian (gothic) landscape and, in the opportunity it provides for moving through it at speed, tantalizes with the (unfulfillable) promise of an escape from its gothic horror. Australian roads are familiar, part of White European culture referencing the geometric precision of Roman roads. The Australian outback, by contrast, is unfamiliar, uncanny. Veined with roads, the outback invites the taming by “the landscape tradition” that it simultaneously rejects (Rueschmann). In the opening 360° pan of Wake in Fright the land frightens with its immensity and intensity, even as the camera displays the land’s “conquering” agent: not a road, but the road’s surrogate—a railway line. Thus, the land introduces the uncanny into Australian gothic cinema. In Freudian terms, the uncanny is that unsettling combination of the familiar and the unfamiliar. R. Gray calls it “the class of frightening things that leads us back to what is known and familiar” (Gray). The “frightening” land is the very condition of the “comforting” road; no roads without a space for roads, and places for them to go. In her introduction to The Penguin Book of the Road, Delia Falconer similarly sutures the land to the uncanny, linking both of these with the first peoples of the Australian land: "Of course there is another 'poetry of the earth' whispering from the edges of our roads that gives so many of our road stories an extra charge, and that is the history of Aboriginal presence in this land. Thousands of years of paths and tribal boundaries also account for the uncanny sense of being haunted that dogs our travellers on their journeys (xvii). White Australia, as the local saying goes, has a black past, played out across the land. The film The Proposition instances this, with its gothic portrayal of the uncanny encroachments of the Australian “wilderness” into the domain of “civilization”. Furthermore, “our” overweening literal and metaphoric investment in the traditional quarter-acre block, not to mention in our roads, shows that “we” haven’t reconciled either with the land of Australia or with its original inhabitants: the Aboriginal peoples. Little wonder that Kael and Sarris couldn’t do so, as White Americans writing some forty years ago, and at such a huge geographic remove from Australia. As will be seen, the failure of these American film critics to comprehend the Australian landscape comes out—as both a “critical reaction” and a “reactive compensation”—in two, interwoven strands of their interpretations of Australian New Wave gothic cinema. A repulsion from, and an attraction to, the unrecognized uncanny is evidenced. The first strand is constituted in the markedly anthropological aspect to the film reviews: anthropological elements of the text itself are either disproportionately magnified or longed for. Here, “anthropological” includes the sociological and the historical. Secondly, Kael and Sarris use the films they review from Australian gothic cinema as sites upon which to trial answers to the old and persistent question of how the very categories of art and politics relate. Initially sucked out of the reviews (strand one), politics and art thus rush back in (strand two). In other words, the American failure to engage deeply with the land triggers an initial reading of films like Wake in Fright less as films per se and more as primary texts or one-to-one documentations of Australia. Australia presents for anthropological, even scientific atomization, rather than as a place in active, creative and complex relationship with its rendering in mise-en-scène. Simultaneously though, the absence of the land nags—eats away at the edges of critical thinking—and re-emerges (like a Freudian return of the repressed) in an attempt by the American critics to exploit their film subjects as an opportunity for working out how politics and art (here cinema) relate. The “un-seen” land creates a mis-reading amongst the American critics (strand one), only to force a compensatory, if somewhat blindsided, re-reading (strand two). For after all, in this critical “over-looking” of the land, and thus of the (ongoing) Aboriginal existence in and with the land, it is politics and art that is most at stake. How peoples (indigenous, settler or hybrid peoples) are connected to and through the land has perhaps always been Australia’s principal political and artistic question. How do the American reviews speak to this question? Sarris did not review Wake in Fright. Kael reviewed it, primarily, as a text at the intersection of fiction and documentary, ultimately privileging the latter. Throughout, her critical coordinates are American and, to a degree, literary. Noting the “stale whiff of Conrad” she also cites Outback’s “additional interest” in its similarity with “recent American movies [about] American racism and capitalist exploitation and the Vietnam war” (415). But her most pointed intervention comes in the assertion that there is “enough narrative to hold the social material together,” as if this were all narrative were good for: scaffolding for sociology (416). Art and culture are left out. Even as Kael mentions the “treatment of the Aborigines,” she misses the Aboriginal cultural moment of the opening shot of the land; this terrain, she writes, is “without a trace of culture” (416). Then, after critiquing what she sees as the unconvincing lesson of the schoolteacher’s moral demise, comes this: “But a more serious problem is that (despite the banal photography) the semi-documentary aspects of the film are so much more vivid and authentic and original than the factitious Conradian hero that we want to see more of that material—we want to learn more” (416-417). Further on, in this final paragraph, Kael notes that, while “there have been other Australian films, so it’s not all new” the director and scriptwriter “have seen the life in a more objective way, almost as if they were cultural anthropologists…. Maybe Kotcheff didn’t dare to expand this vision at the expense of the plot line, but he got onto something bigger than the plot” (417). Kael’s “error”, as it were, is to over-look how the land itself stretches the space of the film, beyond plot, to occupy the same space as her so-called “something bigger”, which itself is filled out by the uncanniness of the land as the intersections of both indigenous and settler (road-based) cultures and their representations in art (417). The “banal photography” might be better read as the film’s inhabitation of these artistic/cultural intersections (416). Kael’s Wake in Fright piece illustrates the first strand of the American reviews of Australian gothic cinema. Missing the land’s uncanniness effectively distributes throughout the review an elision of culture and art, and a reactive engagement with the broadly anthropological elements of Kotcheff’s film. Reviews of The Year of Living Dangerously by Kael and Sarris also illustrate the first strand of the American-Australian reviewing nexus, with the addition, also by each critic, of the second strand: the attempt to reconnect and revitalize the categories of politics and art. As with Wake in Fright, Kael introduces an anthropological gambit into Weir’s film, privileging its documentary elements over its qualities as fiction (strand one). “To a degree,” she writes, “Weir is the victim of his own skill at creating the illusion of authentic Third World misery, rioting, and chaos” (454). By comparison with “earlier, studio-set films” (like Casablanca [452]), where such “backgrounds (with their picturesque natives) were perfectly acceptable as backdrops…. Here… it’s a little obscene” (454). Kael continues: “Documentaries, TV coverage, print journalism, and modern history itself have changed audiences’ responses, and when fake dilemmas about ‘involvement’ are cooked up for the hero they’re an embarrassment” (454-455). Film is pushed to cater to anthropology besides art. Mirroring Kael’s strand-one response, Sarris puts a lot of pressure on Weir’s film to “perform” anthropologically—as well as, even instead of, artistically. The “movie”, he complains “could have been enjoyed thoroughly as a rousingly old-fashioned Hollywood big-star entertainment were it not for the disturbing vistas of somnolent poverty on view in the Philippines, the location in which Indonesian poverty in 1965 was simulated” (59). Indeed, the intrusive reality of poverty elicits from Sarris something very similar to Kael’s charge of the “obscenity of the backdrop” (454): We cannot go back to Manderley in our movie romances. That much is certain. We must go forward into the real world, but in the process, we should be careful not to dwarf our heroes and heroines with the cosmic futility of it all. They must be capable of acting on the stage of history, and by acting, make a difference in our moral perception of life on this planet. (59) Sarris places an extreme, even outrageous, strand-one demand on Weir’s film to re-purpose its fiction (what Kael calls “romantic melodrama” [454]) to elicit the categories of history and anthropology—that last phrase, “life on this planet”, sounds like David Attenborough speaking! More so, anthropological atomization is matched swiftly to a strand-two demand, for this passage also anticipates the rapprochement of politics and art, whereby art rises to the level of politics, requiring movie “heroes and heroines” to make a “moral difference” on a historical if not on a “cosmic” level (59). It is precisely in this, however, that Weir’s film falls down for Sarris. “The peculiar hollowness that the more perceptive reviewers have noted in The Year of Living Dangerously arises from the discrepancy between the thrilling charisma of the stars and the antiheroic irrelevance of the characters they play to the world around them” (59). Sarris’s spatialized phrase here (“peculiar hollowness”) recalls Kael’s observation that Wake in Fright contains “something bigger than the plot” (417). In each case, the description is doubling, dis-locating—uncanny. Echoing the title of Eva Rueschmann’s article, both films, like the Australian landscape itself, are “out of place” in their interpretation by these American critics. What, really, does Sarris’s “peculiar hollowness” originate in (59)? In what “discrepancy” (59)? There is a small but, in the context of this article, telling error in Sarris’s review of Weir’s film. Kael, correctly, notes that “the Indonesian settings had to be faked (in the Philippines and Australia)” (inserted emphasis) (452). Sarris mentions only the Philippines. From little things big things grow. Similar to how Kael overlooks the uncanny in Wake in Fright’s mise-en-scène, Sarris “sees” a “peculiar hollowness” where the land would otherwise be. Otherwise, that is, in the perspective of a cinema (Kotcheff’s, Weir’s) that comprehends “the true nature of the [Australian, gothic] human environment” (Rayner 25). Of course, it is not primarily a matter of how much footage Weir shot in Australia. It is the nature of the cinematography that matters most. For his part, Sarris damns it as “pretentiously picturesque” (59). Kael, meanwhile, gets closer perhaps to the ethics of the uncanny cinematography of The Year of Living Dangerously in her description of “intimations, fragments, hints and portents… on a very wide screen” (451). Even so, it will be remembered, she does call the “backgrounds… obscene” (454). Kael and Sarris see less than they “see”. Again like Sarris, Kael goes looking in Weir’s film for a strand-two rapprochement of politics and art, as evidenced by the line “The movie displays left-wing attitudes, but it shows no particular interest in politics” (453). It does though, only Kael is blind to it because she is blind to the land and, equally, to the political circumstances of the people of the land. Kael likely never realized the “discrepancy” in her critique of The Year of Living Dangerously’s Billy Kwan as “the same sort of in-on-the-mysteries-of-the-cosmos character that the aborigine actor Gulpilil played in Weir’s 1977 The Last Wave” (455). All this, she concludes, “might be boiled down to the mysticism of L.A.: ‘Go with the flow’” (455)! Grouping characters and places together like this, under the banner of L.A. mysticism, brutally erases the variations across different, uncanny, gothic, post-colonial landscapes. It is precisely here that politics and art do meet, in Weir’s film (and Kotcheff’s): in the artistic representation of the land as an index of the political relations of indigenous, settler and hybrid communities. (And not down the rabbit hole of the “specifics” of politics that Kael claims to want [453]). The American critics considered in this article are not in “bad faith” or a-political. Sarris produced a perceptive, left-leaning study entitled Politics and Cinema, and many of Kael’s reviews, along with essays like “Saddle Sore: El Dorado, The War Wagon, The Way West,” contain sophisticated, liberalist analyses of the political circumstances of Native Americans. The crucial point is that, as “critics form[ing] one of the key material institutions that support generic formations,” Sarris and Kael impacted majorly on the development of Australian gothic cinema, in the American context—impacted especially, one could say, on the (mis-)understanding of the land-based, uncanny politics of this mode in its Australian setting (McClain 54). Kael’s and Sarris’s reviews of My Brilliant Career, along with Judith Maslin’s review, contain traits similar to those considered in depth in the reviews studied above. Future research might usefully study this significant impact more closely, weaving in an awareness of the developing dynamics of global film productions and co-productions since the 1970s, and thereby focusing on Australian gothic as international cinema. Was, for example, the political impact of later films like The Proposition influenced, even marginally, by the (mis-)readings of Sarris and Kael? In conclusion here, it suffices to note that, even as the American reviewers reduced Australian cinema art to “blank” documentary or “neutral” anthropology, nevertheless they evidenced, in their strand-two responses, the power of the land (as presented in the cinematography and mise-en-scène) to call out—across an increasingly globalized domain of cinematic reception—for the fundamental importance of the connection between politics and art. Forging this connection, in which all lands and the peoples of all lands are implicated, should be, perhaps, the primary and ongoing concern of national and global cinemas of the uncanny, gothic mode, or perhaps even any mode. References Casablanca. Dir. Michael Curtiz. Warner Bros, 1942. Falconer, Delia. “Introduction.” The Penguin Book of the Road. Ed. Delia Falconer. Melbourne: Viking-Penguin Books, 2008. xi-xxvi. Gibson, Ross. South of the West: Postcolonialism and the Narrative Construction of Australia. Bloomington, Indiana: Indiana University Press, 1992. Godden, Matt. “An Essay on Australian New Wave Cinema.” 9 Jan. 2013. 18 Aug. 2014 ‹http://www.golgotha.com.au/2013/01/09/an-essay-on-australian-new-wave-cinema/›. Gray, R. “Freud, ‘The Uncanny.’” 15 Nov. 2013. 18 Aug. 2014 ‹http://courses.washington.edu/freudlit/Uncanny.Notes.html›. Kael, Pauline. “Australians.” Review of My Brilliant Career. 15 Sep. 1980. Taking It All In. London: Marion Boyars, 1986. 54-62. Kael, Pauline. “Literary Echoes—Muffled.” Review of Outback [Wake in Fright]. 4 March 1972. Deeper into Movies. Boston: Atlantic Monthly Press-Little, Brown and Company, 1973. 413-419. Kael, Pauline. “Saddle Sore: El Dorado, The War Wagon, The Way West.” Kiss Kiss Bang Bang. London: Arrow Books, 1987. 38-46. Kael, Pauline. “Torrid Zone.” Review of The Year of Living Dangerously. 21 Feb. 1983. Taking It All In. London: Marion Boyars, 1986. 451-456. Mad Max 2: The Road Warrior. Dir. George Miller. Warner Bros, 1981. Maslin, Janet. “Film: Australian ‘Brilliant Career’ by Gillian Armstrong.” Review of My Brilliant Career. New York Times (6 Oct. 1979.): np. McClain, William. “Western, Go Home! Sergio Leone and the ‘Death of the Western’ in American Film Criticism.” Journal of Film and Video 62.1-2 (Spring/Summer 2010): 52-66. My Brilliant Career. Dir. Gillian Armstrong. Peace Arch, 1979. Picnic at Hanging Rock. Dir. Peter Weir. Picnic Productions, 1975. Rayner, Jonathan. Contemporary Australian Cinema: An Introduction. Manchester: Manchester University Press, 2000. Rueschmann, Eva. “Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion’s Films.” Post Script (22 Dec. 2005). 18 Aug. 2014 ‹http://www.thefreelibrary.com/Out+of+place%3A+reading+%28post%29+colonial+landscapes+as+Gothic+space+in...-a0172169169›. Sarris, Andrew. “Films in Focus.” Review of My Brilliant Career. Village Voice (4 Feb. 1980): np. Sarris, Andrew. “Films in Focus: Journalistic Ethics in Java.” Review of The Year of Living Dangerously. Village Voice 28 (1 Feb. 1983): 59. Sarris, Andrew. “Liberation, Australian Style.” Review of My Brilliant Career. Village Voice (15 Oct. 1979): np. Sarris, Andrew. Politics and Cinema. New York: Columbia University Press, 1978. The Last Wave. Dir. Peter Weir. Ayer Productions, 1977. The Proposition. Dir. John Hillcoat. First Look Pictures, 2005. The Year of Living Dangerously. Dir. Peter Weir. MGM, 1982. Tsiolkas, Christos. “Citizen Kael.” Review of Pauline Kael: A Life in the Dark by Brian Kellow. The Monthly (Feb. 2012): 54-56. Wake in Fright. Dir. Ted Kotcheff. United Artists, 1971.

Literary critics have mainly read Herman Melville’s short story “I and My Chimney” (1856) as allegory. This article elaborates on the tradition of interpreting Melville’s text allegorically by relating it to Fredric Jameson’s post-structural reinterpretation of allegory. In doing so, it argues that the story is not a simple example of allegory but rather an auto-reflexive engagement with allegory that reflects the cultural and historical ambivalences of the time in which Melville was writing. The suggestion is that Melville deliberately used signifiers (or the lack thereof) of directionality and place to reframe the overt context of his allegory (Civil War divisions of North and South) through teasing reference to the contemporaneous emergence of Manifest Destiny as an East-West historical spatialization. To this extent, from a literary-historical perspective, Melville’s text presents as an enquiry into the relationship between the obvious allegorical elements of a text and the literal or material elements that may either support or, as in this case, problematize traditional allegorical modes. In some ways, Melville’s story faintly anticipates Jameson’s post-structural theory of allegory as produced over a century later. “I and My Chimney” may also be linked to later texts, such as Jack Kerouac’s On the Road, which shift the directionality of American Literary History, in a definite way, from a North-South to an East-West axis. Laura Ingalls Wilder’s Little House books may also be mentioned here. While, in recent years, some literary critics have produced readings of Melville’s story that depart from the traditional emphasis on its allegorical nature, this article claims to be the first to engage with “I and My Chimney” from within an allegorical perspective also informed by post-structural thinking. To do this, it focuses on the setting or directionality of the story, and on the orientating details of the titular chimney.Written and published shortly before the outbreak of the American Civil War (1861-1865), which pitted North against South, Melville’s story is told in the first person by a narrator with overweening affection for the chimney he sees as an image of himself: “I and my chimney, two gray-headed old smokers, reside in the country. We are, I may say, old settlers here; particularly my old chimney, which settles more and more every day” (327). Within the merged identity of narrator and chimney, however, the latter takes precedence, almost completely, over the former: “though I always say, I and my chimney, as Cardinal Wolsey used to say, I and my King, yet this egotistic way of speaking, wherein I take precedence of my chimney, is hardly borne out by the facts; in everything, except the above phrase, my chimney taking precedence of me” (327). Immediately, this sentence underscores a disjunction between words (“the above phrase”) and material circumstances (“the facts”) that will become crucial in my later consideration of Melville’s story as post-structural allegory.Detailed architectural and architectonic descriptions manifesting the chimney as “the one great domineering object” of the narrator’s house characterize the opening pages of the story (328). Intermingled with these descriptions, the narrator recounts the various interpersonal and business-related stratagems he has been forced to adopt in order to protect his chimney from the “Northern influences” that would threaten it. Numbered in this company are his mortgagee, the narrator’s own wife and daughters, and Mr. Hiram Scribe—“a rough sort of architect” (341). The key subplot implicated with the narrator’s fears for his chimney concerns its provenance. The narrator’s “late kinsman, Captain Julian Dacres” built the house, along with its stupendous chimney, and upon his death a rumour developed concerning supposed “concealed treasure” in the chimney (346). Once the architect Scribe insinuates, in correspondence to the chimney’s alter ego (the narrator), “that there is architectural cause to conjecture that somewhere concealed in your chimney is a reserved space, hermetically closed, in short, a secret chamber, or rather closet” the narrator’s wife and daughter use Scribe’s suggestion of a possible connection to Dacres’s alleged hidden treasure to reiterate their calls for the chimney’s destruction (345):Although they had never before dreamed of such a revelation as Mr. Scribe’s, yet upon the first suggestion they instinctively saw the extreme likelihood of it. In corroboration, they cited first my kinsman, and second, my chimney; alleging that the profound mystery involving the former, and the equally profound masonry involving the latter, though both acknowledged facts, were alike preposterous on any other supposition than the secret closet. (347)To protect his chimney, the narrator bribes Mr. Scribe, inviting him to produce a “‘little certificate—something, say, like a steam-boat certificate, certifying that you, a competent surveyor, have surveyed my chimney, and found no reason to believe any unsoundness; in short, any—any secret closet in it’” (351). Having enticed Scribe to scribe words against himself, the narrator concludes his tale triumphantly: “I am simply standing guard over my mossy old chimney; for it is resolved between me and my chimney, that I and my chimney will never surrender” (354).Despite its inherent interest, literary critics have largely overlooked “I and My Chimney”. Katja Kanzler observes that “together with much of [Melville’s] other short fiction, and his uncollected magazine pieces in particular, it has never really come out of the shadow of the more epic texts long considered his masterpieces” (583). To the extent that critics have engaged the story, they have mainly read it as traditional allegory (Chatfield; Emery; Sealts; Sowder). Further, the allegorical trend in the reception of Melville’s text clusters within the period from the early 1940s to the early 1980s. More recently, other critics have explored new ways of reading Melville’s story, but none, to my knowledge, have re-investigated its dominant allegorical mode of reception in the light of the post-structural engagements with allegory captured succinctly in Fredric Jameson’s work (Allison; Kanzler; Wilson). This article acknowledges the perspicacity of the mid-twentieth-century tradition of the allegorical interpretation of Melville’s story, while nuancing its insights through greater attention to the spatialized materiality of the text, its “geomorphic” nature, and its broader historical contexts.E. Hale Chatfield argues that “I and My Chimney” evidences one broad allegorical polarity of “Aristocratic Tradition vs. Innovation and Destruction” (164). This umbrella category is parsed by Sealts as an individualized allegory of besieged patriarchal identity and by Sowder as a national-level allegory of anxieties linked to the antebellum North-South relationship. Chatfield’s opposition works equally well for an individual or for communities of individuals. Thus, in this view, even as it structures our reception of Melville’s story, allegory remains unproblematized in itself through its internal interlocking. In turn, “I and My Chimney” provides fertile soil for critics to harvest an allegorical crop. Its very title inveigles the reader towards an allegorical attitude: the upstanding “I” of the title is associated with the architecture of the chimney, itself also upstanding. What is of the chimney is also, allegorically, of the “I”, and the vertical chimney, like the letter “I”, argues, as it were, a north-south axis, being “swung vertical to hit the meridian moon,” as Melville writes on his story’s first page (327). The narrator, or “I”, is as north-south as is his narrated allegory.Herman Melville was a Northern resident with Southern predilections, at least to the extent that he co-opted “Southern-ness” to, in Katja Kanzler’s words, “articulate the anxiety of mid-nineteenth-century cultural elites about what they perceive as a cultural decline” (583). As Chatfield notes, the South stood for “Aristocratic Tradition”; the North, for “Innovation and Destruction” (164). Reflecting the conventional mid-twentieth-century view that “I and My Chimney” is a guileless allegory of North-South relations, William J. Sowder argues that itreveals allegorically an accurate history of Southern slavery from the latter part of the eighteenth century to the middle of the nineteenth—that critical period when the South spent most of its time and energy apologizing for the existence of slavery. It discloses the split which Northern liberals so ably effected between liberal and conservative forces in the South, and it lays bare the intransigence of the traditional South on the Negro question. Above everything, the story reveals that the South had little in common with the rest of the Union: the War between the States was inevitable. (129-30)Sowder goes into painstaking detail prosecuting his North-South allegorical reading of Melville’s text, to the extent of finding multiple correspondences between what is allegorizing and what is being allegorized within a single sentence. One example, with Sowder’s allegorical interpolations in square brackets, comes from a passage where Melville is writing about his narrator’s replaced “gable roof” (Melville 331): “‘it was replaced with a modern roof [the cotton gin], more fit for a railway woodhouse [an industrial society] than an old country gentleman’s abode’” (Sowder 137).Sowder’s argument is historically erudite, and utterly convincing overall, except in one crucial detail. That is, for a text supposedly so much about the South, and written so much from its perspective—Sowder labels the narrator a “bitter Old Southerner”—it is remarkable how the story is only very ambiguously set in the South (145). Sowder distances himself from an earlier generation of commentators who “generally assumed that the old man is Melville and that the country is the foothills of the Massachusetts Berkshires, where Melville lived from 1850 to 1863,” concluding, “in fact, I find it hard to picture the narrator as a Northerner at all: the country which he describes sounds too much like the Land of Cotton” (130).Quite obviously, the narrator of any literary text does not necessarily represent its author, and in the case of “I and My Chimney”, if the narrator is not inevitably coincident with the author, then it follows that the setting of the story is not necessarily coincident with “the foothills of the Massachusetts Berkshires.” That said, the position of critics prior to Sowder that the setting is Massachusetts, and by extension that the narrator is Melville (a Southern sympathizer displaced to the North), hints at an oversight in the traditional allegorical reading of Melville’s text—related to its spatializations—the implications of which Sowder misses.Think about it: “too much like the Land of Cotton” is an exceedingly odd phrase; “too much like” the South, but not conclusively like the South (Sowder 130)! A key characteristic of Melville’s story is the ambiguity of its setting and, by extension, of its directionality. For the text to operate (following Chatfield, Emery, Sealts and Sowder) as a straightforward allegory of the American North-South relationship, the terms “north” and “south” cannot afford to be problematized. Even so, whereas so much in the story reads as related to either the South or the North, as cultural locations, the notions of “south-ness” and “north-ness” themselves are made friable (in this article, the lower case broadly indicates the material domain, the upper case, the cultural). At its most fundamental allegorical level, the story undoes its own allegorical expressions; as I will be arguing, the materiality of its directionality deconstructs what everything else in the text strives (allegorically) to maintain.Remarkably, for a text purporting to allegorize the North as the South’s polar opposite, nowhere does the story definitively indicate where it is set. The absence of place names or other textual features which might place “I and My Chimney” in the South, is over-compensated for by an abundance of geographically distracting signifiers of “place-ness” that negatively emphasize the circumstance that the story is not set definitively where it is set suggestively. The narrator muses at one point that “in fact, I’ve often thought that the proper place for my old chimney is ivied old England” (332). Elsewhere, further destabilizing the geographical coordinates of the text, reference is made to “the garden of Versailles” (329). Again, the architect Hiram Scribe’s house is named New Petra. Rich as it is with cultural resonances, at base, Petra denominates a city in Jordan; New Petra, by contrast, is place-less.It would appear that something strange is going on with allegory in this deceptively straightforward allegory, and that this strangeness is linked to equally strange goings on with the geographical and directional relations of north and south, as sites of the historical and cultural American North and South that the story allegorizes so assiduously. As tensions between North and South would shortly lead to the Civil War, Melville writes an allegorical text clearly about these tensions, while simultaneously deconstructing the allegorical index of geographical north to cultural North and of geographical south to cultural South.Fredric Jameson’s work on allegory scaffolds the historically and materially nuanced reading I am proposing of “I and My Chimney”. Jameson writes:Our traditional conception of allegory—based, for instance, on stereotypes of Bunyan—is that of an elaborate set of figures and personifications to be read against some one-to-one table of equivalences: this is, so to speak, a one-dimensional view of this signifying process, which might only be set in motion and complexified were we willing to entertain the more alarming notion that such equivalences are themselves in constant change and transformation at each perpetual present of the text. (73)As American history undergoes transformation, Melville foreshadows Jameson’s transformation of allegory through his (Melville’s) own transformations of directionality and place. In a story about North and South, are we in the south or the north? Allegorical “equivalences are themselves in constant change and transformation at each perpetual present of the text” (Jameson 73). North-north equivalences falter; South-south equivalences falter.As noted above, the chimney of Melville’s story—“swung vertical to hit the meridian moon”—insists upon a north-south axis, much as, in an allegorical mode, the vertical “I” of the narrator structures a polarity of north and south (327). However, a closer reading shows that the chimney is no less complicit in the confusion of north and south than the environs of the house it occupies:In those houses which are strictly double houses—that is, where the hall is in the middle—the fire-places usually are on opposite sides; so that while one member of the household is warming himself at a fire built into a recess of the north wall, say another member, the former’s own brother, perhaps, may be holding his feet to the blaze before a hearth in the south wall—the two thus fairly sitting back to back. Is this well? (328)Here, Melville is directly allegorizing the “sulky” state of the American nation; the brothers are, as it were, North and South (328). However, just as the text’s signifiers of place problematize the notions of north and south (and thus the associated cultural resonances of capitalized North and South), this passage, in queering the axes of the chimneys, further upsets the primary allegory. The same chimney that structures Melville’s text along a north-south or up-down orientation, now defers to an east-west axis, for the back-to-back and (in cultural and allegorical terms) North-South brothers, sit at a 90-degree angle to their house’s chimneys, which thus logically manifest a cross-wise orientation of east-west (in cultural and allegorical terms, East-West). To this extent, there is something of an exquisite crossover and confusion of cultural North and South, as represented by the two brothers, and geographical/architectural/architectonic north and south (now vacillating between an east-west and a north-south orientation). The North-South cultural relationship of the brothers distorts the allegorical force of the narrator’s spine-like chimney (not to mention of the brother’s respective chimneys), thus enflaming Jameson’s allegorical equivalences. The promiscuous literality of the smokestack—Katja Kanzler notes the “astonishing materiality” of the chimney—subverts its main allegorical function; directionality both supports and disrupts allegory (591). Simply put, there is a disjunction between words and material circumstances; the “way of speaking… is hardly borne out by the facts” (Melville 327).The not unjustified critical focus on “I and My Chimney” as an allegory of North-South cultural (and shortly wartime) tensions, has not kept up with post-structural developments in allegorical theory as represented in Fredric Jameson’s work. In part, I suggest, this is because critics to date have missed the importance to Melville’s allegory of its extra-textual context. According to William J. Sowder, “Melville showed a lively interest in such contemporary social events as the gold rush, the French Revolution of 1848, and the activities of the English Chartists” (129). The pity is that readings of “I and My Chimney” have limited this “lively interest” to the Civil War. Melville’s attentiveness to “contemporary social events” should also encompass, I suggest, the East-West (east-west) dynamic of mid-nineteenth century American history, as much as the North-South (north-south) dynamic.The redialing of Melville’s allegory along another directional axis is thus accounted for. When “I and My Chimney” was published in 1856, there was, of course, at least one other major historical development in play besides the prospect of the Civil War, and the doctrine of Manifest Destiny ran, not to put it too finely, along an East-West (east-west) axis. Indeed, Manifest Destiny is at least as replete with a directional emphasis as the discourse of Civil War North-South opposition. As quoted in Frederick Merk’s Manifest Destiny and Mission in American History, Senator Daniel S. Dickinson states to the Senate, in 1848, “but the tide of emigration and the course of empire have since been westward” (Merk 29). Allied to this tradition, of course, is the well-known contemporaneous saying, “go West, young man, go West” (“Go West, Young Man”).To the extent that Melville’s text appears to anticipate Jameson’s post-structural theory of allegory, it may be linked, I suggest, to Melville’s sense of being at an intersection of American history. The meta-narrative of national history when “I and My Chimney” was produced had a spatial dimension to it: north-south directionality (culturally, North-South) was giving way to east-west directionality (culturally, East-West). Civil War would soon give way to Manifest Destiny; just as Melville’s texts themselves would, much later admittedly, give way to texts of Manifest Destiny in all its forms, including Jack Kerouac’s On the Road and Laura Ingalls Wilder’s Little House series. Equivalently, as much as the narrator’s wife represents Northern “progress” she might also be taken to signify Western “ambition”.However, it is not only that “I and My Chimney” is a switching-point text of geo-history (mediating relations, most obviously, between the tendencies of Southern Exceptionalism and of Western National Ambition) but that it operates as a potentially generalizable test case of the limits of allegory by setting up an all-too-simple allegory of North-South/north-south relations which is subsequently subtly problematized along the lines of East-West/east-west directionality. As I have argued, Melville’s “experimental allegory” continually diverts words (that is, the symbols allegory relies upon) through the turbulence of material circumstances.North, or north, is simultaneously a cultural and a geographical or directional coordinate of Melville’s text, and the chimney of “I and My Chimney” is both a signifier of the difference between N/north and S/south and also a portal to a 360-degrees all-encompassing engagement of (allegorical) writing with history in all its (spatialized) manifestations.ReferencesAllison, J. “Conservative Architecture: Hawthorne in Melville’s ‘I and My Chimney.’” South Central Review 13.1 (1996): 17-25.Chatfield, E.H. “Levels of Meaning in Melville’s ‘I and My Chimney.’” American Imago 19.2 (1962): 163-69.Emery, A.M. “The Political Significance of Melville’s Chimney.” The New England Quarterly 55.2 (1982): 201-28.“Go West, Young Man.” Wikipedia: The Free Encyclopedia 29 Sep. 2017. <https://en.wikipedia.org/wiki/Go_West,_young_man>.Jameson, F. “Third-World Literature in the Era of Multinational Capitalism.” Social Text 15 (1986): 65-88.Kanzler, K. “Architecture, Writing, and Vulnerable Signification in Herman Melville’s ‘I and My Chimney.’” American Studies 54.4 (2009): 583-601.Kerouac, J. 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