Niagara Falls Research Articles

Emergency Repairs to Buttrey Street Sewer Outfall in Niagara Falls, Ontario

Emergency Repairs to Buttrey Street Sewer Outfall in Niagara Falls, Ontario

“Looking for That Pot of Gold”: The Transnational Life of Kevin Henry

“Looking for That Pot of Gold”:The Transnational Life of Kevin Henry Sara S. Goek (bio) Flute player and piper Kevin Henry was born in 1929 on a small farm on the Sligo-Mayo border, the eighth of eleven children. Like many rural Irish families, the Henrys struggled to make ends meet, especially during the war years. In 1947 Henry left to join an older brother in Lincolnshire. Over the next ten years he lived in at least eighteen places in four countries, migrating throughout England, back to Ireland, across the Atlantic to Canada, and over the American border at Niagara Falls en route to New York City. From there he moved to Florida, Chicago, Butte, and back to Chicago, where he eventually settled down. He worked as an agricultural laborer, miner, tunnel digger, waiter, dance-hall musician, carpenter, and iron worker. At the beginning of an interview in April 2013 he reflected on his childhood and the impetus it provided for his migrations: Nobody believes in fairy stories and that stuff anymore, but in my part of the country ’twas a big tradition of telling fairy stories to us kids. When you grew up looking for this pot of gold, if you know what I mean, and through this pot of gold in your mind you went out into the world and you started looking for that pot of gold, you didn’t look for anything but the best, especially the money part of it, if you know what I mean.1 In these words Henry articulated a worldview that originated in rural Ireland, tying him to his roots and concomitantly explaining his physical movements away from them. While Eamon de Valera dreamed of a spiritual nation of people “satisfied with frugal comfort,” the fairy [End Page 92] stories as Henry understood them recognized life’s material necessities and aspirations.2 The mythical pot of gold may partially refer to money, but it implies more than that. It represents a state of mind more than an object. It suggests an unwillingness to be satisfied with his lot in life as it was given. A pot of gold is not something one receives, but something that must be sought. Henry framed his life story around that quest, showing the continued relevance of the values and traditions from his youth. When I visited Henry in Chicago to interview him for my Ph.D. research on postwar Irish migration and music, he and his wife Pauline generously shared their stories, tunes, and lunch, and I left with about four hours of recordings. Henry has much in common with other migrants of his generation: He comes from a rural background; he left school at age fifteen; he migrated first at age eighteen, destined for England; and for many years he worked in a variety of unskilled laboring jobs. In other ways he is an exception. He was the most mobile of my interviewees, and despite his deeply felt connections to Ireland, he expressed no desire to return permanently. Instead, he constructed his life story in a way that reconciled his strong sense of Irishness with the fact that he has spent most of his life outside of Ireland. Focusing on even a single oral-history interview can deepen our understanding of the movements, motivations, and meanings contained in the stories of individual migrants.3 It allows “for bringing actors and agency back into the analysis, something that is usually missing in macro-social analysis of cultures or societies.”4 Henry left Ireland to improve his circumstances, and while this could be read as a straightforward case of involuntary economic migration, he did not frame it that way. Instead, he chose to emphasize his own agency and the continued relevance of values from his youth, using them to justify his mobility and to compare the places and jobs along the way. [End Page 93] While oral history affords access to the stories of “ordinary” migrants such as Henry, transnationalism offers a means of interpreting those stories. In the introduction to their book Transnational Lives Desley Deacon, Penny Russell, and Angela Woollacott write that “individual identity and attachment have long been shaped by the...

The price of heritage: an investigation of hotel prices

This paper investigates the price premium charged by hotels to heritage tourists. A field study shows that heritage hotels in India command a sizable price premium over comparable, conventional hotels in India. Another field study finds that hotel rooms facing the Niagara Falls, USA, are more expensive than hotel rooms facing the city. A third study investigates the preferences of heritage tourists visiting India to see the Taj-Mahal. The study finds that heritage tourists indicate higher quality perception, purchase intentions, word-of-mouth likelihood and willingness-to-pay for a hotel room with an ethnic room decor and overlooking the Taj-Mahal compared to a hotel room with a modern decor and overlooking the city. Overall, this paper demonstrates a significant 'price of heritage'.

The “Other” Robert Bloomfield: “To Immagination” (1800) and the Quest for an Authentic Poetic Voice

ANDREW RUDD The “Other” Robert Bloomfield: “To Immagination” (1800) and the Quest for an Authentic Poetic Voice T he opening of robert Bloomfield’s the farmer’s boy: a rural poem (1800) tells the reader very emphatically what sort of poem it is not: No deeds of arms my humble lines rehearse; No Alpine wonders thunder through my verse, The roaring cataract, the snow-topt hill, Inspiring awe, till breath itself stands still; Nature’s sublime scenes ne’er charm’d mine eyes, Nor Science led me through the boundless skies[.] Instead, it promises to depict “meaner objects” and “retrace the paths of wild obscurity,” positioning its author as someone whose principal con­ cerns are rural life and labor, who has not traveled to witness exotic natural wonders, who is not well educated and who, in both senses of the term, knows his place. This is the image of Bloomfield that Wordsworth and Coleridge responded to so enthusiastically when they read parts of the poem in the Summer of 1800.1 It is still the received idea ofBloomfield for An earlier version of this essay was delivered as a talk at the Robert Bloomfield Society and subsequently published in the Robert Bloomfield Society Newsletter, Spring 2012. I am grateful to the Society for their initial invitation and for permission to republish the material in expanded form. 1. Bloomfield, The Farmer’s Boy; a Rural Poem (London: Vernor & Hood, 1800), 95. For Wordsworth and Coleridge’s reaction to The Farmer’s Boy (in a letter from Coleridge to James Webbe Tobin), see Simon White, Robert Bloomfield, Romanticism and the Poetry of Com­ munity (Aldershot: Ashgate, 2007), 1. SiR, 55 (Summer 2016) 239 240 ANDREW RUDD many of his readers and not unreasonably so, given that, at first glance, ru­ ral themes underpin the majority of his poetic output, from Rural Tales, Ballads, and Songs (1802), Good News; or, Tidingsfrom the Farm (1804), Wild Flowers (1806) to The Banks of Wye (1811) and May-Day with the Muses (1822), his last published collection. Insofar as Bloomfield is known to the general reader at all, he is still likely to be categorized as a “rustic” versifier of the English countryside. Yet a very different Bloomfield emerges in “To Inimagination,” a roughly contemporaneous but unpublished poem brought to light and ana­ lyzed in 2009 by Tim Fulford.2 Here, Bloomfield seemingly goes out of his way to include all the elements he chose to reject from The Farmer’s Boy: “To Immagination” does describe scenes of conquest and deeds of arms; it does depict mountainous wonders; and, at its climax, it does transport the reader to the “sublime scenes” of Niagara Falls. The reader may well ask: was Bloomfield the poet interested in such grandiose spectacles or was he not? Which poem represents the “real” Bloomfield? These are increasingly important questions given the valuable recovery work that has taken place in relation to the laboring-class literary tradition by John Goodndge, Bridget Keegan, William Christmas, and numerous others.1 Where once laboring-class authors might have been regarded as writing with a broadly cohesive sense of purpose on the basis of their shared social backgrounds, recent scholarship emphasizes the individual differences between authors and the multiplicity of ways in which laboring-class writers could engage with, vary, or reject established canons of polite taste; as Goodridge writes in the introduction to the seminal anthology Eighteenth-Century English Laboring-Class Poets (2003), “one thing these writers have rarely been al­ lowed is simply to be poets.”'1 In “To Immagination,” a close reading ofwhich will form the main sub2 . Fulford, “To ‘crown with glory the romantick scene’: Robert Bloomfield’s 'To Immagination’ and the Discourse of Romanticism,” Romanticism 15, no. 2 (July 2009): 181200 . The poem appears in “Poems and Papers of Robert Bloomfield, of Honington, the shoemaker poet, and of Charles, his eldest son; 1791-1825,” BL Add. MS 30809 tf. 1-7. “Market Night” follows on If. 8—9. Subsequent references to the poem will be from this edi­ tion and cited in the text. The original spelling and punctuation from the MS have been re­ tained. 3. Goodridge, Rural Life in Eighteenth-Century...

Aurora Borealis: Frederic Edwin Church.

Earth’s magnetic field shields it from a constant stream of charged subatomic particles emitted by the sun. As these charged particles approach the earth’s atmosphere, they collide with nitrogen and oxygen atoms and eject photons in visible wavelengths. Near the north and south poles, where magnetic field lines are nearly perpendicular to the earth’s surface, a shimmering, folded curtain of colored light can be seen by human observers. In arctic and subarctic regions, this display is called the aurora borealis, or northern lights. Magnetic turbulence creates movement in the auroral display. The American landscape painter Frederic Edwin Church (1826-1900) based his painting Aurora Borealis on sketches by the explorer Isaac Israel Hayes. In this image Hayes’ steamship United States is frozen in the pack ice of the Kennedy Channel, an ocean strait that separates Ellesmere Island, Canada, from the northwestern coast of Greenland. The only signs of life in this scene are the cabin’s lighted windows and a tiny dogsled returning to the ship. The promontory behind the ship is the coast of Ellesmere Island, and the sharp mountaintop behind the promontory is Church Peak, which was named after the painter by Hayes. On this dark winter day, the only sounds heard by the explorers would have been the wind, the faint barking of sled dogs, and the sudden crack of ice under pressure. Church was born in Hartford, Connecticut, in 1826. He studied with the landscape painters Alexander H. Emmons, Benjamin H. Coe, and Thomas Cole (no relation to the author of this essay). Church was known for painting large landscapes and exhibiting them one at a time for his admiring public. The first painting by Church to achieve international recognition was Niagara (1857), a view of Niagara Falls

Hawthorne's Kantian Turn in “My Visit to Niagara” and Captain Hall'sTravels in North America

During the summer of 1832, while preparing for a sightseeing tour through New England and northern New York, Nathaniel Hawthorne revealed his motivation in a letter to Franklin Pierce: "I am very desirous of making this journey on account of a book by which I intend to acquire an (undoubtedly) immense literary reputation" (15:224). Hawthorne's ironically inflated expression of ambition underscores his limited success to that point, particularly when compared to the early political victories of Pierce, his college friend. The young Hawthorne's first short story collection, Twice-Told Tales, would not appear for another five years, and his first novel, Fanshawe (1828), had been issued anonymously and would remain unacknowledged. Two other early projects, "Seven Tales of My Native Land" and "Provincial Tales," yielded only excerpts placed in periodicals. (1) But those excerpts, along with other early pieces, display features Hawthorne's readers would find appealing throughout his career, such as gothic stylistic qualities and the use of historical topics. Thus, for example, "The Wives of the Dead," "Roger Malvin's Burial," and "My Kinsman, Major Molineux," which are among the dozen or so short stories predating his 1832 travels, offer foreboding treatments of colonial-era events, subject matter an obscure fiction writer might have hoped would generate a broader readership and the attention of literary nationalists. If, as Nina Baym has maintained, early nineteenth-century literary nationalists understood their mission to be the expression of "the special virtues of the American mind in literary form" (18), then Hawthorne's attempt in 1832 to expand his range with domestic travel narratives makes sense in light of his ambition. Evidence of Hawthorne's journey is scant: aside from the anticipatory letter to Pierce, there is one to his mother from Vermont as well as a certificate attesting to his having "passed behind the Great Falling Sheet of Water to Termination Rock" at Niagara Falls on September 28, 1832 (Mellow 51). Although the fear of cholera likely delayed his departure and altered his itinerary--1832 was an epidemic year--Hawthorne traveled more or less as planned. He wrote sketches based on these travels, and he composed a manuscript that interspersed the sketches with tales. This manuscript, which he called "The Story Teller," was never published intact and has not survived. Readers therefore can only speculate regarding the sequence of the works comprising the intended volume as well as its precise contents. (2) Nevertheless, we know that the travel sketches culminate with "My Visit to Niagara," which appeared in the February 1835 issue of New-England Magazine and was never republished while Hawthorne was alive. The sketch warrants scholarly attention for two interrelated reasons. The first is its representation of the sublime: it marks a departure from earlier responses to nature in "The Story Teller," and, in terms of Hawthorne's development, it dramatizes the encounter with the sublime as a basis for pervasive uncertainty. Until this time, intellectual or perceptual uncertainty accompanied by emotional anxiety had appeared only as a stylistic device in some of his more gothic tales. Uncertainty would evolve, however, into a key component of Hawthorne's aesthetics, psychology, and ethics. The second noteworthy feature is the textual source of Hawthorne's approach to the sublime in "My Visit to Niagara," for the sketch derives language, imagery, dramatic structure, and ideas from Basil Hall's Travels in North America, a three-volume narrative by the former British sea captain first published in 1829. Hawthorne could have forgotten to include "My Visit to Niagara" in collections of tales and sketches published during his lifetime, but his indebtedness to Hall's Travels may well have mattered to him. Given Hawthorne's willingness to suppress knowledge of his authorship of Fanshawe, one cannot assume he simply did not recall that the sketch existed. …

An Unusual Frequency: 40-Hz Power in the Early Years [History

In the 1890s, 60-Hz had not yet become the definitive standard frequency to be used for the supply of alternating current (ac) power in the United States. It was in use, but two other frequencies became significant as well. As a result of the huge success of the first 25-Hz power house at Niagara Falls, New York, in 1895, this frequency became a standard for use with large, slow-speed rotating machines.

The Art of Suicide: Notes on Foucault and Warhol

Andy Warhol, the ultimate copycat, is famously remembered for claiming in 1963: “I want to be a machine.” What is often forgotten, however, is that Warhol adopted the techniques of photo-silkscreening days after Marilyn Monroe committed suicide in August 1962. I argue that by copying and multiplying a publicity photo of Monroe taken for her 1953 film Niagara, Warhol spaces-out the supposed “interiority” of suicide by linking it metonymically with Niagara Falls, a top suicide destination in America. Similarly, Michel Foucault, in the inaugural issue of Gai Pied, the first French magazine for homosexuals, publishes a justification of suicide as a kind of impersonal technique, entitled “The Simplest of Pleasures” (1979). In this paper, I investigate the relationship between these two techniques—or arts—of suicide, and the way both Warhol and Foucault attempt to (dis)place the author(ity) of “suicide” as a supposedly “personal,” “intentional” act.

‘A Floating Population’: The Niagara Corridor and Canadian/American Radicalism in the Nineteenth Century

In both Canada and the US, Niagara Falls was famous from early on as a tourist and honeymoon destination. With the rapid settlement of the ‘northwest’ occasioned by the building of canals and railroads, the region also became a centre of commerce, transit, and industry in the years before the Civil War. The Niagara corridor held an important position on the Underground Railroad, as fugitive slaves moved up into Canada (and back). After the failed uprising of 1837, Canadian revolutionaries fled to safety in Rochester, Buffalo, and other cities south of the border. The ‘burnt over’ region of western New York spawned a variety of radical utopian communities and the first Women’s Rights convention was held in Seneca Falls in 1848. Drawing on a variety of texts, testimonials, and documents, and taking a transnational approach, ‘A Floating Population’ contends that the Niagara region was a matrix of political radicalism as flows and exchanges of people, capital, and radical ideas through and across the border contributed to an unprecedented ferment of utopian, progressive, and radical forms of thought and social experimentation. The essay considers the uniquely radical republican culture situated in the border region of the Niagara corridor, a crossroads traversed by all manner of militant insurrectionists, radicals, abolitionists, feminists, journalists, fugitives, immigrants, homesteaders, itinerant labourers and tramps, Native Americans, mystics, and tourists.

Niagara Falls and Other Delights Just Short Drive From Toronto

Niagara Falls and Other Delights Just Short Drive From Toronto

The grand leap of the whale up the Niagara Falls: converting philosophical conclusions into policy prescriptions.

This article analyzes a neat conjuring trick employed in bioethics, that is, the immediate conversion of a philosophical conclusion into a policy prescription, and compares it to the "grand leap of the whale up the Niagara Falls" mentioned by Benjamin Franklin. It is shown that there is no simple and easy way to achieve the conversion, by considering arguments falling under four headings: (1) reasonable disagreement about values and theories, (2) general jurisprudential arguments, (3) the differences between policymaking and philosophy, and (4) the messy world of implementation. The particular issue used to illustrate the difficulties in moving from philosophical conclusion to policy description is infanticide of healthy infants, but the analysis is general, and the conclusion that the immediate move to policy is illegitimate is quite general.

From Lambeth to Niagara: Imitation and Innovation among Female Natationists

The development of English swimming throughout the nineteenth century relied heavily on the activities of swimming professors and their families who promoted the sport through challenges and competitions and established classes for the teaching of swimming and lifesaving. Like many of their contemporaries, the leading swimming family of the period, the Beckwiths, expanded these activities beyond their Lambeth base to include summer seasons at seaside resorts as well as appearances in crystal tanks on the stages of variety theatres and music halls. Female members of the family proved particularly popular and Agnes Beckwith became the most recognized and acclaimed natationist of the period, particularly after her visits to America in 1883 and 1887. A year later it was being reported that a Clara Beckwith was due to appear in a tank scene at the Providence Museum and advertisements began appearing in 1893 for a Cora Beckwith, ‘Champion Lady swimmer of the World’ and demonstrator of the ‘famous Beckwith Backward Sweep’. This paper explores the lives of these two natationists who appeared regularly on stage and in travelling fairs in America over the decades following Agnes's visits. In newspaper advertisements and interviews, both women emphasized their British roots and their connections to the Beckwith dynasty as well as claiming credit for outstanding swimming feats. In announcing her intention to swim Niagara Falls in 1901 Cora, born Cora MacFarland in Maine in 1870, asserted that she had previously swum the English Channel alongside Matthew Webb. Clara, born Clara Sabean in Nova Scotia in 1870, was even more forthcoming about her entitlement to the Beckwith name by stating in her 1893 autobiography that she had been born in Lambeth in 1867, and identifying her father as William Manning Beckwith, Champion Swimmer of England. Both women not only appropriated the Beckwith name but they also annexed the Beckwith routines, including endurance floating and ornamental swimming, and this paper highlights these similarities before reflecting on some generic commonalities in these natational careers.

Homeland Security—That’s an American Thing

Abstract: What do beavers do on vacation? Find out as the Queen’s Beavers explore Canada;s playground, Niagara Falls. Tourism, patriotism, gambling, border security, giant dams—what more could a beaver ask for?

FASEB Science Research Conference on phospholipid cell signaling and metabolism in inflammation and cancer.

EACH SUMMER, A SERIES of science research conferences are sponsored by the Federation of American Societies for Experimental Biology (FASEB), a non-profit federation of 26 research societies representing approximately 125,000 scientists, that allows experimental biologists to meet in a relaxing, collegial atmosphere and explore new approaches to current research areas. From 2012 to 2014, I had the honor of organizing one such conference, “Phospholipid Cell Signaling and Metabolism in Inflammation and Cancer.” The conference was held in Niagara Falls, New York, June 1–6, 2014, at the “Sheraton at the Falls” hotel. The conference focused on the roles that cell membrane phospholipids play in inflammation and cancer. As I agreed to organize the conference, I devised a plan early on that the purpose of this meeting was to cover, at the very least, novel findings on membrane lipid enzymes and intracellular signaling; biochemistry, genetics, and visualization of organelle trafficking; metabolism and signaling deregulation in inflammation and cancer; and delivery systems of lipids (e.g., nanoparticles) as therapeutics.

Scandals, the mass media, and the politics of extreme visibility: conflict and controversy at the Niagara Parks Commission

This paper explores the political and media scrutiny of management-related activities at the Niagara Parks Commission (NPC) in Niagara Falls, Canada. This commission is the quasi-autonomous body responsible for the operation of tourism-oriented amenities around the Canadian Horseshoe Falls and along the Niagara River. Between 2009 and 2011, the management of the NPC became politically contentious and certain incidents were publicised by the media. There were accusations of impropriety with respect to the use of an expense account, disputes about untendered contracts, and complaints about conflicts of interest. These incidents could be described as scandals, breaches of accepted rules of conduct that are communicated to a wider audience via the mass media. Three dialectical tensions were identified when these scandals were analysed. The tensions, it is argued, are expressions of a wider trend: a politics of extreme visibility. Scandal-related visibility is different from the forms of visibility that have been previously addressed by tourism scholars. Publicity related to alleged misconduct is typically unwanted by tourism managers. Controversies about the management of the NPC demonstrate that practitioners must be alert to the damaging potential of extreme visibility. Fear of scandal, however, may simultaneously stifle enterprise. Managers must strike a careful balance.

The dynamic planning approach and the death of the traditional master plan

The sluggish economy, business globalisation and changes within the aviation industry around the world have made it nearly impossible to accurately predict long- or even short-term changes in air and passenger traffic and determine the timing for needed improvements. This pace of rapid change has significantly reduced the effectiveness of the traditional Airport Master Plan. In response to these changes, a new approach to aviation planning was incorporated into recent planning projects at Elmira Corning Regional Airport and Niagara Falls International Airport in New York State. The basis for this approach is a robust and flexible computer model that analyses future airport scenarios using basic user inputs, allowing an airport sponsor the ability to consider how changes in air traffic, cost structure or even change in airport mission would impact future development and financial outcomes. This approach considers both likely and unforeseen scenarios and adjusts airport plans for terminal development, cost structure and space allocation to incorporate these inputs and scenarios. This paper details the genesis of this dynamic planning approach and the development of the Dynamic Analysis Tool (DAT) computer model, which moves the airport master plan from simply a plan to a true management tool.

Underground Excavation Behaviour of the Queenston Formation: Tunnel Back Analysis for Application to Shaft Damage Dimension Prediction

The Niagara Tunnel Project (NTP) is a 10.1 km long water-diversion tunnel in Niagara Falls, Ontario, which was excavated by a 7.2 m radius tunnel boring machine. Approximately half the tunnel length was excavated through the Queenston Formation, which locally is a shale to mudstone. Typical overbreak depths ranged between 2 and 4 m with a maximum of 6 m observed. Three modelling approaches were used to back analyse the brittle failure process at the NTP: damage initiation and spalling limit, laminated anisotropy modelling, and ubiquitous joint approaches. Analyses were conducted for three tunnel chainages: 3 + 000, 3 + 250, and 3 + 500 m because the overbreak depth increased from 2 to 4 m. All approaches produced similar geometries to those measured. The laminated anisotropy modelling approach was able to produced chord closures closest to those measured, using a joint normal to shear stiffness ratio between 1 and 2. This understanding was applied to a shaft excavation model in the Queenston Formation at the proposed Deep Geological Repository (DGR) site for low and intermediate level nuclear waste storage in Canada. The maximum damage depth was 1.9 m; with an average of 1.0 m. Important differences are discussed between the tunnel and shaft orientation with respect to bedding. The models show that the observed normalized depth of failure at the NTP would over-predict the depth of damage expected in the Queenston Formation at the DGR.

Geological and geotechnical observations from the Niagara Tunnel Project

The Niagara Tunnel Project is a water diversion tunnel that was constructed in Niagara Falls, ON, Canada. The tunnel was excavated by a 14.4-m-diameter tunnel boring machine that passed through 11 geological formations. The rock types included limestone, sandstone, siltstone, shale, and mudstone. The overbreak was divided into four zones, evaluated by observations as the tunnel excavation progressed. Overbreak within the Rochester, Neagha, and Grimsby Formations was <0.6 m deep typically, measured perpendicular to the designed excavation perimeter. The Power Glen Formation had overbreak as deep as 2.7 m. The deepest overbreak was measured in the Queenston Formation, where 3–4 m was typical and associated with the tunnel alignment. Maximum overbreak occurred when the tunnel was aligned perpendicular to the maximum horizontal stress. The overbreak was focused in the crown and inverted, with only minor volumes of sidewall overbreak occurring. The deep overbreak within the Queenston was overcome by utilizing spiles and adjusting the tunnel alignment to minimize the duration of excavation in the Queenston Formation. The tunnel went into operation in March, 2013.

Louis Hennepin on the Native Americans

When the Europeans set out to travel to America, the mysterious new continent discovered by Christopher Columbus in the 15th century, their reasons for doing so differed greatly. Whereas some went for the sheer aim to explore, others tried to set up trade relations, while again others tried to spread their beliefs to the unknown people they wished to encounter. One of the individuals who tried to spread believes was the Missionary Father Louis Hennepin, who was sent on a mission in 1675 by the French King Louis XIV. His goal was not only to explore new land, but also to convert the so-called “savages” to the one true faith, which according to him was Christendom. During his travels that he conducted with Rene-Robert Cavelier, Sieur de la Salle, he did not only happen to become the first eye witness to write about the Niagara Falls, but also the first European to explore the St. Anthony Falls on the Mississippi river. The contact to the Native Americans he needed in order to achieve his mission was not difficult to acquire. He was even captured and taken hostage by the Sioux at one point during his journey. However, he soon realized that the conversion itself was a much more difficult task. Due to his frequent contact with the natives, they are very present in his writings. In most of his elaborations he writes in a neutral way, but he also describes the American tribes being “The Other,” which shows his negative sentiments about them. Therefore, this paper is analyzing Hennepin’s writings about the Native Americans, and explores the different factors that influenced his writings. In order to explain these factors, this paper uses references of literature on different possible influences, such as literature on the code of conduct in Europe during the 17th century, secondary literature on Missionary and travel writings in the 17th century, as well as Norbert Elias book The Civilizing Process.

New Insights into an Old Organelle: Meeting Report on Biology of Cilia and Flagella

The rising interest of the scientific community in cilia biology was evident from the fact that registration for the third FASEB conference on 'The Biology of Cilia and Flagella' closed out before the early bird deadline. Cilia and flagella are organelles of profound medical importance; defects in their structure or function result in a plethora of human diseases called ciliopathies. 240 clinicians and basic scientists from around the world gathered from 23 June 2013 to 28 June 2013 at Sheraton at the Falls, Niagara Falls, NY to present and discuss their research on this intensely studied subcellular structure. The meeting was organized by Gregory Pazour (University of Massachusetts Medical School), Bradley Yoder (University of Alabama-Birmingham), and Maureen Barr (Rutgers University) and was sponsored by the Federation of American Societies for Experimental Biology (FASEB). Here, we report highlights, points of discussion, and emerging themes from this exciting meeting.