Hidden Secret Research Articles

Hidden secret in hepatitis B viral X protein mutation and hypoxia-inducible factor-1α in hepatocarcinoma cancer.

Hepatitis B type virus (HBV) is an old hepato oncogenic and hepatitis agent. Hepatitis B viral X protein (HBx)-induced malignant transformation requires the excess amounts of ATP level, inducing the extremely oxygen-deprived condition in the cancer tissues and vessels. To adapt, cells go to shift the hypoxic responsive state by altered hypoxia-responsive molecules such as HIF-1. In addition, tumors avoid or suppress immune recognition in the energy-deprived condition. The hypoxia-inducible factor-1α (HIF-1α) regulates MAP1, histone deacetylase and MAPK pathway. In the hypoxia, the HIF-1α interacts with HIF-1β, allowing DNA binding at the hypoxia response elements (HREs), while HBx binds with the nHLH/PAS domain of HIF-1α, preventing pVHL and HIF-1α binding capacity and degradation of HIF-1α protein. Recent work of Liu et al. [2013] demonstrated that HBx in hepatocellular carcinoma (HCC) tissues contained mutations, affecting the HBx transactivation capacity and C-terminal HBx mutation. In the HCC tissues, the HBx C-terminal mutation and HIF-1α expression were related and the different C-terminal mutations of HBx exhibit the different functionality of HIF-1α. The C-terminal region of amino acids 119-140 was important for the stability and transactivation, and the point mutations K130M/V131I enhance the functionality of HIF-1α, while C-terminal truncation diminish the HIF-1α function.

Gross Intrusions

This essay closely analyzes the 1936 British film Sensation, directed by the eccentric queer filmmaker Brian Desmond Hurst. The film participated in an extensive and heated debate about intrusive and ‘sensational’ press practices that erupted in the 1930s. In his cinematic version of events, Hurst made sensational journalism seem like an exciting, if morally dubious, part of modern life—a news form that satisfied a basic human desire to learn about the private lives and hidden secrets of other people. This essay shows how Sensation, in its ambivalent relationship to this fraught cultural issue, reveals some of the complexities of interpreting queer filmmaking before the advent of a self-aware and politicized ‘queer film.’ It argues that intrusive journalism was of interest to Hurst precisely because it engaged with issues at the core of queer identity—exposure, revelation, privacy, and criminality—before the decriminalization of homosexual acts.

The Disguised Mask of Race, Gender, and Class

The Disguised Mask of Race, Gender, and Class By Genesis Diaz I | Introduction acism has occurred throughout American history from when the founding fathers decided that slaves were three fifths of a person to when African-Americans were segregated and categorized as ‘colored.’ Gender roles are often demonstrated to show which sex a female or a male belongs in. Nella Larsen writes about the issue of Af- rican-Americans “passing” in 1929 and the consequences of living that life in the story of Irene and Clare. In Larsen’s novel, Passing, the reader becomes familiar with the term, exploring what it is for an African-American being able to ‘pass’ as white. The color of someone’s skin was the prominent focus in the 1920s. This was a factor that often advanced those with white skin or limited the opportunities of black individuals. Throughout Amer- ican society, there has been a general struggle of identity in issues of gender and race. Both Irene and Clare struggle with those same issues in the novel, further trying to fit into a mold and have their true intentions. Passing takes place in 1929 during the Roaring Twenties and the Harlem Renais- sance. The protagonists in the novel are Clare Kendry and Irene Redfield. They both have hidden secrets about who they really are. Clare is a mulatto who is able to pass from her race and conceal her true black background. Irene is a black middle class female who is proud of where she is from but nonetheless desires and has feelings for Clare. Irene struggles with her personal identity. Once Clare and Irene have their second encounter Clare is intrigued by Harlem—where Irene lives—and decides she is tired of living a lie. Clare spends most of her time in Harlem where the epitome of culture and art are emerging. Irene suspects that Clare may be having an affair with her husband Brian. Irene becomes jealous of Clare to the point where, when at a party, Clare’s husband finds out about Clare’s race. Clare later dies, but her death is unclear. Larsen leaves the reader to wonder if Irene pushed her or if Clare committed sui- cide. Larsen demonstrates the limitations that an individual can have regarding the race, which factors on social status. Larsen also depicts the image of a woman and the gender roles that women needed to display in the 1920s. R II | Historical Context The economy had been thriving due to the overproduction of goods. The prosperous use of credit and surplus of revenue was known to be the Roaring Twenties. Money and power became a huge factor for industry. The booming economy became the aftermath of the Progressive Era. The Harlem Renaissance was a time period that brought in much art prestige to the black community. There had been a fluctuation of art, literature, poetry, and painting. There had been a negative cultural misrepresentation of black culture up to that point but art do- nors wanted to sponsor the authentic black image.

Lossless Audio Steganography based on Lifting Wavelet Transform and Dynamic Stego Key

This paper presents a new lossless audio steganography approach based on Integer-to-Integer Lifting Wavelet Transform (Int2Int LWT) and Least Significant Bits (LSBs) substitution. In order to increase the security level a simple encryption with adaptive key has been proposed. The experimental results show that this approach has excellent transparency (above 45 dB of signal to noise ratio) with fixed high embedding capacity (25% from the audio cover signal size) and full recovery for the hidden secret message. Furthermore, robustness tests show immunity of the method against additive noise and perceptual statistical analysis. The proposed hiding and recovery procedures are simple and symmetry; therefore it can be easily used for real-time covert communication.

Uncompressed Image Steganography using BPCS: Survey and Analysis

Steganography is the art and science of hide secret information in some carrier data without leaving any apparent evidence of data alternation. In the past, people use hidden tattoos, invisible ink or punching on papers to convey stenographic data. Now, information is first hide in digital image, text, video and audio. This paper discusses existing BPCS (Bit Plane Complexity Segmentation) steganography techniques and presences of some modification. BPCS technique makes use of the characteristics of the human visible system. BPCS scheme allows for large capacity of embedded secret data and is highly customized. This algorithm offers higher hiding capacity due to that it exploits the variance of complex regions in each bit plane. In contrast, the BPCS algorithm provided a much more effective method for obtaining a 50% capacity since visual attacks did not suffice for detection. Keywords: BPCS, Data security, Information hiding, Steganography, Stego image

Soil's hidden secrets: Shocking discoveries from the underground may shake up climate science

Soil's hidden secrets: Shocking discoveries from the underground may shake up climate science

Hide and Seek: Embedding Audio into RGB 24-bit Color Image Sporadically Using Linked List Concepts

Although people have hidden secrets in plain sight now called steganography throughout the ages, the recent growth in computational power and technology has propelled it to the forefront of today’s security techniques. Steganography is the art and science of hiding communication; a steganographic system thus embeds hidden content in unremarkable cover media so as not to arouse an eavesdropper’s suspicion. In the past, people used hidden tattoos or invisible ink to convey steganographic content. Today, computer and network technologies provide easy to use communication channels for steganography. The embedding process creates a stego medium by replacing bits with data from the hidden message. In this paper, the existing techniques for image Steganography have some serious drawbacks and this new approach is presented to overcome those drawbacks. It will be done using the concepts of linked list data structure. Initially the audio file is encrypted using Rijndael algorithm. Then first, creating a “stego-key” by the address of message blocks. Second, it makes the detection of audio message harder. Possible countermeasure to prevent detection included hiding encrypted-audio message in perceptually less significant areas of image and scattering that encrypted-audio message throughout the image. The concept of “adaptive steganography”, where relatively busy areas of carrier are selected that are less likely to convey the existence of hidden audio.

“The Curious Mixture of Signs” That Is Hieroglyphics

“The Curious Mixture of Signs” That Is Hieroglyphics* COLIN WELLS In the early pages of Wuthering Heights, Lockwood , the narrator, gets snowed in at the remote farmhouse from which Emily Bronte’s only novel takes its title. Exploring the place, he comes across a cache of dilapidated and mildewed books. On the shelf where the books rest, he sees writing scratched into the paint: “This writing, however, was nothing but a name repeated in all kinds of characters, large and small—CATHERINE EARNSHAW, here and there varied to CATHERINE HEATHCLIFF, and then again to CATHERINE LINTON.” When he examines the books more closely, Lockwood notices that the margins have been filled with scribbled notes that, he realizes, amount to a sort of diary. “An immediate interest kindled within me for the unknown Catherine, and I began forthwith to decipher her faded hieroglyphics.” Of course, we’re not meant to think that Catherine’s diary was actually written in hieroglyphics, just that her writing resembled the ancient Egyptian script in being old and hard to read as well as mysterious and highly alluring. Such writing seems to hold out the promise of unlocking ancient, hidden secrets. It certainly does so in Wuthering Heights, since this is how Lockwood begins to uncover the story of revenge and timeless love that has captivated readers ever since (and which, despite numerous film versions, continues somehow to elude movie audiences). *Andrew Robinson, Cracking the Egyptian Code: The Revolutionary Life of Jean-François Champollion. New York: Oxford University Press, 2012. 272 pages. $29.95 cloth. arion 20.3 winter 2013 Characteristically, Emily Bronte chose the perfect metaphor here and deployed it with breathtaking, seemingly casual precision . When Wuthering Heights came out in 1847, the decipherment of hieroglyphics was fresh and very much alive in popular imagination. The big breakthrough had come only a quarter-century earlier, in 1822, and important progress was still being made and widely followed by a very interested public . The Heathcliffesque genius who figured out hieroglyphics, Jean-François Champollion, had died at the age of 41 just a decade and a half before the novel, in 1832. More specifically, though, Bronte’s use of the metaphor is precise not only because it picks up on the repetition of names, which in fact played a central role in the decipherment, but also because the key to understanding the script was Champollion’s 1822 insight that it did, indeed, embrace “all kinds of characters”— what Champollion’s fellow Egytpologist Karl Richard Lepsius, in 1837, called “the curious mixture of signs of a totally different nature that comprise one and the same alphabet.” Not to mention that, from the beginning of nineteenth century, the romance of ancient Egypt had kindled the interest of Europeans like nothing else. In his recent biography of Champollion, journalist and author Andrew Robinson does full justice to all aspects of this story for the general reader. It’s a narrative with great visual appeal, and one of the book’s strengths lies in its generous graphics, with plentiful, well-chosen black-and-white illustrations interwoven with the text and two fine selections of color plates. In addition, the examples of the hieroglyphic signs themselves, which appear frequently in the text, are cleanly and crisply reproduced. And for the most part, Robinson finds just the right level of detail in laying out the many complexities of the Egyptians’ baffling script clearly and understandably , while offering an enthralling yet judicious portrait of the first person since late antiquity who truly grasped it. The book’s graphic excellence may have something to do with its publishing history, since the British edition was published by Thames & Hudson, who also published several of “the curious mixture of signs” 162 Robinson’s other books on related subjects. Robinson, a former literary editor of the Times Higher Education Supplement , has carved out a niche for himself with well-illustrated books of popular synthesis on the history of writing systems and the modern decipherment (or lack thereof) of some early ones. His previous books include The Story of Writing and Lost Languages: The Enigma of the World’s Undeciphered Scripts, as well as The Man Who...

“There’s Suspicion, Nothing More” — Suspicious Readings of Michael Haneke’s Caché (Hidden, 2005)

“There’s Suspicion, Nothing More” — Suspicious Readings of Michael Haneke’s <i>Caché</i> (<i>Hidden</i>, 2005)

Coloured visual cryptography using fixed size meaningful share

Visual cryptography is a useful technique for sharing secret information on a public channel. One of the major strengths of visual cryptography is that the hidden secret, once extracted, can be visualized by the human eye without going through complex computations for decoding. In this paper, a novel visual cryptography scheme is offered that encodes a colour secret image into two meaningful shares. Our proposal provides improvements that allow the size of the meaningful share to stay fixed. This keeps the image from the attention of possible attackers during the transmission. In addition, our new scheme provides three patterns which produce better visual equality for each meaningful share. It also allows a user to produce a different secret image/share with the desired visual effects. Experimental results have demonstrated the practicability and effectiveness of our new scheme.

Celebrating the wounded healer

AimFor many therapists woundedness is a hidden secret. This deceit is sometimes masked as ‘professionalism’. We need to unravel the mystique which we unawarely embrace, and examines the cost of this illusion. This paper unusually begins by discussing these issues which emanated from specific research. It is contended that we stand a better chance of making an authentic relationship with those we seek to help if we are prepared to celebrate our scarred, glorious, mis-shapenly successful, and often faulty selves for what we are.MethodThe heuristic research conducted by the author explores the lives of 17 self-selected therapists and how their own life crises affected their work with clients. The stance is phenomenological qualitative method which is an adaptation of Moustakas’s (1990) protocol. The method used develops Moustakas’s methodology, here privileging a co-constructed account of each co-researcher’s (participant’s) story.FindingsThe outcomes of this research were predictably idiosyncratic and this accords with the postmodernist stance of the researcher. There were commonalities too: many co-researchers found it was better to celebrate our shared but faulty humanity, while protecting our clients from the worst of our failings. Co-researchers indicated that the power and the peril of being more nakedly human is worth it.Implications for practiceThe research appears to make a case for the theory that life is the best teacher, if only we are prepared to learn. It challenges the reader to find within themselves something akin to the wisdom which can come only from the examined life.

Faulkner’s Cryptic Closet: Forbidden Desire, Disavowal, and the “Dark House” at the Heart of Absalom, Absalom!

ERIN PEARSON University of California, Irvine Faulkner’s Cryptic Closet: Forbidden Desire, Disavowal, and the “Dark House” at the Heart of Absalom, Absalom! IN THE CLIMACTIC SCENE OF ABSALOM, ABSALOM!, AS QUENTIN COMPSON and Rosa Coldfield approach the near-ruins of Sutpen’s Hundred, Quentin anxiously denies that the secret within carries any significance: “What is it she’s got hidden there? What could it be? And what difference does it make? Let’s go back to town, Miss Rosa” (291). The bravado with which he follows these entreaties undermines his prior attempts to neutralize the threat, however: “I am not afraid. I just dont want to be here. I just dont want to know about whatever it is she keeps hidden in it” (293). Quentin’s obvious terror emerges in his fretful repetitions (the interrogative “what” and later the recurrence of “I just dont want”) as well as in the revealing disjunction between his emphatic desire not to know and his assertion that the knowledge makes no difference anyway—if the knowledge truly carried no consequences, of course, he would not have to avoid it so assiduously. Just as Quentin’s denial of fear actually uncovers the fear it purports to hide, the old house has come to embody not only its own hidden secret, but the way in which the act of hiding assumes the shape of hiding itself. In other words, the moment we infer that something is hidden, we have begun to trace the contours of what that something might be or might do, rendering it not so safely contained as its concealment may suggest. As Faulkner demonstrates throughout the novel, going to the trouble of hiding something—whether it be the troubling past of a first wife or a dying brother in the attic—ratifies the terrifying power of the facts that characters attempt to bury neatly: if the fact requires covering up, then it must hold dangerous implications for the world at large. In his succinct delineation of the ways in which hiding requires being partially known, a phenomenon he refers to as “coming into hiding,” Malcolm Bull observes that “just as the covers of a book conceal its contents yet recall its content to someone who has previously read it, so 342 Erin Pearson the silent earth somehow echoes with the voices of the dead. It is as though the dead are revealed not despite but because of their concealment” (11-12). Bull’s use of a cemetery as a figure for revealing concealment seems appropriate for a house which has preemptively entombed Henry Sutpen, and yet Bull’s account does not reach Quentin’s fear. Even if Quentin has inferred that the house’s secret relates to the last living member of the family whose saga Miss Rosa and Mr. Compson have been recounting, why should the idea that Henry lies hidden within be so terrifying? We must recover the sense of danger mentioned above and the possibility that the house conceals not only a body (as does Bull’s more benign graveyard) but also knowledge that will have catastrophic implications if released. In Shreve’s version of these incidents, Quentin enters the house and fully realizes both the truth and the fanatical injunction against its revelation: [Quentin] saw that Clytie’s trouble wasn’t anger nor even distrust, it was terror, fear. And she didn’t tell [Quentin] in so many words because she was still keeping that secret for the sake of the man who had been her father too as well as for the sake of the family which no longer existed, whose here-to-fore inviolate and rotten mausoleum she still guarded. . . . it was not rage but terror, and not nigger terror because it was not about herself but was about whatever it was that was up stairs, that she had kept hidden up there for almost four years; and she didn’t tell [Quentin] in the actual words because even in the terror she kept the secret; nevertheless she told [Quentin], or at least all of a sudden [Quentin] knew. (279-80) Shreve depicts the house as a tomb even as he deepens the sense that this...

Understanding the Internet: A Glimpse into the Building Blocks, Applications, Security and Hidden Secrets of the Web

Understanding the Internet: A Glimpse into the Building Blocks, Applications, Security and Hidden Secrets of the Web

Understanding the Internet: a glimpse into the building blocks, applications, security and hidden secrets of the Web

Understanding the Internet: a glimpse into the building blocks, applications, security and hidden secrets of the Web

Saturation Adjustment Scheme of Blind Color Watermarking for Secret Text Hiding

This paper presents a novel secret text hiding technique, where the secret text is embedded into the low frequency sub-band of the saturation component of a color image via redundant discrete wavelet transform (RDWT), while the intensity and hue components are preserved with direct saturation adjustment. The hidden secret text can be extracted from the watermarked image based on independent component analysis (ICA) without referring to the original cover image. Experimental results demonstrate that our scheme successfully fulfills the requirement of imperceptibility and provides sufficient robustness to against the most prominent attacks, such as JPEG2000, JPEG-loss compression, low-pass filtering, scaling, and cropping.

Steganography scheme based on side match vector quantization

We propose a steganographic method that is based on side match vector quantization SMVQ. The secret data are encrypted and then embedded in an SMVQ-decompressed image. In the decoding pro- cess, both the hidden secret and the original SMVQ code can be recon- structed without any error. Experimental results demonstrate that the proposed method provides a high hiding capacity and acceptable stego- image quality, to an extent comparable to a well-known SMVQ-based reversible steganographic method. © 2010 Society of Photo-Optical Instrumenta-

Passover Plots

Various modern fictions, building upon the skeptical premises of biblical scholars, have claimed that the gospels covered up the real story about Jesus. Dan Brown’s The Da Vinci Code is one recent, popular example. While conspiracy theories may seem peculiar to modern media, the gospels have their own versions of hidden secrets. For Mark, e.g., Roman discourse about crucifixion obscures two secret plots in Jesus’ passion, which the gospel reveals: the religious leaders’ conspiracy to dispatch Jesus and the hidden divine program to sacrifice Jesus. Mark unveils these secret plots by minimizing the passion’s material details (the details of suffering would glorify Rome), substituting the Jewish leaders for the Romans as the important human actors, interpreting the whole as predicted by scripture and by Jesus, and bathing the whole in an irony that claims that the true reality is other than it seems. The resulting divine providence/conspiracy narrative dooms Jesus—and everyone else—before the story effectively begins. None of this would matter if secret plots and infinite books did not remain to make pawns or “phantoms of us all” (Borges). Thus, in Borges’ “The Gospel According to Mark,” an illiterate rancher family after hearing the gospel for the first time, read to them by a young medical student, crucifies the young man. Eco’s Foucault’s Pendulum is less biblical but equally enthralled by conspiracies that consume their obsessive believers. Borges and Eco differ from Mark, from some scholarship, and from recent popular fiction, in their insistence that such conspiracy tales are not “true” or “divine,” but rather humans’ own self-destructive fictions. Therein lies a different kind of hope than Mark’s, a very human, if very fragile, hope.

La Clinica: A Doctor’s Journey Across Borders

La Clinica: A Doctor’s Journey Across Borders . by Sklar, David P. . Albuquerque, NM : University of New Mexico Press , 2008 ; 234 pp; $26.95 (hardcover) . This autobiographical tale, written by a high-ranking academician, is a recount of a journey that he makes trying to reconnect with an adventure that he experienced just prior to attending medical school. That individuating experience was volunteering for months in a Mexican medical clinic under the direction of a practitioner that the author had purposefully sought out for his reputation in providing free care to an area dramatically underserved. However, during the time spent working at the clinic, the author learns of a dark secret involving his respected mentor, which forces him to decide within himself whether to reveal this horrible truth and confront his friend or deny its existence. As his time at the clinic comes to an end, he returns to attend medical school and puts aside the ethical debate he had with himself. Years later, when his own life seems to be shattering around him as he faces divorce and questions his own life’s direction, he once again turns toward the Mexican community that he had shared so much with at the beginning of his life as a physician. The dilemma that he had faced decades earlier, about how to handle another’s indiscretions, now seemed to be a way for him to sort out his own concerns about the choices he had made then and the ones that he currently faced. Upon returning to the community and revisiting many of the people whose lives were helped so greatly and for so long under the leadership of the practitioner, the author learns that his hidden secret had been inevitably discovered and his valued mentor’s professional reputation is now destroyed. The clinic now is in ruins, and the people who had depended on the care they had received there are forced to seek help elsewhere, clearly illustrating that nothing remains static and that time changes people. The author realized in making this reminiscent quest that his perceptions of the events that had happened there may have also been shifted in his mind. The idealism that he had started out his original journey clinging to had seemed to become more of pragmatism toward acceptance of human frailty and the need for self-forgiveness. Taking the author’s memoir as an enjoyable break from didactic medical reading and as reminder that we all have experiences that shape our lives as clinicians, we have much to learn about each other and the patients we serve. Whether here or abroad, there are lessons to be learned that make us appreciate each other and value our time together. This is what shapes our humanity.

Queering the Underworld: Slumming, Literature, and the Undoing of Lesbian and Gay History (review)

Reviewed by: Queering the Underworld: Slumming, Literature, and the Undoing of Lesbian and Gay History Norman W. Jones Scott Herring . Queering the Underworld: Slumming, Literature, and the Undoing of Lesbian and Gay History. Chicago: U of Chicago P, 2007. xv + 278 pp. The goal of queer history, Scott Herring contends, should be a kind of sexual unknowing: to unlearn what scholars think they know about the history of sex and eschew detective-style strategies designed to reveal its hidden secrets. He proposes that scholars of queer history [End Page 397] follow the lead of a small group of writers from the first half of the twentieth century—Jane Addams, Willa Cather, Carl Van Vechten, Wallace Thurman, Richard Bruce Nugent, and Djuna Barnes—who frustrated their era's growing fascination for the presumed sexual knowledge provided by sexological classification systems. These writers emphasized unknowable sexual mystery by creating antisystemic representations of sex. They drew on the conventions of popular slumming literature to elicit readers' curiosities about mysterious underworld subcultures; yet their writings pointedly failed to deliver the secrets implicitly promised by these conventions. Herring suggests that much lesbian and gay historical scholarship echoes the conventions of late-nineteenth- and early-twentieth-century slumming literature. Exemplified by works such as Jacob Riis's How the Other Half Lives: Studies among the Tenements of New York, this literature presented itself as "a demystifying tour guide" through subcultural underworlds (5). To this end, it "took [the] project of classifying social perversions and ran with it" (10). When certain writers used slumming conventions only to resist such classifications and thwart the expectations of revelatory knowledge they created, such writers implicitly represented a kind of unknowing—a deliberate mystification. In describing such writers as queering the slumming genre, Herring emphasizes the sense of "queer" meaning to disorder or spoil: their writings thwarted or spoiled the detective work of modern sexology. He contends that they thereby potentially disorder the contemporary sense of lesbian and gay community that arguably developed out of that project. Systemic sexual classifications can imply sociopolitical groups, and he is opposed to both: he aligns himself with the anticommunal understandings of sex forwarded by scholars such as Lee Edelman and Leo Bersani. Herring rejects the idea of community, which he associates with prescriptive group thinking. He contrasts such community with an expansively relational account of subjectivity (in his discussion of Addams); elsewhere, he also contrasts it with a narrowly individualistic account of subjectivity (in his discussion of Thurman). It is perhaps in keeping with Herring's antisystemic approach to queer history that he settles on no one term for the kinds of social connections he champions in opposition to "a communal politics of homosexual recognition" (21). He describes such anticommunalism as a form of cosmopolitanism, or the sense of being among a free-flowing and changeable company of wanderers, or a "loose model of friendship" (111). Carolyn Dinshaw offers a model for queer history as the construction of partial connections among various non-normative expressions of sex and gender; Herring seems to loosen such connections [End Page 398] by proposing a model that aims "to stop making sense" within the "discourses that continue to make up the idea of 'you' and 'us'"—even though he insists this aim has little hope of success (192). The queer history he imagines would therefore focus on continually disordering the classificatory systems created to define and explain the differences among sexual desires and practices. The first chapter analyzes representations of a modern cosmopolitan sensibility that enabled evasions of sexual classification. Herring's primary example is the wealthy Chicago philanthropist Jane Addams, whose 1910 autobiography, Twenty Years at Hull-House, depicts an image of herself designed partly to deflect the sensationalist public fascination for the "mannish lesbian" (34). Unmarried adult women such as Addams were prone to being cast as a type—the perverted spinster—in the popular press. In response to this threat, Addams draws on slumming conventions in such a way as to undermine their implicit assumption of social types. She portrays herself as a cosmopolitan citizen of the world with an impersonal and thus unclassifiable sense of subjectivity by emphasizing her philanthropic connection to a wide...

Speaking for the Perpetrator: Whiteness and Sexuality in Alan Paton’s "Too Late the Phalarope"

Confessional narratives, both in fiction and in political discussions, deal withthe past in very distinctive ways. A confession is retroactive, and the narrative is shaped by the wrongdoing, which is to be disclosed. It constructs an opposition between evil as a hidden secret and confession as openness and awareness of past wrong. Accordingly, the act of confession in itself signals a move away from ‘evil’ towards ‘good.’ This genre also defines the speaker in interesting ways. The protagonist of a confession is most often also its narrator. It is through the act of placing oneself within a retrospective narrative that the move from ‘evil’ to ‘good’ is made possible. The speaking subject thus grants himself or herself the power to return to his or her own history with the purpose of disclosing actions that he or she has previously kept hidden. In this way the genre also demands a considerable distance between protagonist and narrator. The distance is achieved through the act of disclosure itself, by speaking out and opening up the past and, in the process, by defining oneself as a perpetrator.