Newspaper Clippings Research Articles

Drawing patients closer: five gentlemen.

As an intern at the Royal Victoria Hospital (Montreal), I began keeping a diary in black and white–lined composition books, the kind we had in grade school. The pages are collages of photographs, newspaper clippings from The Star , The Gazette and La Presse , and sketches of patients with

Os “Papéis da prisão ”, de Luandino Vieira: entre a escrita de si e o testemunho da barbárie

Em 2015, José Luandino Vieira lança o livro Papéis da Prisão, composto por uma seleção de cartas, apontamentos sobre sua escrita, recortes de jornais, pensamentos sobre teoria e prática literária, além de seus diários do cárcere. Ao final, o livro traz também a entrevista O Tarrafal é a prisão em mim, em que o autor, já com oitenta anos de idade, reavalia o seu percurso como escritor e ativista pela libertação de Angola do colonialismo português, além das marcas produzidas em sua vida pelos longos anos de encarceramento. O objetivo desta comunicação é pensar os Papéis da Prisão a partir de duas potências complementares: a constituição do depoimento de Luandino Vieira sobre suas experiências na luta pela independência angolana – pensando o livro como um espaço de recordação e destacando a escrita de testemunho como constituidora não apenas da memória individual, mas de uma dimensão de memória pública de cunho político do período, nas relações que estabelece com a história dos espaços de língua portuguesa, marcada por eventos extremos durante o século XX; e a elaboração dos cadernos autobiográficos como escritas de si – exercícios de escrita íntima que funcionam como matéria prima para a elaboração de obras futuras, além de maneiras de indagação e produção de formas de subjetividade a partir do exercício da escrita de si para si e de si para outros, constituindo um mecanismo de autoinvestigação, autoadestramento e individuação a partir da literatura.---DOI: http://dx.doi.org/10.22409/abriluff.2018n20a463

Awakening the Sensorium in Puerto Rico's Colonial Modernity

Awakening the Sensorium in Puerto Rico's Colonial Modernity

The Fading History of Trevor Owen: A Figure of Jamaica’s Independence Fashion Industry

In this article, the photographic artist Joy Gregory reflects on the discovery of the uncataloged archives of couturier Trevor Owen and the 2013 Artists’ Residency that took place at the Beach House, Owen’s home and atelier in Reading, Jamaica.In 2005, five miles down the coast from Montego Bay, Derek Bishton and his wife Merrise purchased a small beach house retreat in Reading. They discovered among the things left in the property, a store room filled with dressmaking materials: row upon row of stiff patterns hanging from the ceiling, bundles of material, boxes of buttons, and numerous jars of odds and ends, along with several portfolios of designs, newspaper clippings, address books, and notebooks with measurements of former clients. The story of Owen’s 30-year career, the societies in which he moved, the company that he kept and his occupation of a property that was once part of the Tate & Lyle sugar plantation, also unravels the story of Jamaica’s colonial past, that is, the uneven relationship between the island and Europe.Absent from European and American fashion histories, Owen is recognized in Jamaica as the couturier who dressed wealthy local residents and tourists from Kingston, the wider Caribbean, the USA, and Europe, jet-setters who populated the Montego Bay strip in its hey-day during the 1950s. He is a major figure in Jamaica’s post-Independence fashion industry. This timely article, illustrated primarily by Gregory’s photographs, highlights and responds to his legacy.

Non-Fiction Transmedia: Seriality and Forensics in Media Sport

The article uses two examples (from 1908 and 1966) to analyse in greater detail why and how sport’s transmedia dynamic is very much fostered by the close interrelations between the seriality of sport events and the forensic attitude of fans. Two arguments are of special importance: (1) While social media add to forensic fandom’s proliferation, it was sport’s strongly serialized evaluation of performances that actually triggered the “spreadability” of sport-related topics across different media, first doing so at the end of the 19th century. What is more, modern sport owes its very existence to the cross-media circulation of its events. (2) So far, transmedia has mainly been researched with respect to fictional content, yet existing research on documentary transmedia forms and social media seriality has shown that the inclusion of non-fiction can broaden our knowledge of how storytelling sprawls across media and takes advantage of their specific affordances. This, I want to argue, ensures that sport is an insightful and important example for the understanding of transmedia world-building.

Social Issues in Wind Power Projects in India

In the quest to increase dependence on non-conventional energy sources, India over the past few years has laid additional emphasis on the renewable sector. Within the renewable sector, wind power has emerged as the single-largest energy contributor in the country. The sector has been appreciated for having limited adverse implications on local communities, environment and ecology. However, off late, studies on individual projects and analysis of available sectoral data reveal that there are critical environmental and social (E&S) issues that the wind power sector needs to address. The present article, based on the review of available literature (articles/case studies, newspaper clippings, books and E&S Impact Assessment reports), has identified the key social issues affecting the sector. Based on discussions with renewable energy specialists and an assessment of available mitigation measures, recommendations have been proposed to address the identified areas of concern. It is believed that addressing the social issues of concern in the present article will contribute towards promoting socially responsible and long-term generation of renewable power in consonance with the renewable and wind power policies of India.

Записи и выписки И. А. Бунина для академического собрания сочинений

On the eve of his 150th anniversary, the archival heritage of I. A. Bunin is studied with great care; new materials are being introduced into scientific use; a source base for academic omnibus edition of the first Russian Nobel laureate in literature is being prepared; methods and principles for the publication of works of different genres (poetry, journalism, prose, and archival materials) are being developed. The article focuses on specific materials from I. A. Bunin’s archive, so far little-studied, — odd notes, extracts, and marginalia in books and newspaper cuttings. Bunin left many such records on the books given to him, on the magazines read, on the newspaper clippings sent to him, etc. And many of them are of significant interest for researchers. The corpus of these materials happens to be segmented, as the rest of I. A. Bunin’s archive is; parts are deposited in the Leeds Russian Archives in the University of Leeds (Leeds, Great Britain), in the Department of Manuscripts of the A. M. Gorky Institute of World Literature of the Russian Academy of Sciences (IMLI RAN), in the Russian State Archive of Literature and Art (RGALI), in the fonds of the I. S. Turgenev Oryol State United Literary Museum, as well as in several archives in Western Europe and in the USA, in university, federal, and private collections. All Bunin's handwritten notes fall into the following three types of materials: (1) marginalia in books; (2) marginalia in newspaper and magazine clippings; and (3) odd notes not included in notebooks. Of greatest interest are Bunin's marginalia on cutting from newspapers and magazines. Bunin closely followed all responses to his work, collected clippings and stored them in a trunk, a ‘clippings trunk,’ as he called it. It is more important, however, to divide of the array of notes by their content: (1) quotations; (2) refinements and arguments; (3) assessments and opinions. Marginalia containing refinements and arguments, as well as those containing assessments and opinions, are extremely important. Some remarks clarify Bunin's artistic opinions, others offer corrections, clarifications, comments on his own or others work, or on epoch itself, yet other reveal particularities of the artistic conception. Bunin's assessments and comments clarify his literary and public position, providing wide context necessary for understanding the writer’s individuality. The article sets up a research problem — how to introduce this corpus of materials into scientific use and on what principles to prepare them for publication.

Poetry for Parliament: The Women’s Peace Write Campaign

Poetry for Parliament: The Women’s Peace Write Campaign Andrea Beverley (bio) In January 1985, a call went out for Canadian women writers to stand up for world peace and nuclear disarmament by sending literature to the government. Called the Women’s Peace Write / Rites des femmes pour la paix, the campaign was rooted in the conviction that women writers should mobilize their craft in opposition to nuclear weapons. Not long before, in 1983, Margaret Laurence, whose name is perhaps the first to spring to mind when considering connections between Canadian literature and anti-nuclear mobilization of this era, expressed a similar conviction (Gerry 218, 224–28; Stovel 325–27). In “My Final Hour,” Laurence unequivocally states, “the question of disarmament is the most pressing practical, moral, and spiritual issue of our times” (189). She goes on: “I believe that as a writer … as an artist, if you will … I have a responsibility, a moral responsibility, to work against the nuclear arms race” (195). For the contributors to the Women’s Peace Write, acting on this “moral responsibility” took the form of a concerted effort to send pro-peace literature in the mail weekly to all Members of Parliament while the House of Commons was in session over the course of an entire year. My essay aims to describe how this campaign came to be and to provide some literary analysis of its contents. How did this activist project emerge? What are the features of its literary corpus? [End Page 53] What kinds of teachings and consciousness raising did it aim to offer to its imagined audience, the Members of Parliament serving under Brian Mulroney? I learned of the existence of the Women’s Peace Write when I came across a copy of the assembled texts in the Women and Words archive at Simon Fraser University’s Special Collections and Rare Books Library.1 I visited the archive with two undergraduate student research assistants who worked with me to comb through the many boxes that comprise the Women and Words fonds. Especially because the Finding Aid does not include item-level cataloguing of the boxes’ contents, there was the potential for surprise and discovery as we opened file folders, perused photograph negatives, scanned the headlines of old newspaper clippings, and even listened to some audio recordings. When I happened upon the texts of the Women’s Peace Write campaign, I was immediately intrigued. Although this was only a couple years ago, at the time, nuclear bombs were not making headlines as they are now. Compiled over thirty years ago, the Peace Write texts imagine nuclear threat in a late Cold War context; today, nuclear weapons come up in relation to Germany, Turkey, North Korea, China, Russia, Israel, Iran, and the United States. One can imagine that a similar literary campaign launched in our current political climate would have a multi-pronged pedagogical and outreach strategy, including a robust promotional media component, and thus be much more visible in the public sphere than was the Women’s Peace Write. Although the Peace Write organizers did plan some media coverage of their project, it was not, to my knowledge, particularly well known. Some of its texts were previously or subsequently published, as I describe in more detail below. But otherwise, its existence as an anthological text is mostly archival.2 Although it is no doubt remembered by contributors and others who were aware of it at the time—and possibly even by some mps or House staffers—I had not heard of it in Canadian scholarly circles before coming across it in a box. Printed on eight-by-eleven-inch paper, the texts are held together by a black spiral binding and a blue card stock paper cover. [End Page 54] Descriptors on the cover label the document “Women’s Peace Write / Rite des femmes pour la paix” subtitled “une campagne de textes pour les députés” and “a writing campaign to Members of Parliament.” Along with the mailing address for the West Coast Women and Words Society, the front cover also describes the document as “a calendar of selections for the weeks the House is in session, June...

Introduction: Special Issue: Israel at 70; Vision & Reality

IntroductionSpecial Issue: Israel at 70; Vision & Reality Ilan Troen and Natan Aridan This issue reflects the interest for perspective on the seventy years since the establishment of Israel and reflections on what might transpire in the near future. As such, the search for meaning and the evaluation of what has and might happen fits well within the Zionist experience. The Zionist movement itself was largely launched and inspired by Theodor Herzl's utopian novel Altneuland (1902). It conjures a vision of how Palestine might be transformed under enlightened leadership and suggests plans based on progressive ideas on how to achieve not only an economically and technologically successful society, but a just and democratic one. This precedent has had many followers through the present. Noteworthy is the two-volume work Ben-Gurion and Ben-Zvi produced when in exile in New York from Palestine during World War I: Eretz Yisrael in the Past and Present (Hebrew and Yiddish, 1917). Despite its title, it was not only an evaluation of the country's past but a program that looked to the future. Such work was typical of Zionism from the period of Arthur Ruppin, who inaugurated the systematic study of the Yishuv in 1907. A year later he established and headed the first office for the Zionist Organization (later World Zionist Organization) to institutionalize assessment and planning. In fact, from that date to the present WZO, the Jewish Agency, and then the State of Israel have been continually engaged in self-evaluation and the generation of plans. Such reflection was built into the early years of the settlements. Typical products are found in the Sifrei Yovel or Jubilee Books that were issued on numerous occasions: sometimes on the 5th, 10th, 13th, 18th, 20th, 25th, etc., etc. anniversary of the settlement. The production of such volumes was widespread and institutionalized. A magnificent collection of local histories on 600 communities, together with enormous primary material in the form of 400,000 newspaper clippings, may be found at the Getzel Kressel Collection at Oxford University. This archive covers only the years 1935–1980. For the State of Israel to celebrate and inspect itself is thus within a very well-established tradition. In this special volume, rather than publish [End Page 1] essays in our regular format, we thought "out of the box" by inviting leading scholars from multiple disciplines engaging in the study of Israel. The instructions were: to contribute a short article in which you set out what you consider to be the significant events or new concepts that have shaped Israel since independence. These may include: actual events, concepts, political movements, or individuals that have significantly affected Israeli society or politics. Thirty scholars answered the call. Based on their responses, this collection of 29 academic essays are organized in the following sections: The State of the State; Turning Points/Watersheds; Memory; Immigration; Gender; Law & Religion—The Rule of Law; and The Conflict. They have written on these diverse topics with perspectives that are not only the product of their scholarship but often include personal reflections based on their own journeys and experiences. [End Page 2] Copyright © 2018 Ben-Gurion University of the Negev and Ben-Gurion Research Institute for the Study of Israel and Zionism

Emmy Destinn Memorabilia from the Estate of Hilda Schueler-Mosert

In 2017 the National Museum – Czech Museum of Music obtained a rare set of memorabilia for the singer Emmy Destinn (1878–1930) from the estate of her friend Hilda Schueler-Mosert (1888–1965). The two women met in ca. 1905, and they remained in contact until Emmy Destinn’s death. Hilda Schueler, a German sculptress and painter, was forced to flee Germany with her husband in 1942 because of their Jewish origins. After the war, they settled in Sweden. The set of material contains letters, programmes and posters, newspaper clippings, photographs of the two women, and phonograph records. The items were donated by Hilda Schueler’s grandchildren, who live in Sweden.

Let Patsy R.I.P.

Let Patsy R.I.P. Mark Beaver (bio) It was GPS that brought me to this tiny railroad town in northeast Alabama, and, okay, maybe my predilection for anything Southern gothic too. But once I made it to Stevenson, I didn’t need the satellites to figure which house belonged to James Davis. The signs were everywhere—literal ones, I mean—including the hand-painted one that has replaced the train depot as the most recognizable landmark in all of Stevenson. It stands at the edge of James’ front yard, alongside the road that runs through here to Bridgeport. LET PATSY REST IN PEACE, it reads. There’s an assortment of smaller signs, too, posted on the façade of his two-story cabin: I HAVE SEARCHED FOR JUSTICE FOR 8 YEARS I HAVE NOT FOUND IT YET and ILLEGAL COURT ORDER BURIAL PLOT DESECRATION HERE, among others. Then of course, right next to the front porch, lies the grave where James buried his wife, whom he affectionately calls Mama. It’s marked by a headstone, wide as a marriage bed and already carved with both their names, because he plans to be put to rest here too. Silk flowers sit atop the monument. More sprout from vases on either side. Each vase features two interlocking wedding rings. It’s a perfect set-up, arranged just the way James wanted it, except for one thing. [End Page 61] Mama is no longer in her grave. I climbed the steps of the porch, passed under yet another sign, this one alerting me I was entering MAMA’S HOUSE, and shook the hand of the man who three decades ago built this cabin from the ground up, while Mama sat in her rocking chair in the yard and watched every swing of his hammer. James Davis invited me to sit in his living room, and fixed me in his gaze with a hard, determined stare. “I got one question to ask you, before you get in too deep,” he said. “Do you get intimidated easy-like?” I wasn’t quite sure how to answer, so I responded with words I hoped were true. “No, not usually,” I told him. Which sounded smug, even to my own ears, so I decided to clarify. “I mean, I’ve been intimidated before, but maybe it doesn’t happen very often.” He liked that I was from Georgia. He saw his state of Alabama as a vast iron fist that stifled a man’s right to his own property and choked off justice. He told me another writer from Birmingham had expressed interest in doing what I’d come to do. Apparently she had dropped out of sight, though. “I’ll betcha they got to her,” he said. “You being outside, it’s gonna be harder to intimidate you. I’m just wanting you to know ahead of time.” Then he enumerated our common enemies: “We’re fighting the state, the county, and the city.” James was a desperate man, which likely explains why he welcomed my offer to tell his story. “I’m seventy-eight years old,” he said to me more than once. “I don’t have much time left.” He wore overalls, a plaid shirt, and work boots, as though any moment now he’d need to interrupt our visit to go fix a carburetor, cut down a tree, or build another house. Then he led me on a tour of the premises. He introduced me to a box overflowing with court transcripts, newspaper clippings, and sundry items he had pledged would serve as a veritable pirate’s treasure to anybody wanting to get to the bottom of his complaints. “I got everything,” he promised. Problem was, his eyesight was so bad—his left eye shot entirely—he couldn’t [End Page 62] find anything he was looking for. He had a magnifying glass big as a handheld mirror but still it did not help overmuch. Occasionally he could make out enough of a document to determine he wanted me to take a look, and he had me read portions aloud so he’d know whether it was what he actually wanted to...

The Generals in Their Labyrinth

The Generals in Their Labyrinth

Isaaс Grigoryevich Morgenstern (1932-2008). Tribute to the memory of the researcher

The article is prepared on the occasion of the 10-th death anniversary of Isaac Morgenstern, an outstanding researcher bibliographer, Doctor of Science in pedagogy, professor, Honored Higher School Worker, an expert in bibliographic science, social informatics, and book studies. The experience of the Scientific Library of Chelyabinsk State Institute of Culture in exploring the researcher’s personal library and archives is discussed. The vectors of the memorial exhibition activities are described. One of the significant projects of the Year of the Memory of Morgenstern was the release of the unique in its kind calendar-almanac "Homo Informatus - Homo Informans". Among the other memorial events are: the long-lasting themed exhibitions (“From a concept to implementation”, “We commemorate…” “The world of his interests” “The human world panorama”), the bibliography of inscribed publications, organization of the archive of journal and newspaper clippings collected by Isaac Morgenstern. At the Library’s www-site in the “Collections” section, you will find information on the collection of bibliographer’s personal library, in “Publications”- the almanac digital version, in “Exhibitions” section - virtual exhibitions similar to the traditional ones displayed in the reading room named after Isaac Morgenstern.

Heirloom

Heirloom Christine Kitano (bio) Keywords Christine Kitano, poetry From To Kill a Mockingbird, I learn the word "chifforobe." My grandmother has a lacquer chest, a chifforobe, in her bedroom. She claims it is the only object she brought with her from Korea. In its drawers, she stores newspaper clippings, old racing forms from the track, and envelopes stuffed with receipts. In one of the drawers, she keeps the yards of rough satin out of which she plans to sew my wedding dress. She runs her fingers over the fabric, dyed red and green, like Christmas ribbons. I tell her I will never marry. I'm nine. ________ In school, I learn the word "heirloom," am instructed to ask my parents if we have any. I practice pronouncing the word: hair/air/loom. I imagine weaving an object out of hair, out of air. At home, my mother looks up the word in her English-Korean dictionary. ________ At sixteen, my mother arrives in America wearing two dresses. In her suitcase, folded and wrapped in plastic for protection, a handmade quilt. In a year, she'll sell the quilt at a flea market downtown, tell my grandmother it was lost at some point between Seoul and Los Angeles. I imagine a silken blanket floating off the coast of California, the patchwork square surrounded by water. City of angels, city of ghosts, city of the missing and misplaced. City of the lost, city of the bought and sold. ________ The chest is made of lacquer, a black so black I feel almost dizzy when I look at it. When I crouch on the carpet and crawl close, I feel as if I'm pressed against a shadow. I put my palm to it, pull it away. My sweat leaves a brief handprint, which shrinks inward before evaporating. The lacquer feels almost liquid. Though I know better, I check my palm for ink. [End Page 768] ________ Immigrants don't have heirlooms, my mother says. I ask about my grandmother's chest. My mother shrugs. I don't think it's real, she says. I don't know what this means, but don't dare to ask more. The next day, I fake illness to stay home from school. ________ My grandmother' chest, her breasts milk-white, and heavy as two melons. Home from the racetrack, she sheds her dress which lands in a puddle around her feet. She pulls one arm, then the other, out from her billowing bra. Rolls of green bills, sealed in sandwich bags, spill forth. Her bra, now deflated, hangs around her waist. Her breasts sway as she counts her cash. [End Page 769] Christine Kitano christine kitano is the author of the poetry collections Sky Country and Birds of Paradise. She teaches poetry and Asian American literature at Ithaca College. Copyright © 2018 The Massachusetts Review, Inc.

Review: Self-Interned, 1942: Noguchi in Poston War Relocation Center

Self-Interned, 1942: Noguchi in Poston War Relocation Center Noguchi Museum, Long Island City, New York 18 January 2017–7 January 2018 Much of Isamu Noguchi's artistic practice can be interpreted in terms of his manipulation of land and, specifically, stone: cut, carved, and twisted; oxidized by sunlight or textured by brush; stones in the landscape and stones as landscape. This accounts for most of the works in the Noguchi Museum, a building designed by the artist to serve as a lyrical spatial catalogue of his sculptural oeuvre. Yet it is on paper that Noguchi's thinking about land appeared political—not the paper of his renowned lamps, but that of letters, essays, and memoranda, as well as newspaper clippings, shopping lists, shipping orders, and drawings. These objects constituted the most revealing section of Self-Interned, 1942: Noguchi in Poston War Relocation Center , an exhibition devoted to Noguchi's experiences in an internment camp with other Japanese and Japanese Americans during seven months in 1942. Enticing and timely, the exhibition also shed light on the artist's complex disposition toward land in its various connotations: as a source of identity, as landscape, and as material. If paper invited consideration of Noguchi's politics of stone, the medium also at times turned into a mirror—a historical mirror. Encased inside seven glass-covered drafting tables and lit only from above, papers resolved into a reflective surface that threw back at the visitor an urgent question: When faced with a violent politics of displacement, wrenching realities of migration, and troubled narratives about national essentialisms, how is one to react? Noguchi's response to this challenge seventy-five years ago from the trenches of the New York art …

Use of Fat Grafts in Facial Reconstruction on the Wounded Soldiers From the First World War (WWI) by Hippolyte Morestin (1869-1919).

During the Great War of 1914 to 1918, spectacular progress was made in the field of facial reconstruction. The sheer number and severity of facial lesions inflicted during the fighting obliged French and German surgeons to take a close interest in the treatment of patients wounded in such a manner. As head surgeon of the fifth division "blessés de la face" at the hospital of Val-de-Grace, Hippolyte Morestin was responsible for one of the largest surgical departments specializing in facial surgery and reconstruction during the war. During his time of service, he developed various surgical techniques such as autoplasties using cartilaginous and adipose grafts to reconstruct tissue defects. This study focuses primarily on the adipose graft techniques and their aesthetic outcome used by Morestin during and in the aftermath of World War I. This is a historical descriptive study. Our research is based on documents available at the museum and archives of the Val-de-Grace Army Health Service (hospital activity reports, pre- and postoperative patient photographs, newspaper clippings, documented accounts of ward nurses, wax anatomy models). Thirty-four clinical cases published by Hippolyte Morestin dealing with facial reconstruction during the World War I were studied. Fat was mainly used to fill craniofacial substance losses after carrying out often complex reconstructions. The surgical technique is well documented and subdivided into 3 succeeding procedures. Most of the time, the grafts were of autologous origin but sometimes heterologous samples were used. Although the primary objective was to increase volume, an improved quality of skin healing and better skin flexibility were observed. The fat thus allowed the filling of substance losses, and its positive effects on scarring were noticed even before the regenerative properties of the stem cells present in body fat were discovered. Hippolyte Morestin can be named one of the pioneers of facial reconstruction. A retroperspective analysis of his work with adipose grafts proves interesting because even though not being the first to apply this technique, he contributed, by means of experimentation and reproduction to proving it an innovative and useful method in facial reconstruction. It was not until the 1990s that adipose grafts were again applied under the name of lipostructure. Nowadays, they are commonly used in cosmetic and restorative surgery.

Above all, garnish and presentation: An evaluation of Fanny Cradock's contribution to home cooking in Britain

AbstractThe development of cooking on television, and the associated rise in ‘celebrity chefs’ is often seen as a modern phenomenon involving cooks like Jamie Oliver and Nigella Lawson in Britain. Fanny Cradock (1909–1994) is from time to time credited as a pioneer in television cooking and Britain's ‘first celebrity chef’. However little detail of her career has been documented, despite working as a journalist, radio and television presenter, food demonstrator, writer of fiction, children's books and cookbooks spanning from 1942 until 1986. Cradock was prominent on television between 1955 and 1975, with her final appearance in 1985. Cradock is as often remembered for her colourful character as for the colourful food she presented and her name remains synonymous with elaborate cooking in ball gowns, using copious amounts of food colouring and aspic, and for berating her husband who assisted her on stage, on television, and in print. However, from Cradock's personal archive a far more substantive contribution to home cooking through the development of television cooking and cookbooks, looking at her undocumented ideas and innovations. Additional archive materials and collections of newspaper clippings collected between 1942 and 1982 by Cradock herself shed light on how she was perceived at the time, her role as an entrepreneur and her own ‘brand’ identity. From this documentary evidence, it is argued that Cradock deserves to be much better remembered for her contribution to British food culture.

Amiable Scoundrel: Simon Cameron, Lincoln's Scandalous Secretary of War

Amiable Scoundrel: Simon Cameron, Lincoln's Scandalous Secretary of War

LA RESTAURACIÓN DEL ACLLAWASI EN EL SANTUARIO DE PACHACAMAC, 1940-1944. IDENTIFICANDO LAS HUELLAS DE VIOLLET-LE-DUC, UN ANÁLISIS COMPARATIVO

La restauración del Acllawasi o Templo de las Mamaconas representa una de las primeras intervenciones a gran escala realizadas en el Santuario de Pachacamac, cuya importancia se debe no solo a que fue ejecutada por Julio C. Tello entre 1940 y 1944, sino a que dicho monumento es considerado uno de los edificios más representativos que conforman dicho santuario. Sin embargo, a pesar de su trascendencia, poco se conoce sobre los objetivos y fines que determinaron la restauración de esta edificación. Por ello, mediante la revisión de publicaciones, recortes periodísticos y documentos inéditos, el presente artículo esbozará el primer panorama sobre cómo se desarrolló dicha intervención, en la que además se evidencia la aplicación de los principios y postulados de Viollet-le-Duc, principal representante de la restauración estilística en Europa. Este análisis será un aporte que permita conocer acerca de la historia de la conservación arqueológica en el Perú.

Bubonic Panic: When Plague Invaded America by G. Jarrow

Jarrow, Gail. Bubonic Panic: When Plague Invaded America. Calkins Creek, 2015.If public health seems like it would be one of those topics that would send you to sleep, then Bubonic Plague: When Plague Invaded America by Gail Jarrow will change your mind. This is the final book in her trilogy about Deadly Diseases for middle grades and higher.Jarrow is fairly succinct in presenting the history, transmission, and trajectory of various waves of plague around the world. She briefly charts its first appearance in 541 in Turkey, then vividly describes the second wave that started in 1346 and at its most virulent was named the Black Death, killing millions in Europe and parts of Asia and North Africa. The majority of the book focuses on the third wave, when it reached North America.The third pandemic began in the mid-1800s when China became ground zero for this next wave, which spread to Hong Kong by 1894. Hong Kong was a busy port town and trade and travel on steamships allowed for rapid dispersion of the disease. Researchers from a number of countries sought feverishly to identify the source of the epidemic and learn how it was spread. By the late 1890s two of them had proven it was rat fleas. Unfortunately almost nobody believed them, which became problematic when in 1900 San Francisco saw its first deaths in Chinatown.Jarrow provides a fascinating look at the political and social climate of this period in relation to the attitudes of Americans towards Chinese immigrants and the impact quarantining San Francisco’s Chinatown would have on businesses reliant on trade and tourism. It became a complicated and fraught tug-o-war between politicians, businessmen, doctors and public health officials, fighting about whether to recognize and publicize the deaths and quarantine when the evidence seemed inconclusive as to their cause. Even after proof was offered action was surprisingly slow to follow and the disease was able to spread, although the number of deaths was comparatively low, being in the low hundreds.This well researched book also includes information about contemporary cases in the United States, ongoing research and treatments for all three strains of plague. There are extensive source notes and bibliography, a glossary, timeline, index and an author’s note explaining her keen interest in public health and the importance it had in the past,and will have when the next global pandemic hits. Also included are numerous photographs (some a little gruesome), newspaper clippings, cartoons, posters and illustrations to engage readers’ interest.This will pair perfectly with a middle grade novel, Chasing Secrets by Gennifer Choldenko, 2015 that gives a fictional account of the outbreak in San Francisco.This is a strong finish to a fascinating series that combines history, social issues, scientific research, technological developments and culture in America, showing long term implications for today’s government policies towards health.Highly Recommended: 4 out of 4 starsReviewer: Tammy FlandersTammy is the Reference Coordinator in the Doucette Library of Teaching Resources at the University of Calgary. She also reviews juvenile resources with an eye to classroom use in her blog, Apples with Many Seeds.