Thomas Austin Research Articles

The Actator Found as First Micronaut, from "Auto de la Pasión" to Cervantine Metatheater

This essay examines the “actator,” who is found in early modern Spanish theatre to be the original example of the micronaut. First, the definition of the actator will be explored, in both directions, from spectator to actator and from actor to actator, with additional information about the channel of communication between actor and spectator, and the intermediary space thereby formed, with attention paid to the glass, or fourth, wall. Second, a detailed analysis of the multiple examples of the actator in Alonso del Campo’s medieval play Auto de la Pasión will be given, studying both actors and spectators through the examination of the deployment of the dramatic devices, such as the monologue, in all of its sub-categories and functions. Research findings by Carmen Torroja Menéndez, María Rivas Palá, Hans-Jürgen Diller, and Cynthia Bourgeault will be referenced. Then, a cursory examination of the renaissance-baroque metatheatre of Miguel de Cervantes, specifically in the entremés «El retablo de las maravillas» and the comedia Pedro de Urdemalas, will offer additional examples of the early actator, including the most ambitious of all, Pedro de Urdemalas himself. Here, the investigative work by Thomas Austin O’Connor and Jean Canavaggio will be included. Finally, all of this is expected to substantiate and prove that the first micronaut is actually the actator, as found in early modern theatre of Spain.

A single introduction of wild rabbits triggered the biological invasion of Australia

Biological invasions are a major cause of environmental and economic disruption. While ecological factors are key determinants of their success, the role of genetics has been more challenging to demonstrate. The colonization of Australia by the European rabbit is one of the most iconic and devastating biological invasions in recorded history. Here, we show that despite numerous introductions over a 70-y period, this invasion was triggered by a single release of a few animals that spread thousands of kilometers across the continent. We found genetic support for historical accounts that these were English rabbits imported in 1859 by a settler named Thomas Austin and traced the origin of the invasive population back to his birthplace in England. We also find evidence of additional introductions that established local populations but have not spread geographically. Combining genomic and historical data we show that, contrary to the earlier introductions, which consisted mostly of domestic animals, the invasive rabbits had wild ancestry. In New Zealand and Tasmania, rabbits also became a pest several decades after being introduced. We argue that the common denominator of these invasions was the arrival of a new genotype that was better adapted to the natural environment. These findings demonstrate how the genetic composition of invasive individuals can determine the success of an introduction and provide a mechanism by which multiple introductions can be required for a biological invasion.

Review: Novel Sounds: Southern Fiction in the Age of Rock and Roll by Florence Dore

Book Review| December 01 2019 Review: Novel Sounds: Southern Fiction in the Age of Rock and Roll by Florence Dore Florence Dore. Novel Sounds: Southern Fiction in the Age of Rock and Roll. New York: Columbia University Press, 2018. 200 pp. Thomas Austin Graham Thomas Austin Graham Columbia University Email: tag2133@columbia.edu Thomas Austin Graham is an associate professor of English and comparative literature at Columbia University. He is the author of The Great American Songbooks, a musicological study of modernist fiction and poetry published by Oxford UP in 2013. His recent essays include studies of The Rite of Spring, the “Jazz Age” concept, and the historicization of popular song. Search for other works by this author on: This Site PubMed Google Scholar Journal of Popular Music Studies (2019) 31 (4): 177–179. https://doi.org/10.1525/jpms.2019.31.4.177 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Thomas Austin Graham; Review: Novel Sounds: Southern Fiction in the Age of Rock and Roll by Florence Dore. Journal of Popular Music Studies 1 December 2019; 31 (4): 177–179. doi: https://doi.org/10.1525/jpms.2019.31.4.177 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of Popular Music Studies Search What is a rock novel? The simplest way to go about answering this question is to turn to novels that feature rock musicians as protagonists (like Don DeLillo's Great Jones Street), or that are accompanied by rock soundtracks (like Thomas Pynchon's The Crying of Lot 49), or that engage the form in other, similarly explicit manners. The more challenging way is the one that Florence Dore has chosen in Novel Sounds, her study of Southern fiction in the years of rock's advent. For Dore, rock is not simply a music: it's also a sensibility, one that has a great deal to do with sounds and rhythms and lyrics... © 2019 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, https://www.ucpress.edu/journals/reprints-permissions.2019 You do not currently have access to this content.

Crocodile Tears? Authenticity in Televisual Pedagogy

Crocodile Tears? Authenticity in Televisual Pedagogy

The role of quoll (Dasyurus) predation in the outcome of pre-1900 introductions of rabbits (Oryctolagus cuniculus) to the mainland and islands of Australia

We investigated two questions: Why did most historical releases of rabbits on the Australian mainland fail? And why did many releases of rabbits on islands around Australia persist? We reviewed historical sources and present here nearly 300 records of the importation, sale, transportation and release of rabbits in the period 1788–1900, with >90 records before the popularly cited 1859 Barwon Park (near Geelong, Victoria) release by Thomas Austin. Similarly, we present records of localised impact of quolls (especially Dasyurus viverrinus) on rabbits and poultry, indicative of the great abundance of quolls. Rabbits were often imported and traded and releases were frequent and widespread. This evidence implicates native predators, particularly quolls (Dasyurus spp.) as responsible for the widespread and early failure of rabbits to establish on mainland Australia. In contrast, rabbits thrived on many islands, nearly all of which lacked cursorial natural enemies. We suggest that these accounts support the establishment of rabbits from several locations, with Barwon Park being a primary location and rabbit source.

Viral-Derived Serp-1 as an Adjunctive Therapy for Percutaneous Coronary Intervention

The story of Serp-1 began in 1859 when Thomas Austin imported 24 European rabbits to Australia and released them into the wild for sport. Within 30 years, the rabbits had multiplied exponentially until the population reached into the millions and they had decimated the landscape. Nearly a century later, when other methods of population control had failed, the Australians acquired the myxoma virus from South America and introduced it into the rabbit population. This species-specific virus, which is harmless to humans, infected the rabbits and decreased their numbers by ≈99.9%.1 The key to the success of the myxoma virus in eradicating the rabbit population was its ability to downregulate the rabbit host's immune and inflammatory responses to infection, in part, by synthesizing and secreting Serp-1.2, 3 Years later, it was recognized that the same properties that made Serp-1 devastating for the rabbits could also have therapeutic benefits in human inflammatory disorders. Consequently, viral-derived Serp-1 was purified for experimental testing and, ultimately, clinical use. Article see p 543 Serine protease inhibitors, also known as serpins, comprise up to 10% of plasma proteins and act as regulators of coagulation cascades, fibrinolysis, complement activation, and inflammation.4 Serp-1 is a myxoma virus–derived serpin that regulates endogenous thrombolysis by binding to and inhibiting urokinase- and tissue-type plasminogen activators and plasmin.2, 3, 5, 6 Serp-1 decreases inflammation indirectly by preventing activation of the urokinase-plasminogen activator receptor. This, in turn, inhibits inflammatory cell migration, adhesion to the endothelium, matrix metalloproteinase–mediated invasion of the vessel wall, and proliferation at sites of injury.3, 5, 6 Serp-1 also limits inflammation directly by decreasing monocyte and T-lymphocyte expression of β-integrins, which are necessary for cell-cell and cell–extracellular matrix contact, as well as increasing filamin expression to prevent cell adhesion and …

From Loss of Objects to Recovery of Meanings: Online Museums and Indigenous Cultural Heritage

The debate about the responsibility of museums to respect Indigenous peoples’ rights (Kelly and Gordon; Butts) has caught our attention on the basis of our previous research experience with regard to the protection of the tangible and intangible heritage of the San (former hunter gatherers) in Southern Africa (Martin and Vermeylen; Vermeylen, Contextualising; Vermeylen, Life Force; Vermeylen et al.; Vermeylen, Land Rights). This paper contributes to the critical debate about curatorial practices and the recovery of Indigenous peoples’ cultural practices and explores how museums can be transformed into cultural centres that “decolonise” their objects while simultaneously providing social agency to marginalised groups such as the San.

Asia Extreme: Japanese cinema and British hype

Can hype, used by Thomas Austin, Mark Jancovich and Barbara Klinger to describe Hollywood marketing strategies, also help us understand the promotional activities of independent British film distributors who have been promoting mainly Japanese and South Korean genre films under a variety of Extreme Asia brands since 2001? This article will examine how these distributors and the print/broadcast media are involved in the process of discursively segmenting a variety of audience taste formations, and then recruiting these niche demographics to build an aggregate audience by generating multiple promises and invitations-to-view, or hype, around a film text. I will examine the various discourses used to constitute these niches, including those of cult subcultural identity, auteurism and other notions of authorship, textual alienation effects and Orientalist cultural essentialism. I will focus on those exceptional texts in which this multiplying process has been particularly successful, in particular Miike Takashi's Audition (1999).

'The Only Place Where ''Success'' Comes before ''Work'' Is in the Dictionary...?'

'The Only Place Where ''Success'' Comes before ''Work'' Is in the Dictionary...?'

Love in the 'Corral': Conjugal Spirituality and Anti-Theatrical Polemic in Early Modern Spain by Thomas Austin O'Connor (review)

Love in the 'Corral': Conjugal Spirituality and Anti-Theatrical Polemic in Early Modern Spain by Thomas Austin O'Connor (review)

THE THIRD FIFTEENTH-CENTURY COOKERY BOOK: A NEWLY IDENTIFIED GROUP WITHIN A FAMILY

In a discussion of what I identify as the 'family' groupings of medieval English culinary collections,1 I indicated that traits which identify recipes as coming from the same collection are their similar, or identical, wording and 'the way in which they occur in the same order - or, sometimes, roughly the same order as groups' (p. 17). One of the 'families' I identified was the group edited by Thomas Austin in the EETS Two Fifteenth-Century Cookery-Books,2 consisting of London, British Library, MSS Harley 279 and Harley 4016, collated with, respectively, Oxford, Bodleian Library, MSS Ashmole 1439 and Douce 55.Austin's 'two' cookery bookdsHarley 279 and Ashmole 1439 are very closely parallel, sharing much the same division titles and containing most of the same recipes in the same order. That is, under the heading 'Potage' (Harley 279's 'Potages dyvers'), Ashmole 1439 gives 152 of Harley 279's 153 recipes; under the next heading, 'Leche Viaunde', appear all sixty-four of Harley 279's recipes under that heading, and under 'Viaundes Furnes' are thirty-three of Harley 279's forty-four 'Dyverse Bake Metis' - the Ashmole scribe was apparently working from an exemplar which was missing a sheet here. To these three headings, Ashmole adds a fourth, 'Sauces pur diverse viaundes', containing the nineteen sauce recipes Austin printed in a separate section of his edition; most of these sauces appear in Harley 4016, not Harley 279. Aside from this addition, Harley 279 and Ashmole 1435 are one and the same 'cookery book'.Harley 4016, on the other hand, is not the same collection, but it is of the same 'family' because it contains many of the same recipes, about half the recipes of Harley 279 making up about half of the contents of Harley 4016. For example, Harley 279's recipe for 'Vele, kede, or henne in Bokenade', p. 13, xxxvj, reads:Both of these recipes are followed by an alternative recipe for the same dish, 279's 'Autre Vele en bokenade' and 4016's 'Auter maner buknade', but these are entirely different recipes, with different wording and strikingly different ingredients. Harley 279's reads:MS 4016 gives an equally long but somewhat simpler recipe, obviously not an elaboration of the earlier recipe:Take rawe Almondes, and blanche hem, and grynde hem, and draw hem thorgh a streynour with fresh broth and wyne into good stiff mylke; And then take veel, kyde, or hen, and parboile hem in fressh brothe, and pike hem clene, and cast him thereto; take Clowes, maces, and herbes, and lete hem boile ynowe; And then caste a litull Sugur, pouder ginger, and salt, and serue him forth.About all this has in common with the Harley 279 recipe is that both thicken with almond milk rather than the egg yolks called for in the previous recipe.The order of recipes in Harley 279 and 4016 is quite different. Unlike Harley 279 and Ashmole 1439, Harley 4016 has no subdivisions, and there is no perceptible rationale for its arrangement. An initial small group of pottages and stews is followed by fritters, pies, and tarts; a group of sauces follows, then directions for roasting various birds. Next we get various directions for roasting and stewing meats, followed by miscellaneous recipes: some fairly elaborate meat-based dishes such as 'Blamanger' and 'Gely' interspersed with eggs, shellfish, crepes, more fritters, and a lot more, including some for vegetables and fruits. Finally there is a sizeable group of fish recipes and, at the end, two more recipes for sweet dishes.Austin was, then, quite correct in considering Harley 4016 to be a separate cookbook, despite the considerable overlap of its contents with 279. But the manuscript he used to collate it with, Oxford, Bodleian Library, MS Douce 55, is, like Harley 279, only a partial parallel. Most of the recipes in Douce 55 are parallel to recipes in Harley 4016, but by no means all, and the order of the recipes in Douce 55 is entirely different from that in Harley 4016, which, as noted above, has no discernible rationale. …

Love in the 'Corral': Conjugal Spirituality and Anti-Theatrical Polemic in Early Modern Spain by Thomas Austin O'Connor (review)

MLR, 99.3, 2004 809 difnculty.The examples consist ofauthentic journalistic and literarydiscourse in both European and American Spanish. The glossary contains definitions of grammatical concepts in both Spanish and English, the definitions being complemented by illustrative sentences in Spanish that are translated into English. This section is one of the most helpful and challenging ofthe book foruniversity-level students of Spanish. If one compares this book with the traditional Spanish grammar, the most inno? vative sections are the eight units dedicated to verbs and related concepts, as well as the verb tables presented at the end. User-friendly distinctions are drawn between transitive and intransitive verbs, while the importance of complements is stressed, encouraging the student to become aware of the various elements of sentence struc? ture and verb nuance. The differences between 'ser' and 'estar' (always a difficultarea forstudents) are presented in a clear and precise fashion, while furtherpluses are the explanations and illustrations of the verb 'gustar' and the passive voice. An excellent feature is that, in the tables, individual verbs, with their differenttenses and moods (present indicative, present subjunctive, imperative, preterite, imperfect subjunctive, imperfect indicative, future indicative, conditional, gerund, and participle), are listed with their irregular parts shaded. This allows the reader/learner to see quickly and simply which forms of individual verbs are regular and which are irregular. However, the book does have weaknesses. The levels of difncultyare not sufficiently well differentiated, so that beginners and students at intermediate level, forinstance, will be unsure which parts of the book are most suited to them. Examples of varying degrees of difnculty are grouped together, which I fear will cause some confusion. In myview, the authors would have been better advised to arrange theirmaterial in cycles, corresponding to increasing levels of difnculty. As it is, in some units there are no exercises suitable forbeginners, and in others none formore advanced students, which seems to me to invalidate the authors' claims thatthe book 'assumes littleknowledgeof grammar' (p. viii). Another weakness as faras this reviewer is concerned is that there is no vocabulary list anywhere in the book, nor any guide to pronunciation or intonation. In short, jExacto! is a reference grammar, which, through the use of a thought? ful layout and helpful visual displays, provides a user-friendly tool more suited to intermediate-level students of Spanish than to beginners. There is a clear need for this type of book, and it represents a reasonably bold attempt at filling the gap in the market. However, the results are somewhat patchy and the organization is not always sufficientlysystematic. University of Wales Swansea Maria Antonia Babi Love in the cCorral': Conjugal Spirituality and Anti-Theatrical Polemic in Early Modern Spain. By Thomas Austin O'Connor. (Iberica, 31) New York: Peter Lang. 2000. xv + 395 pp. ?44. ISBN 0-8204-4493-6. This, as few scholarly books may claim to be, is a work of love, born of a profound regard for the sacrality of marriage and its liberating potential for the human indi? vidual. Over its four hundred pages, O'Connor sets out what the Spanish Comedia could teach its audiences as regards the nature of marriage; and he does this by setting the Comedia's dramatic praxis against the theoretical debates that raged particularly at the end of the seventeenth century over the licitness of differenttypes of dramatic representation and of their setting. The work is divided into two parts. The firstoffers a taxonomy ofthe criticism levelled and abuse thrown at the theatre by its opponents: on one level, through the topics they aimed their fireat (for example, actresses were really prostitutes, plays encouraged licentiousness, and theatres gave opportunities for illicit meetings); on another, through the political significance of the campaign to 81 o Reviews have theatre banned; and finally,through the attitudes taken in general by members of religious orders to the question of theatrical licitness. The second part provides an analysis of works by major literary figures (Lope, Salazar y Torres, Sor Juana, Calderon, Cervantes (the Quixote), Tirso) which illustrate the fundamental precepts on which the codigos de amor and de honor function. In this section most notable are the discussions of Calderon's wife-murder plays...

Review: Love in the "corral". Conjugal spirituality and anti-theatrical polemic in early modern Spain * Thomas Austin O'Connor: Love in the "corral". Conjugal spirituality and anti-theatrical polemic in early modern Spain

Journal Article Review: Love in the “corral”. Conjugal spirituality and anti‐theatrical polemic in early modern Spain Thomas Austin O'Connor : Love in the “corral”. Conjugal spirituality and anti‐theatrical polemic in early modern Spain Get access Forum for Modern Language Studies, Volume 38, Issue 4, October 2002, Page 476, https://doi.org/10.1093/fmls/38.4.476 Published: 01 October 2002

Middle Nineteenth-Century Crinoid Studies Of Thomas Austin, Sr. And Thomas Austin, Jr.: Newly Discovered Unpublished Materials

Thomas Austin, Sr. (1794-1881) and to a lesser extent his son Thomas Austin, Jr. (1817-before 1881) are recognized as important early students of both Carboniferous and Jurassic crinoids. However, the extent of their understanding of crinoids was not appreciated until the recent discovery of unpublished materials of Austin, Sr., including a manuscript dated 1855, plates indicating the intended continuation of their never finished 1843-1849 systematic monograph, and photographs of fossil crinoids.Within at most three and one-half decades after Johann Samuel Miller (1779-1830) first named the class Crinoidea in 1821, Austin, Sr. accurately summarized the broad outline of crinoid evolutionary history. Furthermore, Austin had a post-natural-historical interpretation of fossil crinoids. Fossil crinoids were not just ancient organisms to be described and classified, but Austin tried to interpret the biology of these fossils. Furthermore, he considered questions of taphonomy, functional morphology, paleoecology, processes controlling evolutionary trends, and crinoid deposits—still topics of interest to paleobiologists 150 years later; and he also discussed crinoid "evolution" and extinction. Other discussion is present on the history of crinoid studies from a middle-1800's perspective and on the superstitious and medicinal uses of crinoid fossils.But fain Saint Hilda's nuns would learn If, on a rock by Lindisfarne, Saint Cuthbert sits, and toils to frame The sea-born beads that bear his name: Such tales had Whitby's fishers told, And said they might his shape behold, And hear his anvil sound; A deaden'd clang,-a huge dim form Seen but, and heard, when gathering storm And night were closing round. But this, as tale of idle fame, The nuns of Lindisfarne disclaim.

Thomas Austin O'Connor, "Myth and Mythology in the Theater of Pedro Calderón de la Barca" (Book Review)

Thomas Austin O'Connor, "Myth and Mythology in the Theater of Pedro Calderón de la Barca" (Book Review)

A Postscript to Professor Thomas Austin O'Connor's Article on the Comedia

A Postscript to Professor Thomas Austin O'Connor's Article on the Comedia

On the Authorship of El encanto es la hermosura : A Curious Case of Dramatic Collaboration

ON THE AUTHORSHIP OF EL ENCANTO ES LA HERMOSURA: A CURIOUS CASE OF DRAMATIC COLLABORATION Thomas Austin O'Connor, State University of New York, College at Cortland On November 29, 1675, D. Agustín de Salazar y Torres died while writing El encanto es la hermosura, also known as El hechizo sin hechizo and La Segunda Celestina. Since then, much written about the play has been misleading and inaccurate. The questions that have been raised concerning El encanto deal with two aspects: first, did Salazar finish the play, and, if not, where did he leave off when he died?: second, if he indeed did not finish the play, then who did? This article intends to answer these questions. The first to deal with El encanto was Agustín Duran, who said: Esta comedia es la misma, hasta una parte del segundo acto, que la escrita por Salazar, con título de la Segunda Celestina.. Sin duda Vera Tassis, que es autor en El encanto, desde parte del segundo acto hasta el fin, no sabiendo la identidad de la una y de la otra, creyó que Salazar la dejó por acabar y la concluyó él de otro modo. La equivocación debió proceder de haber hallado incompleto el manuscrito original de la Segunda Celestina , con el título de El encanto es la hermosura, entre los papeles de su amigo.1 There are several points brought out by Duran: 1) El encanto was written by Salazar and Vera Tassis; 2) Vera Tassis' contribution to the play commenced somewhere in the second act; 3) there is another version of the play known by the title Segunda Celestina, which, Duran implies, was completed entirely by Salazar. These opinions of Duran were very influential on subsequent critics who accepted these assertions as facts. Errors concerning this play abound in bibliographic studies and in general introductions to Salazar's works, and a most curious one was committed by Adolfo de Castro. He stated that El encanto was finished by Vera Tassis acting on the orders of Felipe IV.2 This is a purely chronological error, since Felipe IV died in 1665 and could not have been the monarch who ordered the play to be completed, but it is indicative of the conflicting information which surrounds the play. In the middle of all this confusion, one man, Ramón de Mesonero Romanos , basing his assertions on the original texts, implied that the two plays were essentially the same and that the play was indeed finished by Vera Tassis. He also noted in the text where Salazar left off and where Vera Tassis began, and he indicated that Segunda Celestina was exactly the same concerning Salazar's contribution, but contained a variant ending, though based on that of Vera Tassis, by an anonymous author.3 I will return to this point later. While Mesonero Romanos cleared up the major problems, there were others which he did not bother to explain. Unfortunately, the results of his investigations were not noted by other critics and bibliophiles. A few years later, La Barrera repeated the errors of Duran, not noting the work done on Salazar by Mesonero Romanos and, in haste, even contradicting his own information. He first said: "Hallábase en la florida edad de treinta y tres años, cuando atacado de una larga enfermedad que, no perturb ándole el sentido, le permitió concluir la comedia: El encanto en (sic) 31 h hermosura, que escribía por superior mandato . . ."4 Further on in his article he said: "El encanto es L· hermosura, y el hechizo sin hechizo. (Concluida por Vera Tassis. Con loa. — A los años de doña Mariana.)"5 He then quoted the paragraph of Duran cited at the beginning of this study, and finished off the section on Salazar implying, as Duran, that Segunda Celestina is another version of the play entirely by Salazar.6 Following the erroneous lead of others, Pedro Salva y Malien further complicated the problem by accepting Durán's opinion that there were two plays, Segunda Celestina of Salazar and El encanto, which repeats the first act and part of the second of Segunda Celestina. Accordingly, Vera Tassis then...

A Larger Concept of Language Drill

The Modern Language JournalVolume 41, Issue 3 p. 111-116 A Larger Concept of Language Drill JosephV. Thomas, JosephV. Thomas Austin Peay State College Clarksville, TennesseeSearch for more papers by this author JosephV. Thomas, JosephV. Thomas Austin Peay State College Clarksville, TennesseeSearch for more papers by this author First published: March 1957 https://doi.org/10.1111/j.1540-4781.1957.tb06642.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume41, Issue3March 1957Pages 111-116 RelatedInformation

III.—The Millstone Grit, its Fossils and the Relation it bears to other Groups of Rocks, more particularly as it occurs in the Bristol District, and South-West of England generally. By Fort-Major Thomas Austin, F.G.S., &c. 1865. London: H. Baillière. 8vo. Pp. 58; 5 Plates.

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