Journal articles on the topic 'Brown falcon'

From fieldwork begun in 1979 and continuing intermittently until the present, we show the range in variation in pigmentation of Peregrine Falcons (Falco peregrinus) native to the Patagonian region of South America. This variation nearly equals the full range in Peregrine Falcon color variation for all races worldwide. The pallid morph is paler than any other peregrine, and in extreme southern Patagonia, most dark or normal morph adults are as pale or paler than extremely pale arctic peregrines from northern Asia and North America. In the forests of the southern Andes Mountains, there are richly colored (i.e., with deep red-brown ventral background pigmentation) falcons that approach or equal the darkest peregrines anywhere. Some juvenile peregrines are more deeply red-brown ventrally than any other juveniles worldwide. Most important, we introduce the hypothesis that non-pallid adult color variants are largely segregated by habitat type. By inference, this suggests that adjacent ecotypes may represent different subspecies.

The brown falcon, Falco berigora, is one of Australia's most common and widespread raptors, inhabiting a broad array of habitats and most climatic zones across Australia. We monitored a large, marked population (44–49 pairs) over three annual breeding seasons in southern Victoria. Reproductive parameters such as clutch size and the duration of parental care were constant across years. However, there were marked differences in brood size and the proportion of pairs breeding. Both sexes of falcons were found to have high territory and mate fidelity, with only 10% of members of each sex changing territories during the study. Falcons were flexible in their choice of nest sites, using a variety of tree species and even isolated nest trees. Nest sites and territories were regularly distributed throughout the study area, with the density of the population the highest on record for this species. The diet of the population as a whole was very broad, but each pair predominantly specialised on either lagomorphs, small ground prey, small birds, large birds or reptiles. Individuals that changed territory within the study area also switched their diet according to the predominant land-use within the new territory and thus prey availability. We argue that, at the population level, broad dietary breadth, flexibility in choice of nest site, and a conservative, static breeding strategy allows the species to persist in a broad range of environments, possibly through 'bet-hedging'. At the individual level, changeable dietary specialisation, high territory fidelity, strong year-round territorial defence, confining breeding to years when individual conditions were favourable and adjusting brood sizes when required appear to be the main strategies enabling brown falcons to thrive under a variety of conditions.

The jaw morphology of an 'attacking', specialist predator of birds, the peregrine falcon, Falcon peregrinus, and a 'searching' generalist, the brown falcon F. berigora, were compared. As a result of larger adducting muscles, and an increase in the rotational component of the force of muscles, F. peregrinus potentially has a stronger bite than F. berigora. Kinesis is reduced in F. peregrinus, with a consequent loss in dexterity and fine control. In contrast, F. berigora has a highly kinetic skull and a secondary articulation on the lower mandible, which permits great dexterity and rapid closing of the mandibles. These results establish a strong correlation between the foraging strategy, diet, and the morphology of these two species. They also imply that, as in many bird species, power and kinesis are not compatible within the jaw system.

This study tested the responses to aerial and terrestrial alarm and distress calls in an avian predator, the brown falcon, Falco berigora, and two potential avian prey species, the New Holland honeyeater, Philidonyris novaehollandiae, and noisy miner, Manorina melanocephala. Calls were delivered from a computer system at intensities 5–20 dB above background, to birds held in large cages. All birds located the broad-band alarm and distress calls easily, but they had difficulty locating the narrow-band aerial alarm calls, although they were able to detect most of these. Aerial alarm calls thus reduce risk to the caller. The performance of raptors and songbirds was similar. This result suggests that there are no reliable differences in the auditory characteristics of avian predators and prey, as have been described in species from the Northern Hemisphere.

In the spring of 2007, switchgrass accessions and cultivars Alamo, Kanlow, SL-93-2001, and NSL 2001-1 (lowland), Blackwell (upland), and Grenville, Falcon, and Miami (unknown ploidy levels) were sown at the East Tennessee Research and Extension Center in Knoxville for evaluation and controlled hybridizations. In July and August of 2007, uredinia were observed primarily on the upper leaf surfaces, and to a lesser extent on the undersides of leaves, of switchgrass cvs. Alamo, Blackwell, Grenville, Falcon, Kanlow, and Miami. Uredinia were observed on all cultivars and accessions in 2008. Dimensions of spores are reported as mean ± standard deviation. Uredinia were epiphyllous, adaxial, caulicolous, oblong, and the color of cinnamon brown. Urediniospores were globose to broadly ellipsoid, 26.0 ± 3.0 × 23.2 ± 2.4 μm, with a wall that was cinnamon brown, 1.5 to 2.0 μm thick, finely echinulate with three to four equatorial pores, corresponding to Puccinia emaculata Schw. (3). Abundant teliospores were isolated from Grenville, Falcon, and Blackwell, with fewer teliospores isolated from Alamo. Telia were epiphyllous, adaxial, and caulicolous, densely crowded to scattered, oblong, and dark brown to black. Teliospores were dark brown, two-celled, ellipsoid to oblong, 33.6 ± 4.8 μm long with an apical cell width of 17.5 ± 1.2 μm and basal cell width of 15.9 ± 2.5 μm. Teliospore walls were 1.5 to 2.0 μm wide at the sides and 4 to 6 μm apically. Pedicels were brown or colorless and up to approximately one length of the teliospore, 28.5 ± 7.4 μm. Teliospore morphology confirmed the identification of this rust as P. emaculata (3), which has been reported to infect upland and lowland populations of switchgrass (2). A 2,109-bp fragment containing the internal transcribed spacer (ITS) 1, 5.8S, ITS 2, and D1/D2 region of the large subunit ribosomal DNA was sequenced for a specimen on ‘Falcon’ (GenBank Accession No. EU915294 and BPI No. 878722) from two overlapping PCR fragments amplified with primers PRITS1F (L. A. Castlebury, unpublished data) and ITS4B (1) for one fragment and Rust5.8SF (L. A. Castlebury, unpublished data) and LR7 (4) for the second fragment. No sequences of P. emaculata were available for comparison; however, BLAST searches of the ITS resulted in hits to P. asparagi DC (527 of 576, 91%) and P. andropogonis Schw. (523 of 568, 92%) placing this fungus in the genus Puccinia Pers. The alternate hosts of this rust are species of the Euphorbiaceae (2,3), which are ubiquitous in this area although the aecial stage has not been observed. To our knowledge, this is the first report of P. emaculata on switchgrass in Tennessee. Given the highly susceptible response of certain varieties of switchgrass to this rust in field plots, reduction in total biomass in large acreages is likely and long-standing fields of this perennial grass will compound the problem. References: (1) M. Gardes and T. D. Bruns. Mol. Ecol. 2:113, 1993. (2) D. M. Gustafson et al. Crop Sci. 43:755, 2003. (3) P. Ramachar and G. Cummins. Mycopathol. Mycol. Appl. 25:7, 1965. (4) R. Vilgalys and M. Hester. J. Bacteriol. 172:4238, 1990.

Studies on fungicides’ effect on new varieties and lines of winter triticum-wheatgrass hybrids and winter triticale were conducted in the conditions of the Central zone of the Russian Federation. The results showed that the preparations Alto Super, CE and Falcon, CE effectively cope with the suppression of brown leaf rust on new varieties in the dosages recommended by manufacturers. They allow to reduce the prevalence of brown rust by 15.2-35.6%, the development degree of the disease - by 9.9-18.0%. The spread of septoria decreases by 7.7-8.8%, the intensity of plant damage - by 1.0-2.2%. The use of these preparations allowed to increase crop yields by 1.2-1.7 times compared to the option with no fungicidal treatments.

The accurate determination of nestling age and sex is an important tool for studies that examine life-history traits and ecological interactions. Despite the widespread distribution of the brown falcon, Falco berigora, in Australia, morphological criteria for sexing nestlings of this species have yet to be published and nestling development has not been intensively studied. While an ageing formula for the species exists, the small sample from which it was derived precluded appropriate statistical assessment of independence problems and other potentially confounding variables such as hatch order and sex. This study used a larger sample of free-living nestlings to account for these factors and found the most reliable measure for ageing nestlings to be wing length. Wing length increased linearly with chick age, independent of seven other potentially confounding factors examined. Ageing formulae based on wing length before and after remiges emerge are presented. In addition, an accurate test for determining nestling sex at banding age, based on tarsus width, is proposed. Nestling chronology of this species is also described in detail for the first time. Nestling development was similar to that described for other Falconiformes; however, the chronology of nestling development was too variable to be useful in assigning chick age. Despite this, within 6 days of the eldest chick hatching the relative brightness of down and the degree to which chicks' eyes had opened were useful in assigning hatch order amongst nestlings with similar wing lengths.

Guinea-Bissau is a small country in West Africa, which in spite of its rich biodiversity and the high proportion of protected areas remains under-surveyed in relation to most animal groups, including raptors. The first scientific articles about raptors were only very recently issued. Here, we report raptor occurrence data from eastern Guinea-Bissau. Raptors were surveyed in the dry season along transects walked around 21 villages in a rural woodland-farmland mosaic landscape. The raptor assemblage is composed of 25 species of which the hooded vulture, the lizard buzzard and the African harrier-hawk were the species more often encountered, followed by the African white-backed vulture. The palm-nut vulture, black kite, brown snake-eagle, grasshopper buzzard, African hawk-eagle, grey kestrel and lanner falcon were secondary, although not uncommon species. The remaining species were seldom recorded. The study complements previous knowledge on this bird group, specifically in the central-eastern part of the country, and reaffirms the international relevance of Guinea-Bissau for the conservation of the hooded and African white-backed vultures.

Ancient human at Bazian and Qusair sites exploited geodiversity and other natural resources for his daily uses such as food, water, building materials and protection himself from nature danger and other enemies. Bazian site is located about 20 km west Sulaimaniya city, northeastern Iraq and Qusair site is located south west Karbala city, near Razaza Lake, middle of Iraq. Rock units exposed near Bazian and Qusair sites are: limestone, dolostone, dolomitic limestone, marly limestone, marl, gypsum, claystone, mudstone, sandstone. Limestone and dolostone were used for building, gypsum was used for manufacturing mortar and claystone for mud bricks, fired bricks and pottery. Many landforms may be used for human demands such as: mountains, plateaus, slopes, undulated hills, fractures, and caves when he chose the place which protects him from nature danger or from any expected enemy. Soil type is composed of sandy, muddy and clayey. Water resources of studied area comprises precipitation of rain and snow, streams, springs and wells which may be used for drinking by animals and human, irrigations and other domestic uses. Soil and water resources play important role on grow and enrich of plant diversity. The plant may be used for human foods, grazing, fuel, and wine products. Some of animals were hunted and used for food, such as: wild goat, wild hare, chukar, see partridge, Persian squirrels, falcon; and others may be considered as a savage or enemies such as: Persian leopard, red fox, jukale, wolf and brown bear. Inspite of the far distance between Bazyan and Qusair, but there were many similar factors such as : building materials, technology of building, some of land forms, type of soil, water resources, religious beliefs and others which refers to trade or cultural exchanges or both of them.

The breeding behaviour and diet of a pair of Brown Falcons Falco berigora on the Southern Tablelands of New South Wales in the post-drought year of 2021 were studied by ~48 hours of observation over 28 days from incubation to fledging, and by analysis of pellets. Both the male and the female, primarily the female, incubated but only the female brooded and fed the three chicks, and the male provided food at 0.1 item/h during incubation and 0.3 item/h during the nestling period, boosted to a combined rate of 0.5 item/h by the female later in the nestling period. Observed prey brought to the nest area (n = 14) was, by number, 79% mammal, 7% bird and 14% unidentified (apparently vertebrate), although some pellets included reptile scales and traces of insect. These findings supplement and compare with those for a previous study at the site in a dry year (2018); the diet was much more dominated by mice in 2021 during a plague of House Mice Mus musculus in the NSW grain belt.

We investigated nesting behavior, food habits, and interspecific interactions of Short-eared Owls (Asio flammeus) within an arctic tundra raptor community on Herschel Island and Komakuk Beach, northern Yukon, Canada. Short-eared Owls were the least common nesting raptor. We found only three nests, all on Herschel Island. All nests were on relatively elevated sites with fairly substantial vegetative cover. All nests failed in the egg stage, from a combination of human disturbance and possible predation by Arctic Fox (Vulpes lagopus) or Red Fox (Vulpes vulpes). Short-eared Owls nested only in years when small rodent densities were at least 4 to 5 individuals per hectare in the spring. Short-eared Owls ate Northern Collared Lemmings (Dicrostonyx groenlandicus), Brown Lemmings (Lemmus trimucronatus), and Tundra Voles (Microtus oeconomus) almost exclusively, without clear selectivity. Peregrine Falcons (Falco peregrinus) killed two adult Short-eared Owls. In northern Yukon, the Short-eared Owl remains an uncommon summer resident and uses the region as a migration route. Spring rodent densities and interspecific predation are prominent limiting factors, and human disturbance also limits nesting success. We recommend restricting access to most tundra areas during periods when the birds are mating, initiating nesting, and incubating eggs. We recommend that human infrastructure be designed so that it cannot support novel nesting (and therefore local range expansion) by other nesting raptors that compete with and prey on Short-earned Owls.

The impacts of warren ripping on European rabbits and other wildlife were studied at four sites in central Australia over a 2.5-year period. At each site, treated (ripped) and untreated plots were established. On the treated plots, warrens were ripped over an area of 20–140 km2. Rabbit haemorrhagic disease (RHD) became established in central Australia during the study. There were fewer rabbits on ripped plots compared with untreated plots both before and after the establishment of RHD. There was also less sign of exotic predators (red foxes and feral cats) on ripped plots. The amount of dingo sign observed and the number of peregrine falcons, brown falcons, kites and goshawks combined and kestrels and hobby falcons combined changed with time but no treatment effect was detected. No consistent treatment effect was detected for red kangaroos, varanid lizards, small mammals or other raptor species.

Modern animal husbandry in Ukraine is an integral part of the market economy and is based on the use of advanced production technologies and not a large number of highly productive domestic or foreign breeds of farm animals. It has been established that the progress of the livestock industry is not possible without determining the changes that occur with breeds and livestock of breeding animals in the subjects of breeding business. It is well known that only breeding animals are able to display high genetic potential for productivity and to pass it on to offspring. Understanding of the state of the breeds is necessary to forecast product volumes that are consistent with country safety, and to determine the populations that need to be preserved or restored in the context of the global problem of wildlife biodiversity conservation. The purpose of the work was to identify the species and breeds of farm animals that have formed the livestock sector of Ukraine at the beginning of the third millennium, and to identify changes that have occurred with the genetic resources of farm animals and to identify the breeds most vulnerable to the number of females under control. Analysis of the state of dairy and combined dairy and meat breeds in the breeding herds of Ukraine made it possible to conclude that as of January 1, 2019, compared to the beginning of 2002, the number of cows in Ayrshire, Angler, Lebedyn, Simmental, Ukrainian Red-and-White Dairy, Ukrainian Black-and-White Dairy, Polish Red and Red Steppe decreased breeds. The increase in the number of cows occurs among the Ukrainian Whiteheaded, Holstein and Swiss breeds. Breeding herds for breeding cattle of Carpathian Brown, Ukrainian Brown Dairy breeds and Pintsgow are not functioning. The endangered include Angler, Ukrainian Whiteheaded, Ukrainian Brown Dairy and Polish Red breeds. A comparative analysis of the number of cows of beef breeds in the subjects of breeding business of Ukraine in the dynamics of 2002–2019 indicates the preservation of all breeds, except for pentiges. In 2019, compared to 2002, cows increased in herds of Aberdeen-Angus breed, Hereford, Limousine, Southern Beef, Polissian Beef, Light Aquitan, Ukrainian Gray and Charolais. A significant decrease in the number of cows in Volinian Beef breed, the Znamensk type of Polissian Beef, Simmental Beef and Ukarainian Beef. The few in Ukraine at this stage include Hereford, Light Aquitan and Ukrainian Beef. The state of pig breeding in the breeding farms on 01.01.2019 indicates the disappearance of breeding herds in which pigs of English selection Large White breed, Large Black and Myrgorod breeds were breed. At present, only Large White breeds and Landrace pigs can be competitive in numbers, and the rest should be considered non-numerical. Sheep breeding, which is represented in Ukraine by the largest number of breeds and breed types, did not have any breeding herds in 2019, where in previous years bred Askanian Fine-Fleece breed, Askanian type of Black-Headed sheep with crossbred fleece, Olibs, North-Caucasian, Polwars, caucasian the Kharkiv type of the Ukrainian Meat-Fleece breed, the Tsigai breed and its two types, as well as the multi-breed type of the Karakul breed. Simultaneously with the disappearance of the above breeds new breeds or types appeared, among them: Bukovyna type of Askanian Meat-Fleece breed with crossbred fleece, Merinolandshaft, Dniprovian Meat (Dnipropetrovsk type), Romanivska. The smallest number of breeding queens of falcon and dark-headed Latvian breeds was established. The changes that took place in the field of horse breeding of Ukraine during 2002–2019 relate to the creation and elimination of breeding herds in which horses were bred by Budyonnivska, Russian Heavy Draft and French Trotter breeds. No information is available in the State Register of Breeding Herds about the Gutsul and Torian breeds, as well as the Shetland Pony, may be regarded as the disappearance of these breeding herds. In 2019, compared to 2002, the number of mares of Newolexandrian Heavy Draft, Orlov Trotter, Russian Trotter, Trakenian, Ukrainian Saddle and Thoroughbred Saddle horse breeds declined significantly. The gene pool of horses has expanded only due to the Hanover breed. Analysis of the status of other species and breeds of farm animals is not optimistic and indicates a decrease in the number of females and, consequently, a decrease in the gene pool of these breeds.Without the introduction of effective state conservation and support programs, as well as policy changes in the agricultural sector, Ukraine will continue to reduce livestock of agricultural animals, especially domestic autochthonous or local breeds, continuing the sad tradition of the world in reducing breed biodiversity.

Zamia orinoquiensis Calonje, Betancur & A.Lindstr., a new species from the western Orinoquía region of Colombia is described and illustrated. The species is segregated from and compared to Z. muricata Willd., the latter which is morphologically recharacterized, illustrated, and recircumscribed to include populations from tropical dry forest and tropical moist forests in the Lara-Falcón Formation and the Cordillera de la Costa natural regions of Venezuela, as well as the Serranía de Macuira in La Guajira, Colombia. Zamia orinoquiensis is morphologically distinguished from Z. muricata by its leaves bearing fewer, coriaceous (vs. papyraceous) leaflets, eophylls with 2 (vs. 4) leaflets, pollen strobili that are brown to reddish brown (vs. cream to tan) with larger microsporophylls bearing more numerous microsporangia, and ovulate strobili that are dark brown to black (vs. dark olive green to olive brown) at maturity.

The sensitivity to sodium monofluoroacetate (1080) of 9 species of native animals from north-western Australia was assessed using the increasing dose procedure to determine the Approximate Lethal Dose for each species. Granivorous birds from this region (e.g. ducks, corellas) were generally more sensitive to 1080 than their counterparts from southern Australia, and would be theoretically at risk from primary poisoning during 1080 grainbased baiting programs. However, the tolerance to 1080 of birds of prey from these areas is sufficient that these species face little risk of secondary poisoning during pest-control programs aimed at rodents or rabbits. The risk of primary poisoning to raptors from meat baits containing 6 mg 1080 per bait or less also appears to be low. The coexistence of brown falcons and barn owls with fluoroacetate-bearing vegetation over parts of their range has probably contributed to their development of tolerance to fluoroacetate.

Abstract Multiple studies have focused on the importance of single modalities (visual, auditory, olfactory) in eliciting anti-predator behavior, however multiple channels are often engaged simultaneously. While examining responses to multiple cues can potentially reveal more complex behavioral responses, little is known about how multimodal processing evolves. By contrasting response to familiar and novel predators, insights can be gained into the evolution of multimodal responses. We studied brown anoles’ (Anolis sagrei) response to acoustic and visual predatory cues of a common potential predator, the great-tailed grackle Quiscalus mexicanus and to the American kestrel Falco sparverius, a species found in other populations but not present in our study population. We observed anole behavior before and after a stimulus and quantified rates of looking, display, and locomotion. Anoles increased their rate of locomotion in response to grackle models, an effect modulated by grackle vocalizations. No such response or modulation was seen when anoles were presented with kestrel stimuli. This suggests that the degree of sophistication of anole response to predators is experience dependent and that relaxed selection can result in reduced anti-predator response following loss of predators.

The first tandemly repeated sequence examined in a passerine bird, a 431-bp PstI fragment named pMAT1, has been cloned from the genome of the brown-headed cowbird (Molothrus ater). The sequence represents about 5–10% of the genome (about 4 × 105 copies) and yields prominent ethidium bromide stained bands when genomic DNA cut with a variety of restriction enzymes is electrophoresed in agarose gels. A particularly striking ladder of fragments is apparent when the DNA is cut with HinfI, indicative of a tandem arrangement of the monomer. The cloned PstI monomer has been sequenced, revealing no internal repeated structure. There are sequences that hybridize with pMAT1 found in related nine-primaried oscines but not in more distantly related oscines, suboscines, or nonpasserine species. Little sequence similarity to tandemly repeated PstI cut sequences from the merlin (Falco columbarius), saurus crane (Grus antigone), or Puerto Rican parrot (Amazona vittata) or to HinfI digested sequence from the Toulouse goose (Anser anser) was detected. The isolated sequence was used as a probe to examine DNA samples of eight members of the tribe Icterini. This examination revealed phylogenetically informative characters. The repeat contains cutting sites from a number of restriction enzymes, which, if sufficiently polymorphic, would provide new phylogenetic characters. Sequences like these, conserved within a species, but variable between closely related species, may be very useful for phylogenetic studies of closely related taxa.Key words: tandemly repeated sequences, satellite DNA, tribe Icterini.

The aims of this study were to identify the types of positive and negative politeness strategies and to find out the most dominant type of positive and negative politeness strategies found in Ome TV by Fiki naki on Youtube. The theory of politeness strategies was by Brown and Levinson (1987). The research method was descriptive qualitative research with content analysis, because the data were collected from document. The researchers chose 4 videos and title first “cewek paling cute and sweet” in Ome TV launched in February 5th, 2021 with a duration of 17 minutes, second “Fiki naki seneng banget ketemu calon istri baru cantik” launched in October 4th, 2021 with a duration of 13 minutes 19 second, third “ Ciwi ciwi Norwegia histeris karna ini”, launched in April 19th 2021 with duration 19 minutes 33 second , fourth “Aku Buat Heboh Cewe - Cewe Di Ome TV” launched in April 14th 2021 with duration 18 minutes 33 second. There were some steps in collecting the data, such as: familiarizing and organizing, coding and reducing, interpreting and representing. The result showed that there were 38 Positive and Negative politeness strategies found in Ome TV by Fiki naki on Youtube, they were: positive politeness 30 (79%), negative politeness 8(21%) . The most dominant type of politeness strategies found in Talk Show by Jimmy Fallon was Positive Politeness. Positive Politeness was done by speaker and hearer to made enjoyable situation, build good relation, good interaction. In conclusion, with this research we must be careful when used a language to communicate with other so that the conversation become run well.

ABSTRACT The tail feathers of female American Kestrels (Falco sparverius) are rufous-brown with black bands down the entire length. There is considerable individual variation in the width and shape of these bands. The width of the most distal (subterminal) black band relative to the width of the next proximal black band may change with age. Published empirical data show that juvenal rectrices have either narrow or, less commonly, wide subterminal bands while adult rectrices consistently have wide subterminal bands. Here we review the literature about this characteristic and discuss how it has been used, and potentially misused, to age female American Kestrels.

AbstractThis study proposes the Fire Hawk Optimizer (FHO) as a novel metaheuristic algorithm based on the foraging behavior of whistling kites, black kites and brown falcons. These birds are termed Fire Hawks considering the specific actions they perform to catch prey in nature, specifically by means of setting fire. Utilizing the proposed algorithm, a numerical investigation was conducted on 233 mathematical test functions with dimensions of 2–100, and 150,000 function evaluations were performed for optimization purposes. For comparison, a total of ten different classical and new metaheuristic algorithms were utilized as alternative approaches. The statistical measurements include the best, mean, median, and standard deviation of 100 independent optimization runs, while well-known statistical analyses, such as Kolmogorov–Smirnov, Wilcoxon, Mann–Whitney, Kruskal–Wallis, and Post-Hoc analysis, were also conducted. The obtained results prove that the FHO algorithm exhibits better performance than the compared algorithms from literature. In addition, two of the latest Competitions on Evolutionary Computation (CEC), such as CEC 2020 on bound constraint problems and CEC 2020 on real-world optimization problems including the well-known mechanical engineering design problems, were considered for performance evaluation of the FHO algorithm, which further demonstrated the superior capability of the optimizer over other metaheuristic algorithms in literature. The capability of the FHO is also evaluated in dealing with two of the real-size structural frames with 15 and 24 stories in which the new method outperforms the previously developed metaheuristics.

AbstractA multianalytical approach was used to characterize the materials in the “Vienna Moamin”, an outstanding richly illustrated manuscript from the late thirteenth century, which was made in Italy and is now kept in the Kunsthistorisches Museum Wien. The investigations were carried out with a non-invasive approach by using complementary techniques, such as X-ray fluorescence (XRF), reflection Fourier transform infrared spectroscopy (rFTIR), Raman spectroscopy, and fiber optic reflectance spectroscopy (FORS). In addition, XRF scans were performed in two areas which yielded chemical maps showing the elemental distribution. The results revealed that typical materials from the medieval times were applied for the manuscript. Calcium carbonate on the parchment surface indicated a dehairing process with lime and/or whitening with chalk. Two different iron gall inks were detected in the main text and marginal notes, and vermilion was used for rubrication. The color palette included azurite, a green colorant composed of orpiment and indigo, yellow ochre, brown iron oxide pigments, minium, vermilion, brazilwood lake, and carbon black. Moreover, mosaic gold was detected in gold-beige hues. Lead white was identified for white areas and fine decoration lines, as well as in mixture with blue and red pigments for light color shades. No reliable information could be obtained concerning the binding media. Two differing application techniques for gold leaf were detected, which correspond with stylistic differences: either on gypsum or chalk preparation layers. Furthermore, calcium soap contents in certain colors were determined only on one folio with unique characteristics. The XRF scans of two historiated initials revealed that similar materials were applied in both cases and provided further valuable information about the painting technique. The results obtained enabled to gain insights into Italian thirteenth century manuscript production techniques and to characterize the used materials. The investigations showed the importance of scanning XRF for the elucidation of painting techniques, but also the demand of scanning devices utilizing compound specific analytical techniques such as rFTIR.

AWARDSSome major international children’s literature awards have just been announced as I compile the news for this issue. Several of these have Canadian connections.2016 ALSC (Association for Library Service to Children) Book & Media Award WinnersJohn Newbery Medal"Last Stop on Market Street,” written by Matt de la Peña, illustrated by Christian Robinson and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Newbery Honor Books"The War that Saved My Life," written by Kimberly Brubaker Bradley and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Roller Girl,” written and illustrated by Victoria Jamieson and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Echo,” written by Pam Muñoz Ryan and published by Scholastic Press, an imprint of Scholastic Inc.Randolph Caldecott Medal"Finding Winnie: The True Story of the World’s Most Famous Bear," illustrated by Sophie Blackall, written by Lindsay Mattick and published by Little, Brown and Company, a division of Hachette Book Group, Inc.Caldecott Honor Books"Trombone Shorty," illustrated by Bryan Collier, written by Troy Andrews and published by Abrams Books for Young Readers, an imprint of ABRAMS“Waiting,” illustrated and written by Kevin Henkes, published by Greenwillow Books, an imprint of HarperCollins Publishers“Voice of Freedom Fannie Lou Hamer Spirit of the Civil Rights Movement,” illustrated by Ekua Holmes, written by Carole Boston Weatherford and published by Candlewick Press“Last Stop on Market Street,” illustrated by Christian Robinson, written by Matt de le Peña and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Laura Ingalls Wilder AwardJerry Pinkney -- His award-winning works include “The Lion and the Mouse,” recipient of the Caldecott Award in 2010. In addition, Pinkney has received five Caldecott Honor Awards, five Coretta Scott King Illustrator Awards, and four Coretta Scott King Illustrator Honors. 2017 May Hill Arbuthnot Honor Lecture AwardJacqueline Woodson will deliver the 2017 May Hill Arbuthnot Honor Lecture. Woodson is the 2014 National Book Award winner for her New York Times bestselling memoir, “Brown Girl Dreaming.” Mildred L. Batchelder Award“The Wonderful Fluffy Little Squishy,” published by Enchanted Lion Books, written and illustrated by Beatrice Alemagna, and translated from the French by Claudia Zoe BedrickBatchelder Honor Books“Adam and Thomas,” published by Seven Stories Press, written by Aharon Appelfeld, iIllustrated by Philippe Dumas and translated from the Hebrew by Jeffrey M. Green“Grandma Lives in a Perfume Village,” published by NorthSouth Books, an imprint of Nordsüd Verlag AG, written by Fang Suzhen, iIllustrated by Sonja Danowski and translated from the Chinese by Huang Xiumin“Written and Drawn by Henrietta,” published by TOON Books, an imprint of RAW Junior, LLC and written, illustrated, and translated from the Spanish by Liniers.Pura Belpre (Author) Award“Enchanted Air: Two Cultures, Two Wings: A Memoir," written by Margarita Engle and published by Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing DivisionBelpre (Author) Honor Books"The Smoking Mirror," written by David Bowles and published by IFWG Publishing, Inc."Mango, Abuela, and Me," written by Meg Medina, illustrated by Angela Dominguez and published by Candlewick PressPura Belpre (Illustrator) Award"The Drum Dream Girl," illustrated by Rafael López, written by Margarita Engle and published by Houghton Mifflin HarcourtBelpre (Illustrator) Honor Books"My Tata’s Remedies = Los remedios de mi tata,” iIllustrated by Antonio Castro L., written by Roni Capin Rivera-Ashford and published by Cinco Puntos Press“Mango, Abuela, and Me,” illustrated by Angela Dominguez, written by Meg Medina and published by Candlewick Press“Funny Bones: Posada and His Day of the Dead Calaveras,” illustrated and written by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSAndrew Carnegie Medal "That Is NOT a Good Idea," produced by Weston Woods Studios, Inc.Theodor Seuss Geisel Award"Don’t Throw It to Mo!" written by David A. Adler, illustrated by Sam Ricks and published by Penguin Young Readers, and imprint of Penguin Group (USA), LLCGeisel Honor Books "A Pig, a Fox, and a Box," written and illustrated by Jonathan Fenske and published by Penguin Young Readers, an Imprint of Penguin Group (USA) LLC"Supertruck," written and illustrated by Stephen Savage and published by A Neal Porter Book published by Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership"Waiting," written and illustrated by Kevin Henkes and published by Greenwillow Books, an imprint of HarperCollins Publishers.Odyssey Award"The War that Saved My Life," produced by Listening Library, an imprint of the Penguin Random House Audio Publishing Group, written by Kimberly Brubaker Bradley and narrated by Jayne EntwistleOdyssey Honor Audiobook"Echo," produced by Scholastic Audio / Paul R. Gagne, written by Pam Munoz Ryan and narrated by Mark Bramhall, David De Vries, MacLeod Andrews and Rebecca SolerRobert F. Sibert Informational Book Medal"Funny Bones: Posada and His Day of the Dead Calaveras,” written and illustrated by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSSibert Honor Books"Drowned City: Hurricane Katrina and New Orleans," written and illustrated by Don Brown and published by Houghton Mifflin Harcourt"The Boys Who Challenged Hitler: Knud Pedersen and the Churchill Club," by Phillip Hoose and published by Farrar Straus Giroux Books for Young Readers"Turning 15 on the Road to Freedom: My Story of the 1965 Selma Voting Rights March," written by Lynda Blackmon Lowery as told to Elspeth Leacock and Susan Buckley, illustrated by PJ Loughran and published by Dial Books, an imprint of Penguin Group (USA) LLC"Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement," written by Carole Boston Weatherford, illustrated by Ekua Holmes and published by Candlewick PressCONFERENCES & EVENTSThis 2016 is shaping up to be a busy year for those of us involved with Canadian children’s literature. To tantalize your appetite (and encourage you to get involved) here are some highlights:January:Vancouver Children’s Literature Roundtable event: A Celebration of BC’s Award Children’s Authors and Illustrators with special guests Rachel Hartman and the Children’s Literature Roundtables of Canada 2015 Information Book Award winners Margriet Ruurs & Katherine Gibson, January 27, 2016, 7 – 9 pm. Creekside Community Centre, 1 Athletes Way, Vancouver. Free to members and students.April:Wordpower programs from the Young Alberta Book Society feature teams of Albertan children’s literary artists touring to schools in rural areas. Thanks to the generous sponsorship of Cenovus Energy, schools unable to book artist visits due to prohibitive travel costs are able to participate.April 4-8: Wordpower South will send 8 artist teams to communities roughly between Drumheller and Medicine Hat. Artists include Karen Bass, Lorna Shultz-Nicholson, Bethany Ellis, Marty Chan, Mary Hays, Sigmund Brouwer, Carolyn Fisher, Natasha DeenApril 25-29: Wordpower North will have a team of 8 artists traveling among communities in north-eastern Alberta such as Fort MacKay, Conklin, Wabasca, Lac La Biche, Cold Lake, and Bonnyville. The artists include Kathy Jessup, Lois Donovan, Deborah Miller, David Poulsen, Gail de Vos, Karen Spafford-Fitz, Hazel Hutchins, Georgia Graham May: COMICS AND CONTEMPORARY LITERACY: May 2, 2016; 8:30am - 4:30pm at the Rozsa Centre, University of Calgary. This is a one day conference featuring presentations and a workshop by leading authors, scholars, and illustrators from the world of comics and graphic novels. This conference is the 5th in the annual 'Linguistic Diversity and Language Policy' series sponsored by the Chair, English as an Additional Language, Werklund School of Education, University of Calgary. Tom Ricento is the current Chair-holder. The conference is free and lunch is provided. Seating is limited, so register early. The four presenters are:Jillian Tamaki, illustrator for This One Summer, and winner of the Governor General's Award for children's illustration.Richard van Camp, best-selling author of The Lesser Blessed and Three Feathers, and member of the Dogrib Nation.Dr. Nick Sousanis, post-doctoral scholar, teacher and creator of the philosophical comic Unflattening.Dr. Bart Beaty, University of Calgary professor, acclaimed comics scholar and author of Comics vs. Art TD Canadian Children’s Book Week 2016. In 2016, the Canadian Children's Book Centre celebrates 40 years of bringing great Canadian children's books to young readers across the country and the annual TD Canadian Children’s Book Week will be occurring this May across Canada. The theme this year is the celebration of these 40 years of great books written, illustrated and published in Canada as well as stories that have been told over the years. The 2016 tour of storytellers, authors and illustrators and their area of travel are as follows:Alberta: Bob Graham, storyteller; Kate Jaimet, authorBritish Columbia (Interior region) Lisa Dalrymple, author; (Lower Mainland region) Graham Ross, illustrator; (Vancouver Island region) Wesley King, author; (Northern region, Rebecca Bender, author & illustrator.Manitoba: Angela Misri, author; Allison Van Diepen, authorNew Brunswick: Mary Ann Lippiatt, storytellerNewfoundland: Maureen Fergus, authorLabrador: Sharon Jennings, authorNorthwest Territories: Geneviève Després, illustratorNova Scotia: Judith Graves, authorNunavut: Gabrielle Grimard, illustratorOntario: Karen Autio, author; Marty Chan, author; Danika Dinsmore, author; Kallie George, author; Doretta Groenendyk, author & illustrator; Alison Hughes, author; Margriet Ruurs, author.Prince Edward Island: Wallace Edwards, author & illustratorQuebec (English-language tour): LM Falcone, author; Simon Rose, author; Kean Soo, author & illustrator; Robin Stevenson, author; and Tiffany Stone, author/poet.Saskatchewan: (Saskatoon and northern area) Donna Dudinsky, storyteller; (Moose Jaw/Regina and southern area) Sarah Ellis, authorYukon: Vicki Grant, author-----Gail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and comic books & graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta. She is the author of nine books on storytelling and folklore. Gail is also a professional storyteller who has taught the storytelling course at SLIS for over two decades.

Introdução: O maior foco das pesquisas odontológicas nos últimos 60 anos tem sido a adesão e suas técnicas. Mais de 7000 artigos já foram publicados a este respeito. O desenvolvimento dos materiais odontológicos adesivos e as técnicas a eles relacionadas possuem uma história interessante, onde descobertas do passado ainda são usadas de alguma forma no presente. Objetivo: expor, através de uma revisão de literatura, um breve histórico sobre materiais e técnicas restauradoras, bem como o estágio atual da odontologia adesiva, com ênfase na tradução de evidências baseadas em pesquisas laboratoriais para a prática clínica. Materiais e Métodos: Foram selecionados livros de preferência do autor para a introdução de conceitos clássicos e artigos de revisão publicados nos últimos 10 anos, utilizando as cinco palavras-chave: “Dental Bonding” AND “Dental Cements” AND “Resin Cements” AND “Adhesives” AND “Ceramics”, sorteados pela melhor combinação na plataforma Pub/Med/MEDLINE. Resultados: Duzentos e um artigos, foram encontrados, sendo utilizados para análise qualitativa e quantitativa aqueles pertinentes ao direcionamento do autor, de acordo com o tema. Conclusão: Considerando as limitações do estudo, concluiu-se que a odontologia adesiva é uma área que segue em constante desenvolvimento, fundamental para a realização de restaurações minimamente invasivas e estéticas. Onde para que seja possível consequentemente longevidade clínica, os materiais utilizados e substrato dentário requerem conhecimento do profissional e fidelidade na execução de um correto pré-tratamento das superfícies, respeitando suas naturezas e composições.Descritores: Colagem Dentária; Cimentos Dentários; Cimentos de Resina; Adesivos; Cerâmica.ReferênciasVan Meerbeek B, De Munck J, Yoshida Y, Inoue S, Vargas M, Vijay P, et al. Buonocore memorial lecture. Adhesion to enamel and dentin: current status and future challenges. Oper Dent. 2003;28:215-35.Miyashita E, Fonseca AS. 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Reduced antigenicity of type I collagen and proteoglycans in sclerotic dentin. J Dent Res. 2006;85:133-37.Madfa AA, Yue XG. Dental protheses mimic the natural enamel behavior under functional loading: A review article. Jpn Dent Sci Rev. 2016;52:2-13.Nakabayashi N, Pashley DH. Hybridization of Dental Hard Tissues. Tokio: Quintessence Publishing, 1998.Van Meerbeek B, Vargas M, Inoue S, Yoshida Y, Peumans M, Lambrechts P, et al. Adhesives and cements to promote preservation dentistry. Oper Dent. 2001;6:119-44.Pashley DH, Carvalho RM. Dentine permeability and dentine adhesion. J Dent. 1997;25:355-72.Imazato S, Tarumi H, Ebi N, Ebisu S. Citotoxic effects of composite restorations employing self-etching primers or experimental antibacterial primers. J Dent. 2000;28:61-7.Alex G. Universal adhesives: the next evolution in adhesive dentistry? Compend Contin Educ Dent. 2015;36:15-26.Muñoz MA, Luque I, Hass V, Reis A, Loguercio AD, Bombarda NH. 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IntroductionThe horror film Hush (2016) has attracted attention since its release due to the uniqueness of its central character—a deaf–mute author who lives in a world of silence. Maddie Young (Kate Siegel) moves into a remote cabin in the woods to recover from a breakup and finish her new novel. Aside from a cat, she is alone in the house, only engaging with loved ones via online messaging or video chats during which she uses American Sign Language (ASL). Maddie cannot hear nor speak, so writing is her primary mode of creative expression, and a key source of information for the audience. This article explores both the presence and absence of text in Hush, examining how textual “captions” of various kinds are both provided and withheld at key moments. As an author, Maddie battles the limits of written language as she struggles with writer’s block. As a person, she fights the limits of silence and isolation as a brutal killer invades her retreat. Accordingly, this article examines how the interplay between silence, text, and sound invites viewers to identify with the heroine’s experience and ultimate triumph.Hush is best described as a slasher—a horror film in which a single (usually male) killer stalks and kills a series of victims with relentless determination (Clover, Men, Women). Slashers are about close, visceral killing—blood and the hard stab of the knife. With her big brown eyes and gentle presence, quiet, deaf Maddie is clearly framed as a lamb to slaughter in the opening scenes. Indeed, throughout Hush, Maddie’s lack of hearing is leveraged to increase suspense and horror. The classic pantomime cry of “He’s behind you!” is taken to dark extremes as the audience watches a nameless man (John Gallagher Jr.) stalk the writer in her isolated house. She is unable to hear him enter the building, unable to sense him looming behind her. Neither does she hear him killing her friend outside on the porch, banging her body loudly against the French doors.And yet, despite her vulnerability, she rises to the challenge. Fighting back against her attacker using a variety of multisensory strategies, Maddie assumes the role of the “Final Girl” in this narrative. As Carol Clover has explained, the Final Girl is a key trope of slasher films, forming part of their essential structure. While others in the film are killed, “she alone looks death in the face; but she alone also finds the strength either to stay the killer long enough to be rescued (ending A) or to kill him herself (ending B)” (Clover, Her Body, Himself). However, reviews and discussions of Hush typically frame Maddie as a Final Girl with a difference. Adding disability into the equation is seen as “revolutionising” the trope (Sheppard) and “updating the Final Girl theory” for a new age (Laird). Indeed, the film presents its Final Girl as simultaneously deaf and powerful—a twist that potentially challenges the dynamics of the slasher and representations of disability more generally.My Weakness, My StrengthThe opening sequence of Hush introduces Maddie’s deafness through the use of sound, silence, and text. Following an establishing shot sweeping over the dark forest and down to her solitary cottage, the film opens to warm domesticity. Close-ups of onion, eggs, and garlic being prepared are accompanied by clear, crisp sounds of crackling, bubbling, slicing, and frying. The camera zooms out to focus on Maddie, busy at her culinary tasks. All noises begin to fade. The camera focuses on Maddie’s ear as audio is eliminated, replaced by silence. As she continues to cook, the audience experiences her world—a world devoid of sound. These initial moments also highlight the importance of digital communication technologies. Maddie moves smoothly between devices, switching from laptop computer to iPhone while sharing instant messages with a friend. Close-ups of these on-screen conversations provide viewers with additional narrative information, operating as an alternate form of captioning from within the diegesis. Snippets of text from other sources are likewise shown in passing, such as the author’s blurb on the jacket of her previous novel. The camera lingers on this book, allowing viewers to read that Maddie suffered hearing loss and vocal paralysis after contracting bacterial meningitis at 13 years old. Traditional closed captioning or subtitles are thus avoided in favour of less intrusive forms of expositional text that are integrated within the plot.While hearing characters, such as her neighbour and sister, use SimCom (simultaneous communication or sign supported speech) to communicate with her, Maddie signs in silence. Because the filmmakers have elected not to provide captions for her signs in these moments, a—typically non-ASL speaking—hearing audience will inevitably experience disruptions in comprehension and Maddie’s conversations can therefore only be partially understood. This allows for an interesting role reversal for viewers. As Katherine A. Jankowski (32) points out, deaf and hard of hearing audiences have long expressed dissatisfaction with accessing the spoken word on television and film due to a lack of closed captioning. Despite the increasing technological ease of captioning digital media in the 21st century, this barrier to accessibility continues to be an ongoing issue (Ellis and Kent). The hearing community do not share this frustrating background—television programs that include ASL are captioned to ensure hearing viewers can follow the story (see for example Beth Haller’s article on Switched at Birth in this special issue). Hush therefore inverts this dynamic by presenting ASL without captions. Whereas silence is used to draw hearing viewers into Maddie’s experience, her periodic use of ASL pushes them out again. This creates a push–pull dynamic, whereby the hearing audience identify with Maddie and empathise with the losses associated with being deaf and mute, but also realise that, as a result, she has developed additional skills that are beyond their ken.It is worth noting at this point that Maddie is not the first Final Girl with a disability. In the 1967 thriller Wait until Dark, for instance, Audrey Hepburn plays Susy Hendrix, a blind woman trapped in her home by three crooks. Martin F. Norden suggests that this film represented a “step forward” in cinematic representations of disability because its heroine is not simply an innocent victim, but “tough, resilient, and resourceful in her fight against the criminals who have misrepresented themselves to her and have broken into her apartment” (228). Susy’s blindness, at first presented as a source of vulnerability and frustration, becomes her strength in the film’s climax. Bashing out all the lights in the apartment, she forces the men to fight on her terms, in darkness, where she holds the upper hand. In a classic example of Final Girl tenacity, Susy stabs the last of them to death before help arrives. Maddie likewise uses her disability as a tactical advantage. An enhanced sense of touch allows her to detect the killer when he sneaks up behind her as she feels the lightest flutter upon the hairs of her neck. She also wields a blaring fire alarm as a weapon, deafening and disorienting her attacker, causing him to drop his knife.The similarities between these films are not coincidental. During an interview, director Mike Flanagan (who co-wrote Hush with wife Siegel) stated that they were directly informed by Wait until Dark. When asked about the choice to make Maddie’s character deaf, he explained that “it kind of happened because Kate and I were out to dinner and we were talking about movies we liked. One of the ones that we stumbled on that we both really liked was Wait Until Dark” (cited in Thurman). In the earlier film, director Terence Young used darkness to blind the audience—at times the screen is completely black and viewers must listen carefully to work out what is happening. Likewise, Flanagan and Siegel use silence to effectively deafen the audience at crucial moments. The viewers are therefore forced to experience the action as the heroines do.You’re Gonna Die Screaming But You Won’t Be HeardHorror films often depend upon sound design for impact—the most mundane visuals can be made frightening by the addition of a particular noise, effect, or tune. Therefore, in the context of the slasher genre, one of the most unique aspects of Hush is the absence of the Final Girl’s vocalisation. A mute heroine is deprived of the most basic expressive tool in the horror handbook—a good scream. “What really won me over,” comments one reviewer, “was the fact that this particular ‘final girl’ isn’t physically able to whinge or scream when in pain–something that really isn’t the norm in slasher/home invasion movies” (Gorman). Yet silence also plays an important part in this genre, “when the wind stops or the footfalls cease, death is near” (Whittington 183). Indeed, Hush’s tagline is “silence can be killer.”The arrival of the killer triggers a deep kind of silence in this particular film, because alternative captions, text, and other communicative techniques (including ASL) cease to be used or useful when the man begins terrorising Maddie. This is not entirely surprising, as the abject failure of technology is a familiar trope in slasher films. As Clover explains, “the emotional terrain of the slasher film is pretechnological” (Her Body, Himself, 198). In Hush, however, the focus on text in this context is notable. There is a sense that written modes of communication are unreliable when it counts. The killer steals her phone, and cuts electricity and Internet access to the house. She attempts to use the neighbours’ Wi-Fi via her laptop, but does not know the password. Quick thinking Maddie even scrawls backwards messages on her windows, “WON’T TELL. DIDN’T SEE FACE,” she writes in lipstick, “BOYFRIEND COMING HOME.” In response, the killer simply removes his mask, “You’ve seen it now” he says. They both know there is no boyfriend. The written word has shifted from being central to Maddie’s life, to largely irrelevant. Text cannot save her. It is only by using other strategies (and senses) that Maddie empowers herself to survive.Maddie’s struggles to communicate and take control are integral to the film’s unfolding narrative, and co-writer Siegel notes this was a conscious theme: “A lot of this movie is … a metaphor for feeling unheard. It’s a movie about asserting yourself and of course as a female writer I brought a lot to that.” In their reflection on the limits of both verbal and written communication, the writers of Hush owe a debt to another source of inspiration—Joss Whedon’s Buffy the Vampire Slayer television series. Season four, episode ten, also called Hush, was first aired on 14 December 1999 and features a critically acclaimed storyline in which the characters all lose their ability to speak. Voices from all over Sunnydale are stolen by monstrous fairytale figures called The Gentlemen, who use the silence to cut fresh hearts from living victims. Their appearance is heralded by a morbid rhyme:Can’t even shout, can’t even cry The Gentlemen are coming by. Looking in windows, knocking on doors, They need to take seven and they might take yours. Can’t call to mom, can’t say a word, You’re gonna die screaming but you won’t be heard.The theme of being “unheard” is clearly felt in this episode. Buffy and co attempt a variety of methods to compensate for their lost voices, such as hanging message boards around their necks, using basic text-to-voice computer software, and drawing on overhead projector slides. These tools essentially provide the captions for a story unfolding in silence, as no subtitles are provided. As it turns out, in many ways the friends’ non-verbal communication is more effective than their spoken words. Patrick Shade argues that the episode:celebrates the limits and virtues of both the nonverbal and the verbal. … We tend to be most readily aware of verbal means … but “Hush” stresses that we are embodied creatures whose communication consists in more than the spoken word. It reminds us that we have multiple resources we regularly employ in communicating.In a similar way, the film Hush emphasises alternative modes of expression through the device of the mute Final Girl, who must use all of her sensory and intellectual resources to survive. The evening begins with Maddie at leisure, unable to decide how to end her fictional novel. By the finale she is clarity incarnate. She assesses each real-life scene proactively and “writes” the end of the film on her own terms, showing that there is only one way to survive the night—she must fight.Deaf GainIn his discussion of disability and cinema, Norden explains that the majority of films position disabled people as outsiders and “others” because “filmmakers photograph and edit their work to reflect an able-bodied point of view” (1). The very apparatus of mainstream film, he argues, is designed to embody able-bodied experiences and encourage audience identification with able-bodied characters. He argues this bias results in disabled characters positioned as “objects of spectacle” to be pitied, feared or scorned by viewers. In Hush, however, the audience is consistently encouraged to identify with Maddie. As she fights for her life in the final scenes, sound fades away and the camera assumes a first-person perspective. The man is above, choking her on the floor, and we look up at him through her eyes. As Maddie’s groping hand finds a corkscrew and jabs the spike into his neck, we watch his death through her eyes too. The film thus assists viewers to apprehend Maddie’s strength intimately, rather than framing her as a spectacle or distanced “other” to be pitied.Importantly, it is this very core of perceived vulnerability, yet ultimate strength, that gives Maddie the edge over her attacker in the end. In this way, Maddie’s disabilities are not solely represented as a space of limitation or difference, but a potential wellspring of power. Hence the film supports, to some degree, the move to seeing deafness as gain, rather than loss:Deafness has long been viewed as a hearing loss—an absence, a void, a lack. It is virtually impossible to think of deafness without thinking of loss. And yet Deaf people do not often consider their lives to be defined by loss. Rather, there is something present in the lives of Deaf people, something full and complete. (Bauman and Murray, 3)As Bauman and Murray explain, the shift from “hearing loss” to “deaf gain” involves focusing on what is advantageous and unique about the deaf experience. They use the example of the Swiss national snowboarding team, who hired a deaf coach to boost their performance. The coach noticed they were depending too much on sound and used earplugs to teach a multi-sensory approach, “the earplugs forced them to learn to depend on the feel of the snow beneath their boards [and] the snowboarder’s performance improved markedly” (6). This idea that removing sound strengthens other senses is a thread that runs throughout Hush. For example, it is the loss of hearing and speech that are credited with inspiring Maddie’s successful writing career and innovative literary “voice”.Lennard J. Davis warns that framing people as heroic or empowered as a result of their disabilities can feed counterproductive stereotypes and perpetuate oppressive systems. “Privileging the inherent powers of the deaf or the blind is a form of patronizing,” he argues, because it traps such individuals within the concept of innate difference (106). Disparities between able and disabled people are easier to justify when disabled characters are presented as intrinsically “special” or “noble,” as this suggests inevitable divergence, rather than structural inequality. While this is something to keep in mind, Hush skirts the issue by presenting Maddie as a flawed, realistic character. She does not possess superpowers; she makes mistakes and gets injured. In short, she is a fallible human using what resources she has to the best of her abilities. As such, she represents a holistic vision of a disabled heroine rather than an overly glorified stereotype.ConclusionHush is a film about the limits of text, the gaps where language is impossible or insufficient, and the struggle to be heard as a woman with disabilities. It is a film about the difficulties surrounding both verbal and written communication, and our dependence upon them. The absence of closed captions or subtitles, combined with the use of alternative “captioning”—in the form of instant messaging, for instance—grounds the narrative in lived space, rather than providing easy extra-textual solutions. It also poses a challenge to a hearing audience, to cross the border of “otherness” and identify with a deaf heroine.Returning to the discussion of the Final Girl characterisation, Clover argues that this is a gendered device combining both traditionally feminine and masculine characteristics. The fluidity of the Final Girl is constant, “even during that final struggle she is now weak and now strong, now flees the killer and now charges him, now stabs and is stabbed, now cries out in fear and now shouts in anger” (Her Body, Himself, 221). Men viewing slasher films identify with the Final Girl’s “masculine” traits, and in the process find themselves looking through the eyes of a woman. In using a deaf character, Hush suggests that an evolution of this dynamic might also occur along the dis/abled boundary line. Maddie is a powerful survivor who shifts between weak and strong, frightened and fierce, but also between disabled and able. This portrayal encourages the audience to identify with her empowered traits and in the process look through the eyes of a disabled woman. Therefore, while slashers—and horror films in general—are not traditionally associated with progressive representations of disabilities, this evolution of the Final Girl may provide a fruitful topic of both research and filmmaking in the future.ReferencesBauman, Dirksen, and Joseph J. Murray. “Reframing: From Hearing Loss to Deaf Gain.” Trans. Fallon Brizendine and Emily Schenker. Deaf Studies Digital Journal 1 (2009): 1–10. <http://dsdj.gallaudet.edu/assets/section/section2/entry19/DSDJ_entry19.pdf>.Clover, Carol J. Men, Women, and Chain Saws: Gender in the Modern Horror Film. New Jersey: Princeton UP, 1992.———. “Her Body, Himself: Gender in the Slasher Film.” Representations 20 (1987): 187–228.Davis, Lennard J. Enforcing Normalcy: Disability, Deafness, and the Body. London: Verso, 1995.Ellis, Katie, and Mike Kent. Disability and New Media. New York: Routledge, 2011.Gorman, H. “Hush: Film Review.” Scream Horror Magazine (2016) <http://www.screamhorrormag.com/hush-film-review/>.Jankowski, Katherine A. Deaf Empowerment: Emergence, Struggle, and Rhetoric. Washington: Gallaudet UP, 1997.Laird, E.E. “Updating the Final Girl Theory.” Medium (2016) <https://medium.com/@TheFilmJournal/updating-the-final-girl-theory-b37ec0b1acf4>.Norden, M.F. Cinema of Isolation: A History of Physical Disability in the Movies. New Jersey: Rutgers UP, 1994.Shade, Patrick. “Screaming to Be Heard: Community and Communication in ‘Hush’.” Slayage 6.1 (2006). <http://www.whedonstudies.tv/uploads/2/6/2/8/26288593/shade_slayage_6.1.pdf>.Sheppard, D. “Hush: Revolutionising the Final Girl.” Eyes on Screen (2016). <https://eyesonscreen.wordpress.com/2016/06/08/hush-revolutionising-the-final-girl/>.Thurman, T. “‘Hush’ Director Mike Flanagan and Actress Kate Siegel on Their New Thriller!” Interview. Bloody Disgusting (2016). <http://bloody-disgusting.com/interviews/3384092/interview-hush-mike-flanagan-kate-siegel/>.Whittington, W. “Horror Sound Design.” A Companion to the Horror Film. Ed. Harry M. Benshoff. Oxford: John Wiley & Sons, 2014: 168–185.

Introduction Based on the profusion of scholarly and populist analysis of the relationship between books and films one could easily be forgiven for thinking that the exchange between the two media was a decidedly one-way affair. Countless words have been expended upon the subject of literary adaptation, in which the process of transforming stories and novels into cinematic or televisual form has been examined in ways both general and particular. A relationship far less well-documented though is that between popular novels and the films that have spawned them. With the notable exception of Randall D. Larson’s valuable Films into Books, which is centred mainly on correspondence with prolific writers of “novelisations”, academic study of this extremely widespread phenomenon has been almost non-existent. Even Linda Hutcheon’s admirable recent publication, A Theory of Adaptation, makes scant mention of novelisations, in spite of her claim that this flourishing industry “cannot be ignored” (38). Retelling film narratives in a written form is nothing new. Indeed, as Larson notes, “novelisations have existed almost as long as movies have” and can be found as far back as the 1920s, although it was not until the advent of mass-market paperbacks that they truly came into their own (3-4). The sixties and seventies were boom years for novelisations as they provided film lovers with a way to re-experience their favourite movies long after they had disappeared from cinema screens. It shouldn’t be forgotten that before the advent of home video and DVD books were, along with television broadcasts, the most widely accessible way in which people could do so. Even today they continue to appear in book shops. At the same time, the Internet age has fuelled the creation and dissemination of a vast array of “fan-fiction” that supplements the output of authorised writers. Despite the vast consumer appetite for novelisations, however, their critical reception has been noticeably cool. Jonathan Coe’s caustic appraisal of novelisations as “that bastard, misshapen offspring of the cinema and the written word” represents the prevailing attitude toward them (45). The fact that many are genre novels—sci-fi, western and crime thrillers—and that the majority are decidedly low-brow has not helped to secure them critical plaudits. Other reasons though lie beyond these prejudices. For one thing, many are simply not very well written according to any conventional measure. When one considers the time constraints under which a lot of these books were produced this is hardly surprising. Based on his extensive correspondence with authors, Larson suggests four to six weeks as around the average writing time, with some adaptations, such as Michael Avallone’s Beneath the Planet of the Apes, spewed out in a single weekend (12). The quality of the writing in many novelisations is certainly hard to defend, and yet one other widely held view of them holds considerably less water. This is the idea of novelisations as pale shadows of the movies deemed to be their source, in which only the most manifest content of characterisation and plot are reproduced. In this denuded form, it is implied, a great deal of value has been lost while only rarely has anything of significant value been added. This point of view is in strong contrast with the now customary acceptance that in the reverse process of adaptation—from book to film—while some elements may be necessarily or wilfully sacrificed, significant gains in emotional impact, characterisation or other dramatic features may often be made as a result of the different techniques available through the film medium. If we think of films as the source of novelisations we slip into a great fallacy however. In the vast majority of cases the books are not based on films at all but on their screenplays. Unlike literary adaptations, film and book do not draw one from the other but instead each produces in a different medium an adaptation of a shared source. It has generally been considered desirable to have a novelisation available for public purchase by the time the movie reaches theatres and, since time must be allowed for printing and distribution, this has generally meant that the book must be completed before the filming wraps (Larson, 12-3). No wonder, then, that novelisations rarely attempt to describe a film’s mise-en-scène. While the industrial process by which the books are produced can help to explain some features of their relationship to the films whose stories they share, the fact that they are seldom adaptations of these actual films is a point that their marketing has tended to suppress. It is normal for book covers to feature one or more images from the film. Names of stars often appear prominently, and a more detailed list of the film’s key cast and credits can generally be found in smaller print on the back of the book. Novelisations are not sold or consumed as alternative adaptations of a screenplay but through the implication of a much closer relationship to the film than many in fact possess. This discordance allows us to consider novelisations as a re-imagining of the film on two temporal levels. On the one hand, the novelisation can be thought of as preceding the film. It is not unusual for such a book to adapt an older version of the script than the one that was actually shot, thus rendering a single definitive script source elusive if not downright illusory. It is fairly common to find whole scenes missing from the book or conversely to read extensive narrative episodes that never made their way into the finished picture. Dialogue is often a mere paraphrase, no matter how diligently the author has replicated the lines of the script. Such largely unintentional differences can provide fascinating insights into the film’s production history, revealing other paths that the film might well have taken. On the other hand, despite its being published simultaneously with (or even before) the film’s release, a novelisation will often be consumed after viewing the film, in order to help its readers re-experience the movie or to develop and augment that experience. Novelisations can thus be seen to give rise to three main areas of interest. As historical documents they can be of use when considering a film’s developmental process. They also provide alternative readings of the film script and may, by extension, help to enrich a viewer’s retrospective relationship with the film itself. Thirdly, they offer an avenue for exploring the differing narrational forms and capabilities of the two media. “Talk of adaptation,” Yvonne Tasker has argued, “often seems to take place in an abstract hierarchical mode—a hierarchy in which literature seems to emerge as almost by default ‘better’, more complex than film” (18). As we shall see, such a position is not always easy to support. In considering these aspects of the novelisation we now turn to two closely related examples. The film Capricorn One, released in the United States in 1978, was directed by Peter Hyams from his own screenplay. For our purposes it is most notable as one of several works that spawned two separate English language novelisations, each by different authors. One by Bernard L. Ross (a youthful pseudonym of the now popular novelist Ken Follett) was published in England, while Ron Goulart’s version was published in the United States. The story of Capricorn One centres on a colossal fraud perpetrated by NASA in an attempt to conceal a catastrophic problem with its manned mission to Mars. Realising that a fault in the shuttle’s life support system means that the astronauts will not survive the journey, but that admission of failure will provide the government with the long-sought excuse to cut the program’s funding, a conspiracy is hatched to fake a successful mission by enacting the landing in a clandestine television studio. When the shuttle breaks up on re-entry, the three astronauts realise that their existence jeopardises this elaborate fraud and that they must go on the run for a chance at survival. Meanwhile, a journalist finds his own life in peril as he doggedly pursues a hunch that all is not as it should be with the Capricorn One mission. Novelisations as Evidence of the Film’s Production History Each book shows, in a range of ways, its fidelity to a shared source: the screenplay (or, at least, to the elements that remained unchanged through various screenplay drafts). That the screenplay comprised not only extensive dialogue but also some descriptive material becomes clear at a very early stage. Goulart opens with the following image: “The sun, an intense orange ball, began to rise over the Atlantic” (5). Several pages into his own book, Ross introduces the same narrative event with these words: “The morning sun rose like a big orange lollipop over the Atlantic Ocean” (10). The comparability of these visually evocative images with the equivalent moment in the finished film might suggest a fairly straightforward transposition of the screenplay into the three marketed texts. However, other sections belie any such assumption. The books’ origin in the screenplay and not in the film itself, and the considerable evolution that has occurred between screenplay and finished film, are expressed in two main ways. The first is the presence of corresponding scenes in both books that do not occur in the film. Where a non-filmed scene occurs in one book only we can assume a high probability that it is an invention of the book’s author which is intended to develop the narrative or characterisation. When found in both books, though, we can only infer that a scene outlined in the screenplay was dropped during either the film’s production or editing phase. For instance, in all three versions of the narrative, an attempt is made on the life of reporter Robert Caulfield (Elliott Gould) by tampering with his car. A high-speed action sequence culminates when car and driver plummet into a deep river. Whereas the film moves swiftly to the next scene without ever explaining how Caulfield managed to extricate himself from this perilous situation, each book extends the sequence with a description of how he disentangles his trouser leg from the door handle in order to pull himself through the open window and out of the sinking vehicle (Goulart, 96-7; Ross, 86). Indeed, the retention of this scene in the novelisations fills what is in the film an unsatisfying narrative ellipsis. The second proof of an evolution between screenplay and film is perhaps even more interesting in understanding the production process. This is that narrative events do not all occur in the same order in each book. The differences between the two books, as well as between books and film, suggest that Goulart’s was based on a later version of the screenplay as it corresponds more closely with the film’s chronology of events. The narrational structure of each text consists of a number of alternating segments designed to maintain tension while following simultaneously occurring incidents in the adventures of each of the protagonists. This is especially the case in the last half of the story where the three astronauts—Col. Charles Brubaker (James Brolin), Lt. Col. Peter Willis (Sam Waterston) and Cmdr. John Walker (O. J. Simpson)—have escaped into the desert and split up to maximise the chance that one will survive to expose the swindle. Narrational segments follow their individual progress as well as that of Caulfield’s investigation and of NASA director James Kelloway (Hal Holbrook)’s attempts to manage the crisis of the astronauts’ escape. It is evident that during the film’s post-production some reshuffling of these sequences was undertaken in order to maximise suspense. Further evidence that Ross’s book was based on an earlier screenplay than Goulart’s source emerges through its ending which, unlike Goulart’s, differs from the finished film. In every version of the story, Caulfield is able to rescue Brubaker and deliver him to his wife Kay (Brenda Vaccaro) in front of the watching media. Instead of doing so at a memorial service for the “dead” astronauts, however, Ross has this event take place at Bru’s home, after the service occurs without incident some pages earlier. This episode, more that any other in either book, is conspicuous in its variance from the film. Other discrepancies are based on addition, non-inclusion or reordering: different tellings of the same tale. Here, however, consumers of these texts are faced with two mutually exclusive finales that enforce a choice between the “right” and “wrong” version of the story. Enriching Character and Plot through Alternative Readings of the Script Although the examples above highlight some significant variations in the three versions of Capricorn One, none show evidence of intentional narrative difference. In some other respects, though, the authors of the novelisations did employ constituents of their own invention in order to transform the source material into the format expected by the readers of any novel. One key technique is shared by both authors. This is the fleshing-out of characters, a technique used more extensively by Ross than Goulart, and one which is largely responsible for his book’s greater length (an estimated 68,000 words, compared with Goulart’s 37,000). Goulart, for his part, largely confines this technique to the latter section of the story where the astronauts make their individual journeys across the desert. While his book is comprised, for the most part, of reported speech, the protagonists’ solitude in this part of the story leads him to recourse to descriptions of their thoughts in order to stretch out and enliven what would otherwise be an exceptionally brief and potentially dull account. Ross embraces the task of elaborating characterisation with considerably greater fervour. As well as representing their thoughts, he regularly adds passages of back story. During a breakfast scene before the launch (present in both books but absent from the finished film) he describes how each astronaut came to be involved in the mission and their feelings about it. Similarly he describes childhood or youthful incidents in their lives and in those of Kelloway and Caulfield in order to explain and add believability to some of their later actions. Even the biography and thoughts of relatively minor characters, such as the whistleblowing NASA employee Elliot Whitter (Robert Walden), are routinely developed. However, Ross does not stop here in elaborating the blueprint offered by the screenplay. New characters are added in order to develop a subplot glossed over in the film. These additions relate to an elderly European man, Mr. Julius, who is affiliated with a couple of Kelloway’s corporate accomplices and whose shady employees are responsible for both the attempts to assassinate Caulfield and for piloting the helicopters used to seek and destroy the escaped astronauts. In such ways, Ross succeeds in producing a rendition of the story that (barring its anomalous ending) enhances that of the film without conspicuously competing against what all the marketing points to as the “definitive” version. The Differing Narrational Capabilities of Films and Books While this section is indebted to the methods and findings of existing studies of novel-to-film adaptations, through close attention to the reverse process (or, more accurately, to screenplay-to-novel adaptations) we can observe another less recognised dynamic at work. This is the novelisers’ efforts to assimilate what are more traditionally cinematic devices into their writing. By way of illustration, our case study shows how it has led both Ross and Goulart to employ a writing style that sometimes contrasts with the norms of original mainstream novels. My comments thus far have dwelt mainly on differences in the placement and inclusion of narrative events, although the description of how the novelisers have expanded characters’ back stories suggests one way in which the written word can lend itself more readily to the concise interspersion of such material than can the film medium. This is not to say that film is incapable of rendering such incidents; merely that the representation of back story requires either lengthy spoken exposition or the insertion of flashbacks (some of which would require younger actors doubling for the stars). Either technique is prone to be more disruptive of the narrative flow, and therefore justifiable only in rarer instances where such information proves crucial, rather than merely useful, to the main narrative thrust. There are other ways, though, in which comparison of these three texts highlights the relative strengths of the different media in stimulating the response of their viewers or readers. One of these is the handling of audiovisual spectacle. It perhaps goes without saying that the film elicits a far more visceral response during its action scenes. This is especially true of a climactic sequence in which Caulfield and cropduster pilot Albain (Telly Savalas) do aerial battle with two helicopters as each strives to be the first to reach the fugitive Brubaker. Ross is far more successful than Goulart in conveying the excitement of this scene, although even his version pales in comparison with the movie. A device on which the film regularly draws, both in order to heighten tension and so as to suggest dramatic or ironic parallels between different narrative strands, is that of cross-cutting. This technique is adapted by each of the novelisers, who use it in a diluted form. Each of the books subdivides its chapters into many segments, which are often much shorter than those found in conventional novels. Ross uses ninety such segments and Goulart sixty-seven. The shortest of these, by Ross, is a solitary sentence sitting amidst a sea of white space, in which he signals the cancellation of the plan to reunite the astronauts with their shuttle at the projected splashdown site: “High over the Pacific Ocean, the Falcon jet went into a tight banking turn and began to head back the way it had come” (116). Neither author, however, has the audacity to cut between locations with the speed that the film does. One of the movie’s most effective sequences is that in which rapid edits alternate between Kelloway solemnly announcing the fictive death of the astronauts to the press and the astronauts sitting in their hideaway imagining this very eulogy. Neither one of the novelisations succeeds in creating a sequence quite so biting in its satire. In this case study we are able to observe some of the ways in which films and novelisations can relate to one another, each providing a reading of the film script (or scripts) that, through a mutual interlocking in the mind of the reader versed in these multiple versions of the tale, can contribute to an experience of the narrative that is richer than one text alone can produce. Robert Block, who has written both novelisations and original novels, alleges that “the usual rule seems to be that while films can widely and wildly deviate from previously-published-and-purchased novels, a novelisation cannot supersede a screenplay in terms of content” (Larson, 44). Whereas this assertion describes with reasonable accuracy the approach that Ron Goulart has taken to his version of Capricorn One, the more ambitious and detailed story told by Bernard Ross provides one clear exception to this rule. It thus offers firm evidence that novelisations are not, by their very nature, merely impoverished derivations of the cinema. Instead they constitute a medium capable of original and intrinsic value and which fully deserves more detailed critical appreciation than its current reputation suggests. References Coe, Jonathan. 9th and 13th. London: Penguin Books, 2005. Goulart, Ron. Capricorn One. New York: Fawcett Gold Medal, 1978. Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006. Larson, Randall D. Films into Books: An Analytical Bibliography of Film Novelizations, Movie, and TV Tie-Ins. London: Scarecrow Press, 1995. Ross, Bernard L. Capricorn One. London: Futura, 1978. Tasker, Yvonne, The Silence of the Lambs. London: BFI, 2002. Citation reference for this article MLA Style Allison, Deborah. "Film/Print: Novelisations and Capricorn One." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/07-allison.php>. APA Style Allison, D. (May 2007) "Film/Print: Novelisations and Capricorn One," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/07-allison.php>.