Academic literature on the topic 'Link-Local Multicast Name Resolution'

Many bandwidth-intensive applications (such as online live, online games, etc.) are more suitable for using multicast to transmit information. Due to the advantages in scalability, Shared Tree (ST) is more suitable for large-scale deployment than Source-Based Tree (SBT). However, in ST-based multicast, all multicast sources need to send multicast data to a center node called a core, which will lead to core overload and traffic concentration. Besides, most existing multicast protocols use the shortest path between the source or the core and each receiver to construct the multicast tree, which will result in traffic overload on some links. In this paper, we propose an Identifier and Locator Decoupled Multicast approach (ILDM) based on Information-Centric Networking (ICN). ILDM uses globally unique names to identify multicast services. For each multicast service, the mapping between the multicast service name and the addresses of multicast tree nodes is stored in the Name Resolution System (NRS). To avoid core overload and traffic aggregation, we presented a dynamic core management and selection mechanism, which can dynamically select a low-load core for each multicast service. Furthermore, we designed a path state-aware multicast tree node selection mechanism to achieve traffic load balancing by using low-load links more effectively. Experimental results showed that our proposed multicast approach outperformed some other multicast methods in terms of core load, number of join requests, link load, traffic concentration, and routing state.

Many bandwidth-intensive applications (such as online live, online games, etc.) are more suitable for using multicast to transmit information. Due to the advantages in scalability, Shared Tree (ST) is more suitable for large-scale deployment than Source-Based Tree (SBT). However, in ST-based multicast, all multicast sources need to send multicast data to a center node called a core, which will lead to core overload and traffic concentration. Besides, most existing multicast protocols use the shortest path between the source or the core and each receiver to construct the multicast tree, which will result in traffic overload on some links. In this paper, we propose an Identifier and Locator Decoupled Multicast approach (ILDM) based on Information-Centric Networking (ICN). ILDM uses globally unique names to identify multicast services. For each multicast service, the mapping between the multicast service name and the addresses of multicast tree nodes is stored in the Name Resolution System (NRS). To avoid core overload and traffic aggregation, we presented a dynamic core management and selection mechanism, which can dynamically select a low-load core for each multicast service. Furthermore, we designed a path state-aware multicast tree node selection mechanism to achieve traffic load balancing by using low-load links more effectively. Experimental results showed that our proposed multicast approach outperformed some other multicast methods in terms of core load, number of join requests, link load, traffic concentration, and routing state.

Paleontology lies at the interface of earth sciences, biology and geologic time. When matched to histories of environmental change, such data is ideally suited to understanding how climate/environmental change affects biodiversity, and even how biodiversity change affects climate. Paleontologic and earth science collections, the data derived from them, and the global data infrastructures used in research are distinctively different than those in biology. Geologic time-linked earth science collections are found in geologic surveys, the oil industry and in museums as rock samples and sediment cores; paleontologic collections in museums and (via the microscopic fossils they contain) in sediment core repositories. Much published geologic time-linked earth science data is not tied to any collection material, and collected fossils are mostly only loosely linked to earth science collections or data. The exception is sediment cores and microfossils, where both earth science data and microfossil specimens are taken from the same cores and are thus tightly linked to each other. Lastly, most paleobiodiversity data used in research, even if derived from collection material, is compiled from the published literature rather than from collection databases. Three major types of linked earth science-paleontology data exist, each with its own data infrastructure. Very long time scale (Phanerozoic: 600 million years [myr]-Recent) but low time resolution (ca 10 myr) published fossil data is held in the Paleobiology Database [PBDB] and/or the Geobiodiversity Database [GBDB], together with very limited earth science data (mostly general rock type and approximate rock layer where found). PBDB in particular has been very successful in documenting the history of biodiversity over the last 600 my, and how a few major environmental events have affected it (mass extinctions and recoveries). Poor time resolution, taxonomic coarseness (most records are only for genera, not species) and poor links to earth science data have limited using this type of data for detailed studies of paleodiversity-environmental change. The NSB (formerly 'Neptune') database of deep-sea marine microfossils holds published fossil species occurrence data for the last ca 100 myr from the earth science sediment core collections of the deep-sea drilling programs [DSDP, ODP, IODP] together with detailed geochronologic data used to assign precise geologic ages to samples [.2-.02 myr resolution]. Species names are mostly linked to the separate community taxonomic catalog Mikrotax. All fossil occurrence data is also linked by sample name to the geologic core section material it was derived from. Earth history data from these core sections is not held in a central database, but a significant fraction is archived in the Pangea database, part of the ICSU World Data Center system. Biodiversity and environmental data can be linked directly via their shared sediment core sample locations, and/or by the high precision geologic ages for data in the systems. This type of data has been used to study biodiversity response to environmental change on many time and geographic scales, including rapid warming or cooling events, and response to major environmental catastrophes, e.g. the meteorite impact at the end of the Cretaceous. Lastly, very high temporal resolution (.01-.0001 my), mostly microfossil, plus earth-science data from land sections is held in the Neotoma system. This covers the last few my and is mostly used in local or regional studies of biodiversity and environmental change. New global data networking initiatives such as the Digital Deep Earth [DDE] initiative will create new opportunities to link earth science and biodiversity data to each other.

IntroductionThis article investigates how local studies collections in public libraries can help people explore the experiences of regional Australia. Some of this discovery can be done online, but as not all local studies material has been catalogued, is online or available in a digital format, some of this exploration will need to be onsite at public libraries throughout Australia. This exploration could be combined with other investigations into regional areas. What are local studies collections in public libraries? These collections are defined as beinginclusive of local history and so the local collection should support studies that look at the historical past, both distant and recent, or at current concerns in the community, such as local environmental issues, or plans for the future development of a locality. (Dewe 1–2)This broader look at the context of a place should provide information in a range of formats to help explore an area, and to find out about the history, geography and the environment as well as other local concerns and issues. Local studies collections should contain recent as well as older material. Each local studies collection will be different (McCausland; Bateman; Johnston; Gregg; Heap and Pymm) with some of these differences simply being because each area has a unique collection of stories which can be told about it. Other differences will be in how each public library interprets their remit to collect information and stories about a community, and which stories are included or excluded from the collection. There are budget constraints as well because each public library has to choose how to fund local studies as part of their overall library provision which means there are tensions and competing priorities in what is collected and how it is made available for research as well as information and entertainment. Some areas have more research activity so there is more being written, photographed, drawn, or otherwise recorded about an area, but no matter how small an area is, there is usually new local studies material being continually created.Local Studies CollectionsLocal studies collections are important as they provide key information about an area. For professional scholars, even in social history, the local becomes interesting only within a larger context, however. Local case studies may throw light on wider questions (Reid and Macafee 127).This highlights the value which local studies can contribute as part of research as these collections may provide case studies to explore, or different avenues to investigate. It also shows the importance of information in many local studies collections being brought together so the separate, local information can be connected to other local information. This bringing together can be as a result of research or through an aggregation system such as Trove (“Trove”).Peter Reid and Caroline Macafee have stated that becausethe potential is always there for local history to be pulled into issues of wider concern, it could be said to occupy a liminal space, a borderland between knowledge that is personal, and therefore academically trivial, and knowledge that is generalizable and therefore worthy of scientific attention. (127)This seems a harsh description, but it shows how these collections can be undervalued and that this undervaluing can risk them being overlooked by biographers, historians, and other researchers. Despite this thinking, local studies collections can offer unique and valuable insights into people and places; including for regional areas. The skilled library staff who manage these collections are also key resources in the history of regional areas, as they can help connect the local studies information to other local collections. As well as connecting people to the resources, the unwritten knowledge of staff is a separate and very important resource.How to Discover Local Studies CollectionsA good way to start exploring local studies collections is by searching Trove. Trove had, around the time of writing, “over 457,524,491 Australian and online resources” (online) and is an Australia-wide database, managed by the National Library of Australia. It enables you to search many library catalogues with one search tool which means that you can search once, in one place, rather than by individual library or museum catalogues. Trove brings together metadata including catalogue records, mostly from library catalogues, from organisations who choose to contribute access to their information. Some of the resources you can search for on Trove are in local studies collections in public libraries or held by other organisations which collect local information such as state and national libraries. Start your search by the name of the location which you are exploring. Be as specific as possible, as you can always broaden your search later. If the item has been digitised, or is already digital, you are often able to view or listen to this material online.As well as providing access to library catalogues, many local newspapers have been digitised and are searchable and viewable on Trove. Some newspapers have been digitised up to 1955, while some titles have fewer years available online, and microfilm will need to be used to find more recently produced information. Public libraries often hold the microfilm for their local newspapers. State libraries may hold them as well. This timeline of digital access is important to keep in mind as searching newspapers on Trove is very easy and searching on microfilm is not so appealing because of having to work through each newspaper page by page, microfilm roll by microfilm roll. You need to check the information about what issues of a newspaper have been digitised so you know when you need to start looking at microfilm copies rather than digitised ones. Older newspapers often include syndicated stories, so an event may have occurred in an area you are interested in but be reported in the newspaper from another area. You could also use the Trove API (application programming interface) to explore high volume digitised newspaper or catalogue data (Sherratt).This method of starting with Trove can also be a helpful way to find out which public library is in the area you are looking for, as the name of the organisation which holds the resources is listed online. You can click on a link to take you to their catalogue. While public libraries are often named for the town they are in, you may be looking for a place with a different name, so this method can be helpful. It can also show resources held in other libraries which may relate to the area of your research. Trove Mosaic by Mitchell Whitelaw (online), although an older interface, is a visual way to explore Trove and clearly highlights the different organisations contributing photographs.Libraries include local studies photographs in their social media and a very small number of them are collecting social media about their community (Forsyth et al.). Searching social media for terms such as #flashbackFriday or #throwbackThursday may also provide a way to discover local studies material online, although depending on your research topic, this method could be too haphazard an approach. There are still some local studies blogs to follow (MacRitchie) and searching for these can also provide information about local studies material in public libraries.Public Libraries and Local StudiesYou can also start at the public library. Depending on where in Australia you are searching there are different tools to help find your local public library. Rather than list them all, a useful starting point is to go to your favourite search engine and search for the name of town/suburb followed by public library. This should connect you with information about the local library through the library website, the regional library website (where two or more councils work together to provide a public library service), or via the council website. This is likely to provide sufficient information to be able to contact the library. However, before you contact the library, search the library catalogue. They may even have a separate local studies database for some or all of the local studies collection. This is why is it a good idea to start with Trove, before going to a local library search, as Trove should be aggregating collection information from a variety of sources bringing together the local public library as well as other organisations (sometimes some unexpected ones) which have material of relevance.Work from the State Library of New South Wales had demonstrated that not everything in local studies collection is catalogued (State Library of New South Wales) which makes it impossible to search for everything online. Quite a few (but not all) public libraries have a webpage where they describe their local studies collections and services. This can provide helpful information so that if you do not find something online you can telephone or email the library seeking further information. If the library is nearby you could simply visit it, but it is best to ring or email first if your time is limited, as it can be helpful to make an appointment to ensure that staff will be able to assist you with using the library collection. For searching the catalogues for local studies information, again, be as specific as possible, knowing you can always broaden your search terms. Helpfully, most (but not all) library catalogues have a sort by date option once material has been found, and some even have local studies specific search help. Often you can view or listen to digitised material online, but some libraries only make low resolution images available, which is rarely of good enough quality for research. When you have searched the catalogue or other online local studies database and not found anything, contact the library as they will be able to provide further information.Library staff will help you use their collections. Some public libraries charge a fee for more detailed research, others, quite reasonably, require you to do this more detailed research yourself.There are many variables, and it really depends on what and where you are researching. Perhaps you are looking for a written history of each area you plan to visit when exploring regional areas of Australia, or you might be planning to visit local studies collections to see how they lead you to areas and stories of local interest, or there is a particular research question you want to explore in several regional areas. How local studies books and other materials are written will depend on the time they were written, and the purpose for them. They can depict ideas and priorities which are outdated and/or offensive.Not Everything Is on TroveWhile Trove is a suggested starting place, given that every item in local studies collections is not catalogued, visiting the local public library can be an important step to take. Always check if the local studies area has different opening hours to the rest of the library. If part or all of the local studies collection is in a locked room, visiting the library at a very busy time is unwise as it may make it harder for the staff to assist you as they will have many other priorities and you may not be able to access the collection.Visiting the Library Visiting a public library and looking at how their local studies collection is arranged can help you see the collecting priorities. It also makes it very clear as to which public libraries have prioritised their local studies information. Occasionally the local studies area will be a partnership with both the library and the local family or local history society providing resources or the collection. This can result in different access conditions being applied to different collections.Visiting the collection means you can talk with the library staff about the history of the area as part of your experience of regional Australia. It is interesting to see how different local studies collections are arranged and how the local area is promoted through the collection and any displays or merchandise for sale. Often local publications will be for sale in the library so that you can purchase titles about the history of the area. Some councils commission histories of their areas, other times niche histories will be written by people in the community and the local studies collection can be a helpful way to discover these.Keep in mind that local government boundaries change (Leigh) and this may mean that resources you are looking for could be in a neighbouring area, rather than the location you are exploring. This is another reason to start with Trove.You May Not Be Able to See Everything Even If You Visit...For reasons of preservation you may not be able to see everything in the local studies collection even if you visit. Sometimes you need to watch out for special tours, which may not coincide with your visit to the area. There may be parts of the collection stored but not fully explored by staff, waiting their time in the queue to be catalogued and made available for research. Generally public library staff will be very helpful for you in your research, particularly if you have specific questions about the area.Know about CopyrightKnow the information about duration of copyright as some libraries say on their catalogues that everything which has been digitised is in copyright. This may be accidental as a result of some bulk cataloguing processes linked with digitisation. Stating something is in copyright is not the same as it being in copyright. The Australian Copyright Council has a helpful information sheet on the duration of copyright to help you understand what is in copyright and how long it is likely to continue to be in copyright.ChallengesThere will be collection gaps. The risk of bias is highlighted by the statement that libraries “are not, and have never been, socially or politically neutral institutions” (Gibson et al. 753). There has not been detailed research exploring these collection gaps, so the exact extent of exclusion or omission of information is not yet able to be quantified. There is arenewed professional imperative to position information centers as central locations for social justice work [which] has also turned our attention to the need to preserve materials that support a diverse and pluralistic society … [and] as a duty to steward unexplored histories. (Sheffield 573)Material may not be in the collection because it was not collected, or because it was not created. For example, in the past not everyone could afford a camera which means they may not have photographed or videoed their family, or public events. Not every grave had a headstone so someone may not have their grave recorded. Public libraries recognise these gaps, and in some areas library staff create or commission content to help with these omissions. For example, oral histories can be recorded to include stories which were not available in other ways, and photographs can be taken of current events to make sure a wider exploration of local stories are recorded in the local studies collection.Conclusion (and Opportunities)Grant White states, in relation to local studies that thesurvival of the artefact is only ever significant when it can be accessed by someone who can see meaning in it. The collection is in fact much more than the material sitting upon the shelves, it is access to it. Access which keeps it current in the community memory rather than as a separated, isolated adjunct. It is also the participation of the community in the creation of the collection, feeding it with its experience, reflections and memories. (98)This access is crucial, and with digitisation and digital collecting the access can increasingly be at a distance, without actually visiting a library. This increasing online access, especially through aggregated sites such as Trove, will hopefully enable research exploring the similarities and differences of regional areas, as connections can be made, and not only by people who can afford to travel to different places to do research. Digitisation, digital collecting, effective cataloguing and use of metadata can open up access to collections, just as digital preservation, preservation of other formats and conservation can help make sure that these materials are available into the future. Connecting to skilled staff who manage these collections is another way of exploring access as there will be information not recorded anywhere you can find, but which the staff may know because of their experience and knowledge of the collection as well as their knowledge of the community they work in.If you have been using public library local studies collections for research, it is helpful if you can share this research back with the public library, helping to build their collection for other people who are researching the region, even if they are exploring different topics. It may be a printed book you are providing, but more public libraries are able to accept donations of ebooks, or other online content. This can be a helpful way for you to contribute to the collections which have assisted in your research.ReferencesBateman, Shirley. “Innovation in Local Studies Collections and Programs: How Melbourne Library Service Is Fostering Community Pride.” Australasian Public Libraries and Information Services 25.1 (2012): 12–18.Dewe, Michael. Ed. Local Studies Collection Management. London: Ashgate, 2002.Forsyth, Ellen, Ngarie Macqueen, and Daniel Nitsikopoulos. Contemporary Collecting: Collecting Instagram for Local Studies. ALIA Information Online, 2019.Gibson, Amelia N., Renate L. Chancellor, Nicole A. Cooke, Sarah Park Dahlen, Shari A. Lee, and Yasmeen L. Shorish. “Libraries on the Frontlines: Neutrality and Social Justice.” Equality, Diversity and Inclusion: An International Journal 36.8 (2017): 751–66.Gregg, Alison. “Our Heritage: The Role of Archives and Local Studies Collections.” Australasian Public Libraries and Information Services 15.3 (2002): 126–32.Heap, Amy, and Bob Pymm. “Wagga Wagga Women’s Wireless and the Web: Local Studies and New Technologies.” The Australian Library Journal 58.1 (2009): 5–16.Johnston, Clinton. “Capture and Release: Cataloguing Cultural Heritage at Marrickville Library and History Services.” The Australian Library Journal 62.3 (2013): 218–23.Leigh, Carol. “From Filing Cabinet to Cultural Centre: Creating a Community History Centre in Wanneroo Western Australia.” Australasian Public Libraries and Information Services 25.2 (2012): 83–88.MacRitchie, John. “The Manly Art of Local Studies Blogging: A New Approach to Old Stories.” Australasian Public Libraries and Information Services 25.2 (2012): 89–93.McCausland, Sigrid. “Archives for the People: Public Libraries and Archives in New South Wales.” The Australian Library Journal 64.4 (2015): 270.Reid, Peter H., and Caroline Macafee. “The Philosophy of Local Studies in the Interactive Age.” Journal of Librarianship and Information Science 39.3 (2007): 126–41.Sheffield, Rebecka T. “More than Acid-Free Folders: Extending the Concept of Preservation to Include the Stewardship of Unexplored Histories.” Library Trends 64.3 (2016): 572.Sherratt, Tim. “Asking Better Questions: History, Trove and the Risks That Count.” Copyfight. Ed. Phillipa McGuinness. Sydney: NewSouth Publishing, 2015. 112–24.State Library of New South Wales. NSW Public Libraries Local Studies Audit. 2014.“Trove.” Trove 7 Apr. 2019 <https://trove.nla.gov.au/>.White, Grant. “Message in a Bottle: Community Memory in the Local Studies Collection.” APLIS 13.3 (2000): 6.Whitelaw, Mitchell. “TroveMosaic: Exploring Trove Images.” TroveMosaic: Exploring Trove Images 7 Apr. 2019 <http://mtchl.net/TroveMosaic/>.

Photo by Finding Dan | Dan Grinwis on Unsplash We who grew up texting, instant messaging, and emailing are blessed with native fluency in internet slang that varies according to country and language. Growing up in Sub-Saharan Africa, my schoolmates and I particularly loved to say TIA or, “This Is Africa.”[1] Largely popularized through the 2006 film, “Blood Diamond”,[2] TIA was the answer to all of the idiosyncrasies that accompanied living in the middle of the second-largest continent. Pulled over by local traffic police who demand a “cold drink”? TIA. Helped push the school bus out of a massive pothole during monsoon season? TIA. Reached for your Nokia brick only to pull a similarly sized cockroach from your purse? TIA. Largely isolated from the rest of the world, disease hysteria triggered by bird flu, SARS, and MERS passed by Sub-Saharan Africa as a far- off echo – my community was preoccupied with more imminent threats like malaria and cholera. The 2013 Ebola epidemic was the first time I was exposed to the narrow focus and broad indifference with which the wider world regards Africa. Mass hysteria over an “African disease” that threatened US shores exhibited narrow focus[3] while broad indifference manifested as radio silence following the resolution of cases in the US and Europe. The outbreak lasted until 2016 but coverage waned after 2015, when the only Ebola patients outside of Africa were expats shipped home for recovery.[4] As a freshman in college, my new British friends asked whether my family was at risk (they were not) and whether it was safe for me to go home for the holidays (it was). The 2013 outbreak primarily affected West Africa, on the opposite side of the continent. But to my college friends, Africa was a disease-ridden monolith. TIA, that is Africa. To the indifferent journalist, Africa is a convenient narrative device. By refusing to think of parts of Africa as anything other than the whole, we reduce a continent of 54 nations to a single entity – smaller and more manageable. The same occurred at the height of COVID-19 anxieties. As the healthcare systems of “more developed” countries threatened imminent collapse, a cry rattled across the globe: what will the Africans do?[5] Military-enforced lockdowns?[6] Will we have to take care of their citizens again?[7] While catching up with some friends in July 2020, I resisted an eyeroll as an acquaintance, grinning smugly, announced a new Ebola outbreak plaguing Congo.[8] (He probably meant DRC but he did not specify, and I am not sure he knew the difference.) A quick Google search confirmed the news, reported with glee in all major news media.[9] The Zoom call erupted in a flurry of sighs as my friends contemplated the new threat to US soil. Ever the party pooper, I emphasized that the outbreak was nothing new. The Ebola virus takes its name from its eponymous river in the DRC and the Congolese government had only just announced the end to a two-year struggle with Ebola in April.[10] Soon afterwards, the world lost interest; Al-Jazeera posted its last Ebola article on July 25.[11] Concurrently, coverage on ‘Africa’s COVID-19 crisis’ dwindled, eclipsed by worldwide #BLM protests, unrest in Belarus, and the US elections. As the attention on other world events settled, the “developed” world checked in with “poor, underdeveloped” Africa.[12] Despite concerns about cramped South African townships and the veracity of disease reports in Nigeria,[13] the number of COVID-19 cases and death rates in the continent have stayed low.[14] Citing a young population, existing contact-tracing infrastructure, and cross-immunity from other coronaviruses, several published articles analyze Africa’s mortality statistics.[15] Some, as pointed out by Ghanaian journalist, Karen Attiah, strive to paint the successes of African COVID-19 responses with stereotypical images of poverty and instability. After all, TIA. But while the world was not looking, African healthcare systems rallied. Wild poliovirus was completely eradicated from the continent in August.[16] Uganda began developing its own COVID-19 testing kits in May.[17] COVID-19 cases were limited to ten of Africa’s 54 countries while the DRC’s leading Ebola expert[18] reported that the new outbreak was under control.[19]Though there are still economic concerns due to reduced import-export activity between countries, Africa stands strong as second waves in Europe threaten to overrun hospitals.[20] A year from the beginning of the COVID-19 pandemic, the WHO shared concerns of a lack of justice and equality in global vaccine distribution.[21] Higher income countries have had enough stock to vaccinate one fourth of their population, on average, while low income countries are limited to around 1 in 500.[22] However, a headline in CBS News implies that the low vaccination rate in South Africa is due to a domestic class struggle between the rich and poor citizens,[23] rather than an issue of vaccine nationalism. There are some reporters in Western news media, like Peter Mwai who reports for the BBC, who portray African healthcare systems in a balanced way. Seeking out unbiased writers’ articles is the best way to ensure exposure to balanced news. However, this is an exercise that many readers overlook because they depend on headlines for information. The bias is systematic, and the reliability of a few reporters is outweighed by countless examples of careless copy editing. As evidenced by the CBS News clip, quick turnaround time for publishing live television broadcast clips online leads to sloppy research, injecting prejudices in news media. Perhaps it is too early to celebrate. But as Western media spotlights claims that Africa was spared due to herd immunity from previous coronaviruses blazing through poverty-stricken neighborhoods, it does not seem so bad to rebuff the stereotype.[24] The US currently leads in total COVID-19 cases, followed by India, Brazil, and France. South Africa does not even break the top ten. Morocco, next in line, resides comfortably at 32.[25] For the moment, we can be proud. Decades of experience building infrastructure around highly contagious diseases paid off. Many public health officials in African governments acknowledged and addressed COVID-19’s potential early. Aggressive lockdowns were effective in reducing community transmission. This is Africa. [1] Abdullah, Kia. “‘This Is Africa’: Useful Mantra or Ugly Prejudice?” Atlas &amp; Boots. Atlas &amp; Boots, December 24, 2019. https://www.atlasandboots.com/tia-this-is-africa/. [2] Blood Diamond. Blood Diamond Archer Meets Maggie (TIA) This Is Africa. United States: Warner Bros., 2006. https://www.youtube.com/watch?v=3frHm9hw5bI. [3] Lupkin, Sydney. “Ebola in America: Timeline of the Deadly Virus.” ABC News. ABC News Network, November 17, 2014. https://abcnews.go.com/Health/ebola-america-timeline/story?id=26159719. [4] BBC. “Ebola: Seventh British Health Worker Sent Home.” BBC News. BBC, March 16, 2015. https://www.bbc.com/news/health-31908301. [5] Nyenswah, Tolbert. “Africa Has a COVID-19 Time Bomb to Defuse.” World Economic Forum. World Economic Forum, April 6, 2020. https://www.weforum.org/agenda/2020/04/africa-covid-19-time-bomb-defuse/. [6] Noko, Karsten. “The Problem with Army Enforced Lockdowns in the Time of COVID-19.” Opinions | Al Jazeera. Al Jazeera, April 2, 2020. https://www.aljazeera.com/opinions/2020/4/2/the-problem-with-army-enforced-lockdowns-in-the-time-of-covid-19/. [7] Picheta, Rob. “Coronavirus Pandemic Will Cause Global Famines of 'Biblical Proportions,' UN Warns.” CNN. Cable News Network, April 22, 2020. https://www.cnn.com/2020/04/22/africa/coronavirus-famine-un-warning-intl/index.html. [8] WHO. “Ebola Virus Disease – Democratic Republic of the Congo.” World Health Organization. World Health Organization, July 9, 2020. https://www.who.int/csr/don/26-June-2020-ebola-drc/en/. [9] Fisher, Nicole. “New Ebola Outbreak In Congo Creates Unparalleled Challenges During A Pandemic.” Forbes. Forbes Magazine, August 10, 2020. https://www.forbes.com/sites/nicolefisher/2020/08/10/new-ebola-outbreak-in-congo-creates-unparalleled-challenges-during-a-pandemic/?sh=4f4a88015877.; BBC World Service. “Ebola Virus.” BBC News. BBC, July 17, 2020. https://www.bbc.com/news/topics/cjnwl8q4qj1t/ebola-virus.; Al Jazeera. “'Great Concern' as New Ebola Outbreak Grows in Western DR Congo.” Democratic Republic of the Congo | Al Jazeera. Al Jazeera, July 14, 2020. https://www.aljazeera.com/news/2020/7/14/great-concern-as-new-ebola-outbreak-grows-in-western-dr-congo. [10] Yeung, Peter. “'Enormous Relief' as Ebola Outbreak in DRC to Be Declared Over.” Democratic Republic of the Congo | Al Jazeera. Al Jazeera, April 10, 2020. https://www.aljazeera.com/news/2020/4/10/enormous-relief-as-ebola-outbreak-in-drc-to-be-declared-over. [11] Al Jazeera. “Western DRC Ebola Cases up to 60 as WHO Warns of Funeral Risks.” Democratic Republic of the Congo | Al Jazeera. Al Jazeera, July 20, 2020. https://www.aljazeera.com/news/2020/7/20/western-drc-ebola-cases-up-to-60-as-who-warns-of-funeral-risks. [12] Mobarak, Ahmed Mushfiq, and Rifaiyat Mahbub. “Opinion: What the US Can Learn from How African Countries Handled Covid.” CNN. Cable News Network, November 3, 2020. https://www.cnn.com/2020/11/03/africa/africa-coronavirus-lessons-opinion-intl/index.html.; Makoni, Munyaradzi. “The World Could Learn a Lot from How Africa Is Handling COVID-19.” WIRED UK. WIRED UK, November 2, 2020. https://www.wired.co.uk/article/COVID-19-africa. [13] McKenzie, David. “Africa's Battle against Covid-19 Will Be Won or Lost Here.” CNN. 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Global Citizen, November 4, 2020. https://www.globalcitizen.org/en/content/uk-more-deaths-covid-19-africa-reasons-why/.; Deutsche Welle. “COVID-19 in Africa: Milder-than-Expected Pandemic Has Experts Puzzled: DW: 14.09.2020.” DW.COM. Deutsche Welle, September 14, 2020. https://www.dw.com/en/covid-19-in-africa-milder-than-expected-pandemic-has-experts-puzzled/a-54918467.; Smith, Chris. “Scientists Can't Explain Puzzling Lack of Coronavirus Outbreaks in Africa.” New York Post. New York Post, September 7, 2020. https://nypost.com/2020/09/04/scientists-cant-explain-puzzling-lack-of-coronavirus-outbreaks-in-africa/?link=TD_mansionglobal_new_mansion_global.11147f181987fd93. [16] Scherbel-Ball, Naomi. “Africa Declared Free of Wild Polio in 'Milestone'.” BBC News. BBC, August 25, 2020. https://www.bbc.com/news/world-africa-53887947. [17] Achan, Jacky. “Dr. Wayengera: The Man behind Uganda's COVID-19 Testing Kits.” New Vision | Uganda News. 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[22] Miao, Hannah. “WHO Says More than 87% of the World's Covid Vaccine Supply Has Gone to Higher-Income Countries.” CNBC. CNBC, April 10, 2021. https://www.cnbc.com/2021/04/09/who-says-poor-countries-have-received-just-0point2percent-of-worlds-vaccine-supply.html. [23] Patta, Deborah. “Protests over ‘Shocking Imbalance’ of COVID Vaccine Distribution in South Africa.” CBS News. CBS Interactive, April 11, 2021. https://www.cbsnews.com/video/protests-over-shocking-imbalance-of-covid-vaccine-distribution-in-south-africa/#x. [24] Harding, Andrew. “Coronavirus in South Africa: Scientists Explore Surprise Theory for Low Death Rate.” BBC News. BBC, September 2, 2020. https://www.bbc.com/news/world-africa-53998374. [25] Worldometers.info. “Coronavirus Cases.” Worldometer. Worldometer, November 9, 2020. https://www.worldometers.info/coronavirus/.

Discussing the interaction between representation and narrative structures, Anthony Mandal argues that the Gothic has always been “an intrinsically intertextual genre” (Mandal 350). From its inception, the intertextuality of the Gothic has taken many and varied incarnations, from simple references and allusions between texts—dates, locations, characters, and “creatures”—to intricate and evocative uses of style and plot organisation. And even though it would be unwise to reduce the Gothic “text” to a simple master narrative, one cannot deny that, in the midst of re-elaborations and re-interpretations, interconnections and interpolations also appear, a collective gathering of ideas and writing practices that construct what is known as “the Gothic intertext” (Mishra 235). As far as storytelling, characterisation, and symbolism are concerned, the Gothic finds strength in its ability to develop as well as negate expectation, re-moulding the culturally known and the aesthetically acceptable in order to present its audience with a multi-faceted and multi-layered narrative. Although the Gothic has traditionally found fertile ground in literary works—a connection that is now a legacy as much as an origin—other contemporary media, such as animation, have offered the Gothic a privileged chance for growth and adaptation. An evocative example of the mergence between the Gothic mode and the animated medium is Alex Hirsch’s Gravity Falls. This visual text provides an example of the reach of the Gothic within popular culture, where intersecting hideous creatures and interconnected narrative structures, although simple and “for children” on the surface, reveal the presence of a dense and intertextual Gothic network. Those interlacings are, of course, never disconnected from the wider cultural framework, and clearly occupy an important part in unravelling the insidious aspects of human nature, from the difficulties of finding “oneself” to the loneliness of the everyday. Gravity Falls is an animated television series created by Alex Hirsch. It premiered on the Disney Channel in the United States on 15 June 2012. Now scheduled for its second season of running, Gravity Falls follows the adventures of 12-year-old twin siblings Dipper and Mabel Pines while on their summer vacation in the small town of Gravity Falls, Oregon. The choice of “twins” as main characters reveals, even at such an embryonic level, a connection to Gothicised structures, as the mode itself, as Vijay Mishra suggests, finds an affinity with doublings and “specular identifications” that “confuse the norm” (63). The presence of twins makes the double nature of character, traditionally a metaphorical and implicit idea in the Gothic, a very obvious and explicit one. Dipper and Mabel are staying with their eccentric and money-grabbing Great Uncle Stan—often referred to as “Grunkle Stan”—who runs the local curiosity shop known as the Mystery Shack. It becomes very obvious from the very beginning that an air of mystery truly surrounds the Shack, which quickly lives up to its name, and the eponymous town. In an aptly Gothic manner, things are definitely not what they seem and the twins are caught in odd plots, eerily occurrences, and haunted/haunting experiences on a daily basis. The instigator for the twins’ interest in the odd manifestations is the finding of a mysterious journal, a manual the relays detailed descriptions of the creatures that inhabit the forest in the town of Gravity Falls. The author of the journal remains unknown, and is commonly known only as “3”, an unexplained number that marks the cover of the book itself. Although the connection between the Gothic and animation may be obscure, it is in fact possible to identify many common and intersecting elements—aesthetically, narratively, and conceptually—that highlight the two as being intrinsically connected. The successful relation that the Gothic holds with animation is based in the mode’s fundamental predilection for not only subversion, excess and the exploration of the realm of the “imagination”, but also humour and self-reflexivity. These aspects are shared with animation which, as a medium, is ideally placed for exploring and presenting the imaginative and the bizarre, while pushing the boundaries of the known and the proper. Julia Round suggests that the Gothic “has long been identified as containing a dual sense of play and fear” (7). The playfulness and destabilisation that are proper to the mode find a fertile territory in animation in view of not only its many genres, but also its style and usually sensational subject matter. This discourse becomes particularly relevant if one takes into consideration matters of audienceship, or, at least, receivership. Although not historically intended for younger viewers, the animation has evolved into a profoundly children-orientated medium. From cinema to television, animated features and series are the domain of children of various ages. Big production houses such as Disney and Warner Bros have capitalised on the potential of the medium, and established its place in broadcasting slots for young viewers. Not unlike comics—which is, in a way, its ancestral medium—animation is such a malleable and contextual form that it requires a far-reaching and inclusive approach, one that is often interdisciplinary in scope; within this, where the multi-faceted nature of the Gothic opens up the way for seeing animated narratives as the highly socio-historical mediums they are. And not unlike comics, animation shares a common ground with the Gothic in requiring a vast scope of analysis, one that is intrinsically based on the conceptual connections between “texts”. Round has also aptly argued that, like comics, animated series lend themselves to malleable and mouldable re-elaboration: “from the cultural to the aesthetic, the structural to the thematic”, graphic media always reflect the impact of “intertextual and historical references” (8). Animation’s ability to convey, connect, and revolutionise ideas is, therefore, well-matched to the aesthetic and conceptual idiosyncrasies of Gothic tropes. Dipper and Mabel’s vacation in the town of Gravity Falls is characterised by the appearance of numerous super- and preter-natural creatures. The list of “monsters” encountered by the twins is long and growing, from gnomes, goblins, mermaids and zombies, to ghosts, clones, and a wide and colourful variety of demons. And although, at first glance, this list would appear to be a simple and simplistic grouping of bizarre and creatively assembled creatures, it is made quickly apparent that these “monsters” are all inspired, often very directly, by “existing”—or, at least, well-known—Gothic creatures, and their respective contexts of development. Indeed, the links to the Gothic in contemporary popular culture are unavoidable. The creatures in Gravity Falls are presented with subtle references to Gothic literature and cinema, from John Carpenter’s Halloween (1978) and Joe Dante’s Gremlins (1984), to Stephen King’s The Shining (1977) and Needful Things (1991). Borrowing from these texts, the creatures in the series all have strange names that rely on play-on-words and re-inventions, and the rubric twists that they undertake are part of a system of both homage and conceptual interdependency. One can find, for instance, “Manotaurs”—creatures that are half-bull and half-man, and that value “manliness” in their society above all else—and the “Gremlobin” – a gigantic monster somewhere in between, we are told, a “gremlin” and a “goblin”, whose eyes can show “your worst nightmares”. But the range extends to other bizarre “creatures” that are clearly very spooky, such as the “Summewrween Trickster”—a large, shadowy, purple/orange monster with a “jack-o’-melon” mask – the living “mailbox”—a sentient and omniscient object—and the truly haunting Bill Cipher—a mind demon that can be summoned through an incantation and enter a person’s subconscious. The connection to the Gothic in popular culture is instrumental for the construction of the Gothic intertext in Gravity Falls. In episode One, “Tourist Trapped” (1.01), Mabel is kidnapped by a tribe of gnomes, who are set on making her their queen. The gnomes are incongruous creatures: on the one hand, they are vengeful and spiteful, recalling the horror monsters found in movies such as the questionable Blood Gnome (2004). On the other, however, they wear red pointy hats and white beards, and their friendly smiles recall the harmless appearance of actual garden gnomes. When the gnomes grow upset, they throw up rainbows; this strange fact destroys their potential as a Gothic horror icon, and makes them accessible and amusing. This subversion of iconography takes place with a number of other “creatures” in Gravity Falls, with the Summerween Trickster—subverting the “terror” of Hallowe’en—being another fitting example. When the gnomes are attempting to woe Mabel, they do not appear to her in their real form: they camouflage themselves into a teenage boy— one who is moody, brooding, and mysterious—and become Mabel’s boyfriend; the “boy’s” interest in her, however, is so intense, that Dipper suspects him to be a member of “The Undead”, a category of monster that is closely described in 3’s journal: due to their “pale skin” and “bad attitudes”, they are often mistaken for “teenagers”. Clues to Dipper’s doubts include the teenage boy’s hand “falling off” while he is hugging Mabel, a clear sign—it would seem—that the boy is obviously a decaying, zombie corpse. The intertextual connection to several horror visual narratives where limbs “fall off” the undead and the monstrous is clear here, with apt film examples being Dawn of the Dead (1978), The Fly (1986), horror comedy Army of Darkness (1992), and, more recently, television’s The Walking Dead (2010-). The references to well-known horror films are scattered throughout the series, and comprise the majority of the lampooned cultural context in which the creatures appear. In spite of Dipper’s suspicions, the situation is revealed to have a rather different outcome. When the boyfriend tells Mabel he has a big secret to reveal, her mind wanders into another direction, choosing a different type of undead, as she expectantly thinks: “Please be a vampire…please be a vampire”. It is not difficult to spot the conceptual connection here to narratives such as Stephenie Meyer’s Twilight saga (2005-2008), both in its literary and cinematic variations, where brooding and mysterious teenage boys find ideal incarnations as the undead creature. The romanticised nature of teenage fictional narratives such as the Twilight saga is also mirrored in Mabel’s distinctive love-centred interest in the potential vampire, revealing an intertextual and highly contextual association to seeing the creature as part of an amorous relationship, as opposed to a blood-thirsty murderer. Mabel’s dreams of vampric love are unfortunately shattered when the boyfriend is revealed to be several gnomes carefully assembled to operate a human-like body, rather than one immortal lover. Irrespective of its desire to parody the Gothic, however, Gravity Falls still maintains unavoidable links to the notion of terror. Clear evidence of this is to be found in the fact that all “creatures” in the series present a level of anthropomorphism about them, and this is interpreted by the characters—and the viewers—as one of their scariest aspects. Leigh Blackmore suggests that a special brand of terror can be found in “anthropomorphic beings” that are in fact not human (Blackmore 95). Most of the creatures in the series are humanoid in shape, and can speak like humans. From gnomes to mermaids, mailboxes and demons, the creatures act as humans, but they are in fact something “other”, something that only recalls the human itself. This idea of being “almost human”, but “not quite”, is disturbing in itself, and connects the presentation of the creatures to the Gothic via the notion of the uncanny: “a crisis of the natural, touching upon everything that one might have thought was ‘part of nature’ […] human nature, the nature of reality and the world” (Royle 1). The uncanny nature of the creatures in Gravity Falls is maintained through their profound inhumanity, and their simultaneous links to human ways of acting, speaking, and even thinking. Indeed, most of the creatures are presented as petty, bitter, and childish, and often seen as greedy and sulking. In a way, the creatures lampoon some of the most intrinsic qualities of the human species, what separates us from animals. The supernatural creatures operate here as a critique of the humans themselves, exposing, as the Gothic often does, the most disturbing parts of humanity. The creatures are presented initially as scary, recalling—albeit very briefly—notions of terror and horror, but that façade is quickly destroyed as their “real nature” is exposed. They are de-terrorised by not only making them common, but also ridiculing their habits and de-constructing their thinly-veiled Gothic personas. The creatures in Gravity Falls are a subversion of the subversion, a re-thinking of the Gothic through parody that allows their conceptual, and culturally relevant, function to be rapidly exposed. The impact of the Gothic intertext in Gravity Falls is not only visible in its representational forms—its monsters and “creatures”—but also extends to its structural organisation. Jerrold Hogle has argued that, although they maintain a heterogeneous construction of texts and contexts, there are certain qualities applicable to “Gothic texts”: an antiquated space (often decaying); a concealed secret from the historical past; a physical or psychological haunting; and an oscillation between “reality” and the “supernatural” (3). Although Hogle’s pinpointing of what he calls the “Gothic matrix” (3) is mainly focused on the literary world, a broader and more wide-reaching understanding of the Gothic text allows these qualities to be clearly identifiable in other narrative mediums, such as an animated series. Indeed, Gravity Falls presents the main elements of the “Gothic matrix”: the Mystery Shack is an old and isolated place, physically crumbling and in constant state of disrepair; it is made clear that the Shack harbours many secrets—filled as it is with hidden passageways and underground vaults—connected to the shady past of Grunkle Stan and its unresolved connections to mysticism and magic; there are plenty of hauntings to be found in the series: from physical ones—in the form of demons and ghosts—to psychological ones, condensed in Dipper and Mabel’s difficulties with their approaching puberties and “growing up”; finally, the line between reality and supernatural is constantly challenged by the appearance of multiple creatures that are clearly not of this world, and even though several characters doubt their existence within the story, their very presence challenges the stability of the boundaries between real and unreal. On the surface, the series is presented as a standard linear narrative, where the linear journey of each 20-minute episode culminates with the resolution of the main “haunting”, and the usual destruction or appeasing of the “creature”. And while the series’ use of cliff-hangers is, in true television style, a common presence, they also expose and recall the unresolved nature of the narrative. Indeed, the story’s structure in Gravity Falls is reliant on narrative undertellings and off-shoots that often lie underneath the logical “line” of the plot. Sub-plots reign supreme, and multiple motives for the characters’ actions are introduced but not expanded upon, leaving the series impregnated with an aura of uncertainty and chaos. The focus of the storytelling is also denied; one moment, it appears to be Dipper’s desire to discover the “secrets” of the forest; the other, it is Grunkle Stan’s long-time battle with his arch-nemesis Gideon over the ownership of the Shack. This plot confusion in Gravity Falls continues to expose its narrative debt to the Gothic intertext, since “structural multiplicity”, as Round suggests, is “a defining feature of the Gothic” (19). The series’ narrative structure is based on numerous multiplicities, an open denial of linear journeys that is dependant, paradoxically, on the illusion of resolution. The most evocative example of Gravity Falls’ denial of clear-cut structures is arguably to be found in the narrative underlayers added by 3’s monster manual. It is obvious from the beginning that 3’s stay in the town of Gravity Falls was riddled with strange experiences, and that his sojourn intersected, at one point or the other, with the lives and secrets of Grunkle Stan and his enemies. It is also made clear that 3’s journal is not a solitary presence in the narrative, but is in fact only one in a triad of mystical books—these books, it is suggested, have great power once put together, but the resolution to this mystery is yet to be revealed. As Grunkle Stan and Gideon fight (secretly) over the possession of the three books, it is openly suggested that several uncovered stories haunt the main narrative in the series and, unknown Dipper and Mabel, are responsible for many of the strange occurrences during their stay at the Shack. Jean-Jacques Lecercle has long argued that one of the defining characteristics of the Gothic, and its intertextual structure, is the presence of “embedded narratives” (72). In Gravity Falls, the use of 3’s manual as not only an initiator of the plot, but also as a continuous performative link to the “haunted” past, uncovers the series’ re-elaboration of the traditional structure of Gothic narratives. As a paratextual presence in the story—one that is, however, often responsible for the development of the main narrative—3’s manual draws attention to the importance of constructing layered stories in order to create the structures of terror, and subsequent horror, that are essential to the Gothic itself. Although it often provides Dipper with information for solving the mysteries of the Shack, and subduing the supernatural creatures that overtake it, 3’s manual is, in reality, a very disruptive presence in the story. It creates confusion as it begins storytelling without concluding it, and opens the way to narrative pathways that are never fully explored. This is of course in keeping with the traditional narrative structures of the Gothic mode, where ancient books and stories— belonging to “antiquity”—are used as a catalyst for the present narrative to take place, but are also strangely displaced from it. This notion recalls Victor Sage’s suggestion that, in Gothic narratives, ancient books and stories paradoxically “disrupt” the main narrative, starting a separate dialogue with a storytelling structure that is inevitably unexplored and left unanswered (86). Canonical examples such as Ann Radcliffe’s The Mysteries of Udolpho (1794) and Emily Brontë’s Wuthering Heights (1847) inevitably come to mind here, but also more recent cinematic examples such as the Evil Dead franchise (1978-), where ancient books and old storytellers uncover hoary secrets that instigate, as well as obscure, the main narrative. In Gravity Falls, the interaction with 3’s manual is inherently performative, and continuously intertextual, but it is also deeply confusing, adding to the feeling of strangeness and mystery that is the conceptual basis for the series itself. The intertextual connections that drive the narrative in Gravity Falls construct lampooned versions of both the traditional concepts of Gothic horror and Gothic terror. Hogle has suggested that Gothic terror is apparent in the construction of suspense, achieved through an exploration of psychological hauntings, human nature and its un/limitations, and that which is kept out sight, the expected “hidden secrets” (3). Gothic horror, on the other hand, is characterised by the consequences of these occurrences; the physical manifestation of the “haunting”, so to speak, is achieved through the presentation of something repulsive and horrific, the monstrous in its various incarnations (Hogle 3). In Gravity Falls, the connection to the traditional Gothic intertext is made clear through both elicitations of “terror”, and subsequent manifestations of “horror”. Indeed, the “hidden secrets” of the Shack, and to some extent, the fears and insecurities of the characters, are mediated through the appearance of horrific machinery and creatures. The Shack always conceals something hidden, a magical element of sort that is kept secret by intricate passageways. The shadowy nature of the building – evoking the psychological hauntings of Gothic terror – inevitably causes the appearance of something physically disturbing, finding its apogee in a Gothic horror experience. A clear example of this can be found in the episode “Double Dipper” (1.07). Desperate to impress his co-worker and secret love-interest Wendy, and “haunted” by his lack of self-worth, Dipper roams the rooms of the Shack and discovers a very old and enchanted photocopier machine; the machine copies “people”, making clones of the original. The “clones” themselves are a manifestation of horror, a presence that breaks the boundaries of propriety, and worries its viewers in view of its very existence. The cloning copy machine is strongly intertextual as it not only provides conceptual links to numerous cinematic and literary examples where a “haunted machine” threats to destroy humanity— in examples such as Stephen King’s Christine (1983) —but also evokes the threat of “doubles”, another powerfully Gothic conduit (Royle). As it is often the case in Gravity Falls, Dipper loses control of the situation, and the dozens of clones he unwittingly created take over his life and threaten to annihilate him. Dipper must destroy the “horror” —the clones—and confront the “terror”—his haunting insecurities and personal secrets—in order to restore the original balance. This intertextual dynamic validates Hogle’s contention that, in Gothic narratives, both the physical and the psychological “hauntings” rise from view “within the antiquated space” and “manifest unresolved conflicts that can no longer be successfully buried from view” (Hogle 2). The “hidden secrets” of Gravity Falls, and their manifestations through both Gothic horror and terror, are clearly connected to explorations of human nature and deeply existentialist crises that are put forward through humour and parody. These range from Grunkle Stan’ inability to commit to a relationship—and his feeling that life is slipping away in his old age—to the twins’ constant insecurities about pre-teen amorous encounters. Not to mention the knowledge that, in reality, Dipper and Mabel were “abandoned” by their mother in the care of Stan, as she had other plans for the summer. As Round has argued, the Gothic’s most significant development seems to have been the “transvaluation of moral issues”, as notions of “monsters have become less clear cut” (18). The series’ successful engagement with the wider “monstrous” intertext, and its connection to moral issues and “hidden” preoccupations, uncovers the ability of the Gothic, as Catherine Spooner puts it, to act as “commodity”, no longer a marginalised cultural presence, but a fully purchasable item in consumer-capitalist systems (Spooner 2007). The evocations of both horror and terror in Gravity Falls are, naturally, unavoidably diluted, a homage as much as a direct encounter. The use of the monstrous and the haunted in the series is domesticated, made accessible so that it can be presented to a younger and more commercial audience. The profound interlacings with the Gothic intertext remain, however, unchanged, as the series reconciles its subversive, uncanny elements with the inevitably conventional, Disney-fied context in which it is placed. References Blackmore, Leigh. “Marvels and Horrors: Terry Dowling’s Clowns at Midnight”. 21st Century Gothic: Great Gothic Novels Since 2000, ed. Danel Olson. Lanham: Rowman & Littlefield, 2011. 87-97. Gravity Falls. Disney Television. Disney Channel, Los Angeles. 2012-2014. Hogle, Jerrold. “Introduction: The Gothic in Western Culture”. The Cambridge Companion of Gothic Fiction, ed. Jerrold Hogle. Cambridge: Cambridge University Press, 2002. 1-20. Lecercle, Jean-Jacques. “The Kitten’s Nose: Dracula and Witchcraft”. The Gothic, ed. Fred Botting. D.S Brewer: Cambridge, 2001. 71-86. Mandal, Anthony. “Intertext”. The Encyclopaedia of the Gothic, ed. David Punter, Bill Hughes and Andrew Smith. Basingstoke: Wiley, 2013. 350-355. Mishra, Vijay. The Gothic Sublime. Albany: State University of New York Press, 1994. Round, Julia. Gothic in Comics and Graphic Novels. Jefferson: McFarland, 2014. Royle, Nicholas. The Uncanny. Manchester: Manchester University Press, 2003. Sage, Victor. “Irish Gothic: C.R. Maturin and J.S. LeFanu. A Companion to the Gothic, ed. David Punter. Oxford; Blackwell, 2001. 81-93. Spooner, Catherine. Contemporary Gothic. London: Reaktion, 2007.

The goal of the Master thesis on the topic of the Client application of DNS protocol with graphical interface for teaching purposes is to create a program with the features of sending, receiving DNS, MDNS and LLMNR protocols with optional parameters. Additionally, compare the created application with available tools such as Nslookup, Dig and create examples of application for teaching.