Academic literature on the topic 'Mathews, arthur'

Best known as co-writer of Channel 4 sitcom Father Ted (1995‐98), Irish writer Arthur Mathews is among the most versatile in recent British and Irish television comedy. Mathews’s other British work includes sketch show Big Train (1998‐2002), Toast of London (2013‐15) and Toast of Tinseltown (2022‐present), while his work for Irish television includes the sitcom Val Falvey TD (2009). Drawing on interviews with Mathews concerning his formation and development as a writer, this article situates his distinctive comic sensibility within Ireland’s changing social and cultural landscape from the 1960s to the 1980s and the east coast of Ireland’s unusual ‘mediascape’ as a confluence of Irish, British and American currents. Mathews’s career and work illustrate how comic sensibility, national and regional identities intersect in the ‘British Isles’ as a geo-cultural archipelago rather than a collection of distinctive national identities. The article examines how he relates his acutely surreal humour and love of generic and stylistic incongruity to his formative experiences of watching and absorbing British television from a vantage point both ‘outside’, in a different national jurisdiction, and culturally on its margins. Finally, it gauges the limits of Mathews’s work in offering forms of cultural and social critique through comedy.

EFEITO DE TRAJETÓRIAS DE PULVERIZAÇÃO NO AMASSAMENTO DE PLANTAS E PRODUTIVIDADE DE MILHO WESLEY MATHEUS CORDEIRO FULGÊNCIO TAVEIRA1, TIAGO PEREIRA DA SILVA CORREIA2, ARTHUR GABRIEL CALDAS LOPES1, GABRIELA GREICE PEREIRA2, ALYNE AYLA RODRIGUES DE SOUZA1 1 Faculdade de Ciências Agronômicas, Universidade Estadual Paulista “Júlio de Mesquita Filho”, CEP 18610-307, Botucatu, São Paulo, Brasil, wmctaveira@gmail.com, arthur.grb10@gmail.com, alyneaylarodrigues@gmail.com. 2 Faculdade de Agronomia e Medicina Veterinária, Universidade de Brasília, Distrito Federal, CEP 70910-900, Brasil, tiagocorreia@unb.br, gabi_greice@hotmail.com. RESUMO: O objetivo do trabalho foi quantificar o amassamento de plantas de milho e a produtividade de grãos em função de diferentes trajetórias de deslocamento do pulverizador tratorizado na lavoura. O trabalho foi realizado durante a safra 2020/2021 em campo experimental do Laboratório de mecanização agrícola da Fazenda Água Limpa (LAMAGRI/FAL- UnB), situada em Brasília-DF. O delineamento experimental utilizado foi o de blocos casualizados, com cinco tratamentos e três repetições cada. Os tratamentos foram diferentes sentidos de deslocamento do pulverizador em relação as linhas de semeadura, sendo: 0º (T1), 15º (T2), 30º (T3), 45º (T4), e 90º (T5). Foram realizadas pulverizações em pós-emergência das plântulas de milho, aos 15, 30 e 45 dias após a semeadura. As variáveis avaliadas foram número de plantas amassadas (NPA) e produtividade de grãos. Os dados foram submetidos a análise de variância e as médias comparadas pelo teste de F (P ≤ 0,05). Houve diferença estatística entre as trajetórias indicando a influência do ângulo de entrada na quantidade de plantas amassadas, o sentido de deslocamento de 15º obteve o maior NPA e menor produtividade se comparada aos outros tratamentos. Ao passo que, o sentido paralelo (0º) apresentou menor NPA e maior produtividade de grãos. Palavras-chaves: controle químico, sentido de operação, tecnologia de aplicação EFFECT OF SPRAYING TRAJECTORIES ONPLANT KNEADING AND CORN PRODUCTIVITY ABSTRACT: This work aimed to quantify the crushing of corn plants and grain yield as a function of different trajectories of the displacement of the tractor sprayer in the field. The work was carried out during the 2020/2021 harvest in an experimental field at the Agricultural Mechanization Laboratory at Fazenda Água Limpa (LAMAGRI/FAL-UnB), located in Brasília-DF. The experimental design used was randomized blocks, with five treatments and three replications each. The treatments had different directions of the displacement of the sprayer in relation to the sowing lines, being 0º (T1), 15º (T2), 30º (T3), 45º (T4), and 90º (T5). Post-emergence spraying of corn seedlings was carried out at 15, 30, and 45 days after sowing. The variables evaluated were the number of crushed plants (NPA) and grain yield. Data were subjected to analysis of variance and mean compared by the F test (P ≤ 0.05). There was a statistical difference between the trajectories indicating the influence of the entry angle on the number of crushed plants, the displacement direction of 15º obtained the highest NPA and lowest productivity compared to the other treatments. However, the parallel direction (0º) had lower NPA and higher grain yield. Keywords: application technology, chemical control, operating direction

BackgroundAutologous patient T cells engineered to express antitumor T cell receptors (TCRs) and chimeric antigen receptors (CARs) have been effective for the treatment of certain cancer types,1–4 and tumor neoantigens encoded by cancer-specific mutations have emerged as major targets of CD4+ and CD8+ T cells in immune checkpoint blockade (ICB) and in adoptive cell therapy (ACT).5–9 However, only a minority of intratumoral T cells are reactive to cancer antigens while the majority represent bystander cells.10–12 Conventional approaches to isolate tumor-reactive T cells and identify their TCRs from tumors rely on T cell function and can be impaired due to T cell exhaustion and dysfunction.13 14MethodsWe performed single-cell RNA and T cell receptor (TCR) sequencing (scRNA/TCR-seq) on over 46,000 T cells isolated from eleven archival metastatic tumor samples whose primary cancer types included colon, rectal, breast, anal, and melanoma. From these samples, 15 CD8+ and 17 CD4+ neoantigen-reactive TCR clonotypes (NeoTCRs) were known. We then performed transcriptomic clustering of these cells and mapped known NeoTCR clonotypes onto the transcriptomic map. Subsequently we predicted NeoTCRs from prospective metastatic colon cancer samples based on their presence within clusters sharing gene expression with NeoTCR+ clusters in the archival samples.ResultsProjecting known NeoTCRs onto the TIL transcriptomic map, we observed 325 total T cells bearing these NeoTCRs, and the majority (>80%) of NeoTCRs were expressed by T cells within 2 clusters, one CD4+ and one CD8+, that included by expression of CXCL13, ENTPD1 (CD39), TOX, TIGIT, LAG3, and PDCD1 (PD-1), indicating a dysfunctional state. Reasoning that T cells sharing phenotypes with those within the NeoTCR clusters could be novel NeoTCRs, we developed gene signatures (NeoTCR4 and NeoTCR8) of CD4 and CD8 NeoTCR+ cells, respectively, and four prospective patients' TIL were analyzed by scRNA/TCR-seq and scored according to NeoTCR signatures. We expressed predicted NeoTCRs in healthy donor PBL and screened them with antigen presenting cells (APCs) expressing candidate neoantigens. 33/73 predicted NeoTCRs (including both CD4 and CD8) were reactive against patients' tumors or candidate neoantigens.ConclusionsThis study enabled successful detection of tumor-specific NeoTCRs in the sequenced TIL of 14/14 patients for whom reactivity was studied. Deconvolution of NeoTCRs from bystander TCRs within the tumor-immune microenvironment represents an important step in the development of personalized immunotherapeutics, and prospective NeoTCR isolation based on TIL transcriptional phenotypes will allow for rapid development of personalized immunotherapy in the form of lymphocytes expressing these tumor-specific TCRs.AcknowledgementsWe thank the Surgery Branch TIL Laboratory and clinical team for generating TIL, and patients enrolled in our clinical protocols. Support from CCR Single Cell Analysis Facility was funded by FNLCR Contract HHSN261200800001E. This work utilized the computational resources of the NIH HPC Biowulf cluster (http://hpc.nih.gov). We also thank NIDAP for providing additional computational support and the CCR Genomics Core for next-generation sequencing supportReferencesRobbins PF, Morgan RA, Feldman SA, Yang JC, Sherry RM, Dudley ME, Wunderlich JR, Nahvi AV, Helman LJ, Mackall CL, Kammula US, Hughes MS, Restifo NP, Raffeld M, Lee CCR, Levy CL, Li YF, El-Gamil M, Schwarz SL, Laurencot C, Rosenberg SA.Tumor regression in patients with metastatic synovial cell sarcoma and melanoma using genetically engineered lymphocytes reactive with NY-ESO-1. J Clin Oncol 2011;29:917–924.Morgan RA, Dudley ME, Wunderlich JR, Hughes MS, Yang JC, Sherry RM, Royal RE, Topalian SL, Kammula US, Restifo NP, Zheng Z, Nahvi A, de Vries CR, Rogers-Freezer LJ, Mavroukakis SA, Rosenberg SA. Cancer regression in patients after transfer of genetically engineered lymphocytes. Science 2006;314:126–129.June CH, Sadelain M. Chimeric Antigen Receptor Therapy. N Engl J Med 2018;379:64–73.Kochenderfer JN, Yu Z, Frasheri D, Restifo NP, Rosenberg SA. Adoptive transfer of syngeneic T cells transduced with a chimeric antigen receptor that recognizes murine CD19 can eradicate lymphoma and normal B cells. Blood 2010;116:3875–3886.Tran E, Robbins PF, Rosenberg SA, “Final common pathway” of human cancer immunotherapy: targeting random somatic mutations. Nat Immunol 2017;18:255–262.Robbins PF, Lu YC, El-Gamil M, Li YF, Gross C, Gartner J, Lin JC, Teer JK, Cliften P, Tycksen E, Samuels Y, Rosenberg SA, Mining exomic sequencing data to identify mutated antigens recognized by adoptively transferred tumor-reactive T cells. Nat Med 2013;19:747–752.Parkhurst MR, Robbins PF, Tran E, Prickett TD, Gartner JJ, Jia L, Ivey G, Li YF, El-Gamil M, Lalani A, Crystal JS, Sachs A, Groh E, Ray S, Ngo LT, Kivitz S, Pasetto A, Yossef R, Lowery FJ, Goff SL, Lo W, Cafri G, Deniger DC, Malekzadeh P, Ahmadzadeh M, Wunderlich JR, Somerville RPT, Rosenberg SA. Unique Neoantigens Arise from Somatic Mutations in Patients with Gastrointestinal Cancers. 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Co-expression of CD39 and CD103 identifies tumor-reactive CD8 T cells in human solid tumors. Nat Commun 2018;9:2724.Simoni Y, Becht E, Fehlings M, Loh CY, Koo SL, Teng KWW, Yeong JPS, Nahar R, Zhang T, Kared H, Duan K, Ang N, Poidinger M, Lee YY, Larbi A, Khng AJ, Tan E, Fu C, Mathew R, Teo M, Lim WT, Toh CK, Ong BH, Koh T, Hillmer AM, Takano A, Lim TKH, Tan EH, Zhai W, Tan DSW, Tan IB, Newell EW, Bystander CD8 T cells are abundant and phenotypically distinct in human tumour infiltrates. Nature 2018;557:575–579.Scheper W, Kelderman S, Fanchi LF, Linnemann C, Bendle G, de Rooij MAJ, Hirt C, Mezzadra R, Slagter M, Dijkstra K, Kluin RJC, Snaebjornsson P, Milne K, Nelson BH, Zijlmans H, Kenter G, Voest EE, Haanen JBAG, Schumacher TN. Low and variable tumor reactivity of the intratumoral TCR repertoire in human cancers. Nat Med 2019;25:89–94.Blank CU, Haining WN, Held W, Hogan PG, Kallies A, Lugli E, Lynn RC, Philip M, Rao A, Restifo NP, Schietinger A, Schumacher TN, Schwartzberg PL, Sharpe AH, Speiser DE, Wherry EJ, Youngblood BA, Zehn D. Defining “T cell exhaustion.” Nat Rev Immunol 2019;19:665–674.van der Leun AM, Thommen DS, Schumacher TN. CD8 T cell states in human cancer: insights from single-cell analysis. Nat Rev Cancer 2020;20:218–232.

A relação entre água, energia e alimento é um tema que tem recebido atenção no meio acadêmico. Diante da escassez dos recursos naturais, da degradação que tem ocorrido não somente no Brasil, mas no mundo todo, os recursos naturais têm sérios riscos de esgotarem. E há que se pensar em uma gestão que possibilite a recuperação do meio ambiente de forma eficiente e sustentável. Compreendendo que o debate de nexo envolve um conjunto de inter-relações entre os recursos naturais utilizados como insumo para os serviços básicos da vida humana, neste sentido, a presente pesquisa objetivou analisar se há possibilidade de integrar a floresta ao nexo água-energia-alimentos, com vistas a não comprometer as demandas futuras e como isso pode contribuir para alcançar os Objetivos de Desenvolvimento Sustentável (ODS). Os objetivos específicos são identificar a interligação entre água, energia, alimento e floresta; apontar a necessidade de integrar a floresta ao nexo tradicional visando alcançar um desenvolvimento mais sustentável e controlar, prevenir as consequências dos impactos ambientais. A metodologia da revisão literária ocorreu com o levantamento por termos previamente identificados nas bases de dados Scopus, Web of Science e Periódico Capes, sendo a pesquisa classificada com abordagem qualitativa e método dedutivo. Os resultados apontaram que a floresta possui relação direta com os elementos água-energia-alimentos, sendo possível contribuir com as seguranças hídrica, energética e alimentar. Concluiu-se que vincular as florestas ao nexo existente, proporcionará uma maior preocupação para garantir a sustentabilidade e o equilíbrio ambiental. Referências ALROY, John. Efeitos da perturbação do habitat na biodiversidade da floresta tropical. 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At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offered whilst they were abroad and, at the same time, a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London would have a significant impact on male Australian artists, as it offered a space where they were integrated into the English art world, which enhanced their experience whilst abroad.Artists were seldom members of Australia’s early gentlemen’s clubs, however, in the late nineteenth century Melbourne, artists formed less formal social groupings with exotic names such as the Prehistoric Order of Cannibals, the Buonarotti Club, and the Ishmael Club (Mead). Melbourne artists congregated in these clubs until the Melbourne Savage Club, modelled on the London Savage Club (1857)—a club whose membership was restricted to practitioners in the performing and visual arts—opened its doors in 1894.The Melbourne Savage Club had its origins in the Metropolitan Music Club, established in the late 1880s by a group of professional and amateur musicians and music lovers. The club initially admitted musicians and people from the dramatic professions free-of-charge, however, author Randolph Bedford (1868–1941) and artist Alf Vincent (1874–1915) were not content to be treated on a different basis to the musicians and actors, and two months after Vincent joined the club, at a Special General Meeting, the club resolved to vary Rule 6, “to admit landscape or portrait painters and sculptors without entrance fee” (Melbourne Savage Club). At another Special General Meeting, a year later, the rule was altered to admit “recognised members of the musical, dramatic and artistic professions and sculptors without payment of entrance fee” (Melbourne Savage Club).This resulted in an immediate influx of prominent Victorian male artists (Williams) and the Melbourne Savage Club became their place of choice to gather and enjoy the fellowship the club offered and to share ideas in a convivial atmosphere. When the opportunity arose for them to travel to London in the early twentieth century, they met in London’s famous art clubs. Membership of the Melbourne Savage Club not only conferred rights to visit reciprocal clubs whilst in London, but also facilitated introductions to potential patrons. The London clubs were the venue of choice for visiting artists to meet their fellow artist expatriates and to share experiences and, importantly, to meet with their British counterparts, exhibit their works, and establish valuable contacts.The London Savage Club attracted many Australian expatriates. Not only is it the grandfather of London’s bohemian clubs but also it was the model for arts clubs the world over. Founded in 1857, the qualification for admission was (and still is) to be, “a working man in literature or art, and a good fellow” (Halliday vii). If a candidate met these requirements, he would be cordially received “come whence he may.” This was embodied in the club’s first rules which required applicants for membership to be from a restricted range of pursuits relating to the arts thought to be commensurate with its bohemian ideals, namely art, literature, drama, or music.The second London arts club that attracted expatriate Australian artists was the New English Arts Club, founded in 1886 by young English artists returning from studying art in Paris. Members of The New English Arts Club were influenced by the Impressionist style as opposed to the academic art shown at the Royal Academy. As a meeting place for Australia’s expatriate artists, the New English Arts Club had a particular influence, as it exposed them to significant early Modern artist members such as John Singer Sargent (1856–1925), Walter Sickert (1860–1942), William Orpen (1878–1931) and Augustus John (1878–1961) (Corbett and Perry; Thornton; Melbourne Savage Club).The third, and arguably the most popular with the expatriate Australian artists’ club, was the Chelsea Arts Club, a bohemian club formed in 1891 by local working artists looking for a place to go to “meet, talk, eat and drink” (Cross).Apart from the American-born founding member, James McNeill Whistler (1834–1903), amongst the biggest Chelsea names at the time of the influx of travelling young Australian artists were modernists Sir William Orpen, Augustus John, and John Sargent. The opportunity to mix with these leading British contemporary artists was irresistible to these antipodean artists (55).When Melbourne artist, Miles Evergood (1871–1939) arrived in London from America in 1910, he had been an active exhibiting member of the Salmagundi Club, a New York artists’ club. Almost immediately he joined the New English Arts Club and the Chelsea Arts Club. Hammer tells of him associating with “writer Israel Zangwill, sculptor Jacob Epstein, and anti-academic artists including Walter Sickert, Augustus John, John Lavery, John Singer Sargent and C.R.W. Nevison, who challenged art values in Britain at the beginning of the century” (Hammer 41).Arthur Streeton (1867–1943) used the Chelsea Arts Club as his postal address, as did many expatriate artists. The Melbourne Savage Club archives contain letters and greetings, with news from abroad, written from artist members back to their “Brother Savages” (Various).In late 1902, Streeton wrote to fellow artist and Savage Club member Tom Roberts (1856–1931) from London:I belong to the Chelsea Arts Club now, & meet the artists – MacKennel says it’s about the most artistic club (speaking in the real sense) in England. … They all seem to be here – McKennal, Longstaff, Mahony, Fullwood, Norman, Minns, Fox, Plataganet Tudor St. George Tucker, Quinn, Coates, Bunny, Alston, K, Sonny Pole, other minor lights and your old friend and admirer Smike – within 100 yards of here – there must be 30 different studios. (Streeton 94)Whilst some of the artists whom Streeton mentioned were studying at either the Royal Academy or the Slade School, it was the clubs like the Chelsea Arts Club where they were most likely to encounter fellow Australian artists. Tom Roberts was obviously attentive to Streeton’s enthusiastic account and, when he returned to London the following year to work on his commission for The Big Picture of the 1901 opening of the first Commonwealth Parliament, he soon joined. Roberts, through his expansive personality, became particularly active in London’s Australian expatriate artistic community and later became Vice-President of the Chelsea Arts Club. Along with Streeton and Roberts, other visiting Melbourne Savage Club artists joined the Chelsea Arts Club. They included, John Longstaff (1861–1941), James Quinn (1869–1951), George Coates (1869–1930), and Will Dyson (1880–1938), along with Sydney artists Henry Fullwood (1863–1930), George Lambert (1873–1930), and Will Ashton (1881–1963) (Croll 95). Smith describes the exodus to London and Paris: “It was the Chelsea Arts Club that the Heidelberg School established its last and least distinguished camp” (Smith, Smith and Heathcote 152).Streeton, who retained his Chelsea Arts Club membership when he returned for a while to Australia, wrote to Roberts in 1907, “I miss Chelsea & the Club-boys” (Streeton 107). In relation to Frederick McCubbin’s pending visit he wrote: “Prof McCubbin left here a week ago by German ‘Prinz Heinrich.’ … You’ll introduce him at the Chelsea Club and I hope they make him an Hon. Member, etc” (Streeton et al. 85). McCubbin wrote, after an evening at the Chelsea Arts Club, following a visit to the Royal Academy: “Tonight, I am dining with Australian artists in Soho, and shall be there to greet my old friends. How glad I am! Longstaff will be there, and Frank Stuart, Roberts, Fullwood, Pontin, Coates, Quinn, and Tucker’s brother, and many others from all around” (MacDonald, McCubbin and McCubbin 75). Impressed by the work of Turner he wrote to his wife Annie, following avisit to the Tate Gallery:I went yesterday with Fullwood and G. Coates and Tom Roberts for a ramble … to the Tate Gallery – a beautiful freestone building facing the river through a portico into the gallery where the lately found turners are exhibited – these are not like the greater number of pictures in the National Gallery – they represent his different periods, but are mostly in his latest style, when he had realised the quality of light (McCubbin).Clearly Turner’s paintings had a profound impression on him. In the same letter he wrote:they are mostly unfinished but they are divine – such dreams of colour – a dozen of them are like pearls … mist and cloud and sea and land, drenched in light … They glow with tender brilliancy that radiates from these canvases – how he loved the dazzling brilliancy of morning or evening – these gems with their opal colour – you feel how he gloried in these tender visions of light and air. He worked from darkness into light.The Chelsea Arts Club also served as a venue for artists to entertain and host distinguished visitors from home. These guests included; Melbourne Savage Club artist member Alf Vincent (Joske 112), National Gallery of Victoria (NGV) Trustee and popular patron of the arts, Professor Baldwin Spencer (1860–1929), Professor Frederick S. Delmer (1864–1931) and conductor George Marshall-Hall (1862–1915) (Mulvaney and Calaby 329; Streeton 111).Artist Miles Evergood arrived in London in 1910, and visited the Chelsea Arts Club. He mentions expatriate Australian artists gathering at the Club, including Will Dyson, Fred Leist (1873–1945), David Davies (1864–1939), Will Ashton (1881–1963), and Henry Fullwood (Hammer 41).Most of the Melbourne Savage Club artist members were active in the London Savage Club. On one occasion, in November 1908, Roberts, with fellow artist MacKennal in the Chair, attended the Australian Artists’ Dinner held there. This event attracted twenty-five expatriate Australian artists, all residing in London at the time (McQueen 532).These London arts clubs had a significant influence on the expatriate Australian artists for they became the “glue” that held them together whilst abroad. Although some artists travelled abroad specifically to take up places at the Royal Academy School or the Slade School, only a minority of artists arriving in London from Australia and other British colonies were offered positions at these prestigious schools. Many artists travelled to “try their luck.” The arts clubs of London, whilst similarly discerning in their membership criteria, generally offered a visiting “brother-of-the-brush” a warm welcome as a professional courtesy. They featured the familiar rollicking all-male “Smoke Nights” a feature of the Melbourne Savage Club. With a greater “artist” membership than the clubs in Australia, expatriate artists were not only able to catch up with their friends from Australia, but also they could associate with England’s finest and most progressive artists in a familiar congenial environment. The clubs were a “home away from home” and described by Underhill as, “an artistic Earl’s Court” (Underhill 99). Most importantly, the clubs were a centre for discourse, arguably even more so than were the teaching academies. Britain’s leading modernist artists were members of the Chelsea Arts Club and the New English Arts Club and mixed freely with the visiting Australian artists.Many Australian artists, such as Miles Evergood and George Bell (1878–1966), held anti-academic views similar to English club members and embraced the new artistic trends, which they would bring back to Australia. Streeton had no illusions about the relative worth of the famed institutions and the exhibitions held by clubs such as the New English. Writing to Roberts before he joins him in London, he describes the Royal Academy as having, “an inartistic atmosphere” and claims he “hasn’t the least desire to go again” (Streeton 77). His preference lay with a concurrent “International Exhibition”, which featured works by Rodin, Whistler, Condor, Degas, and others who were setting the pace rather than merely continuing the academic traditions.Architect Hardy Wilson (1881–1955) served as secretary of The Chelsea Arts Club. When he returned to Australia he brought back with him a number of British works by Streeton and Lambert for an exhibition at the Guild Hall Melbourne (Underhill 92). Artists and Bohemians, a history of the Chelsea Arts Club, makes special reference of its world-wide contacts and singles out many of its prominent Australian members for specific mention including; Sir John William (Will) Ashton OBE, later Director of the Art Gallery of New South Wales, and Will Dyson, whose illustrious career as an Australian war artist was described in some detail. Dyson’s popularity led to his later appointment as Chairman of the Chelsea Arts Club where he initiated an ambitious rebuilding program, improving staff accommodation, refurbishing the members’ areas, and adding five bedrooms for visiting members (Bross 87-90).Whilst the influence of travel abroad on Australian artists has been noted, the importance of the London Clubs has not been fully explored. These clubs offered artists a space where they felt “at home” and a familiar environment whilst they were abroad. The clubs functioned as a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London had a significant impact on male Australian artists as it offered a space where they were integrated into the English art world which enhanced their experience whilst abroad and influenced the direction of their art.ReferencesCorbett, David Peters, and Lara Perry, eds. English Art, 1860–1914: Modern Artists and Identity. Manchester: Manchester University Press, 2000.Croll, Robert Henderson. Tom Roberts: Father of Australian Landscape Painting. Melbourne: Robertson & Mullens, 1935.Cross, Tom. Artists and Bohemians: 100 Years with the Chelsea Arts Club. 1992. 1st ed. London: Quiller Press, 1992.Gray, Anne, and National Gallery of Australia. McCubbin: Last Impressions 1907–17. 1st ed. Parkes, A.C.T.: National Gallery of Australia, 2009.Halliday, Andrew, ed. The Savage Papers. 1867. 1st ed. London: Tinsley Brothers, 1867.Hammer, Gael. Miles Evergood: No End of Passion. Willoughby, NSW: Phillip Mathews, 2013.Joske, Prue. Debonair Jack: A Biography of Sir John Longstaff. 1st ed. Melbourne: Claremont Publishing, 1994.MacDonald, James S., Frederick McCubbin, and Alexander McCubbin. The Art of F. McCubbin. Melbourne: Lothian Book Publishing, 1916.McCaughy, Patrick. Strange Country: Why Australian Painting Matters. Ed. Paige Amor. The Miegunyah Press, 2014.McCubbin, Frederick. Papers, Ca. 1900–Ca. 1915. Melbourne.McQueen, Humphrey. Tom Roberts. Sydney: Macmillan, 1996.Mead, Stephen. "Bohemia in Melbourne: An Investigation of the Writer Marcus Clarke and Four Artistic Clubs during the Late 1860s – 1901.” PhD thesis. Melbourne: University of Melbourne, 2009.Melbourne Savage Club. Secretary. Minute Book: Melbourne Savage Club. Club Minutes (General Committee). Melbourne: Savage Archives.Mulvaney, Derek John, and J.H. Calaby. So Much That Is New: Baldwin Spencer, 1860–1929, a Biography. Carlton, Vic.: Melbourne University Press, 1985.Smith, Bernard, Terry Smith, and Christopher Heathcote. Australian Painting, 1788–2000. 4th ed. South Melbourne, Vic.: Oxford University Press, 2001.Streeton, Arthur, et al. Smike to Bulldog: Letters from Sir Arthur Streeton to Tom Roberts. Sydney: Ure Smith, 1946.Streeton, Arthur, ed. Letters from Smike: The Letters of Arthur Streeton, 1890–1943. Melbourne: Oxford University Press, 1989.Thornton, Alfred, and New English Art Club. Fifty Years of the New English Art Club, 1886–1935. London: New English Art Club, Curwen Press 1935.Underhill, Nancy D.H. Making Australian Art 1916–49: Sydney Ure Smith Patron and Publisher. South Melbourne: Oxford University Press, 1991.Various. Melbourne Savage Club Correspondence Book: 1902–1916. Melbourne: Melbourne Savage Club.Williams, Graeme Henry. "A Socio-Cultural Reading: The Melbourne Savage Club through Its Collections." Masters of Arts thesis. Melbourne: Deakin University, 2013.

Awards, Announcements, and News HarperCollinsCanada announced that Sandy Nichols from Calgary, AB, was the winner of the Illustrate “Alligator Pie “Competition that launched in October 2013. Nichols’ proposal was the unanimous choice of the competition judges, who selected it from more than 60 entries. Nichols has officially signed on with HarperCollinsCanada to illustrate the special anniversary board book edition of Dennis Lee’s famous poem “Alligator Pie.” You may wish to follow Amy’s Marathon (and if so moved, contribute to her fund raiser as well). Amy Mathers’ goal is to raise money for the Canadian Children’s Book Centre (CCBC) to endow a Canadian teen book award to be presented at the yearly Canadian Children’s Literature Awards gala. Amy will collect fundraising pledges for which donors will receive a charitable tax receipt. As stated on her website: "Inspired by Terry Fox’s and Rick Hansen’s Canadian journeys, Amy Mathers decided to honour her passion for reading and Canadian teen literature while working around her physical limitations through a Marathon of Books. Realising that Terry Fox could run a kilometre in six minutes during his Marathon of Hope, she figured out that she could read ten pages in the same amount of time. Thus, on her journey, ten pages will represent one kilometre travelled across Canada. Amy will be reading teen fiction books from every province and territory, exploring Canada and promoting Canadian teen authors and books by finishing a book a day for each day of 2014. She will write a review for each book she reads, and invites people to share their thoughts on the books she reads too." http://amysmarathonofbooks.ca/ Consider attending the upcoming Serendipity conference in Vancouver: Children’s Literature in a Digital Age ( Saturday, March 8 2014 at UBC). Presenters include illustrator Paul Zelinsky, Canadian authors Arthur Slade and Hadley Dyer, two high profile teacher-librarian bloggers John Schumacher (Library Journal) and Travis Jonker (School Library Journal) and author Tim Federle. “From practical advice on using literature-based apps with children to learning how authors and illustrators are using social media and electronic publishing, Serendipity 2014 is a must-attend event for educators, librarians, researchers and literature lovers looking to the future of books for young people.” http://vclr.ca/events-2013-14/serendipity-saturday-march-8-2014/ Saturday, May 3, 2014 is another day to mark on the calendar; the University of British Columbia will host “I Will Be Myself”: Identity in Children’s and Young Adult Literature, Media and Culture. This is a one-day conference showcasing graduate student research that explores, questions, and analyzes the issues surrounding identity in various elements of children’s and young adult literature. Keynote speaker is Dr. Phillip Serrato. The conference fee is very reasonable and includes refreshments and a catered lunch. http://blogs.ubc.ca/iwillbemyself/ For those of you in the Calgary area, plan on attending "When Worlds Collide 2014" from August 8-10, 2014 at the Carriage House Inn. This is a festival for readers, writers, artists and publishers of commercial and literary fiction, including genre, YA, Children’s books, and Poetry. Guests of honor include Diana Gabaldon, Jacqueline Guest, Mark Leslie, D.J. McIntosh and Brandon Sanderson. http://www.whenwordscollide.org/ The 2014 Alberta Readers’ Choice Award (ARCA) has now received 45 titles from a variety of Alberta authors, all vying for a $10,000 prize provided by the Edmonton Public Library (EPL). With this submission list finalized, EPL is now turning to its colleagues across the province for help in shaping a ten-item longlist that will be provided to our jury in February. If you are a staff member in an Alberta library—whether public, academic, government, law, school system or other—we want to hear from you. We’ve set up a poll at the following site: https://www.surveymonkey.com/s/QXZCCRZ. Please note that we are only counting ballots that have institutional e-mail addresses listed, so please make sure that you’re listing your work e-mail. This vote will remain open until end-of-day, February 5th and results will be made public on Thursday, February 13th.www.epl.ca/2014-ARCA-submissions. The ALAN Review posted the following Calls for Papers and Proposals which may be of interest for those of you working with young adult materials. Fall 2014: Stand Your Ground: Fostering Independent Thought and Action. We believe that, as educators, we sometimes need to be our own best allies as we fight to teach in ways we know to be good and right and true-and increasingly uncommon in an age of commonality. We need to know how to defend our selection of materials and our practices as we stand our ground in the face of scripts and censors, standards and accompanying tests. In this issue, we invite educators to band together and unite around our shared commitment to kids and stories, to offer our own evidence-based support for the innovative work we do in our classrooms and libraries, to celebrate the ways in which we encourage our own students to think independently and act in good conscience, even when the odds feel daunting. Please send manuscripts to: alan-review@uconn.edu . General submissions are also welcome by the deadline of March 31, 2014. The ALAN Review also notes that "Stories from the Field" invites readers to share a story about young adult literature. This section features brief vignettes (approximately 300 words) from practicing teachers and librarians who would like to share their interactions with students, parents, colleagues, and administrators around young adult literature. Please send your stories to:alan-review@uconn.edu. That is it for this time around. Last word (reminder/suggestion): Become actively involved with the National Reading Campaign, celebrating the joy of reading in all kinds of ways. “Tell us why reading matters to you, and learn what you can do for reading! Because when Canada reads, Canada grows.” http://www.nationalreadingcampaign.ca/Gail de VosGail de Vos, an adjunct instructor, teaches courses on Canadian children's literature, Young Adult Literature and Comic Books and Graphic Novels at the School of Library and Information Studies for the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.