Artículos de revistas sobre el tema "Western Ohio Railway Company"

This article explores the shifting relationship between the state and the rural elites in Sichuan during the last decades of the Qing dynasty through the lens of taxation and public debt by using a creditor-debtor model as a theoretical framework. Sichuan’s unique rewarded land tax surcharge, called the “Contribution” and levied since 1864, established a relationship of symbolic and economic indebtedness of the imperial and local state to the taxpayer. Western-inspired reforms after 1898 directly attacked the symbolic and economic bonds established by the Contribution. The Railway Rent Share tax shifted the creditor-debtor relationship from the state to the public Sichuan-Hankou Railway Company by making individual taxpayers into shareholders. When Beijing eventually banned what it saw as a privatization of taxation and decided to nationalize the railway company, this ignited the Railway Protection Movement, which precipitated the 1911 Revolution in Sichuan.

This article examines some major aspects of the history of the state-owned, privately operated German National Railway Company under the reparations regime of 1924 to 1932. It explores the dispute that erupted between the Reichsbahn and the government concerning whether the DRG should be used primarily to serve national economic and social ends or to earn a surplus to pay reparations. The controversies that erupted concerning tariffs, motor vehicle competition, and wages are examined against the background of the Reichsbahn's financial performance. The article argues that the political and cultural clashes caused by the introduction of Western management priorities and practices were more significant than the financial burdens that reparations imposed on the Reichsbahn.

The development of motion pictures coincided with the development of active publicity campaigns by the Canadian Pacific Railway Company. It did not take the CPR long to realize the potential of the new medium and capitalize on the public's fascination with train and motion. In order to encoutage immigration and settlement to western Canada, the company developed an extensive system of promotion which included the use of films. CPR filmmaking fell broadly into two categories, those which were designed with a specific intent to educate, inform and persuade and those which were primarily intended as entertainment. If CPR did not define the type of filmmaking rathet it facilitated the production of contemporary appeal.

This paper recounts some experiences on the Western Front of two men who had worked at the Ipswich Railway Workshops before the First World War. Lt. Colonel A. C. Fewtrell , who trained as a cadet engineer at Ipswich Railway Workshops, and was involved in the operations of a light railway unit on the Western Front presented a paper about his experiences to some graziers in New South Wales in 1920. Major S. H. Hancox had been in charge of the powerhouse at Ipswich Railway Workshops before enlisting and being sent to France where he worked on the construction of a section of the 60 cm gauge light railways during 1917. Hancox relates some of the horrific conditions he encountered through letters to his mother in Brisbane. In 1916, the British adopted the 60 cm gauge light railway system which was already being successfully used by both the Germans and the French. The British introduced the Hunslet 4-6-0T locomotives, many hundreds of other steam and early internal combustion locomotives as well as thousands of wagons providing a solution to maintaining the necessary supplies to the front lines. Following the end of the War, fifteen Hunslet locomotives built for use in France came to Queensland for use in the sugar industry. Hunslet Engine Company Works Number 1239, delivered to France in late 1916, was one of those Hunslet locomotives. We briefly follow the history of No.1239 after its delivery to Australia in 1920 and donation to the Queensland Museum in 2005.

This article reassesses Sir William Mackinnon's role in the evolution of Victorian imperialism in Eastern Africa. It rejects the view that Mackinnon's activities in Eastern Africa were motivated by a desire for self-glorification and attempts, by contrast, to demonstrate the relevance of business considerations. A search for shipping subsidies and railway guarantees, spreading out from British India, accompanied the Mackinnon Group's development of steamshipping and mercantile interests in Africa, in support of investments in the Persian Gulf and western India. Promotion of these interests drew Mackinnon into schemes to lease the Sultan of Zanzibar's mainland territories and to consolidate British rule in the Transvaal by the construction of a railway from Delagoa Bay. During the 1880s the Group's shipping and commercial operations were threatened by the rise of foreign competition. Behind the formation of the Imperial British East Africa Company lay the hopes of Mackinnon and his business associates that public funds could be attracted to the defence of the Group's interests in Eastern Africa and to the reconstruction of its shipping services in the western Indian Ocean.

This article discusses the London & North Western Railway’s (LNWR) marketing activities before 1914. It extends our understanding of British railway marketing by examining how the company forged links with stakeholders in North Wales, particularly the resort authorities, in support of its development of the tourist trade there. While the company remained the dominant force in promoting the region, cooperative working facilitated the sharing of market intelligence, exchange of best practice, coordination of advertising efforts, coordination of services, and the harmonizing of a promotional message that appealed to middle-class discretionary travelers that North Wales was a place for health and pleasure. The article also shows how the LNWR deployed a system of integrated marketing communications, providing one of the earliest known examples within British business of such practice. The sum result was positive impacts on the development of the North Welsh tourist trade in the years before the World War I.

AbstractIn 1913, a new generation of Indonesians asserted their agency by publicly demanding equality in colonial society. Through four case studies—the prohibition of traditional forms of deference, the sudden popularity of Western dress, the adoption of new legal assimilation guidelines for Indonesians, and the discussion of employee rights at a railway company—we argue that this new assertiveness reflected a broad change in mentality that we consider a turning point in Indonesian history. By focusing on Indonesian agency, we challenge the Eurocentric periodization of the Indonesian past that emphasized WWI as a trigger of change.

AbstractZbąszynek (Neu Bentschen), a German border post, with accommodation for railway workers, customs officials, postmen and border guards, was established primarily between 1923 and 1930. It was built in the middle of the countryside, designed according to the garden city concept and provided with an urban technical infrastructure. In the years 1932 to 1945, the town had the status of a rural parish. The majority of the houses and civic buildings (railway station, school, town hall, Protestant church, Catholic church, inn) were designed by Wilhelm Beringer from the Deutsche Reichsbahn administration in Frankfurt (Oder). He incorporated neo-baroque and expressionist motifs. The monumental and expressionist water tower, designed by Bruno Möhring from Berlin, is also worth noting. The town comprised two parts. The eastern part contained housing for company workers and officials, a school at the main town square and an inn; the western part was intended – though the idea was short-lived – to comprise privately owned houses, both churches and the town hall. By design, the slaughterhouse, sewage treatment plant and cemetery were all placed on the periphery of the town. The two parts were, and still are divided by ul. Wojska Polskiego, Zbąszynek’s main street. Its southern end is the imposing pl. Dworcowy, the Station Square, taking the form of a cour d’honneur.

As ferrovias deram início a muitas transformações no espaço intraurbano, uma vez que, além da linha férrea, outros equipamentos eram necessários para sua operação e logística. As mudanças também ocorreram no espaço interurbano, pois a ferrovia modificou a centralidade das, reestruturando a rede urbana-regional. Este artigo tem o objetivo de analisar a rede urbana ferroviária formada pela The Great western of Brazil Railway Company Limited, que administrou as ferrovias do Nordeste brasileiro na primeira metade do século XX. A análise se dá a partir das receitas das estações ferroviárias das estradas de ferro que compõe a referida rede, da condição de Ponta de Trilhos e entroncamentos de algumas cidades nas linhas férreas. A pesquisa possui abordagem na Geografia Histórica Urbana, conforme a demarcação temporal (1881-1948) e a condução da análise com ênfase nas seguintes fontes documentais: Anuário Estatístico do Brasil (1908-1912, v. I, Território e População), Coleção das leis do Império e da República dos Estados Unidos do Brasil (1902), Cartografia história (1904), Relatórios do Ministério da Indústria, Viação e Obras Públicas (1902, 1907, 1910 e 1915), Relatórios do Ministério da Viação e Obras Públicas (1899, 1901, 1902, 1908, 1909 – v. II e III – e 1910), bem como as Sinopses dos recenseamentos dos anos de 1890 e 1900. Os resultados apontam, a partir da análise das receitas das estações ferroviárias, que a condição de Ponta de Trilhos e entroncamento ferroviário alterou a centralidade da maior parte das cidades que compuseram a rede ferroviária.

This article focuses on a three-day town celebration called Vinobranie (Grape Harvest), which takes place in the public space of the town of Pezinok in Western Slovakia. This eventis over eighty years old and was established the representatives of the town in collaboration with the local wine-growing association, organised with the support of the state railway company. The grape harvest festival is a mosaic of various elements with symbolic contents, representing an impressive whole wrapped in an offer of a varied programme and consumption. The study observes the changing form and structure of the festival from its origins up until the present day, as well as the dynamics of the range of its functions in the local community. The author follows an ethnological perspective. She draws on historical archive documents and ethnographic materials. In her analysis, she applies the concept of festival (Waldemar Cudny’s ‘Festivalisation of Urban Spaces’, 2016).

No final do século XIX, a ferrovia adentra o território do Nordeste brasileiro, chegando a duas cidades marcadas pelas suas feiras livres, tanto de produtos de consumo geral como de gado bovino: Feira de Santana (Bahia) – Estrada de Ferro Central da Bahia (1876) e Caruaru (Pernambuco) – Estrada de Ferro Great Western Railway Company of Brazil (1895). Consideran­do que a ferrovia se constitui um elemento técnico moderno, pergunta-se: Quais as principais alterações e consequências na dinâmica das cidades feiras, ao se tornarem cidades Pontas de Trilho? A linha férrea impulsiona a expansão do tecido urbano em sua direção ou constitui-se uma linha limítrofe ou uma barreira? Estas indagações norteiam a pesquisa apresentada. Assim, este artigo analisa a relação entre a ferrovia e a estrutura e dinâmica das cidades mencionadas. Desse modo, a pesquisa revela que, apesar da ferrovia ter provocado alterações na estrutura e na dinâmica dessas cidades, há diferenças na natureza e na intensidade das mudanças ocorridas.

The largely literate African employees of European businesses during the colonial and postcolonial period have not been studied as a group, unlike miners, railway workers and colonial intermediaries. This group has nevertheless been of great importance. Many of its members became part of the core of the management of African-owned enterprises and organizations, others started their own businesses or became successful politicians. African employees of European business, alongside government employees, formed the basis of the rapidly growing middle classes during the period after the Second World War. They gave their children a Western-style education, often at well-respected schools. In many local communities the “manager” became a figure of respect. Many employees were elected to traditional office as chiefs. Such successes were not limited to those employees who made it into management. For example, a carpenter with a steady career with a European company could build and own several houses. These African employees domesticated capitalism in West Africa, mediated changes in consumption and the rise of a consumer society, and adopted European expectations of career progression and life cycle. Working for a European business, they also found themselves at important sites of contestation during colonial and postcolonial political struggles.

Subject area The subject areas are strategic management, transportation management and business management. Study level/applicability This case is useful for undergraduate and postgraduate level students majoring in strategic management, transportation management and business management. Case overview Etihad Rail Company is planning to implement a mega infrastructure project in the United Arab Emirates (UAE). They have included freight rail system as part of the 2030 Abu Dhabi economic vision and the UAE national Charter 2021. The plan is to link the UAE’s main cities via the Gulf Cooperation Council (GCC) border. This ambitious project presents a formidable task for the Etihad Rail Company and the region, as there is no previous railway history of this kind. The project requires coordination of rail standards from East of Ghwefatet and the Northern Emirates cities and will ultimately be combined with the Western Saudi Arabia borders. The transportation system in the region will be improved greatly with the introduction of a cargo and passenger railway system in addition to the current road system and other means of transportation. The Etihad railway network is the first infrastructure project in the UAE, and it will bring economic, strategic, social and environmental changes to the country. This case aims to present an overview of the strategic management dimensions of the Etihad Rail and the processes involved. This case will analyze whether Etihad’s top management team should make a decision to focus only on freight rail or to include passenger transportation as well. Many questions will be addressed in this paper such as the following: What steps should Etihad take to start passenger rail? Will economical, strategic and environmental aspects affect it? And if so, how? The case will focus on the analysis of the different aspects of Etihad Rail by using strategic management tools as guidance for implementation and determining its success factors. Expected learning outcomes In this case, the students can learn and understand the purpose of commencing cargo rail projects in the region; discuss the mechanisms which help in promoting sustainability and the business growth of Etihad Rail; and identify the challenges and issues freight rail may face in terms of legal, economic and environmental aspects and identify and alternative solutions. Supplementary material Teaching notes are available upon request. Subject code CSS 11: Strategy.

The paper deals with a construction project discussed between Romania and the Ottoman Empire between 1870 and 1875. The project aimed at the construction of a “fixed and permanent” bridge over the Danube River in order to connect the existing railways between Bucharest and Giurgiu (1869), on the one hand, and Ruse and Varna (1866), on the other. The project aimed also to provide a railway connection between Bucharest and Varna, the biggest port city on the western shore of the Black Sea, as well as between Europe and the Ottoman Empire. The documents, dating from the period of 1870–1875 and preserved in the Romanian and Turkish archives, reveal the negotiations between the state institutions of the two countries. While the Ottoman side preferred to order the bridge construction to a private company by way of concession, the Romanian state suggested that the two countries should construct it as a joint venture. This discordance led to the failure of the project that was brought into effect only in 1954 by the construction of the so-called Friendship Bridge (now called Danube Bridge).

In this study, the surface water salinity of Mentor Marsh, located in Northern Ohio, USA, was monitored for 3 years by establishing 10 monitoring stations, whereas sporadic surface water salinity data were recorded at more than 30 locations in the marsh for 5 years. In addition, eight additional monitoring stations were established for recording the soil salinity at various temporal scales, whereas spatially distributed soil salinity was measured across the marsh in more than 500 locations to develop the salinity mapping in the soil using the Kriging-Gaussian method. Our analysis suggested that the water salinity in the winter was generally higher than in the summer. While the majority of the sites reported higher soil salinity characterized by high variability during the winter season, some sites reported a higher soil salinity in summer with less variability. The analysis revealed that the salt used on the road for the deicing purpose during the snowfall period was the primary reason for the increase in the salinity concentration in water in the western basin of Mentor Marsh, whereas the salt fill sites and brine well were primarily responsible for the higher salinity concentration in the eastern basin. Also, the drainage from the Morton Salt Company was a contributing factor to the sudden spike in some of the stations of the eastern basin. Both the surface water and soil salinity were relatively higher in the eastern basin than in the western basin. Apparently, salinity from the brine well field and salt fill sites seem to be more considerable than the road salt.

The article analyzes trends in freight traffic within 2022-2023 years. The data on the number of dispatched freight cars and volumes of cargo transportation have been processed. Changes in the logistical component since the beginning of the invasion of the aggressor country are considered. An important logistical component should include the change of routes due to the destruction of railway tracks and fixed track structures, blockouts of ports. Since the full-scale Russian invasion of Ukraine railway logistics has undergone drastic changes, i.e., a large number of cargoes went to western cross-overs instead of ports. As reported by the State Customs Service, the export of goods from Ukraine in 2022 decreased by 35% to 44.2 billion dollars. As usual, the agro-industrial and mining and metallurgical complexes, which provided more than ⅔ of goods and more than half of total exports, became the leaders in terms of export volumes under the martial law period. The leaders in export value among goods are grain crops, sunflower oil and ferrous metals. Based on the results of 2022, the export of metal collapsed more than three times, to 4.5 billion dollars. The mining and metallurgical complex of Ukraine suffered from the war much more than other sectors of the economy. About 40% of metallurgical capacities were captured or destroyed in Mariupol, namely, metallurgical plants of the MMK named after Ilich and PrJSC «Azovstal», the average loading of other capacities in 2022 was at the level of 30%. Plus, unlike the grain market, which has the opportunity to export its products through large ports even despite the unstable operation of the «grain corridor», the main routes for the mining and metallurgical complex still remain the western cross-overs and the Danube. It was determined that, against the background of the above-mentioned factors, the railcar-building industry in Ukraine underwent changes in the production of freight wagons in 2022-2023, that is, fewer orders for open-top wagons, and the active construction of platforms and other special-purpose wagons, as well as the production of bogies for the European track. Despite the difficulties, some of the domestic enterprises quickly found their way in today's realities and even managed to increase production. It has been established that the main domestic manufacturers of freight cars during the war were PrJSC «Dniprovagonmash», PJSC «Kryukiv Carriage Building Plant», LLC «DMZ «Karpaty», JSC «Ukrzaliznytsia», the Aurum Group company, and concerning repairsб the company «Lemtrans» should be singled out.

This study aims to determine the background of rail transportation modes developed in Batavia, focusing on the process, the activities between 1873 and 1930, and their economic impact in 1930. It was discovered that the increase in agricultural and plantation yields during the Cultivation Era led caused serious problems in transporting agricultural products from the plantation area to the port. It led to the construction of the first train connecting Batavia to Buitenzorg, operated by the Nederlandsche-Indische Spoorweg Maatschappij (NISM) on 31 January 1873. Another railway company, Staatsspoorwegen (SS), designed to operate the western route, including Batavia – Tanjung Priok, was inaugurated in 1885. It was followed by Batavia – Anyer in 1900 with a Duri – Tangerang branch in 1899 and Bataviasche Ooster Spoorweg Maatschappij (BOSM), which opened the eastern route, Batavia – Bekasi – Karawang, in 1891. Moreover, there is also the Batavia horse tram operated by Bataviasche Tramweg Maatschappij (BTM) in 1869, which served as the beginning of the history of the railroad in Batavia. It was also discovered that the train significantly impacted all economic actors in Batavia, including the farmers, traders, and industries. Penelitian ini bertujuan untuk: mengetahui latar belakang pembangunan moda transportasi kereta api di Batavia, proses pembangunan moda transportasi kereta api di Batavia dan perkembangan perkeretaapian di Batavia pada 1873-1930 serta dampak moda transportasi kereta api terhadap perekonomian Batavia 1930. Hasil penelitian ini bahwa terjadinya peningkatan hasil pertanian dan perkebunan pada era Tanam Paksa yang jumlahnya belipat-lipat menyebabkan masalah yang cukup serius bagi pengangkutan hasil perkebunan dan pertanian dari daerah perkebunan ke pelabuhan. Untuk mengatasi permasalahan-permasalahan itu, maka dibangunlah kereta api pertama di Batavia yang menghubungkan Batavia dengan Buitenzorg yang dioperasikan oleh Nederlandsche-Indische Spoorweg Maatschappij (NISM) pada 31 Januari 1873. Selanjutnya terdapat perusahaan kereta api lainnya yang turut beroperasi di Batavia, yaitu Staatsspoorwegen (SS) yang mengoperasikan lintas barat, meliputi Batavia – Tanjung Priok diresmikan tahun 1885, Batavia – Anyer 1900 dengan cabang Duri – Tangerang tahun 1899 dan Bataviasche Ooster Spoorweg Maatschappij (BOSM) yang membuka lintas timur, Batavia – Bekasi – Karawang tahun 1891. Tak lupa juga terdapat trem kuda Batavia yang dioperasikan oleh Bataviasche Tramweg Maatschappij pada tahun 1869 yang mengawali sejarah berdirinya sejarah kereta api di Batavia. Dengan ini kereta api mampu memberikan dampak ekonomi bagi seluruh pelaku ekonomi di Batavia, mulai dari petani, pedagang hingga industri sekalipun. Cite this article: Bandarsyah, D., Abdulhadi, Sulaeman. (2022). The The Development and Economic Impact of Railway in Batavia, 1873-1930. Paramita: Historical Studies Journal, 32(2), 159-170. http://dx.doi.org/10.15294/paramita.v32i2.31683

Acute myeloid leukemia (AML) is a hematopoietic neoplasm arising from the clonal expansion of myeloid progenitors resulting in bone marrow failure. Nicotinamide phosphoribosyltransferase (NAMPT) is a rate‐limiting enzyme which regulates the generation of the metabolic enzyme substrate NAD+. NAD+ is key in several survival pathways in AML such as DNA repair and metabolic pathways. AML subtypes differ vastly in their inherent DNA repair and metabolic capacities. Since NAMPT is essential in single and double strand DNA repair, NAMPT inhibitors (NAMPTis) were used to block DNA repair as single agents or in combinational therapies in solid tumors. However the clinical experience with the first generation of NAMPTis suggests that higher doses will be needed in order to achieve efficacy, which are associated with high toxicity. We hypothesize that identification of critical synthetic lethal partners for NAMPTi will increase efficacy with lower doses. To this end, we conducted genome-wide CRISPR KO (loss-of-function) screens by using two libraries, GeCKO and Brunello, and identified, along with genes reported essential for AML survival, 16 genes whose knockout displays synergism or resistance, after a NAMPTi (KPT-9274) treatment in AML cells. According to their gene ontology (GO) functions, these co-essential candidates are involved in DNA damage repair and metabolism. Genetic depletion of co-essential genes, SIRT6, HDAC8 and DCPS, sensitizes AML cell lines, MOLM13, Kasumi-1 and MV4-11, to KPT-9274 treatment. In addition, preclinical inhibitor for HDAC8 (PCI-34051), in combination with KPT-9274, synergistically decreased AML primary cell survival in a dose-dependent manner and decreased colony formation in AML patient samples across multiple genotypes with a minimal decrease in colony formation of normal CD34+ hematopoietic cells. In addition, drug combo treatment of AML cells decreased re-plating capacity, implying attenuated self-renewal capacity. Drug combo also increased apoptotic cells as measured by Annexin/PI staining and induced myeloid differentiation as detected by CD45+CD34- staining. In DNA homologous recombination (HR) pathway, SIRT6 and HDAC8 deacetylate CtIP and Rad51 to promote DNA end resection at double strand breaks. Since NAMPT inhibition blocks the generation of NAD+ thus compromising downstream PARP1 mediated base excision repair (BER) as well as the Sirtuin1 (Sirt1) mediated, KU- dependent NHEJ and atypical Rad51-independent HR repair, we expect that inhibiting these HR pathway components (like SIRT6 and HDAC8) may shut down these compensatory repair pathways and sensitize AML subtypes to NAMPT inhibition. Indeed, Western blotting shows drug combo increased acetyl-P53, acetyl-Rad51, phosphor-γH2Ax and Chk1 compared NAMPT inhibition alone. The in vivo efficacy of these combinatorial therapies has been investigated on PDX mouse models established in our laboratory. We demonstrated that the dug combo successfully eliminated engrafted AML cells and conferred survival advantages to mice. Our study provides evidence that co-essential genes, SIRT6, HDAC8 and DCPS, are synthetic lethal partners for NAMPT inhibition to target drug-resistant AML cells, with minimal toxicity towards normal cells. Disclosures Byrd: BeiGene: Research Funding; Ohio State University: Patents & Royalties: OSU-2S; Novartis: Other: Travel Expenses, Speakers Bureau; Gilead: Other: Travel Expenses, Research Funding, Speakers Bureau; Pharmacyclics LLC, an AbbVie Company: Other: Travel Expenses, Research Funding, Speakers Bureau; Novartis: Other: Travel Expenses, Speakers Bureau; TG Therapeutics: Other: Travel Expenses, Research Funding, Speakers Bureau; Pharmacyclics LLC, an AbbVie Company: Other: Travel Expenses, Research Funding, Speakers Bureau; Genentech: Research Funding; Acerta: Research Funding; TG Therapeutics: Other: Travel Expenses, Research Funding, Speakers Bureau; Pharmacyclics LLC, an AbbVie Company: Other: Travel Expenses, Research Funding, Speakers Bureau; TG Therapeutics: Other: Travel Expenses, Research Funding, Speakers Bureau; Genentech: Research Funding; Acerta: Research Funding; Ohio State University: Patents & Royalties: OSU-2S; BeiGene: Research Funding; Ohio State University: Patents & Royalties: OSU-2S; Novartis: Other: Travel Expenses, Speakers Bureau; Gilead: Other: Travel Expenses, Research Funding, Speakers Bureau; Genentech: Research Funding; Gilead: Other: Travel Expenses, Research Funding, Speakers Bureau; BeiGene: Research Funding; Acerta: Research Funding; Janssen: Consultancy, Other: Travel Expenses, Research Funding, Speakers Bureau; Janssen: Consultancy, Other: Travel Expenses, Research Funding, Speakers Bureau; Janssen: Consultancy, Other: Travel Expenses, Research Funding, Speakers Bureau.

Patients with Chronic Lymphocytic Leukemia (CLL) have a variety of chromosomal abnormalities and mutations. At diagnosis, about 10% of CLL patients have deletions of chromosome 17 (Del17p) leading to the loss of one allele of tumor suppressor protein TP53, which increases to over 30% in relapsed/refractory disease. Additionally, 83% of patients with a Del17p acquire a mutation on their second TP53 allele at one of several sites within the DNA binding domain. While the consequence of some of these "hotspot" mutations (R175H, R179H, G245D, G248Q/W, Y220, R213X, R273H and R282H) has been described in solid tumors and AML, very little is known of their role in CLL. Clinically, patients with Del17p/Mutp53 have worse overall survival, increased disease progression and are more likely to relapse on the current targeted therapies such as ibrutinib. Although relapse to these treatments is largely due to acquired mutations in Bruton's Tyrosine Kinase (BTK) or its downstream target PLCg2, we hypothesize that the biology of mutant 53 bearing CLL is a key driver of resistance and progression. Specifically, we aim to determine the molecular signature and downstream effectors that allow mutant p53 to drive the adverse biology associated with this subtype. Conversely, we hypothesize that targeting the mutant p53 pathway will lead to better outcomes and overall survival for patients bearing this adverse prognosis marker. We performed high-throughput Sequencing of DNA from 270 CLL patients with high coverage in the exonic regions of TP53 prior to ibrutinib therapy as well as during progression. At baseline, 40% of patients had mutations found in the DNA binding region with the most frequent occurring in R248Q, R175H and R273H. We then characterized each p53 mutant (n=106) functionally in terms of their ability to ability to activate p21, PUMA, and Bax which serve as cell cycle checkpoint and apoptotic effectors of wild type p53 in response to DNA damage. Most mutants were incompetent in upregulating p21, PUMA or Bax at the transcript level. A few mutants upregulated p21 protein in a p53 independent fashion. We then evaluated the consequence of mutant p53 in CLL. We performed chromatin immunoprecipitation (ChIP-Seq), open chromatin signatures (ATAC-Seq) and expression analysis (RNA-Seq) on CLL samples with R248Q or R175H as well as in wild-type (WT) p53 samples. Integration of ChIP, ATAC and RNA Seq profiles indicated that mutant p53 activated a unique transcriptomic profile not shared by wt p53 bearing CLL. Several genes that facilitated survival or progression were downstream targets of mutant p53. Of these, we identified PRKCB (PKC-beta), BCL2L1 (Bcl-xL), EZH2, MLL and MALAT as a potential key downstream effectors of mutant p53. To determine whether mutations at R248Q and R175H in p53 were causal in the observed increases in PKC-beta, Bcl-xL, EZH2, MLL, and MALAT we used CRISPR/Cas9 editing to introduce mutations at R175H and R248Q in the p53 wildtype CLL cell lines HG-3 and PGA-1. These were accomplished by electroporating sgRNA-Cas9 ribonucleoprotein complexes (RNPs). Western blotting of mutants revealed an increase in the mRNA and protein expression of PKC-beta, and BCL-xL in mutant p53 compared to WT. Levels of EZH2 and MLL were not increased in these cells indicating that PKC-beta and Bcl-xL may be direct transcriptional targets upregulated by mutations at R248Q and R175H in p53. Ongoing efforts will characterize the transcriptional profile of all p53 mutants in our cohort to determine whether they all have a unifying transcriptomic profile that confers a gain of function phenotype to this subtype of CLL. Disclosures Byrd: Gilead: Other: Travel Expenses, Research Funding, Speakers Bureau; Janssen: Consultancy, Other: Travel Expenses, Research Funding, Speakers Bureau; BeiGene: Research Funding; TG Therapeutics: Other: Travel Expenses, Research Funding, Speakers Bureau; Gilead: Other: Travel Expenses, Research Funding, Speakers Bureau; Ohio State University: Patents & Royalties: OSU-2S; Novartis: Other: Travel Expenses, Speakers Bureau; Pharmacyclics LLC, an AbbVie Company: Other: Travel Expenses, Research Funding, Speakers Bureau; Genentech: Research Funding; BeiGene: Research Funding; Janssen: Consultancy, Other: Travel Expenses, Research Funding, Speakers Bureau; Ohio State University: Patents & Royalties: OSU-2S; Pharmacyclics LLC, an AbbVie Company: Other: Travel Expenses, Research Funding, Speakers Bureau; Gilead: Other: Travel Expenses, Research Funding, Speakers Bureau; TG Therapeutics: Other: Travel Expenses, Research Funding, Speakers Bureau; Janssen: Consultancy, Other: Travel Expenses, Research Funding, Speakers Bureau; Genentech: Research Funding; TG Therapeutics: Other: Travel Expenses, Research Funding, Speakers Bureau; Acerta: Research Funding; Ohio State University: Patents & Royalties: OSU-2S; Novartis: Other: Travel Expenses, Speakers Bureau; Acerta: Research Funding; BeiGene: Research Funding; Pharmacyclics LLC, an AbbVie Company: Other: Travel Expenses, Research Funding, Speakers Bureau; Acerta: Research Funding; Genentech: Research Funding; Novartis: Other: Travel Expenses, Speakers Bureau. Woyach:Janssen: Consultancy, Research Funding; Pharmacyclics LLC, an AbbVie Company: Consultancy, Research Funding; AbbVie: Research Funding; Karyopharm: Research Funding; Loxo: Research Funding; Morphosys: Research Funding; Verastem: Research Funding.

Mantle cell lymphoma (MCL) is an incurable B-cell malignancy characterized by genetic dysregulation of cyclin D1 and activation of signaling pathways driving uncontrolled MCL cell proliferation and survival. Ibrutinib is an FDA-approved irreversible inhibitor of Bruton's tyrosine kinase (BTK), a downstream target of the B-cell receptor (BCR) pathway. While ibrutinib exhibits significant single-agent therapeutic activity in patients with relapsed/refractory MCL, the vast majority of MCL patients on ibrutinib progress with aggressive disease and short survival (3-8 mo). Although ~80% of chronic lymphocytic leukemia patients with acquired ibrutinib resistance have mutations in BTK and PLCγ2, this is uncommon in MCL suggesting alternative mechanisms driving this resistant phenotype. Understanding drug-resistance mechanisms and developing effective therapies for ibrutinib resistant (IR) MCL are urgently needed. The major type II protein arginine methyltransferase enzyme, PRMT5, catalyzes symmetric dimethylation of arginine residues on histone tails (H3R8 and H4R3) and other proteins. PRMT5 regulates a vast array of biologic functions including RNA processing, DNA damage response, signal transduction, and gene expression. Amplified PRMT5 activity drives the expression and activity of key oncogenes (MYC, CYCLIND1, NOTCH1) while silencing expression and activity of tumor suppressors (ST7, RBL2, and p53). Our group has shown PRMT5 is overexpressed and dysregulated in MCL and strategies aimed at selectively targeting PRMT5 show anti-tumor activity in preclinical lymphoma models. Here we describe the development of a novel patient derived xenograft (PDX) of IR-MCL and explore PRMT5 inhibition as an alternative therapeutic option to circumvent IR. Peripheral blood mononuclear cells from a 75 yo male patient diagnosed with acquired classic IR-MCL were engrafted intravenously into NSG mice. After 5 passages, all mice engrafted with 107 MCL cells developed histologically confirmed MCL infiltrating kidney, lymph nodes, bone marrow, spleen and peripheral blood. Circulating human CD5+/CD19+ cells were detectable and quantifiable by flow cytometry by day 21 post-engraftment. Karyotype analysis confirmed the hallmark t(11;14)(q13;q32) of MCL while retaining nearly all cytogenetic abnormalities present in the patient's primary tumor including a deletion of chromosome 9, associated with deletion of MTAP, a therapeutic vulnerability for PRMT5-targeted therapy. Whole exome sequencing confirmed genomic stability with successive passages. Ex vivo cytotoxicity assays and protein pathway analysis further confirmed resistance to ibrutinib (IC50 >1 µM) with maintained hyper-phosphorylation of AKT (Ser473) and ERK (Thr202/Tyr204). Western blot analysis showed elevated levels of c-MYC, CYCLIND1, BCL2, and pERK. After validation of circulating disease at day 25 post engraftment, mice were treated with either a novel small molecule inhibitor of PRMT5 (PRT382, 10 mg/kg orally 4 days on 3 days off) or ibrutinib (75 mg/kg administered in drinking water, n=5 mice per treatment group). Treatment of this PDX model with PRT382 resulted in significantly decreased disease burden and improved median survival compared to control animals from 48 to 83 days, respectively (p=0.0045). We found no significant difference in survival (p= 0.6540) or circulating disease burden with ibrutinib therapy compared to control group. The full BTK occupancy of ibrutinib treated mice was validated using fluorescence resonance energy transfer-based assay. Ex vivo PDX MCL cells from PRT382-treated mice showed loss of symmetric dimethyl arginine with preservation of asymmetric dimethyl arginine levels, reduced H4(Sme2)R3 epigenetic marks, and elevated levels of BCL2, MYC, and pAKT/pERK. We developed a cell line (SEFA) allowing for in vitro mechanistic studies. We are currently investigating potential mechanisms responsible for circumventing IR-MCL by integrating genome-wide changes to chromatin accessibility and whole transcriptome analysis. This IR-MCL PDX mouse model serves as a useful tool to investigate mechanisms of drug resistance, provides a platform to explore novel pre-clinical therapeutic strategies to circumvent IR and demonstrates the therapeutic activity of PRMT5 targeted therapy in this aggressive disease. Disclosures Byrd: Pharmacyclics LLC, an AbbVie Company: Other: Travel Expenses, Research Funding, Speakers Bureau; Janssen: Consultancy, Other: Travel Expenses, Research Funding, Speakers Bureau; Ohio State University: Patents & Royalties: OSU-2S; Genentech: Research Funding; BeiGene: Research Funding; Janssen: Consultancy, Other: Travel Expenses, Research Funding, Speakers Bureau; TG Therapeutics: Other: Travel Expenses, Research Funding, Speakers Bureau; Gilead: Other: Travel Expenses, Research Funding, Speakers Bureau; Novartis: Other: Travel Expenses, Speakers Bureau; Genentech: Research Funding; Acerta: Research Funding; Acerta: Research Funding; Ohio State University: Patents & Royalties: OSU-2S; BeiGene: Research Funding; Genentech: Research Funding; BeiGene: Research Funding; Janssen: Consultancy, Other: Travel Expenses, Research Funding, Speakers Bureau; Novartis: Other: Travel Expenses, Speakers Bureau; Pharmacyclics LLC, an AbbVie Company: Other: Travel Expenses, Research Funding, Speakers Bureau; Gilead: Other: Travel Expenses, Research Funding, Speakers Bureau; Gilead: Other: Travel Expenses, Research Funding, Speakers Bureau; Novartis: Other: Travel Expenses, Speakers Bureau; Pharmacyclics LLC, an AbbVie Company: Other: Travel Expenses, Research Funding, Speakers Bureau; TG Therapeutics: Other: Travel Expenses, Research Funding, Speakers Bureau; Acerta: Research Funding; Ohio State University: Patents & Royalties: OSU-2S; TG Therapeutics: Other: Travel Expenses, Research Funding, Speakers Bureau. Vaddi:Prelude Therapeutics: Employment. Scherle:Prelude Therapeutics: Employment. Baiocchi:Prelude: Consultancy.

In modern historical literature the problem of the formation and development of river companies is actively studied by historians, which allows us to trace the formation of new forms of economic relations, primarily in remote regions. But the development of entrepreneurial companies is primarily associated with customers, consumers, and potential clients. The transportation of passengers at the end of the 19th – beginning of the 20th centuries, including in the Ob-Irtysh water basin, became a popular commercial service, which, in the absence of alternative transportation options, brought in good income. The purpose of this article is to show the organization and dynamics of passenger transportation in the Ob-Irtysh water basin. In preparing this work, a statistical method and a method of selective analysis of data from the reporting documentation of several river companies were used. This made it possible to identify not only categories and groups of passengers of river companies, but also to show the conditions of accommodation during transportation along the rivers of the Ob-Irtysh water basin. Although there were seven groups of passengers transported, the main customers of this service were local residents, and the most profitable client was the state. These conclusions confirm the opinion of contemporaries, as well as the conclusions of historians about the interest of all participants in the process of commodity-money relations in Western Siberia in the development of not only railway transport, but also river transport. Sources also indicate that large river transport companies sought to diversify their capital by investing it in areas that had just taken shape in the Ob-Irtysh water basin. Of interest is the organization of passenger transportation both by the company itself and under contracts with the executive authorities of local routes in the Ob North.

This article uses archival records to study the litigation surrounding the land grant to the Calgary and Edmonton Railway, which was the first railway to approach Edmonton and Fort Macleod. The Dominion of Canada granted 1,888,448 acres of land in Alberta to the Calgary and Edmonton Railway Company to assist in financing construction of the line and also attempted to shield these lands from local taxation. The C & E went to Court to obtain mines and minerals in the land grant and in an effort to avoid local taxation. The authors analyze these cases and outline the implications of the decisions, particularly in the creation of private mineral title in western Canada.

The Great War and Trianon opened a new chapter in the history, not only of the Kingdom of Hungary, but also of Western Hungary. Besides dividing up the counties of Sopron, Moson and Vas, the newly re-drawn borders also split up most of the railway lines running within them as well. From the territory sliced from the three counties, the previously non-existent province of Austria, Burgenland, was established in 1922. In many cases, the new demarcation lines followed boundaries of old districts or settlements, but it was rare to find natural boundaries among them. As a result, between the two World Wars, the use of the affected railway tracks began to change similar to several contemporary Central European cases, with the exception of GYSEV (Győr–Sopron–Ebenfurth Railway Company), which could remain in its original form. This research paper aims to examine how the shift of borders in this region affected railway transport. It is based on the local historical literature on the railway, regional history and primary resources.

Purpose This paper points to five features that CEO language should have to help enable a robust safety culture. Design/methodology/approach The paper draws empirical support mainly from the CEO-speak of the CEO of Norfolk Southern Railway in the year prior to the major derailment of a company train and subsequent toxic chemical spill in East Palestine Ohio in February 2023. Findings CEOs should incorporate the following five features into their CEO-speak. They should actually use the word safety but “in doing so” avoid platitudes about safety. They should exude genuine commitment to safety “cite meaningful safety performance measures” and not ignore operating risks. Originality/value Safety is a critically important aspect of corporate endeavor. Yet discussion of it is grossly under-represented in the professional and academic literature. This paper offers sound suggestions that reinforce the need for CEOs to write and speak in a way that ensures their company’s commitments to a strong safety culture are not merely platitudinous buzzwords but are genuinely key strategic elements of their company’s business model.

From the Foreword: Railroads have been important in American history since the mid-nineteenth century for national unification, the settlement of the American West, the industrial revolution, economic growth, models of complex organization for other large corporations, and the transition of America from rural, agrarian society to urban, industrial society. The railroads’ transformative influence of technological change and social change has been termed “railroadization” (Schumpeter 1939, 1:325-351). Alfred D. Chandler Jr. (1965, 9-12) characterized the railroad industry as the first big business in America. The transcontinental railroads were especially significant. A transcontinental railroad may be defined as a railroad whose eastern terminal is east of the Continental Divide and whose western terminal is on the Pacific coast.… This book, Revised Corporate History of the Northern Pacific Railway As of June 30, 1917, Prepared in Accordance With Valuation Order No. 20 of the Interstate Commerce Commission, is the official history of the Northern Pacific Railway, and it documents corporate changes from the Northern Pacific’s charter on July 2, 1864, to June 30, 1917. It was prepared in accordance with Valuation Order number 20 of the Interstate Commerce Commission. … In order to complete the history of the Northern Pacific Railway it is necessary to add the corporate changes that occurred from 1917 until its merger into the Burlington Northern in 1970.

Abstract A considerable proportion of the research conducted within the developing field of deindustrialisation studies has focused on the loss of work in industrial closures, and on the attachments that long-serving workers feel to their former workplace. This article focuses instead on the phenomenon of constrained mobility which often occurs as companies restructure and workers are offered a choice between redundancy or relocation to another site. Steven High (2003) has examined the ‘transplanted identities’ of male workers who had moved repeatedly as plants downsized and closed across the American rust belt, highlighting a group who styled themselves as the ‘I-75 gypsies’ (after the interstate highway that runs through Michigan and Ohio). Forging a new identity articulated in terms of mobility rather than place, these men constructed a new version of heroic working-class masculinity as they moved from site to site. This article draws on a case study of the Moulinex domestic appliance company in north western France to examine how such mobility has been experienced by women workers in a region beyond the industrial heartlands. In doing so, it considers the particular relationship to place that was constructed as companies like Moulinex established factories in rural regions of France after the Second World War and the implications of this for work-based identities. The article highlights the intersecting effects of age and gender, the significance of the gendered division of labour for women's experiences of mobility, and the extent to which identities were reshaped as women moved to stay in work.

George Temple was born in London on 2 September 1901. There is no record of any previous scientific activity in his family; his father James Temple and his mother Frances ( née Compton) were country folk from Oxfordshire, although by the time George was born James was working for the Great Western Railway at Paddington Station. George himself stressed his good fortune in having three teachers of mathematics of outstanding ability, the first two being Ray Gilbert (who taught George briefly at Northfields Elementary School) and P. G. Goodall (at Ealing County School). James Temple’s death meant that George had to leave Ealing School after less than five years to seek employment. Within a year of leaving, however, he had enrolled as an evening student at Birkbeck College. He decided to study science rather than his other love, classics, and so met the third of his inspiring mathematics teachers, C. V. Coates. George was a student for only one year, 1918-19, after which Professor Albert Griffiths made him his part-time research assistant in physics, an appointment that freed George from his post at the Prudential Assurance Company, though with a cut in salary. It was at this time that he became a Catholic, and his strong faith informed the rest of his life. He had many close Dominican friends and learnt to value the theology of St Thomas highly. He took the General Honours B.Sc. in 1922 and became Steward in the Physics Department for two years.

Oncor Electric Delivery Company, LLC (Oncor) is planning to construct the Owl Hills—Tunstill 138-kV Transmission Line Route in Culberson, Reeves and Loving Counties, Texas. Oncor contracted with Halff Associates, Inc. to conduct an intensive pedestrian survey of 18.5 miles of new 138-kV transmission line on private property. The survey was conducted January 20-24, 2020 and a total of 102 shovel tests were excavated in areas where buried archeological deposits where expected, and two 15-meter (32.8-foot) transects underwent pedestrian survey within the 70-foot (21.3-meter) wide survey corridor, which measures approximately 157 acres. Three archeological sites (41RV208, 41RV209 and 41RV213) were identified and recorded during the archeological survey. Site 41RV208 is a prehistoric occupation containing a surface deposit of 12 lithic debitage, 6 flake tools, 6 cores, 2 groundstone fragments and 40 fire cracked rocks (FCR). The site is situated on a gravelly and deflated upland that forms the western rim of the Pecos River valley. Site 41RV209 consists of a prehistoric occupation containing a surface deposit of 12 FCR, 6 lithic debitage, 3 flake tools, 2 cores, 1 uniface, and 1 biface. This site is situated on the heavily eroded west bank of Salt Creek and has been disturbed by construction activities associated with an adjacent pipeline corridor. Site 41RV213 is an abandoned section of the Atchison, Topeka & Santa Fe (ATSF) Railway that parallels U.S. Highway 285 to the east. The section of railroad in the surveyed area has undergone extensive disturbance and consists of a narrow linear piling of fill, railroad gravels and non-descript metal debris. It is Halff’s recommendation that sites 41RV208, 41RV209 and 41RV213 are ineligible for National Register of Historic Places consideration in the surveyed area and no further cultural resources investigations are warranted for the project. While shovel testing within the lower terraces of the Pecos River valley floor resulted in negative findings, most of the shovel tests in this area did not encounter restrictive deposits soil or geologic deposits that antedate the Holocene. Therefore, the installation of the transmission line poles located along the lower alluvial terraces of the Pecos River was recommended for archeological monitoring. Halff recommends that construction of the remainder of the proposed transmission line route be allowed to proceed and that no additional archaeological investigations are recommended outside of the monitoring area. However, if the proposed transmission line route alignment changes, additional archeological survey may be necessary. In addition, should any cultural resources be discovered during the construction or maintenance activities associated with the project, work in the immediate area shall cease and the Texas Historical Commission be notified of the discovery.

In the contemporary urban environment of mass transit, it falls to a small group of public officers to keep large number of travellers safe. The small size of their force and the often limited powers they exert mean that these public safety ‘transit officers’ must project more authority and control than they really have. It is this ambience of authority and control which, in most situations they encounter and seek to influence, is enough to keep the public safe. This paper examines the ambience of a group of transit officers working on the railway lines of an Australian capital city. We seek to show how transit officers are both influenced by, and seek to influence, the ambience of their workplace and the public spaces they inhabit whilst on duty, and here we take ambience to apply to the surrounding atmosphere, the aura, and the emotional environment of a place or situation: the setting, tone, or mood. For these transit officers to keep the public safe, they must themselves remain safe. A transit officer who is disabled in a confrontation with a violent offender is unable to provide protection to his or her passengers. Thus, in the culture of the transit officers, their own workplace safety takes on a higher significance. It affects not just themselves. The ambience exuded by transit officers, and how transit officers see their relationship with the travelling public, their management and other organisational work groups, is an important determinant of their work group’s safety culture. Researching the Working Lives of Transit Officers in Perth Our discussion draws on an ethnographic study of the working lives and communication cultures of transit officers (TOs) employed by the Public Transport Authority (PTA) of Western Australia (WA). Transit officers have argued that to understand fully the challenges of their work it is necessary to spend time with them as they undertake their daily duties: roster in, roster out. To this end, the research team and the employer organisation secured an ARC Linkage Grant in partnership with the PTA to fund doctoral candidate and ethnographer Christine Teague to research the workers’ point of view, and the workers’ experiences within the organisation. The two-hundred TOs are unique in the PTA. Neither of the other groups who ride with them on the trains, the drivers and revenue protection staff (whose sole job is to sell and check tickets), experiences the combination of intense contact with passengers, danger of physical injury or group morale. The TOs of the PTA in Perth operate from a central location at the main train station and the end stations on each line. Here there are change lockers where they can lock up their uniforms and equipment such as handcuffs and batons when not on duty, an equipment room where they sign out their radios, and ticket-checking machines. At the main train station there is also a gym, a canteen and holding cells for offenders they detain. From these end stations and central location, the TOs fan out across the network to all suburbs where they either operate from stations or onboard the trains. The TOs also do ‘delta van’ duty providing rapid, mobile back-up support for their colleagues on stations or trains, and providing transport for arrested persons to the holding cell or police lock up. TOs are on duty whenever the trains are running–but the evenings and nights are when they are mainly rostered on. This is when trouble mostly occurs. The TOs’ work ends only after the final train has completed its run and all offenders who may require detaining and charging have been transferred into police custody. While the public perceive that security is the TOs’ most frequent role, much of the work involves non-confrontational activity such as assisting passengers, checking tickets and providing a reassuring presence. One way to deal with an ambiguous role is to claim an ambience of power and authority regardless. Various aspects of the TO role permit and hinder this, and the paper goes on to consider aspects of ambience in terms of fear and force, order and safety, and role confusion. An Ambience of Fear and Force The TOs are responsible for front-line security in WA’s urban railway network. Their role is to offer a feeling of security for passengers using the rail network after the bustle of the work day finishes, and is replaced by the mainly recreational travels of the after hours public. This is the time when some passengers find the prospect of evening travel on the public transport rail network unsettling–so unsettling that it was a 2001 WA government election promise (WA Legislative Council) that every train leaving the city centre after 7pm would have two TOs riding on it. Interestingly, recruitment levels have never been high enough for this promise to be fully kept. The working conditions of the TOs reflect the perception, and to an extent, the reality that some late night travel on public transport involves negotiating an edgy ambience with an element of risk, rubbing shoulders with people who may be loud, rowdy, travelling in a group, and or drug and alcohol affected. As Fred (all TO names are pseudonyms) comments: You’re not dealing with rational people, you’re not dealing with ‘people’: most of the people you’re dealing with are either drunk or under the influence of drugs, so they’re not rational, they don’t hear you, they don’t understand what you’re saying, they just have no sense of what’s right or wrong, you know? Especially being under the influence, so I mean, you can talk till you’re blue in the face with somebody who’s drunk or on drugs, I mean, all you have to say is one thing. ‘Oh, can I see your ticket please’, ‘oh, why do I need a fucking ticket’, you know? They just don’t get simple everyday messages. Dealing with violence and making arrest is a normal part of this job. Jo described an early experience in her working life as a TO:Within the first week of coming out of course I got smacked on the side of the head, but this lady had actually been certified, like, she was nuts. She was completely mental and we were just standing on the train talking and I’ve turned around to say something to my partner and she was fine, she was as calm as, and I turned around and talked to my partner and the next thing I know I ended up with her fist to the side of my head. And I went ‘what the hell was that’? And she went off, she went absolutely ballistic. I ended up arresting her because it was assault on an officer whether she was mental or not so I ended up arresting her.Although Jo here is describing how she experienced an unprovoked assault in the early days of her career as a TO, one of the most frequent precursors to a TO injury occurs when the TO is required to make an arrest. The injury may occur when the passenger to be arrested resists or flees, and the TO gives chase in dark or treacherous circumstances such as railway reserves and tunnels, or when other passengers, maybe friends or family of the original person of concern, involve themselves in an affray around the precipitating action of the arrest. In circumstances where capsicum spray is the primary way of enforcing compliance, with batons used as a defence tool, group members may feel that they can take on the two TOs with impunity, certainly in the first instance. Even though there are security cameras on trains and in stations, and these can be cued to cover the threatening or difficult situations confronting TOs, the conflict is located in the here-and-now of the exchanges between TOs and the travelling public. This means the longer term consequence of trouble in the future may hold less sway with unruly travellers than the temptation to try to escape from trouble in the present. In discussing the impact of remote communications, Rubert Murdoch commented that these technologies are “a powerful influence for civilised behaviour. If you are arranging a massacre, it will be useless to shoot the cameraman who has so inconveniently appeared on the scene. His picture will already be safe in the studio five thousand miles away and his final image may hang you” (Shawcross 242). Unfortunately, whether public aggression in these circumstances is useless or not, the daily experience of TOs is that the presence of closed circuit television (CCTV) does not prevent attacks upon them: nor is it a guarantee of ‘civilised behaviour’. This is possibly because many of the more argumentative and angry members of the public are dis-inhibited by alcohol or other drugs. Police officers can employ the threat or actual application of stun guns to control situations in which they are outnumbered, but in the case of TOs they can remain outnumbered and vulnerable until reinforcements arrive. Such reinforcements are available, but the situation has to be managed through the communication of authority until the point where the train arrives at a ‘manned’ station, or the staff on the delta vehicle are able to support their colleagues. An Ambience of Order and Safety Some public transport organisations take this responsibility to sustain an ambience of order more seriously than others. The TO ethnographer, Christine Teague, visited public transport organisations in the UK, USA and Canada which are recognised as setting world-class standards for injury rates of their staff. In the USA particularly, there is a commitment to what is called ‘the broken windows’ theory, where a train is withdrawn from service promptly if it is damaged or defaced (Kelling and Coles; Maple and Mitchell). According to Henry (117): The ‘Broken Windows’ theory suggests that there is both a high correlation and a causal link between community disorder and more serious crime: when community disorder is permitted to flourish or when disorderly conditions or problems are left untended, they actually cause more serious crime. ‘Broken windows’ are a metaphor for community disorder which, as Wilson and Kelling (1982) use the term, includes the violation of informal social norms for public behaviour as well as quality of life offenses such as littering, graffiti, playing loud radios, aggressive panhandling, and vandalism.This theory implies that the physical ambience of the train, and by extension the station, may be highly influential in terms of creating a safe working environment. In this case of ‘no broken window’ organisations, the TO role is to maintain a high ‘quality of life’ rather than being a role predominantly about restraining and bringing to justice those whose behaviour is offensive, dangerous or illegal. The TOs in Perth achieve this through personal means such as taking pride in their uniforms, presenting a good-natured demeanour to passengers and assisting in maintaining the high standard of train interiors. Such a priority, and its link to reduced workforce injury, suggests that a perception of order impacts upon safety. It has long been argued that the safety culture of an organisation affects the safety performance of that organisation (Pidgeon; Leplat); but it has been more recently established that different cultural groupings in an organisation conceive and construct their safety culture differently (Leith). The research on ‘safety culture’ raises a problematic which is rarely addressed in practice. That problematic is this: managers frequently engage with safety at the level of instituting systems, while workers engage with safety in terms of behaviour. When Glendon and Litherland comment that, contrary to expectations, they could find no relationship between safety culture and safety performance, they were drawing attention to the fact that much managerial safety culture is premised upon systems involving tick boxes and the filling in of report forms. The broken window approach combines the managerial tick box with managerial behaviour: a dis-ordered train is removed from service. To some extent a general lack of fit between safety culture and safety performance endorses Everett’s view that it is conceptually inadequate to conceive organisations as cultures: “the conceptual inadequacy stems from the failure to distinguish between culture and behavioural features of organizational life” (238). The general focus upon safety culture as a way of promoting improvements in safety performance assumes that compliance with a range of safety systems will guarantee a safe workplace. Such an assumption, however, risks positioning the injured worker as responsible for his or her own predicament and sets up an environment in which some management officials are wont to seek ways in which that injured worker’s behaviour failed to conform with safety rules or safety processes. Yet there are roles which place workers in harm’s way, including military duties, law enforcement and some emergency services. Here, the work becomes dangerous as it becomes disorderly. An Ambience of Roles and Confusion As the research reported here progressed, it became clear that the ambience around the presentation of the self in the role of a TO (Goffman) was an important part of how ‘safety’ was promoted and enacted in their work upon the PTA (WA) trains, face to face with the travelling public. Goffman’s view of all people, not specifically TOs, is that: Regardless of the particular objective which the individual has in mind and of his motive for having this objective, it will be in his interests to control the conduct of the others, especially their responsive treatment of him. This will largely be through influencing the perception and definition that others will come to formulate of him. He will influence them by expressing himself in such a way that the kind of impression given off will lead them to act voluntarily in accordance with his own plan. (3)This ‘influencing of perception’ is an important element of performing the role of a TO. This task of the TOs is made all the more difficult because of confusions about their role in relation to two other officers: police (who have more power to act in situations of public safety) and revenue project officers (who have less), as we now discuss. The aura of the TO role borrows somewhat from those quintessential law and order officers: the police. TOs work in pairs, like many police, to support each other. They have a range of legal powers including the power of arrest, and they carry handcuffs, a baton and capsicum spray as a means of helping ensure their safety and effectiveness in circumstances where they might be outnumbered. The tools of their trade are accessibly displayed on heavy leather belts around their waists and their uniforms have similarities with police uniforms. However, in some ways these similarities are problematic, because TOs are not afforded the same respect as police. This situation underlines of the ambiguities negotiated within the ambience of what it is to be a TO, and how it is to conduct oneself in that role. Notwithstanding the TOs’ law and order responsibilities, public perceptions of the role and some of the public’s responses to the officers can position these workers as “plastic cops” (Teague and Leith). The penultimate deterrent of police officers, the stun gun (Taser), is not available to TOs who are expected to control all incidents arising on duty through the fact that they operate in pairs, with capsicum spray available and, as a last resort, are authorised to use their batons in self defence. Furthermore, although TOs are the key security and enforcement staff in the PTA workforce, and are managed separately from related staff roles, they believe that the clarity of this distinction is compromised because of similarities in the look of Revenue Protection Officers (RPOs). RPOs work on the trains to check that passengers have tickets and have paid the correct fares, and obtain names and addresses to issue infringement notices when required. They are not PTA employees, but contracted staff from an outside company. They also work in pairs. Significantly, the RPO uniform is in many respects identical to that of the TO, and this appears to be a deliberate management choice to make the number of TOs seem greater than it is: extending the TO ambience through to the activities of the RPOs. However, in the event of a disturbance, TOs are required and trained to act, while RPOs are instructed not to get involved; even though the RPOs appear to the travelling public to be operating in the role of a law-and-order-keeper, RPOs are specifically instructed not to get involved in breaches of the peace or disruptive passenger behaviour. From the point of view of the travelling public, who observe the RPO waiting for TOs to arrive, it may seems as if a TO is passively standing by while a chaotic situation unravels. As Angus commented: I’ve spoken to quite a few members of public and received complaints from them about transit officers and talking more about the incident have found out that it was actually [RPOs] that are dealing with it. So it’s creating a bad image for us …. It’s Transits that are copping all the flak for it … It is dangerous for us and it’s a lot of bad publicity for us. It’s hard enough, the job that we do and the lack of respect that we do get from people, we don’t need other people adding to it and making it harder. Indeed, it is not only the travelling public who can mistake the two uniforms. Mike tells of an “incident where an officer [TO] has called for backup on a train and the guys have got off [the train at the next station] and just stood there, and he didn’t realise that they are actually [revenue protection] officers, so he effectively had no backup. He thought he did, but he didn’t.” The RPO uniform may confer an ambience of power borrowed from TOs and communicated visually, but the impact is to compromise the authority of the TO role. Unfortunately, what could be a complementary role to the TOs becomes one which, in the minds of the TO workforce, serves to undermine their presence. This effect of this role confusion is to dilute the aura of authority of the TOs. At one end of a power continuum the TO role is minimised by those who see it as a second-rate ‘Wannabe cop’ (Teague and Leith 2008), while its impact is diluted at the other end by an apparently deliberate confusion between the TO broader ‘law and order’ role, and the more limited RPO revenue collection activities. Postlude To the passengers of the PTA in Perth, the presence and actions of transit officers appear as unremarkable as the daily commute. In this ethnographic study of their workplace culture, however, the transit officers have revealed ways in which they influence the ambience of the workplace and the public spaces they inhabit whilst on duty, and how they are influenced by it. While this ambient inter-relationship is not documented in the organisation’s occupational safety and health management system, the TOs are aware that it is a factor in their level at safety at work, both positively and negatively. Clearly, an ethnography study is conducted at a certain point in time and place, and culture is a living and changing expression of human interaction. The Public Transport Authority of Western Australia is committed to continuous improvement in safety and to the investigation of all ways and means in which to support TOs in their daily activities. This is evident not only in their support of the research and their welcoming of the ethnographer into the workforce and onto the tracks, but also in their robust commitment to change as the findings of the research have progressed. In particular, changes in the ambient TO culture and in the training and daily practices of TOs have already resulted from this research or are under active consideration. Nonetheless, this project is a cogent indicator of the fact that a safety culture is critically dependent upon intangible but nonetheless important factors such as the ambience of the workplace and the way in which officers are able to communicate their authority to others. References Everett, James. “Organizational Culture and Ethnoecology in Public Relations Theory and Practice.” Public Relations Research Annual. Vol. 2. Eds. Larissa Grunig and James Grunig. Hillsdale, NJ, 1990. 235-251. Glendon, Ian, and Debbie Litherland. “Safety Climate Factors, Group Differences and Safety Behaviour in Road Construction.” Safety Science 39.3 (2001): 157-188. Goffman, Erving. The Presentation of the Self in Everyday Life. London: Penguin, 1959. Henry, Vincent. The Comstat Paradigm: Management Accountability in Policing, Business and the Public Sector. New York: Looseleaf Law Publications, 2003. Kelling, George, and Catherine Coles. Fixing Broken Windows: Restoring Order and Reducing Crime in Our Communities. New York: Touchstone, 1996. Leith, David. Workplace Culture and Accidents: How Management Can Communicate to Prevent Injuries. Saarbrücken: VDM Verlag, 2008. Leplat, Jacques. “About Implementation of Safety Rules.” Safety Science 29.3 (1998): 189-204. Maple, Jack, and Chris Mitchell. The Crime Fighter: How You Can Make Your Community Crime-Free. New York: Broadway Books, 1999. Pidgeon, Nick. “Safety Culture and Risk Management in Organizations.” Journal of Cross-Cultural Psychology 22.1 (1991): 129-140. Shawcross, William. Rupert Murdoch. London: Chatto & Windus, 1992. Teague, Christine, and David Leith. “Men of Steel or Plastic Cops? The Use of Ethnography as a Transformative Agent.” Transforming Information and Learning Conference Transformers: People, Technologies and Spaces, Edith Cowan University, Perth, WA, 2008. ‹http://conferences.scis.ecu.edu.au/TILC2008/documents/2008/teague_and_leith-men_of_steel_or_plastic_cops.pdf›. Wilson, James, and George Kelling. “Broken Windows.” The Atlantic Monthly (Mar. 1982): 29-38. WA Legislative Council. “Metropolitan Railway – Transit Guards 273 [Hon Ed Dermer to Minister of Transport Hon. Simon O’Brien].” Hansard 19 Mar. 2009: 2145b.

In 1999, the TV movie Shark Attack depicted an attack by mutant great white sharks on the population of Cape Town. By the time the third entry in the series, Shark Attack 3, aired in 2002, mutant great whites had lost their lustre and were replaced as antagonists with the megalodon: a giant shark originating not in any laboratory, but history, having lived from approximately 23 to 3.6 million years ago. The megalodon was resurrected again in May 2021 through a trifecta of events. A video of a basking shark encounter in the Atlantic went viral on the social media platform TikTok, due to users misidentifying it as a megalodon caught on tape. At the same time a boy received publicity for finding a megalodon tooth on a beach in South Carolina on his fifth birthday (Scott). And finally, the video game Stranded Deep, in which a megalodon is featured as a major enemy, was released as one of the monthly free games on the PlayStation Plus gaming service. These examples form part of a larger trend of alleged megalodon sightings in recent years, emerging as a component of the modern resurgence of cryptozoology. In the words of Bernard Heuvelmans, the Belgian zoologist who both popularised the term and was a leading figure of the field, cryptozoology is the “science of hidden animals”, which he further explained were more generally referred to as ‘unknowns’, even though they are typically known to local populations—at least sufficiently so that we often indirectly know of their existence, and certain aspects of their appearance and behaviour. It would be better to call them animals ‘undescribed by science,’ at least according to prescribed zoological rules. (1-2) In other words, a large aspect of cryptozoology as a field is taking the legendary creatures of non-Western mythology and finding materialist explanations for them compatible with Western biology. In many ways, this is a relic of the era of European imperialism, when many creatures of Africa and the Americas were “hidden animals” to European eyes (Dendle 200-01; Flores 557; Guimont). A major example of this is Bigfoot beliefs, a large subset of which took Native American legends about hairy wild men and attempted to prove that they were actually sightings of relict Gigantopithecus. These “hidden animals”—Bigfoot, Nessie, the chupacabra, the glawackus—are referred to as ‘cryptids’ by cryptozoologists (Regal 22, 81-104). Almost unique in cryptozoology, the megalodon is a cryptid based entirely on Western scientific development, and even the notion that it survives comes from standard scientific analysis (albeit analysis which was later superseded). Much like living mammoths and Bigfoot, what might be called the ‘megalodon as cryptid hypothesis’ serves to reinforce a fairy tale of its own. It reflects the desire to believe that there are still areas of the Earth untouched enough by human destruction to sustain massive animal life (Dendle 199-200). Indeed, megalodon’s continued existence would help absolve humanity for the oceanic aspect of the Sixth Extinction, by its role as an alternative apex predator; cryptozoologist Michael Goss even proposed that whales and giant squids are rare not from human causes, but precisely because megalodons are feeding on them (40). Horror scholar Michael Fuchs has pointed out that shark media, particularly the 1975 film Jaws and its 2006 video game adaptation Jaws Unleashed, are imbued with eco-politics (Fuchs 172-83). These connections, as well as the modern megalodon’s surge in popularity, make it notable that none of Syfy’s climate change-focused Sharknado films featured a megalodon. Despite the lack of a Megalodonado, the popular appeal of the megalodon serves as an important case study. Given its scientific origin and dynamic relationship with popular culture, I argue that the ‘megalodon as cryptid hypothesis’ illustrates how the boundaries between ‘hard’ science and mythology, fiction and reality, as well as ‘monster’ and ‘animal’, are not as firm as advocates of the Western science tradition might believe. As this essay highlights, science can be a mythology of its own, and monsters can serve as its gods of the gaps—or, in the case of megalodon, the god of the depths. Megalodon Fossils: A Short History Ancient peoples of various cultures likely viewed fossilised teeth of megalodons in the area of modern-day Syria (Mayor, First Fossil Hunters 257). Over the past 2500 years, Native American cultures in North America used megalodon teeth both as curios and cutting tools, due to their large size and serrated edges. A substantial trade in megalodon teeth fossils existed between the cultures inhabiting the areas of the Chesapeake Bay and Ohio River Valley (Lowery et al. 93-108). A 1961 study found megalodon teeth present as offerings in pre-Columbian temples across Central America, including in the Mayan city of Palenque in Mexico and Sitio Conte in Panama (de Borhegyi 273-96). But these cases led to no mythologies incorporating megalodons, in contrast to examples such as the Unktehi, a Sioux water monster of myth likely inspired by a combination of mammoth and mosasaur fossils (Mayor, First Americans 221-38). In early modern Europe, megalodon teeth were initially referred to as ‘tongue stones’, due to their similarity in size and shape to human tongues—just one of many ways modern cryptozoology comes from European religious and mystical thought (Dendle 190-216). In 1605, English scholar Richard Verstegan published his book A Restitution of Decayed Intelligence in Antiquities, which included an engraving of a tongue stone, making megalodon teeth potentially the subject of the first known illustration of any fossil (Davidson 333). In Malta, from the sixteenth through eighteenth centuries, megalodon teeth, known as ‘St. Paul’s tongue’, were used as charms to ward off the evil eye, dipped into drinks suspected of being poisoned, and even ground into powder and consumed as medicine (Zammit-Maempel, “Evil Eye” plate III; Zammit-Maempel, “Handbills” 220; Freller 31-32). While megalodon teeth were valued in and of themselves, they were not incorporated into myths, or led to a belief in megalodons still being extant. Indeed, save for their size, megalodon teeth were hard to distinguish from those of living sharks, like great whites. Instead, both the identification of megalodons as a species, and the idea that they might still be alive, were notions which originated from extrapolations of the results of nineteenth and twentieth century European scientific studies. In particular, the major culprit was the famous British 1872-76 HMS Challenger expedition, which led to the establishment of oceanography as a branch of science. In 1873, Challenger recovered fossilised megalodon teeth from the South Pacific, the first recovered in the open ocean (Shuker 48; Goss 35; Roesch). In 1959, the zoologist Wladimir Tschernezky of Queen Mary College analysed the teeth recovered by the Challenger and argued (erroneously, as later seen) that the accumulation of manganese dioxide on its surface indicated that one had to have been deposited within the last 11,000 years, while another was given an age of 24,000 years (1331-32). However, these views have more recently been debunked, with megalodon extinction occurring over two million years ago at the absolute latest (Pimiento and Clements 1-5; Coleman and Huyghe 138; Roesch). Tschernezky’s 1959 claim that megalodons still existed as of 9000 BCE was followed by the 1963 book Sharks and Rays of Australian Seas, a posthumous publication by ichthyologist David George Stead. Stead recounted a story told to him in 1918 by fishermen in Port Stephens, New South Wales, of an encounter with a fully white shark in the 115-300 foot range, which Stead argued was a living megalodon. That this account came from Stead was notable as he held a PhD in biology, had founded the Wildlife Preservation Society of Australia, and had debunked an earlier supposed sea monster sighting in Sydney Harbor in 1907 (45-46). The Stead account formed the backbone of cryptozoological claims for the continued existence of the megalodon, and after the book’s publication, multiple reports of giant shark sightings in the Pacific from the 1920s and 1930s were retroactively associated with relict megalodons (Shuker 43, 49; Coleman and Huyghe 139-40; Goss 40-41; Roesch). A Monster of Science and Culture As I have outlined above, the ‘megalodon as cryptid hypothesis’ had as its origin story not in Native American or African myth, but Western science: the Challenger Expedition, a London zoologist, and an Australian ichthyologist. Nor was the idea of a living megalodon necessarily outlandish; in the decades after the Challenger Expedition, a number of supposedly extinct fish species had been discovered to be anything but. In the late 1800s, the goblin shark and frilled shark, both considered ‘living fossils’, had been found in the Pacific (Goss 34-35). In 1938, the coelacanth, also believed by Western naturalists to have been extinct for millions of years, was rediscovered (at least by Europeans) in South Africa, samples having occasionally been caught by local fishermen for centuries. The coelacanth in particular helped give scientific legitimacy to the idea, prevalent for decades by that point, that living dinosaurs—associated with a legendary creature called the mokele-mbembe—might still exist in the heart of Central Africa (Guimont). In 1976, a US Navy ship off Hawaii recovered a megamouth shark, a deep-water species completely unknown prior. All of these oceanic discoveries gave credence to the idea that the megalodon might also still survive (Coleman and Clark 66-68, 156-57; Shuker 41; Goss 35; Roesch). Indeed, Goss has noted that prior to 1938, respectable ichthyologists were more likely to believe in the continued existence of the megalodon than the coelacanth (39-40). Of course, the major reason why speculation over megalodon survival had such public resonance was completely unscientific: the already-entrenched fascination with the fact that it had been a locomotive-sized killer. This had most clearly been driven home by a 1909 display at the American Museum of Natural History in New York City. There, Bashford Dean, an ichthyologist at the museum, reconstructed an immense megalodon jaw, complete with actual fossil teeth. However, due to the fact that Dean assumed that all megalodon teeth were approximately the same size as the largest examples medially in the jaws, Dean’s jaw was at least one third larger than the likely upper limit of megalodon size. Nevertheless, the public perception of the megalodon remained at the 80-foot length that Dean extrapolated, rather than the more realistic 55-foot length that was the likely approximate upper size (Randall 170; Shuker 47; Goss 36-39). In particular, this inaccurate size estimate became entrenched in public thought due to a famous photograph of Dean and other museum officials posing inside his reconstructed jaw—a photograph which appeared in perhaps the most famous piece of shark fiction of all time, Steven Spielberg’s 1975 film Jaws. As it would turn out, the megalodon connection was itself a relic from the movie’s evolutionary ancestor, Peter Benchley’s novel, Jaws, from the year before. In the novel, the Woods Hole ichthyologist Matt Hooper (played by Richard Dreyfuss in the film) proposes that megalodons not only still exist, but they are the same species as great white sharks, with the smaller size of traditional great whites being due to the fact that they are simply on the small end of the megalodon size range (257-59). Benchley was reflecting on what was then the contemporary idea that megalodons likely resembled scaled-up great white sharks; something which is no longer as accepted. This was particularly notable as a number of claimed sightings stated that the alleged megalodons were larger great whites (Shuker 48-49), perhaps circuitously due to the Jaws influence. However, Goss was apparently unaware of Benchley’s linkage when he noted in 1987 (incidentally the year of the fourth and final Jaws movie) that to a megalodon, “the great white shark of Jaws would have been a stripling and perhaps a between-meals snack” (36). The publication of the Jaws novel led to an increased interest in the megalodon amongst cryptozoologists (Coleman and Clark 154; Mullis, “Cryptofiction” 246). But even so, it attracted rather less attention than other cryptids. From 1982-98, Heuvelmans served as president of the International Society of Cryptozoology, whose official journal was simply titled Cryptozoology. The notion of megalodon survival was addressed only once in its pages, and that as a brief mention in a letter to the editor (Raynal 112). This was in stark contrast to the oft-discussed potential for dinosaurs, mammoths, and Neanderthals to remain alive in the present day. In 1991, prominent British cryptozoologist Karl Shuker published an article endorsing the idea of extant megalodons (46-49). But this was followed by a 1998 article by Ben S. Roesch in The Cryptozoology Review severely criticising the methodology of Shuker and others who believed in the megalodon’s existence (Roesch). Writing in 1999, Loren Coleman and Jerome Clark, arguably the most prominent post-Heuvelmans cryptozoologists, were agnostic on the megalodon’s survival (155). The British palaeozoologist Darren Naish, a critic of cryptozoology, has pointed out that even if Shuker and others are correct and the megalodon continues to live in deep sea crevasses, it would be distinct enough from the historical surface-dwelling megalodon to be a separate species, to which he gave the hypothetical classification Carcharocles modernicus (Naish). And even the public fascination with the megalodon has its limits: at a 24 June 2004 auction in New York City, a set of megalodon jaws went on sale for $400,000, but were left unpurchased (Couzin 174). New Mythologies The ‘megalodon as cryptid hypothesis’ is effectively a fairy tale born of the blending of science, mythology, and most importantly, fiction. Beyond Jaws or Shark Attack 3—and potentially having inspired the latter (Weinberg)—perhaps the key patient zero of megalodon fiction is Steve Alten’s 1997 novel Meg: A Novel of Deep Terror, which went through a tortuous development adaptation process to become the 2018 film The Meg (Mullis, “Journey” 291-95). In the novel, the USS Nautilus, the US Navy’s first nuclear submarine and now a museum ship in Connecticut, is relaunched in order to hunt down the megalodon, only to be chomped in half by the shark. This is a clear allusion to Jules Verne’s 20,000 Leagues under the Sea (1870), where his Nautilus (namesake of the real submarine) is less successfully attacked by a giant cuttlefish (Alten, Meg 198; Verne 309-17). Meanwhile, in Alten’s 1999 sequel The Trench, an industrialist’s attempts to study the megalodon are revealed as an excuse to mine helium-3 from the seafloor to build fusion reactors, a plot financed by none other than a pre-9/11 Osama bin Laden in order to allow the Saudis to take over the global economy, in the process linking the megalodon with a monster of an entirely different type (Alten, Trench 261-62). In most adaptations of Verne’s novel, the cuttlefish that attacks the Nautilus is replaced by a giant squid, traditionally seen as the basis for the kraken of Norse myth (Thone 191). The kraken/giant squid dichotomy is present in the video game Stranded Deep. In it, the player’s unnamed avatar is a businessman whose plane crashes into a tropical sea, and must survive by scavenging resources, crafting shelters, and fighting predators across various islands. Which sea in particular does the player crash into? It is hard to say, as the only indication of specific location comes from the three ‘boss’ creatures the player must fight. One of them is Abaia, a creature from Melanesian mythology; another is Lusca, a creature from Caribbean mythology; the third is a megalodon. Lusca and Abaia, despite being creatures of mythology, are depicted as a giant squid and a giant moray eel, respectively. But the megalodon is portrayed as itself. Stranded Deep serves as a perfect distillation of the megalodon mythos: the shark is its own mythological basis, and its own cryptid equivalent. References Alten, Steven. Meg: A Novel of Deep Terror. New York: Doubleday, 1997. Alten, Steven. The Trench. New York: Pinnacle Books, 1999. Atherton, Darren. 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Introduction It appears that graffiti has begun to clean up its act. Escalating numbers of mature graffiti writers feel the removal of their graffiti has robbed them of a history, and are turning to legal projects in an effort to restore it. Phibs has declared the graffiti underground “limited” and Kano claims its illegal aspect no longer inspires him (Hamilton, 73). A sign of the times was the exhibition Sake of Name: Australian Graffiti Now which opened at the Wharf 2 Theatre in January 2001. The exhibition was commissioned by the Sydney Theatre Company and comprised twenty-two pieces painted by graffiti writers from around Australia. Keen to present a respectable image, writers rejected the original title of Bomb the Wharf, as they felt it focused on the negative aspects of the culture (Andrews, 2). Premier Bob Carr opened the exhibition with the declaration that there is a difference between “graffiti art” and “graffiti vandalism”. The Premier’s stance struck a discordant note with Tony Stevens, a twenty-three-year veteran graffiti cleaner. Described by the Sydney Morning Herald as an “urban art critic by default,” Stevens could see no distinction between graffiti art and vandalism (Leys, 1). Furthermore, he expressed his disappointment that the pieces had “no sense of individuality … it could be graffiti from any American city” (Stevens, 1). As far as Stevens could see, Australian graffiti expressed nothing of its Australian context; it simply mimicked that of America. Sydney Theatre Company director Benedict Andrews responded with a venomous attack on Stevens. Andrews accused the cleaner of being blinded by prejudice (1), and felt that years of cleaning texta tags from railway corridors could not have possibly qualified Stevens as an art critic (3). “The artists in this exhibition are not misfits,” Andrews wrote (2). “They are serious artists in dialogue with their culture and the landscapes in which they live” (2). He went on to hail the strength and diversity of the Australian graffiti scene: “it is a vital and agile international culture and in Australia has evolved in specific ways” (1). The altercation between Stevens and Andrews pointed to one of the debates concerning Australian graffiti: whether it is unique or simply imitative of the American form. Hinged on the assessment of graffiti as vandalism is the view that graffiti is dirty, a disease. Proponents of this view consider graffiti to be an undifferentiated global phenomenon. Others conceive of graffiti as art, and as such argue that it is expressive of local experiences. Graffiti writers maintain that graffiti is expressive of local experiences and they describe it in terms of regional styles and aesthetics. This article maps the transformation of hip hop graffiti as it has been disseminated throughout the world. It registers the distinctiveness of graffiti in Australia and argues that graffiti is not a globally homogenous form, but one which develops in a locally specific manner. Writing and Replicating: Hip Hop Graffiti and Cultural Imperialism Contemporary graffiti subcultures are strongly identified with large American cities. Originating in the black neighbourhood cultures of Philadelphia and New York City in the late 1960s and early 1970s, hip hop graffiti emerged as part of a larger, homegrown, alternative youth culture (“Urban Graffiti”, 77). Before the end of the 1970s, the aesthetic codes and stylised images of hip hop graffiti began to disseminate to major cities across America and throughout the globe. Its transmission was facilitated by: the production and export of films such as Style Wars (Silver and Chalfant, 1983) and Wild Style (Ahearn, 1983); the covers of rap albums; graffiti magazines; art dealers; and style manuals such as Subway Art (Cooper and Chalfant) and Spraycan Art (Chalfant and Prigroff). Graffiti migrated to Australian shores during the early 1980s, gaining influence through the appearance of these seminal works, which are credited by many as having inspired them to pick up a can of spraypaint. During its larval stages, the subcultural codes of graffiti invented by American writers were reiterated in an Australian context. Australian graffiti writers poached the vocabulary and rhetoric invented by their American counterparts. Writers spoke of “getting up”, “getting fame” and their “crew”, classifying their work as “tags”, “pieces”, or “throw ups”. They utilised the same bubble letters, and later, the incomprehensible “wildstyle” originally devised by American writers. It was not long, however, before Australian writers were making their own innovations and developing a unique style. Despite this, there is still widespread conviction in the view that Australian graffiti is a replica of an American cultural form. This view is supported at a theoretical level by the concept of cultural imperialism. It is generally understood, at a basic level, to be the diffusion of a foreign culture at the expense of a local culture. The concept has been usefully clarified by John Tomlinson. Since there are various orders of power involved in allegations of cultural imperialism, Tomlinson attempts to resist some implicit “master narrative” of the term, accounting for cultural imperialism in a multidimensional fashion (20). He outlines five possible versions, which inflect cultural imperialism to mean cultural domination; a discourse of nationality; media imperialism; global capital; and modernity (19-28). The idea that Australian graffiti replicates American graffiti draws particularly on the first two versions—that of cultural imperialism as cultural domination, and the discourse of nationality. Both these approaches focus on the processes involved in cultural imperialism—“the invasion of an indigenous culture by a foreign one” (Tomlinson, 23). Many people I spoke to about graffiti saw it as evidence of foreign, particularly American, domination and influence over Australian culture. They expressed concern that the appearance of graffiti would signal an influx of “American” problems: gang activity, escalating violence and social disorder. Cultural imperialism as a discourse of nationality hinges on the concepts of “belonging” and “indigenous culture”. In a conference organised by the Graffiti Program of the Government of Western Australia, Senator Ian Campbell argued that graffiti had no place in Australia. He felt that, “there should be little need for social comment through the vandalism of other’s property. Perhaps in nations where … freedoms are not recognised … but not in Australia” (6). Tomlinson argues that the conceptions of cultural imperialism as both cultural domination and as a discourse of nationality are popular because of their highly ambiguous (and thus accommodating) nature (19, 23). However, both notions are problematic. Tomlinson immediately dismisses the notion of cultural imperialism as cultural domination, arguing that one should aim for specificity. “Imperialism” and “domination” are rather general notions, and as such both have sufficient conceptual breadth and ambiguity to accommodate most uses to which they might be put (19). Cultural imperialism as a discourse of nationality is similarly problematic, relying on the precise definitions of a series of terms—such as belonging, and indigenous culture—which have multiple inflections (24). Cultural imperialism has often been tracked as a process of homogenisation. Conceiving of cultural imperialism as homogenisation is particularly pertinent to the argument for the global homogeneity of graffiti. Cultural homogenisation makes “everywhere seem more or less the same,” assuming a global uniformity which is inherently Western, and in extreme cases, American (6). The implications of “Americanisation” are relevant to the attitudes of Australian graffiti writers. On the Blitzkrieg Bulletin Board—an internet board for Australian graffiti writers—I found evidence of a range of responses to “Americanisation” in Australian graffiti. One of the writers had posted: “you shouldn’t even be doing graff if you are a toy little kid, buying export paint and painting legal walls during the day … f*** all y’all niggaz!” s3 replied, “I do know that modern graffiti originated in America but … token are you American? Why do you want to talk like an American gangsta rapper?” The global currency of graffiti is one in which local originality and distinctiveness are highly prized. It is a source of shame for a writer to “bite”. Many of the writers I spoke to became irate when I suggested that Australian styles “bit” those of America. It seems inconsistent that Australian graffiti writers would reproduce American graffiti, if they do not even tolerate Australian writers using the word “nigga”. Like the argument that Australian graffiti replicates that of America, the concept of cultural imperialism is problematic. By the 1970s the concept was beginning to come apart at the seams, its “artificial coherence” exposed when subjected to a range of applications (Tomlinson, 8). Although the idea of cultural imperialism has been discredited and somewhat abandoned at the level of theory, the concept nonetheless continues to guide attitudes towards graffiti. Jeff Ferrell has argued that the interplay of cultural resources involved in worldwide graffiti directly locates it inside issues of cultural imperialism (“Review of Moscow Graffiti”, paragraph 5). Stylistic and subcultural consistencies are mobilised to substantiate assertions of the operation of cultural imperialism in the global form of graffiti. This serves to render it globally homogeneous. While many graffiti writers would concede that graffiti maintains certain global elements, few would agree that this is indicative of a global homogeneity of form. As part of the hip hop component of their website, Triple J conducted an investigation into graffiti. It found that “the graffiti aesthetic developed in New York has been modified with individual characteristics … and has transformed into a unique Australian style” (“Old Skool”, paragraph 6). Veteran writers Umph, Exit, Phibs and Dmote agree. Perth writer Zenith claims, “we came up with styles from the US back in the day and it has grown into something quite unique” (personal communication). Exit declares, “every city has its own particular style. Graffiti from Australia can easily be distinguished by graffiti artists. Australia has its own particular style” (1). Umph agrees: “to us writers, the differences are obvious” (2). Although some continue to perceive Australian graffiti as replicating that of America, it appears that this is no longer the case. Evidence has emerged that Australian graffiti has evolved into a unique and localised form, which no longer imitates that of America. “Going Over” Cultural Imperialism: Hip Hop Graffiti and Processes of Globalisation The argument that graffiti has developed local inflections has lately garnered increasing support due to new theories of global cultural interaction and exchange. The modern era has been characterised by the increasing circulation of goods, capital, knowledge, information, people, images, ideologies, technologies and practices across national borders and territorial boundaries (Appadurai, 230; Scholte, 10). Academic discussion of these developments has converged in recent years around the concept of “globalisation”. While cultural imperialism describes these movements as the diffusion of a foreign culture at the expense of a local one, globalisation interprets these profound changes as evidence of “a global ecumene of persistent cultural interaction and exchange” (Hannerz, 107). In such a view, the globe is not characterised by domination and homogenisation (as with cultural imperialism), but more in terms of exchange and heterogeneity. Recent studies acknowledge that globalisation is complex and multidimensional (Giddens, 30; Kalb, 1), even a process of paradoxes (Findlay, 30). Globalisation is frequently described in terms of contradictory processes—universalisation vs. particularisation, homogenisation vs. differentiation, integration vs. fragmentation. Another of these dialectical tendencies is that of localisation. Kloos defines localisation as representing “the rise of localised, culturally defined identities … localisation stresses sociocultural specificity, in a limited space” (281). While localisation initially appears to stand in opposition to globalisation, the concepts are actually involved in a dialectical process (Giddens, 64). The relationship between localisation and globalisation has been formulated as follows: “Processes of globalisation trigger identity movements leading to the creation of localised, cultural-specific, identities” (Kloos, 282). The development of localisation is particularly pertinent to this study of graffiti. The concept allows for local diversity and has led to the understanding that global cultural phenomena are involved in a process of exchange. Work around globalisation lends credence to the argument that, as graffiti has disseminated throughout the globe, it has mutated to the specific locale within which it exists. Graffiti has always been locally specific: from the early stages which witnessed writers such as Julio 204, Fran 207 and Joe 136 (the numbers referred to their street), to the more recent practice of suffixing tag names with the name of a writers’ crew and their area code. The tendency to include area codes has been largely abandoned in Australia as the law has responded to graffiti with increasing vigilance, but evolutions in graffiti have pointed towards the development of regionally specific styles which writers have come to recognise. Thus, graffiti cannot be thought of as a globally homogenous form, nor can it be said that Australian graffiti replicates that of America. As hip hop has circulated throughout the globe it has appeared to adopt local inflections, having adapted into something quite locally distinctive. In a sense hip hop has been “translated” to particular circumstances. It is now appropriate to consider Australian hip hop and graffiti as a translation of a global cultural phenomenon. A useful reference in this regard is Yuri Lotman, who designates dialogue as the elementary mechanism of translation (143). He suggests that participants involved in a dialogue alternate between a position of “transmission” and “reception” (144). Hence cultural developments are cyclical, and relationships between units—which may range from genres to national cultures—pass through periods of “transmission” and “reception” (144). Lotman proposes that the relationship between structures follows a pattern: at first, a structure will appear in decline, static, unoriginal. He records these “intermissions” as “pauses in dialogue”, during which the structure absorbs influences from the outside (144). When saturation reaches a certain limit, the structure begins producing its own texts as its “passive state changes to a state of alertness” (145). This is a useful way of comprehending Australian hip hop culture. It appears that the Australian hip hop scene has left behind its period of “reception” and is now witnessing one of “transmission” in which it is producing uniquely Australian flavours and styles. Of the contemporary graffiti I have observed, it appears that Australian writing is truly distinctive. Australian writers may have initially poached the subcultural codes developed by their American counterparts, however Australia has evolved to be truly unique where it counts—in graffiti styles. Distinctive graffiti styles can be witnessed, not only between different continents, but also within geographic locations. American graffiti registers a variety of locally specific forms. New York remains devoted to the letter, while graffiti on the west coast of America is renowned for its gang writing. American lettering styles tend to develop existing styles. New York wildstyle is easily recognised, and differs from letters in the Bay Area and San Francisco, which feature arrows inside the letters. While American graffiti is by and large concerned with letters, Australia has gained some repute for its exploration of characters. Like American writers, Australians employ characters poached from popular culture, but for the most part Australian writers employ characters and figures that they have invented themselves, often poaching elements from a wide variety of sources and utilising a wide variety of styles. Marine imagery, not usually employed in American graffiti, recurs in Australian pieces. Kikinit in the Park, a youth festival held in Fremantle in March 2001, featured a live urban art display by Bugszy Snaps, who combined oceanic and graffiti iconography, fusing sea creatures with spraypaint cans. Phibs also “uses images from the sea a lot” (Hamilton, 73), having grown up at the beach. In spite of this focus on the development of characters and images, Australia has not neglected the letter. While initially Australian graffiti artists imitated the styles developed in America, Australian lettering has evolved into something exceptional. Some writers have continued to employ bubble letters and wildstyle, and Australia has kept up with modifications in wildstyle that has seen it move towards 3D. Australia has cultivated this form of traditional wildstyle, elevating it to new heights. Sometimes it is combined with other styles; other times it appears as controlled wildstyle—set around a framework of some sort. In other instances, Australia has charted new territory with the letter, developing styles that are completely individual. Australian writing also blends a variety of lettering and graphic styles, combining letters and figures in new and exciting ways. Australian graffiti often fuses letters with images. This is relatively rare in American graffiti, which tends to focus on lettering and, on the whole, utilises characters to less effect than Australian graffiti. Conclusion Graffiti is not a globally homogeneous form, but one which has developed in locally specific and distinctive ways. As hip hop graffiti has circulated throughout the globe it has been translated between various sites and developed local inflections. In order to visualise graffiti in this manner, it is necessary to recognise theories of cultural imperialism as guiding the widespread belief that graffiti is a globally homogeneous form. I have refuted this view and the worth of cultural imperialism in directing attitudes towards graffiti, as there is a valid foundation for considering the local distinctiveness of Australian graffiti. By engaging critically with literature around globalisation, I have established a theoretical base for the argument that graffiti is locally specific. Envisaging the global form of hip hop graffiti as translated between various sites and having developed in locally specific ways has exposed the study of graffiti outside of the United States. Current writings on cultural studies and graffiti are dominated by the American academy, taking the United States as its centre. In rectifying this imbalance, I stress the need to recognise the distinctiveness of other cultures and geographic locations, even if they appear to be similar. While writers across Australia argue that their locations produce original styles, few have been willing to expound on how their scene is “fresh”. One writer I spoke with was an exception. Zenith explained that: “the way we are original is that our style has developed for so long, fermented if you will, because of Perth being so damned isolated” (personal communication). He went on to say: “I also happen to feel that we’re losing the originality every second of every day, for a number of reasons … with web sites, videos, magazines, and all this type of graffito affiliated stuff” (personal communication). Hip hop graffiti culture is one in which communication and exchange is of central concern. The circulation of this “graffito affiliated stuff”—websites, graffiti magazines, videos, books—as well as the fact that aerosol artists frequently travel to other cities and countries to write, demonstrates that this is a culture which, although largely identified with America, is also global in reach. This global interaction and exchange is increasingly characterised by a complex relationship which involves imitation and adaptation. Glossary Bite To copy another graffiti writer’s style Crew Organised group of graffiti writers Getting up Successful graffiti endeavour; to graffiti Going over To graffiti over another’s graffiti Piece The most sophisticated kind of graffiti, which includes characters, words and phrases Tag A stylised version of a signature; the most basic form of graffiti Throw up Two-dimensional version of a tag Wildstyle Style of graffiti characterised by interlocking letters and arrows Writer Graffiti artist; one who does graffiti References Andrews, Benedict. “If a Cleaner Can Review Graffiti Art, Then …” Sydney Morning Herald 15 Jan. 2001. 15 August 2001 http://www.smh.com.au/news/0101/15/features/features8.html>. Appadurai, Arjun. “Globalization and the Research Imagination.” International Social Science Journal 51.2 (1999): 229-38. Campbell, Ian. “The National Perspective.” Dealing with Graffiti. Ed. Graffiti Program, Government of Western Australia: Perth, 1997: 6-7. 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Scholte, Jan Aarte. “Globalisation: Prospects For a Paradigm Shift.” Politics and Globalisation: Knowledge, Ethics and Agency. Ed. Martin Shaw. London: Routledge, 1999. 9-22. Stevens, Tony. “It’s Vandalism, It’s Illegal and It Causes Anguish and Frustration.” Sydney Morning Herald 5 Feb. 2001. 4 Mar. 2001 http://www.smh.com.au/news/0102/05/features/features10.html>. Style Wars. Dir. Tony Silver and Henry Chalfant. 1983. DVD. Passion River, 2005. Token. “F*** You Little Kids!” Online posting. 5 May 2000. Blitzkrieg Bulletin Board. 20 Jul. 2001 http://network54.com/Forum>. Tomlinson, John. Cultural Imperialism: A Critical Introduction. London: Pinter Publishers, 1991. Umph. n.d. [1998]. 18 Jul. 2001. http://loud.net.au/projects/digit/garry/umph.htm>. Wild Style. Dir. Charlie Ahearn. 1983. DVD. Rhino Theatrical, 2002. Citation reference for this article MLA Style Lombard, Kara-Jane. "“To Us Writers, the Differences Are Obvious”: The Adaptation of Hip Hop Graffiti to an Australian Context." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/05-lombard.php>. APA Style Lombard, K. (May 2007) "“To Us Writers, the Differences Are Obvious”: The Adaptation of Hip Hop Graffiti to an Australian Context," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/05-lombard.php>.

Literary critics have mainly read Herman Melville’s short story “I and My Chimney” (1856) as allegory. This article elaborates on the tradition of interpreting Melville’s text allegorically by relating it to Fredric Jameson’s post-structural reinterpretation of allegory. In doing so, it argues that the story is not a simple example of allegory but rather an auto-reflexive engagement with allegory that reflects the cultural and historical ambivalences of the time in which Melville was writing. The suggestion is that Melville deliberately used signifiers (or the lack thereof) of directionality and place to reframe the overt context of his allegory (Civil War divisions of North and South) through teasing reference to the contemporaneous emergence of Manifest Destiny as an East-West historical spatialization. To this extent, from a literary-historical perspective, Melville’s text presents as an enquiry into the relationship between the obvious allegorical elements of a text and the literal or material elements that may either support or, as in this case, problematize traditional allegorical modes. In some ways, Melville’s story faintly anticipates Jameson’s post-structural theory of allegory as produced over a century later. “I and My Chimney” may also be linked to later texts, such as Jack Kerouac’s On the Road, which shift the directionality of American Literary History, in a definite way, from a North-South to an East-West axis. Laura Ingalls Wilder’s Little House books may also be mentioned here. While, in recent years, some literary critics have produced readings of Melville’s story that depart from the traditional emphasis on its allegorical nature, this article claims to be the first to engage with “I and My Chimney” from within an allegorical perspective also informed by post-structural thinking. To do this, it focuses on the setting or directionality of the story, and on the orientating details of the titular chimney.Written and published shortly before the outbreak of the American Civil War (1861-1865), which pitted North against South, Melville’s story is told in the first person by a narrator with overweening affection for the chimney he sees as an image of himself: “I and my chimney, two gray-headed old smokers, reside in the country. We are, I may say, old settlers here; particularly my old chimney, which settles more and more every day” (327). Within the merged identity of narrator and chimney, however, the latter takes precedence, almost completely, over the former: “though I always say, I and my chimney, as Cardinal Wolsey used to say, I and my King, yet this egotistic way of speaking, wherein I take precedence of my chimney, is hardly borne out by the facts; in everything, except the above phrase, my chimney taking precedence of me” (327). Immediately, this sentence underscores a disjunction between words (“the above phrase”) and material circumstances (“the facts”) that will become crucial in my later consideration of Melville’s story as post-structural allegory.Detailed architectural and architectonic descriptions manifesting the chimney as “the one great domineering object” of the narrator’s house characterize the opening pages of the story (328). Intermingled with these descriptions, the narrator recounts the various interpersonal and business-related stratagems he has been forced to adopt in order to protect his chimney from the “Northern influences” that would threaten it. Numbered in this company are his mortgagee, the narrator’s own wife and daughters, and Mr. Hiram Scribe—“a rough sort of architect” (341). The key subplot implicated with the narrator’s fears for his chimney concerns its provenance. The narrator’s “late kinsman, Captain Julian Dacres” built the house, along with its stupendous chimney, and upon his death a rumour developed concerning supposed “concealed treasure” in the chimney (346). Once the architect Scribe insinuates, in correspondence to the chimney’s alter ego (the narrator), “that there is architectural cause to conjecture that somewhere concealed in your chimney is a reserved space, hermetically closed, in short, a secret chamber, or rather closet” the narrator’s wife and daughter use Scribe’s suggestion of a possible connection to Dacres’s alleged hidden treasure to reiterate their calls for the chimney’s destruction (345):Although they had never before dreamed of such a revelation as Mr. Scribe’s, yet upon the first suggestion they instinctively saw the extreme likelihood of it. In corroboration, they cited first my kinsman, and second, my chimney; alleging that the profound mystery involving the former, and the equally profound masonry involving the latter, though both acknowledged facts, were alike preposterous on any other supposition than the secret closet. (347)To protect his chimney, the narrator bribes Mr. Scribe, inviting him to produce a “‘little certificate—something, say, like a steam-boat certificate, certifying that you, a competent surveyor, have surveyed my chimney, and found no reason to believe any unsoundness; in short, any—any secret closet in it’” (351). Having enticed Scribe to scribe words against himself, the narrator concludes his tale triumphantly: “I am simply standing guard over my mossy old chimney; for it is resolved between me and my chimney, that I and my chimney will never surrender” (354).Despite its inherent interest, literary critics have largely overlooked “I and My Chimney”. Katja Kanzler observes that “together with much of [Melville’s] other short fiction, and his uncollected magazine pieces in particular, it has never really come out of the shadow of the more epic texts long considered his masterpieces” (583). To the extent that critics have engaged the story, they have mainly read it as traditional allegory (Chatfield; Emery; Sealts; Sowder). Further, the allegorical trend in the reception of Melville’s text clusters within the period from the early 1940s to the early 1980s. More recently, other critics have explored new ways of reading Melville’s story, but none, to my knowledge, have re-investigated its dominant allegorical mode of reception in the light of the post-structural engagements with allegory captured succinctly in Fredric Jameson’s work (Allison; Kanzler; Wilson). This article acknowledges the perspicacity of the mid-twentieth-century tradition of the allegorical interpretation of Melville’s story, while nuancing its insights through greater attention to the spatialized materiality of the text, its “geomorphic” nature, and its broader historical contexts.E. Hale Chatfield argues that “I and My Chimney” evidences one broad allegorical polarity of “Aristocratic Tradition vs. Innovation and Destruction” (164). This umbrella category is parsed by Sealts as an individualized allegory of besieged patriarchal identity and by Sowder as a national-level allegory of anxieties linked to the antebellum North-South relationship. Chatfield’s opposition works equally well for an individual or for communities of individuals. Thus, in this view, even as it structures our reception of Melville’s story, allegory remains unproblematized in itself through its internal interlocking. In turn, “I and My Chimney” provides fertile soil for critics to harvest an allegorical crop. Its very title inveigles the reader towards an allegorical attitude: the upstanding “I” of the title is associated with the architecture of the chimney, itself also upstanding. What is of the chimney is also, allegorically, of the “I”, and the vertical chimney, like the letter “I”, argues, as it were, a north-south axis, being “swung vertical to hit the meridian moon,” as Melville writes on his story’s first page (327). The narrator, or “I”, is as north-south as is his narrated allegory.Herman Melville was a Northern resident with Southern predilections, at least to the extent that he co-opted “Southern-ness” to, in Katja Kanzler’s words, “articulate the anxiety of mid-nineteenth-century cultural elites about what they perceive as a cultural decline” (583). As Chatfield notes, the South stood for “Aristocratic Tradition”; the North, for “Innovation and Destruction” (164). Reflecting the conventional mid-twentieth-century view that “I and My Chimney” is a guileless allegory of North-South relations, William J. Sowder argues that itreveals allegorically an accurate history of Southern slavery from the latter part of the eighteenth century to the middle of the nineteenth—that critical period when the South spent most of its time and energy apologizing for the existence of slavery. It discloses the split which Northern liberals so ably effected between liberal and conservative forces in the South, and it lays bare the intransigence of the traditional South on the Negro question. Above everything, the story reveals that the South had little in common with the rest of the Union: the War between the States was inevitable. (129-30)Sowder goes into painstaking detail prosecuting his North-South allegorical reading of Melville’s text, to the extent of finding multiple correspondences between what is allegorizing and what is being allegorized within a single sentence. One example, with Sowder’s allegorical interpolations in square brackets, comes from a passage where Melville is writing about his narrator’s replaced “gable roof” (Melville 331): “‘it was replaced with a modern roof [the cotton gin], more fit for a railway woodhouse [an industrial society] than an old country gentleman’s abode’” (Sowder 137).Sowder’s argument is historically erudite, and utterly convincing overall, except in one crucial detail. That is, for a text supposedly so much about the South, and written so much from its perspective—Sowder labels the narrator a “bitter Old Southerner”—it is remarkable how the story is only very ambiguously set in the South (145). Sowder distances himself from an earlier generation of commentators who “generally assumed that the old man is Melville and that the country is the foothills of the Massachusetts Berkshires, where Melville lived from 1850 to 1863,” concluding, “in fact, I find it hard to picture the narrator as a Northerner at all: the country which he describes sounds too much like the Land of Cotton” (130).Quite obviously, the narrator of any literary text does not necessarily represent its author, and in the case of “I and My Chimney”, if the narrator is not inevitably coincident with the author, then it follows that the setting of the story is not necessarily coincident with “the foothills of the Massachusetts Berkshires.” That said, the position of critics prior to Sowder that the setting is Massachusetts, and by extension that the narrator is Melville (a Southern sympathizer displaced to the North), hints at an oversight in the traditional allegorical reading of Melville’s text—related to its spatializations—the implications of which Sowder misses.Think about it: “too much like the Land of Cotton” is an exceedingly odd phrase; “too much like” the South, but not conclusively like the South (Sowder 130)! A key characteristic of Melville’s story is the ambiguity of its setting and, by extension, of its directionality. For the text to operate (following Chatfield, Emery, Sealts and Sowder) as a straightforward allegory of the American North-South relationship, the terms “north” and “south” cannot afford to be problematized. Even so, whereas so much in the story reads as related to either the South or the North, as cultural locations, the notions of “south-ness” and “north-ness” themselves are made friable (in this article, the lower case broadly indicates the material domain, the upper case, the cultural). At its most fundamental allegorical level, the story undoes its own allegorical expressions; as I will be arguing, the materiality of its directionality deconstructs what everything else in the text strives (allegorically) to maintain.Remarkably, for a text purporting to allegorize the North as the South’s polar opposite, nowhere does the story definitively indicate where it is set. The absence of place names or other textual features which might place “I and My Chimney” in the South, is over-compensated for by an abundance of geographically distracting signifiers of “place-ness” that negatively emphasize the circumstance that the story is not set definitively where it is set suggestively. The narrator muses at one point that “in fact, I’ve often thought that the proper place for my old chimney is ivied old England” (332). Elsewhere, further destabilizing the geographical coordinates of the text, reference is made to “the garden of Versailles” (329). Again, the architect Hiram Scribe’s house is named New Petra. Rich as it is with cultural resonances, at base, Petra denominates a city in Jordan; New Petra, by contrast, is place-less.It would appear that something strange is going on with allegory in this deceptively straightforward allegory, and that this strangeness is linked to equally strange goings on with the geographical and directional relations of north and south, as sites of the historical and cultural American North and South that the story allegorizes so assiduously. As tensions between North and South would shortly lead to the Civil War, Melville writes an allegorical text clearly about these tensions, while simultaneously deconstructing the allegorical index of geographical north to cultural North and of geographical south to cultural South.Fredric Jameson’s work on allegory scaffolds the historically and materially nuanced reading I am proposing of “I and My Chimney”. Jameson writes:Our traditional conception of allegory—based, for instance, on stereotypes of Bunyan—is that of an elaborate set of figures and personifications to be read against some one-to-one table of equivalences: this is, so to speak, a one-dimensional view of this signifying process, which might only be set in motion and complexified were we willing to entertain the more alarming notion that such equivalences are themselves in constant change and transformation at each perpetual present of the text. (73)As American history undergoes transformation, Melville foreshadows Jameson’s transformation of allegory through his (Melville’s) own transformations of directionality and place. In a story about North and South, are we in the south or the north? Allegorical “equivalences are themselves in constant change and transformation at each perpetual present of the text” (Jameson 73). North-north equivalences falter; South-south equivalences falter.As noted above, the chimney of Melville’s story—“swung vertical to hit the meridian moon”—insists upon a north-south axis, much as, in an allegorical mode, the vertical “I” of the narrator structures a polarity of north and south (327). However, a closer reading shows that the chimney is no less complicit in the confusion of north and south than the environs of the house it occupies:In those houses which are strictly double houses—that is, where the hall is in the middle—the fire-places usually are on opposite sides; so that while one member of the household is warming himself at a fire built into a recess of the north wall, say another member, the former’s own brother, perhaps, may be holding his feet to the blaze before a hearth in the south wall—the two thus fairly sitting back to back. Is this well? (328)Here, Melville is directly allegorizing the “sulky” state of the American nation; the brothers are, as it were, North and South (328). However, just as the text’s signifiers of place problematize the notions of north and south (and thus the associated cultural resonances of capitalized North and South), this passage, in queering the axes of the chimneys, further upsets the primary allegory. The same chimney that structures Melville’s text along a north-south or up-down orientation, now defers to an east-west axis, for the back-to-back and (in cultural and allegorical terms) North-South brothers, sit at a 90-degree angle to their house’s chimneys, which thus logically manifest a cross-wise orientation of east-west (in cultural and allegorical terms, East-West). To this extent, there is something of an exquisite crossover and confusion of cultural North and South, as represented by the two brothers, and geographical/architectural/architectonic north and south (now vacillating between an east-west and a north-south orientation). The North-South cultural relationship of the brothers distorts the allegorical force of the narrator’s spine-like chimney (not to mention of the brother’s respective chimneys), thus enflaming Jameson’s allegorical equivalences. The promiscuous literality of the smokestack—Katja Kanzler notes the “astonishing materiality” of the chimney—subverts its main allegorical function; directionality both supports and disrupts allegory (591). Simply put, there is a disjunction between words and material circumstances; the “way of speaking… is hardly borne out by the facts” (Melville 327).The not unjustified critical focus on “I and My Chimney” as an allegory of North-South cultural (and shortly wartime) tensions, has not kept up with post-structural developments in allegorical theory as represented in Fredric Jameson’s work. In part, I suggest, this is because critics to date have missed the importance to Melville’s allegory of its extra-textual context. According to William J. Sowder, “Melville showed a lively interest in such contemporary social events as the gold rush, the French Revolution of 1848, and the activities of the English Chartists” (129). The pity is that readings of “I and My Chimney” have limited this “lively interest” to the Civil War. Melville’s attentiveness to “contemporary social events” should also encompass, I suggest, the East-West (east-west) dynamic of mid-nineteenth century American history, as much as the North-South (north-south) dynamic.The redialing of Melville’s allegory along another directional axis is thus accounted for. When “I and My Chimney” was published in 1856, there was, of course, at least one other major historical development in play besides the prospect of the Civil War, and the doctrine of Manifest Destiny ran, not to put it too finely, along an East-West (east-west) axis. Indeed, Manifest Destiny is at least as replete with a directional emphasis as the discourse of Civil War North-South opposition. As quoted in Frederick Merk’s Manifest Destiny and Mission in American History, Senator Daniel S. Dickinson states to the Senate, in 1848, “but the tide of emigration and the course of empire have since been westward” (Merk 29). Allied to this tradition, of course, is the well-known contemporaneous saying, “go West, young man, go West” (“Go West, Young Man”).To the extent that Melville’s text appears to anticipate Jameson’s post-structural theory of allegory, it may be linked, I suggest, to Melville’s sense of being at an intersection of American history. The meta-narrative of national history when “I and My Chimney” was produced had a spatial dimension to it: north-south directionality (culturally, North-South) was giving way to east-west directionality (culturally, East-West). Civil War would soon give way to Manifest Destiny; just as Melville’s texts themselves would, much later admittedly, give way to texts of Manifest Destiny in all its forms, including Jack Kerouac’s On the Road and Laura Ingalls Wilder’s Little House series. Equivalently, as much as the narrator’s wife represents Northern “progress” she might also be taken to signify Western “ambition”.However, it is not only that “I and My Chimney” is a switching-point text of geo-history (mediating relations, most obviously, between the tendencies of Southern Exceptionalism and of Western National Ambition) but that it operates as a potentially generalizable test case of the limits of allegory by setting up an all-too-simple allegory of North-South/north-south relations which is subsequently subtly problematized along the lines of East-West/east-west directionality. As I have argued, Melville’s “experimental allegory” continually diverts words (that is, the symbols allegory relies upon) through the turbulence of material circumstances.North, or north, is simultaneously a cultural and a geographical or directional coordinate of Melville’s text, and the chimney of “I and My Chimney” is both a signifier of the difference between N/north and S/south and also a portal to a 360-degrees all-encompassing engagement of (allegorical) writing with history in all its (spatialized) manifestations.ReferencesAllison, J. “Conservative Architecture: Hawthorne in Melville’s ‘I and My Chimney.’” South Central Review 13.1 (1996): 17-25.Chatfield, E.H. “Levels of Meaning in Melville’s ‘I and My Chimney.’” American Imago 19.2 (1962): 163-69.Emery, A.M. “The Political Significance of Melville’s Chimney.” The New England Quarterly 55.2 (1982): 201-28.“Go West, Young Man.” Wikipedia: The Free Encyclopedia 29 Sep. 2017. <https://en.wikipedia.org/wiki/Go_West,_young_man>.Jameson, F. “Third-World Literature in the Era of Multinational Capitalism.” Social Text 15 (1986): 65-88.Kanzler, K. “Architecture, Writing, and Vulnerable Signification in Herman Melville’s ‘I and My Chimney.’” American Studies 54.4 (2009): 583-601.Kerouac, J. On the Road. London: Penguin Books, 1972.Melville, H. “I and My Chimney.” Great Short Works of Herman Melville. New York: Perennial-HarperCollins, 2004: 327-54.Merk, F. Manifest Destiny and Mission in American History: A Reinterpretation. Cambridge, Mass.: Harvard University Press, 1963.Sealts, M.M. “Herman Melville’s ‘I and My Chimney.’” American Literature 13 (May 1941): 142-54.Sowder, W.J. “Melville’s ‘I and My Chimney:’ A Southern Exposure.” Mississippi Quarterly 16.3 (1963): 128-45.Wilder, L.I. Little House on the Prairie Series.Wilson, S. “Melville and the Architecture of Antebellum Masculinity.” American Literature 76.1 (2004): 59-87.

Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mixed international space (Godden). Putatively discrete national cinemas weave in and out of each other on many levels. One such level concerns the reception critics give to films. This article will drill down to the level of the reception of two examples of Australian gothic film-making by two well-known American critics. Rayner’s comparison of Australian gothic with American film noir is useful; however, it begs the question of how American critics such as Pauline Kael and Andrew Sarris influentially shaped the reception of Australian gothic in America and in other locations (such as Australia itself) where their reviews found an audience either at the time or afterwards. The significance of the present article rests on the fact that, as William McClain observes, following in Rick Altman’s footsteps, “critics form one of the key material institutions that support generic formations” (54). This article nurtures the suggestion that knowing how Australian gothic cinema was shaped, in its infancy, in the increasingly important American market (a market of both commerce and ideas) might usefully inform revisionist studies of Australian cinema as a national mode. A more nuanced, globally informed representation of the origins and development of Australian gothic cinema emerges at this juncture, particularly given that American film reviewing in the 1970s and 1980s more closely resembled what might today be called film criticism or even film theory. The length of individual reviews back then, the more specialized vocabulary used, and above all the tendency for critics to assume more knowledge of film history than could safely be assumed in 2014—all this shows up the contrast with today. As Christos Tsiolkas notes, “in our age… film reviewing has been reduced to a thumbs-up or a thumbs-down” (56)! The 1970s and 1980s is largely pre-Internet, and critical voices such as Kael and Sarris dominated in print. The American reviews of Australian gothic films demonstrate how a different consciousness suffuses Kael’s and Sarris’s engagements with “Antipodean” (broadly Australian and New Zealand) cinema. Rayner’s locally specific definition of Australian gothic is distorted in their interpretations of examples of the genre. It will be argued that this is symptomatic of a particular blindspot, related to the politics and art of place, in the American reception of Wake in Fright (initially called Outback in America), directed by the Canadian Ted Kotcheff (1971) and The Year of Living Dangerously, directed by Peter Weir (1982). Space and argument considerations force this article to focus on the reviews of these films, engaging less in analysis of the films themselves. Suffice to say that they all fit broadly within Rayner’s definition of Australian gothic cinema. As Rayner states, three thematic concerns which permeate all the films related to the Gothic sensibility provide links across the distinctions of era, environment and character. They are: a questioning of established authority; a disillusionment with the social reality that that authority maintains; and the protagonist’s search for a valid and tenable identity once the true nature of the human environment has been revealed. (25) “The true nature of the human environment….” Here is the element upon which the American reviews of the Australian gothic founder. Explicitly in many films of this mode, and implicitly in nearly all of them, is the “human environment” of the Australian landscape, which operates less as a backdrop and more as a participating element, even a character, in the drama, saturating the mise-en-scène. In “Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion’s Films,” Eva Rueschmann quotes Ross Gibson’s thesis from South of the West: Postcolonialism and the Narrative Construction of Australia that By featuring the land so emphatically… [Australian] films stake out something more significant than decorative pictorialism. Knowingly or unknowingly, they are all engaging with the dominant mythology of white Australia. They are all partaking of the landscape tradition which, for two hundred years, has been used by white Australians to promote a sense of the significance of European society in the “Antipodes”. (Rueschmann) The “emphatic” nature of the land in films like Wake in Fright, Mad Max 2 and Picnic at Hanging Rock actively contributes to the “atmosphere” of Australian gothic cinema (Rayner 25). This atmosphere floats across Australian film and literature. Many of the films mentioned in this article are adaptations from books, and Rayner himself stresses the similarity between Australian gothic and gothic literature (25). Significantly, the atmosphere of Australian gothic also floats across the fuzzy boundary between the gothic and road movies or road literature. Mad Max 2: The Road Warrior is obviously a road movie as well as a gothic text; so is Wake in Fright in its way; even Picnic at Hanging Rock contains elements of the road movie in all that travelling to and from the rock. Roads, then, are significant for Australian gothic cinema, for the road traverses the Australian (gothic) landscape and, in the opportunity it provides for moving through it at speed, tantalizes with the (unfulfillable) promise of an escape from its gothic horror. Australian roads are familiar, part of White European culture referencing the geometric precision of Roman roads. The Australian outback, by contrast, is unfamiliar, uncanny. Veined with roads, the outback invites the taming by “the landscape tradition” that it simultaneously rejects (Rueschmann). In the opening 360° pan of Wake in Fright the land frightens with its immensity and intensity, even as the camera displays the land’s “conquering” agent: not a road, but the road’s surrogate—a railway line. Thus, the land introduces the uncanny into Australian gothic cinema. In Freudian terms, the uncanny is that unsettling combination of the familiar and the unfamiliar. R. Gray calls it “the class of frightening things that leads us back to what is known and familiar” (Gray). The “frightening” land is the very condition of the “comforting” road; no roads without a space for roads, and places for them to go. In her introduction to The Penguin Book of the Road, Delia Falconer similarly sutures the land to the uncanny, linking both of these with the first peoples of the Australian land: "Of course there is another 'poetry of the earth' whispering from the edges of our roads that gives so many of our road stories an extra charge, and that is the history of Aboriginal presence in this land. Thousands of years of paths and tribal boundaries also account for the uncanny sense of being haunted that dogs our travellers on their journeys (xvii). White Australia, as the local saying goes, has a black past, played out across the land. The film The Proposition instances this, with its gothic portrayal of the uncanny encroachments of the Australian “wilderness” into the domain of “civilization”. Furthermore, “our” overweening literal and metaphoric investment in the traditional quarter-acre block, not to mention in our roads, shows that “we” haven’t reconciled either with the land of Australia or with its original inhabitants: the Aboriginal peoples. Little wonder that Kael and Sarris couldn’t do so, as White Americans writing some forty years ago, and at such a huge geographic remove from Australia. As will be seen, the failure of these American film critics to comprehend the Australian landscape comes out—as both a “critical reaction” and a “reactive compensation”—in two, interwoven strands of their interpretations of Australian New Wave gothic cinema. A repulsion from, and an attraction to, the unrecognized uncanny is evidenced. The first strand is constituted in the markedly anthropological aspect to the film reviews: anthropological elements of the text itself are either disproportionately magnified or longed for. Here, “anthropological” includes the sociological and the historical. Secondly, Kael and Sarris use the films they review from Australian gothic cinema as sites upon which to trial answers to the old and persistent question of how the very categories of art and politics relate. Initially sucked out of the reviews (strand one), politics and art thus rush back in (strand two). In other words, the American failure to engage deeply with the land triggers an initial reading of films like Wake in Fright less as films per se and more as primary texts or one-to-one documentations of Australia. Australia presents for anthropological, even scientific atomization, rather than as a place in active, creative and complex relationship with its rendering in mise-en-scène. Simultaneously though, the absence of the land nags—eats away at the edges of critical thinking—and re-emerges (like a Freudian return of the repressed) in an attempt by the American critics to exploit their film subjects as an opportunity for working out how politics and art (here cinema) relate. The “un-seen” land creates a mis-reading amongst the American critics (strand one), only to force a compensatory, if somewhat blindsided, re-reading (strand two). For after all, in this critical “over-looking” of the land, and thus of the (ongoing) Aboriginal existence in and with the land, it is politics and art that is most at stake. How peoples (indigenous, settler or hybrid peoples) are connected to and through the land has perhaps always been Australia’s principal political and artistic question. How do the American reviews speak to this question? Sarris did not review Wake in Fright. Kael reviewed it, primarily, as a text at the intersection of fiction and documentary, ultimately privileging the latter. Throughout, her critical coordinates are American and, to a degree, literary. Noting the “stale whiff of Conrad” she also cites Outback’s “additional interest” in its similarity with “recent American movies [about] American racism and capitalist exploitation and the Vietnam war” (415). But her most pointed intervention comes in the assertion that there is “enough narrative to hold the social material together,” as if this were all narrative were good for: scaffolding for sociology (416). Art and culture are left out. Even as Kael mentions the “treatment of the Aborigines,” she misses the Aboriginal cultural moment of the opening shot of the land; this terrain, she writes, is “without a trace of culture” (416). Then, after critiquing what she sees as the unconvincing lesson of the schoolteacher’s moral demise, comes this: “But a more serious problem is that (despite the banal photography) the semi-documentary aspects of the film are so much more vivid and authentic and original than the factitious Conradian hero that we want to see more of that material—we want to learn more” (416-417). Further on, in this final paragraph, Kael notes that, while “there have been other Australian films, so it’s not all new” the director and scriptwriter “have seen the life in a more objective way, almost as if they were cultural anthropologists…. Maybe Kotcheff didn’t dare to expand this vision at the expense of the plot line, but he got onto something bigger than the plot” (417). Kael’s “error”, as it were, is to over-look how the land itself stretches the space of the film, beyond plot, to occupy the same space as her so-called “something bigger”, which itself is filled out by the uncanniness of the land as the intersections of both indigenous and settler (road-based) cultures and their representations in art (417). The “banal photography” might be better read as the film’s inhabitation of these artistic/cultural intersections (416). Kael’s Wake in Fright piece illustrates the first strand of the American reviews of Australian gothic cinema. Missing the land’s uncanniness effectively distributes throughout the review an elision of culture and art, and a reactive engagement with the broadly anthropological elements of Kotcheff’s film. Reviews of The Year of Living Dangerously by Kael and Sarris also illustrate the first strand of the American-Australian reviewing nexus, with the addition, also by each critic, of the second strand: the attempt to reconnect and revitalize the categories of politics and art. As with Wake in Fright, Kael introduces an anthropological gambit into Weir’s film, privileging its documentary elements over its qualities as fiction (strand one). “To a degree,” she writes, “Weir is the victim of his own skill at creating the illusion of authentic Third World misery, rioting, and chaos” (454). By comparison with “earlier, studio-set films” (like Casablanca [452]), where such “backgrounds (with their picturesque natives) were perfectly acceptable as backdrops…. Here… it’s a little obscene” (454). Kael continues: “Documentaries, TV coverage, print journalism, and modern history itself have changed audiences’ responses, and when fake dilemmas about ‘involvement’ are cooked up for the hero they’re an embarrassment” (454-455). Film is pushed to cater to anthropology besides art. Mirroring Kael’s strand-one response, Sarris puts a lot of pressure on Weir’s film to “perform” anthropologically—as well as, even instead of, artistically. The “movie”, he complains “could have been enjoyed thoroughly as a rousingly old-fashioned Hollywood big-star entertainment were it not for the disturbing vistas of somnolent poverty on view in the Philippines, the location in which Indonesian poverty in 1965 was simulated” (59). Indeed, the intrusive reality of poverty elicits from Sarris something very similar to Kael’s charge of the “obscenity of the backdrop” (454): We cannot go back to Manderley in our movie romances. That much is certain. We must go forward into the real world, but in the process, we should be careful not to dwarf our heroes and heroines with the cosmic futility of it all. They must be capable of acting on the stage of history, and by acting, make a difference in our moral perception of life on this planet. (59) Sarris places an extreme, even outrageous, strand-one demand on Weir’s film to re-purpose its fiction (what Kael calls “romantic melodrama” [454]) to elicit the categories of history and anthropology—that last phrase, “life on this planet”, sounds like David Attenborough speaking! More so, anthropological atomization is matched swiftly to a strand-two demand, for this passage also anticipates the rapprochement of politics and art, whereby art rises to the level of politics, requiring movie “heroes and heroines” to make a “moral difference” on a historical if not on a “cosmic” level (59). It is precisely in this, however, that Weir’s film falls down for Sarris. “The peculiar hollowness that the more perceptive reviewers have noted in The Year of Living Dangerously arises from the discrepancy between the thrilling charisma of the stars and the antiheroic irrelevance of the characters they play to the world around them” (59). Sarris’s spatialized phrase here (“peculiar hollowness”) recalls Kael’s observation that Wake in Fright contains “something bigger than the plot” (417). In each case, the description is doubling, dis-locating—uncanny. Echoing the title of Eva Rueschmann’s article, both films, like the Australian landscape itself, are “out of place” in their interpretation by these American critics. What, really, does Sarris’s “peculiar hollowness” originate in (59)? In what “discrepancy” (59)? There is a small but, in the context of this article, telling error in Sarris’s review of Weir’s film. Kael, correctly, notes that “the Indonesian settings had to be faked (in the Philippines and Australia)” (inserted emphasis) (452). Sarris mentions only the Philippines. From little things big things grow. Similar to how Kael overlooks the uncanny in Wake in Fright’s mise-en-scène, Sarris “sees” a “peculiar hollowness” where the land would otherwise be. Otherwise, that is, in the perspective of a cinema (Kotcheff’s, Weir’s) that comprehends “the true nature of the [Australian, gothic] human environment” (Rayner 25). Of course, it is not primarily a matter of how much footage Weir shot in Australia. It is the nature of the cinematography that matters most. For his part, Sarris damns it as “pretentiously picturesque” (59). Kael, meanwhile, gets closer perhaps to the ethics of the uncanny cinematography of The Year of Living Dangerously in her description of “intimations, fragments, hints and portents… on a very wide screen” (451). Even so, it will be remembered, she does call the “backgrounds… obscene” (454). Kael and Sarris see less than they “see”. Again like Sarris, Kael goes looking in Weir’s film for a strand-two rapprochement of politics and art, as evidenced by the line “The movie displays left-wing attitudes, but it shows no particular interest in politics” (453). It does though, only Kael is blind to it because she is blind to the land and, equally, to the political circumstances of the people of the land. Kael likely never realized the “discrepancy” in her critique of The Year of Living Dangerously’s Billy Kwan as “the same sort of in-on-the-mysteries-of-the-cosmos character that the aborigine actor Gulpilil played in Weir’s 1977 The Last Wave” (455). All this, she concludes, “might be boiled down to the mysticism of L.A.: ‘Go with the flow’” (455)! Grouping characters and places together like this, under the banner of L.A. mysticism, brutally erases the variations across different, uncanny, gothic, post-colonial landscapes. It is precisely here that politics and art do meet, in Weir’s film (and Kotcheff’s): in the artistic representation of the land as an index of the political relations of indigenous, settler and hybrid communities. (And not down the rabbit hole of the “specifics” of politics that Kael claims to want [453]). The American critics considered in this article are not in “bad faith” or a-political. Sarris produced a perceptive, left-leaning study entitled Politics and Cinema, and many of Kael’s reviews, along with essays like “Saddle Sore: El Dorado, The War Wagon, The Way West,” contain sophisticated, liberalist analyses of the political circumstances of Native Americans. The crucial point is that, as “critics form[ing] one of the key material institutions that support generic formations,” Sarris and Kael impacted majorly on the development of Australian gothic cinema, in the American context—impacted especially, one could say, on the (mis-)understanding of the land-based, uncanny politics of this mode in its Australian setting (McClain 54). Kael’s and Sarris’s reviews of My Brilliant Career, along with Judith Maslin’s review, contain traits similar to those considered in depth in the reviews studied above. Future research might usefully study this significant impact more closely, weaving in an awareness of the developing dynamics of global film productions and co-productions since the 1970s, and thereby focusing on Australian gothic as international cinema. Was, for example, the political impact of later films like The Proposition influenced, even marginally, by the (mis-)readings of Sarris and Kael? In conclusion here, it suffices to note that, even as the American reviewers reduced Australian cinema art to “blank” documentary or “neutral” anthropology, nevertheless they evidenced, in their strand-two responses, the power of the land (as presented in the cinematography and mise-en-scène) to call out—across an increasingly globalized domain of cinematic reception—for the fundamental importance of the connection between politics and art. Forging this connection, in which all lands and the peoples of all lands are implicated, should be, perhaps, the primary and ongoing concern of national and global cinemas of the uncanny, gothic mode, or perhaps even any mode. References Casablanca. Dir. Michael Curtiz. Warner Bros, 1942. Falconer, Delia. “Introduction.” The Penguin Book of the Road. Ed. Delia Falconer. Melbourne: Viking-Penguin Books, 2008. xi-xxvi. Gibson, Ross. South of the West: Postcolonialism and the Narrative Construction of Australia. Bloomington, Indiana: Indiana University Press, 1992. Godden, Matt. “An Essay on Australian New Wave Cinema.” 9 Jan. 2013. 18 Aug. 2014 ‹http://www.golgotha.com.au/2013/01/09/an-essay-on-australian-new-wave-cinema/›. Gray, R. “Freud, ‘The Uncanny.’” 15 Nov. 2013. 18 Aug. 2014 ‹http://courses.washington.edu/freudlit/Uncanny.Notes.html›. Kael, Pauline. “Australians.” Review of My Brilliant Career. 15 Sep. 1980. Taking It All In. London: Marion Boyars, 1986. 54-62. Kael, Pauline. “Literary Echoes—Muffled.” Review of Outback [Wake in Fright]. 4 March 1972. Deeper into Movies. Boston: Atlantic Monthly Press-Little, Brown and Company, 1973. 413-419. Kael, Pauline. “Saddle Sore: El Dorado, The War Wagon, The Way West.” Kiss Kiss Bang Bang. London: Arrow Books, 1987. 38-46. Kael, Pauline. “Torrid Zone.” Review of The Year of Living Dangerously. 21 Feb. 1983. Taking It All In. London: Marion Boyars, 1986. 451-456. Mad Max 2: The Road Warrior. Dir. George Miller. Warner Bros, 1981. Maslin, Janet. “Film: Australian ‘Brilliant Career’ by Gillian Armstrong.” Review of My Brilliant Career. New York Times (6 Oct. 1979.): np. McClain, William. “Western, Go Home! Sergio Leone and the ‘Death of the Western’ in American Film Criticism.” Journal of Film and Video 62.1-2 (Spring/Summer 2010): 52-66. My Brilliant Career. Dir. Gillian Armstrong. Peace Arch, 1979. Picnic at Hanging Rock. Dir. Peter Weir. Picnic Productions, 1975. Rayner, Jonathan. Contemporary Australian Cinema: An Introduction. Manchester: Manchester University Press, 2000. Rueschmann, Eva. “Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion’s Films.” Post Script (22 Dec. 2005). 18 Aug. 2014 ‹http://www.thefreelibrary.com/Out+of+place%3A+reading+%28post%29+colonial+landscapes+as+Gothic+space+in...-a0172169169›. Sarris, Andrew. “Films in Focus.” Review of My Brilliant Career. Village Voice (4 Feb. 1980): np. Sarris, Andrew. “Films in Focus: Journalistic Ethics in Java.” Review of The Year of Living Dangerously. Village Voice 28 (1 Feb. 1983): 59. Sarris, Andrew. “Liberation, Australian Style.” Review of My Brilliant Career. Village Voice (15 Oct. 1979): np. Sarris, Andrew. Politics and Cinema. New York: Columbia University Press, 1978. The Last Wave. Dir. Peter Weir. Ayer Productions, 1977. The Proposition. Dir. John Hillcoat. First Look Pictures, 2005. The Year of Living Dangerously. Dir. Peter Weir. MGM, 1982. Tsiolkas, Christos. “Citizen Kael.” Review of Pauline Kael: A Life in the Dark by Brian Kellow. The Monthly (Feb. 2012): 54-56. Wake in Fright. Dir. Ted Kotcheff. United Artists, 1971.