Journal articles: 'Stunt Island' – Grafiati (2024)

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Ramu stunt is a serious disease of sugarcane, currently only reported from Papua New Guinea. It is found in both commercial sugarcane grown on the Ramu Agri Industries Limited (RAIL) estate and in chewing canes (Saccharum officinarum L.) grown in village gardens. The vector of Ramu stunt disease is the island sugarcane planthopper, Eumetopina flavipes Muir. Here we report on the successful transmission of Ramu stunt using E. flavipes and verify that the disease is caused by Ramu stunt virus, a virus with hom*ology to the genus Tenuivirus. Diagnostic reverse transcription PCR screening, with partial genome sequencing and viral protein characterization, was used for confirmation. Disease surveys were undertaken on the RAIL estate, along roadsides, and in village gardens in parts of Papua New Guinea. When the disease was identified, partial genome sequencing of the virus was performed to assess the extent of genome variability among isolates. The disease was less common than predicted from early surveys based on symptoms alone, and genotypic variation was associated with geographic location.

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Sugarcane is the main industrial crop in Kitadaito Island (Okinawa), Japan, and the objective of this study was to estimate potential damage to sugarcane by plant-parasitic nematodes (PPN). We selected 15 sugarcane fields with the same cultivar and cropping type in Kitadaito Island. Various kinds of PPN were found in all the fields and the proportion of PPN to the total nematode number was ca 50%, which is relatively high compared to other Japanese upland fields. Lesion (Pratylenchus sp.), stunt (Tylenchorhynchus sp.) and spiral (Helicotylenchus sp.) nematodes were detected at mean densities of 48, 22 and 6 (20 g soil)−1, respectively, from all the fields, and lance (Hoplolaimus sp.) and ring nematodes from half of the fields. The results suggested that sugarcane fields in Kitadaito Island were ubiquitously infested with a variety of PPN with a relatively high abundance. One of the fields was studied further to examine the potential relationship between PPN and sugarcane plant growth. Since no nematicide is registered for sugarcane fields in Japan, an appropriate agrochemical was selected by testing its efficacy against PPN before evaluating the relationship between a PPN community and sugarcane growth. The results of a 10-week pot experiment for sugarcane growth showed that the number of PPN decreased by applying a nematicide fosthiazate, and that sugarcane seedling biomass was significantly greater by 34-63% in soils with applied nematicide than in non-applied control soils, suggesting that PPN may suppress sugarcane growth in Kitadaito Island.

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A survey for incidence of sweetpotato viruses was carried out in the three sweetpotato-producing districts (Bukoba, Misungwi, and Tarime) in the Lake Victoria basin and in the Indian Ocean coastal zone (Bagamoya on the mainland and Unguja on Zanzibar Island) in Tanzania in March and April 2003. A total of 170 plants from 43 sweetpotato fields were collected, established in an insect-proof screenhouse, and tested for viruses by nitrocellulose membrane enzyme-linked immunosorbent assay (NCM-ELISA). Scions from symptomless plants were grafted onto Ipomoea setosa, a nearly universal indicator plant for sweetpotato viruses, and leaves were tested by NCM-ELISA. Results were confirmed in several seropositive plants by cloning and partial sequencing of the viruses. Sweet potato feathery mottle virus (SPMFV), Sweet potato mild mottle virus, Sweet potato chlorotic stunt virus (SPCSV), and Sweet potato chlorotic fleck virus were detected serologically in single or mixed infections. Frequencies of occurrence of these viruses as determined by serological detection showed SPMFV to be the most prevalent virus in all the surveyed districts. Our study revealed a higher incidence and diversity of viruses in the Lake Victoria basin compared with the Indian Ocean coastal area. These results represent the first survey for sweetpotato viruses in Tanzania using accurate detection methods.

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A field study assessing the influence of the previous crop, the crop sequence, and aldicarb treatments on root lesion nematode populations and crop yields was carried out in Prince-Edward-Island, Canada. The most recent crop had the greatest impact on nematode numbers. The crop sequences had an influence in some cases on root lesion nematode populations (primarily Pratylenchus penetrans) and on crop yields. In commercial barley (Hordeum vulgare) fields, root lesion nematodes in roots were greatest when barley followed a red clover (Trifolium pratense) timothy (Phleum pratense) ley, and stunt nematodes (Tylenchorhynchus spp., primarily T. dubius, and Merlinius spp.) were more common when barley followed barley. The combined dry weight of foliage and grain was larger when barley was planted after potato (Solanumtuberosum) and smaller when barley followed barley or a red clover-timothy mixture. Under experimental field conditions, root lesion nematode populations were largest in barley roots when barley followed potato and grain yields were smallest when barley followed barley. Changes in nematode populations in potato were not associated with crop sequences. Potato tuber yields were higher in the sequences that began with wheat (Triticum aestivum) or barley than in the sequences that began with potato or soybean (Glycine max). Aldicarb reduced the numbers of root lesion nematodes in roots with concomitant yield increases in potato and soybean.

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In New Zealand, sweet potato (Ipomoea batatas) is a crop of cultural importance and an important food source; it is grown mainly in the districts of Kaipara, Auckland, and the Bay of Plenty in the North Island. In January of 2008, virus symptoms that included chlorotic spots, ring spots, and mottling were observed on the leaves of commercial sweet potato crops (cvs. Beauregard, Owairaka Red, and Toka Toka Gold) growing in the three main production areas. A survey was done to determine the extent of virus infection in these crops. Fifty to one hundred leaves were collected randomly from each of 26 different fields. Leaves from each field were bulked into groups of 10, giving a total of 173 composite samples. All samples tested negative for Cucumber mosaic virus, C-6 virus, Sweet potato caulimo-like virus, Sweet potato chlorotic fleck virus, Sweet potato chlorotic stunt virus (SPCSV), Sweet potato latent virus, and Sweet potato mild specking virus by nitrocellulose membrane enzyme-linked immunosorbent assays (International Potato Center-CIP, Lima, Peru). Total nucleic acid was extracted from all 173 composite samples and used in real-time PCR assays specific for Sweet potato leaf curl virus (SPLCV) and real-time reverse transcription (RT)-PCR specific for SPCSV, Sweet potato feathery mottle virus (SPFMV), Sweet potato virus G (SPVG), and Sweet potato virus 2 (SPV2; synonym Sweet potato virus Y) (1). No samples were positive for SPLCV or SPCSV, but 107 and 138 samples tested positive for SPFMV and SPVG, respectively. SPFMV and SPVG have been reported previously in New Zealand (2,3). Sixty four samples from 16 different fields tested positive for SPV2. Of the 64 samples, 52 were also infected with SPVG and SPFMV, and 10 were co-infected with SPVG but not SPFMV; no samples were co-infected with SPV2 and SPFMV when SPVG was absent. From a representative SPV2 positive sample, the 70-bp amplicon obtained by the real-time RT-PCR primers was cloned and sequenced A BLAST search showed 100% nucleotide sequence identity with SPV2 (GenBank Accession Nos. AM050887 and AY178992). Subsequently, primers (V2-F1c: 5′-AGAACAGGACAAACTCAACC-3′; V2-R1: 5′-TAATCACCCTTCACACCTTC-3′) were designed to amplify an approximately 434-bp fragment within the SPV2 coat protein gene. One-step RT-PCR was done on four of the SPV2 positive samples and amplicons of the expected size were sequenced directly (GenBank Accession No. FJ461774). Sequence comparison showed 99% nucleotide sequence identity with SPV2 (GenBank Accession Nos. AM050886, AM050887, AY178992, and EF577437). SPV2 is a member of the genus Potyvirus but the virus has not been fully characterized. It is known that single-potyvirus infections cause mild or no symptoms in sweet potato, and consequently, no significant yield reduction is observed generally. However, co-infection with other viruses such as SPCSV produces a synergistic effect and more severe disease symptoms (4). To our knowledge, this is the first report of SPV2 infecting sweet potato in New Zealand. References: (1) C. D. Kokinos and C. A. Clark. Plant Dis. 90:783, 2006. (2) M. N. Pearson et al. Australas. Plant Pathol. 35:217, 2006. (3) M. Rännäli et al. Plant Dis. 92:1313, 2008. (4) M. Untiveros et al. Plant Dis. 91:669, 2007.

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<p><strong>Ú</strong><strong>r</strong><strong>t</strong><strong>ak</strong>: Í 1814 kom friður í lag Stórabretlands, Svøríkis og Danmarkar millum. Stórabretland fekk frá Danmørk oynna Helgoland. Svøríki læt Danmørk svenska Pommern og Rügen móti at fáa Noreg, men í evstu stund var friðarsáttmálin broyttur, so norsku oyggjarnar í Norðurhøvum, Grønland, Føroyar og Ísland, ikki fylgdu við Noregi. Skjalatilfarið sigur lítið um, hví hetta hendi, men settar eru fram ymsar tilgitingar. Her verður tann tilgiting førd fram, at tað kann vera bretska kravið um Helgoland, sum hevur fingið Karl Johan at sleppa Norðurhavsoyggjum fyri at fáa friðin í lag beinanvegin. Á tann hátt slapp hann undan illstøðu við sameindu sínar, serliga bretar, sum vóru misnøgdir við, at hann hevði tikið seg burtur úr bardaganum ímóti Napoleon fyri at vinna Noreg.</p><p><strong>A</strong><strong>bstract</strong>: The peace treaties of Kiel in 1814 between Denmark and the United Kingdom, and Denmark and Sweden ceded the island of Heligoland (Helgoland) to the UK and Norway to Sweden. In return for Norway, Denmark was given Pomerania and Rugen, the Swedish provinces in Germany. At the last moment, the treaty between Denmark and Sweden was changed, so the Norwegian islands in the North Atlantic, Greenland, Faroe and Iceland, should not be ceded to Sweden with Norway. The sources are rather silent on the reasons for this change. Different hypotheses have been put forward. Here the hypothesis is launched, that it is possible that the British demand for the island of Heligoland caused the Swedish crown prince and commander-in-chief Karl Johan relinquish on the islands in the North Atlantic in order to get the peace treaties signed at once so that he could prevent a conflict with his allies, especially the British, who were rather upset because he had pursued his own war aims instead of following the allies in their westward thrust in order to topple the reign of the emperor Napoleon.</p>

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Introduction: Hypospadias continues to be a challenging problem for reconstructive surgeon. As urethral plate preservation got an important role, transverse preputial island flap (TPIF) urethroplasty is one of the preferred technique for sub-coronal and distal penile hypospadius. Methods: This study was conducted at urology department, DMCH, from February, 2014 to June, 2017 where 15 patients underwent TPIF urethroplasty. Inner preputial flap with its pedicle was developed and separated from the dorsal penile skin which was sutured to the urethral plate in an onlay manner over a stent by running suture. Glanuloplasty and meatoplasty was done and skin closed.SPC was done in every cases. Dressing was checked on 5th POD, stent was removed after 03 weeks. SPC was removed 2 to 3 days after satisfactory voiding. All patients were followed up at 6th and 12th week. Results: Among the 15 patients age range was 2-14 years and mean age. Sub-coronal in 4 and distal penile was in 11 patients. Following TPIF urethroplasty wound disruption was noted in one patient for that glans closure was done successfully. There was no meatal stenosis and urethrocutaneous fistula in follow up. Regarding cosmetic outcome 12 were good, 2 were acceptable and 1 was poor. Conclusion: Success rate of TPIF urethroplasty in case of sub-coronal and distal penile hypospadias is excellent. Cosmetic outcome should be considered most challenging and with experience of surgeons this aspect will be improved. Bangladesh Journal of Urology, Vol. 23, No. 1, January 2020 p.43-47

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Sugarcane cultivation in Japan has not yet focused on suppressing plant-parasitic nematodes. For proper nematode management, it is essential to know the spatial distribution of economically important plant-parasitic nematodes and free-living nematodes that play important roles in terrestrial ecosystems. We aimed to reveal nematode fauna and soil properties in 85 sugarcane fields of three major sugarcane producing islands in Japan, and to examine their relationship by using the mixed-effect model and by visualizing the spatial distributions using the inverse distance weighting (IDW) approach. The nematode community structures were analyzed by non-metric multidimensional scaling (NMDS). Among plant-parasitic nematodes in sugarcane, the root-lesion nematodes (Pratylenchus sp.) and the stunt nematodes (Tylenchorhynchus sp.) were widely distributed in these islands, yet the abundance and the species varied geospatially. Soil pH was significantly correlated with the abundance of Pratylenchus and Tylenchorhynchus species. The abundance of Pratylenchus and Tylenchorhynchus species were significantly correlated with soil pH. The abundance of Pratylenchus was significantly correlated with the abundance of free-living nematodes, the number of free-living nematode species, and exchangeable cation K+, as were the abundance of Tylenchorhynchus to the clay content and that of non-Tylenchorhynchus. This study also revealed that the three islands had different nematode faunas, which were explained especially by soil pH, texture, and exchangeable basic cations.

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Abstract OBJECTIVES The aim of this study was to investigate the clinical outcomes and follow-up results among 5 main aortic arch surgery methods for type A aortic dissection in a single centre. METHODS From 2002 to 2018, 958 type A aortic dissection patients who received surgical repair were divided into 5 groups according to the arch surgery method: hemiarch replacement (n = 206), island arch replacement (n = 54), total arch replacement with frozen elephant trunk (n = 425), triple-branched stent (n = 39) and fenestrated stent (n = 234). The indications for the different arch methods were related to the patient’s preoperative status, the location and extent of the dissection and the surgical ability of the surgeons. A comparative study was performed to identify the differences in the perioperative data, and the Kaplan–Meier analysis was used to assess the long-term survival and reintervention rates. Thirty matched surviving patients that were included in each group completed Computed tomography angiography to determine long-term reshaping effect. RESULTS The 30-day mortality rate was 15.8%, and there was no difference among the 5 groups (P = 0.848). The follow-up survival rates were similar among the 5 groups (P = 0.130), and the same was true for patients without reintervention (P = 0.471). In the propensity matching study, patients with stents (frozen elephant trunk, triple-branched stent, fenestrated stent) had a slower aortic dilation rate and a higher ratio of thrombosis in the false lumen at the descending aortic and abdominal aortic levels than patients without stents. CONCLUSIONS No standard method is available for arch surgery, and indications and long-term effects should be identified with clinical data. In our experiences, simpler surgical procedures could reduce mortality in critically ill patients and stents in the distal aorta could improve long-term reshape effects.

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No presídio [de Fernando de Noronha] o bandido [Zé Moleque] criara fama de boa pessoa, de trabalhador. Os seus roçados de farinha eram sempre os maiores e nunca estivera em cela, nunca dera o que fazer aos diretores. In José Lins do Rego's 1936 novel, A Usina (the sugar refinery), the penal colony of Fernando de Noronha Island emerges as an incongruous Utopia. The novel's young black protoganist Ricardo serves a three year sentence there as a result of his involvement in a Recife labor strike. Upon his return, he is disillusioned by what he finds on the mainland. He recalls his penalcolony stint with a mixture of nostalgia and shame, especially the tender relationship he had had with the former black bandit Zé Moleque, the respected convict in the citation above. The island, some 220 miles off Brazil's northeast coast, initially appears to be an exotic criminal community of dishonored men, the antithesis of life on the mainland. But, as the plot progresses, it becomes a bucolic foil with which the author highlights hypocrisy, injustice, indifference, and corruption on the modernizing Brazilian mainland of the 1920s.

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No presídio [de Fernando de Noronha] o bandido [Zé Moleque] criara fama de boa pessoa, de trabalhador. Os seus roçados de farinha eram sempre os maiores e nunca estivera em cela, nunca dera o que fazer aos diretores.In José Lins do Rego's 1936 novel,A Usina(the sugar refinery), the penal colony of Fernando de Noronha Island emerges as an incongruous Utopia. The novel's young black protoganist Ricardo serves a three year sentence there as a result of his involvement in a Recife labor strike. Upon his return, he is disillusioned by what he finds on the mainland. He recalls his penalcolony stint with a mixture of nostalgia and shame, especially the tender relationship he had had with the former black bandit Zé Moleque, the respected convict in the citation above. The island, some 220 miles off Brazil's northeast coast, initially appears to be an exotic criminal community of dishonored men, the antithesis of life on the mainland. But, as the plot progresses, it becomes a bucolic foil with which the author highlights hypocrisy, injustice, indifference, and corruption on the modernizing Brazilian mainland of the 1920s.

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We studied a variety of chthoniid pseudoscorpions collected from the semiarid zone of Western Australia. Five new species of Tyrannochthonius Chamberlin, 1929 and three new species of Lagynochthonius Beier, 1951 are named and described from the Pilbara and Gasgoyne regions, and surrounding areas such as Barrow Island. Tyrannochthonius basme, sp. nov. and Lagynochthonius asema, sp. nov. from pisolitic mesas near Pannawonica, T. garthhumphreysi, sp. nov. from limestone karst on Barrow Island, T. souchomalus, sp. nov. from calcrete deposits near Cue, T. billhumphreysi, sp. nov. and L. polydentatus, sp. nov. from a calcrete deposit on Sturt Meadows Station and L. leemouldi, sp. nov. from calcrete near Marble Bar are all considered to represent hypogean species as all exhibit typical troglomorphic adaptations including total loss of eyes and attenuated appendages. New records are provided for T. brooksi Harvey and T. butleri Harvey from Cape Range peninsula. A new epigean species, T. aridus, sp. nov., was found on Barrow Island and the Pilbara mainland. Two further putative new species based upon nymphal specimens from subterranean environments are described but not named owing to the lack of adult specimens. Although the epigean species T. aridus, sp. nov. is relatively widespread, all of the subterranean species are thought to represent short-range endemic species as they have been found at very few locations, all of which occur in localised habitats such as limestone or within mesa formations. Tyrannochthonius chamorro Chamberlin, 1947 from Guam is transferred to the genus Lagynochthonius, creating the new combination Lagynochthonius chamorro (Chamberlin 1947).

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The question to which this essay is addressed struck me when, having done ethnographic field work in the Faroe Islands, I undertook another stint on Dominica, at the opposite corner of the North Atlantic.1 In the Faroes, I took part in a couple of slaughters of herds of pilot whales. The grindadráp is dramatic, but apart from the inevitable tumult of the slaughter itself, in which romantically inclined observers have been pleased (or horrified) to find Faroese acting like their Viking ancestors, it is a remarkably orderly business. In a Dominican village called Casse, I took part in another great sea hunt, in which shoals of skipjack tuna were caught inshore. Seining bonik, as these fish are called in the French Creole vernacular, is no less dramatic than the grindadráp, if considerably less difficult and dangerous. But particularly in the division of the spoils, bonik seining is disorderly, even chaotic.

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AbstractDalforce, or the Singapore Overseas Chinese Volunteer Army as it was more popularly known among the Chinese community, was a hastily formed volunteer army created just before the fall of Singapore in February 1942. It was made up of 1,000–3,000 Chinese volunteers from all walks of life and political persuasions. Dalforce companies, armed with limited weapons and ammunition, were sent to defend the different fronts of Singapore Island after only a short stint of training. The soldiers of Dalforce, alongside the Australian, Indian and British armies, fought the Japanese invasion during the Battle for Singapore. The Overseas Chinese community in Singapore saw Dalforce as a medium through which they could join in the struggle, together with their comrades in China, against an aggressive and belligerent Japan. This small army became a symbol of something their comrades in China failed to truly achieve — the ability to unite in one force against a common enemy. The exploits of this little army became an Overseas Chinese legend.

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Two serologically unrelated sweet potato viruses causing symptoms of vein clearing in the indicator plant Ipomoea setosa were isolated and their genomes have been sequenced. They are associated with symptomless infections in sweet potato but distinct vein-clearing symptoms and higher virus titres were observed when these viruses co-infected with sweet potato chlorotic stunt virus (SPCSV), a virus that is distributed worldwide and is a mediator of severe virus diseases in this crop. Molecular characterization and phylogenetic analysis revealed an overall nucleotide identity of 47.6 % and an arrangement of the movement protein and coat protein domains characteristic of members of the genus Cavemovirus, in the family Caulimoviridae. We detected both cavemoviruses in cultivated sweet potato from East Africa, Central America and the Caribbean islands, but not in samples from South America. One of the viruses characterized showed a similar genome organization as, and formed a phylogenetic sublineage with, tobacco vein clearing virus (TVCV), giving further support to the previously suggested separation of TVCV, and related viral sequences, into a new caulimovirid genus. Given their geographical distribution and previous reports of similar but yet unidentified viruses, sweet potato cavemoviruses may co-occur with SPCSV more often than previously thought and they could therefore contribute to the extensive yield losses and cultivar decline caused by mixed viral infections in sweet potato.

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Abstract Background Long Island, New York, is highly endemic for tick borne illnesses (TBI) with rising numbers of cases in the past years. Thrombocytopenia is a known complication of babesiosis caused by Babesia microti, anaplasmosis caused by Anaplasma phagocytophilum, and ehrlichiosis caused by Ehrlichia chaffeensis. We identified cases of thrombocytopenia attributed to TBI in our institution. Methods Retrospective chart review of patients diagnosed with babesiosis, anaplasmosis, and ehrlichiosis from 2000 to 2017 at Northport Veterans Affairs Medical Center. Demographics, method of diagnosis (PCR/serologies), CBC/chemistries, treatment choices, and outcomes were analyzed. Results Thirty-two veterans (VETS) were identified with the following TBI: Babesiosis 22, Ehrlichiosis 6, Anaplasmosis 4. The majority of cases (19) were from Suffolk County, Long Island. The median (MED) age of this group was 62 years (range 31–89). Ninety-one percent were Caucasian, 9% Black. 37.5% had history of tick bite. The MED temperature on presentation was 101.9°F (range 97.6–105.2°F). 56% had HTN, 6% DM, 37% HLD, 9% hepatitis C, 3% HIV. Laboratory studies: MED platelet count 88,000/µL (36,000–161,000); MED hemoglobin 12 gm/dL (5.6–15.6); MED ALT 41 IU/L (6–330); MED LDH 335 IU/L (193–1,322). Twelve VETS had positive C6 peptide. The peak MED B. microti parasitemia was 1.4% (0.1–3%). PCR tests were available in the later years of the study period: three were positive for E. chaffeensis, two for A. phagocytophilum, and 14 for B. microti. The majority of the cases (19) were observed after year 2010. Morulae were seen in only one case. Haptoglobin in eight VETS was undetectable. One veteran with history of splenectomy and babesiosis with 3% parasitemia required exchange transfusion with 12 units of PRBCs. Two other babesiosis cases required regular transfusion of PRBCs. 20 babesiosis cases were treated with azithromycin-atovaquone and two with clindamycin-primaquine. Doxycycline was used in the other cases. One patient developed NSTEMI and required coronary stent placement. Platelet counts returned to baseline levels with treatment. No deaths occurred. Conclusion The incidence of TBI in Long Island, New York is rising. PCR testing for TBI can be utilized in our VETS presenting with febrile illness and thrombocytopenia to help identify the possible tick borne pathogen during the months of high tick activity. Disclosures All authors: No reported disclosures.

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Sweetpotato (Ipomoea batatas) plants become infected with over 30 RNA or DNA viruses in different parts of the world but little is known about viruses infecting sweetpotato crops in Central America, the center of sweetpotato domestication. Small-RNA deep-sequencing (SRDS) analysis was used to detect viruses in sweetpotato in Honduras and Guatemala, which detected Sweet potato feathery mottle virus strain RC and Sweet potato virus C (Potyvirus spp.), Sweet potato chlorotic stunt virus strain WA (SPCSV-WA; Crinivirus sp.), Sweet potato leaf curl Georgia virus (Begomovirus sp.), and Sweet potato pakakuy virus strain B (synonym: Sweet potato badnavirus B). Results were confirmed by polymerase chain reaction and sequencing of the amplicons. Four viruses were detected in a sweetpotato sample from the Galapagos Islands. Serological assays available to two of the five viruses gave results consistent with those obtained by SRDS, and were negative for six additional sweetpotato viruses tested. Plants coinfected with SPCSV-WA and one to two other viruses displayed severe foliar symptoms of epinasty and leaf malformation, purpling, vein banding, or chlorosis. The results suggest that SRDS is suitable for use as a universal, robust, and reliable method for detection of plant viruses, and especially useful for determining virus infections in crops infected with a wide range of unrelated viruses.

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The widespread and highly diverse goblin spider genus Opopaea Simon is a pantropical genus with biodiversity hotspots in Africa, Asia and Australia. We revise the Australian and Pacific species of the genus, provide redescriptions of the Australian species O. banksi (Hickman) and the Micronesian species O. foveolata Roewer, and new records of the pantropical O. deserticola Simon and O. concolor (Blackwall), as well as O. apicalis (Simon) which is newly transferred from Epectris, after the new synonymy of Epectris with Opopaea. The following species are provisionally transferred from Epectris to Opopaea, pending investigations into their generic affinities: O. conujaingensis (Xu), new combination from China; and O. mollis (Simon), new combination from Sri Lanka. Most Pacific Islands are inhabited by the four above-mentioned species but the following 15 newly described species are most likely native to the islands: from Fiji (O. fiji), Hawaii (O. hawaii), Palau (O. palau), New Caledonia (O. amieu, O. bicolor, O. burwelli, O. calcaris, O. goloboffi, O. monteithi, O. ndoua, O. platnicki, O. raveni, O. striata, O. touho, O. tuberculata). We treat the Australian Opopaea fauna and recognise 84 species including 71 new and 13 previously described species. The new Australian species include 21 species from New South Wales (O. acuminata, O. addsae, O. bushblitz, O. gerstmeieri, O. lebretoni, O. linea (also occurs in Queensland), O. magna, O. margaretehoffmannae, O. martini, O. michaeli, O. milledgei, O. nitens, O. ottoi, O. plana, O. simplex, O. sturt, O. suelewisae, O. sylvestrella, O. tenuis, O. ursulae, O. yorki); six from Northern Territory (O. ephemera, O. fishriver, O. gilliesi, O. johardingae, O. preecei, O. wongalara); 13 from Queensland (O. ameyi, O. brisbanensis, O. broadwater, O. carnarvon, O. carteri, O. chrisconwayi, O. douglasi, O. lambkinae, O. leichhardti, O. mcleani, O. proserpine, O. stanisici, O. ulrichi); three from South Australia (O. millbrook, O. mundy, O. stevensi); and 28 from Western Australia (O. aculeata, O. aurantiaca, O. billroth, O. callani, O. cowra, O. durranti, O. exoculata, O. flava, O. fragilis, O. framenaui, O. gracilis, O. gracillima, O. harmsi, O. johannae, O. julianneae, O. marangaroo, O. millstream, O. nadineae, O. pallida, O. pannawonica, O. pilbara, O. rixi, O. robusta, O. rugosa, O. subtilis, O. triangularis, O. wheelarra, O. whim). New records are provided for O. sown Baehr. Seven area-based keys to species are provided.

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Hugo Anderson-Whymark, Duncan Garrow and Fraser Sturt are to be congratulated on an important find and a robust evaluation of its significance. As they point out, it was Roger Jacobi who first introduced the notion that Britain had been culturally isolated from the continent following the flooding of the English Channel; this was on the basis of stylistic differences between the microlithic assemblages found in the two areas in the later Mesolithic. Equally, although Villeneuve-Saint-Germain communities were established in Normandy early in the fifth millennium BC, and Chassey/Michelsberg groups in the Pas-de-Calais perhaps six hundred years later, the material evidence of their cross-Channel relations with British and Irish hunter-gatherers is limited. On this basis, the view has developed that indigenous people in Britain would have been unaware of the developing Neolithic in France and Belgium. Consequently, they would have had no familiarity with domesticated plants and animals, polished stone tools, ceramics, large timber buildings and mortuary monuments until such innovations were brought to these islands by migrating agriculturalists at the end of the millennium. If Mesolithic people played any part at all in the Neolithic transition, it would only have been after the arrival of settlers on these shores.

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Objectives: Successful laryngotracheal reconstruction requires both structurally supported tissue that withstands airway pressure changes and well-vascularized epithelial lining to prevent granulation and stricture formation. For circumferential defects, end-to-end anastomosis achieves favorable results, but for long-segment or large noncircumferential defects, no proven methods have emerged. Several animal studies describe prefabricated soft tissue flaps wrapped around synthetic materials or cartilage. However, prefabricated flaps have had very little use in human airway reconstruction. We present a patient with laryngeal stenosis and tracheostomy dependence following chemoradiotherapy for hypopharyngeal carcinoma. Methods: In an attempt to widen the patient's laryngeal airway, a thyrotracheal autograft procedure, previously described by our institution, was performed. We transferred a segment of hemitrachea cephalad using the thyroid gland as a “vascular carrier,” thus creating an 8-cm-long trough inferiorly that involved a 40% defect of the anterior tracheal circumference. Severe radiation damage to the cervical skin precluded use of traditional tracheoplasty methods. We used a technique whereby costal cartilage strips were implanted into a radial forearm free flap, designed to replicate the anterior tracheal wall. Results: Four weeks later, we harvested the prefabricated composite flap and placed it into the defect, using forearm skin as tracheal lining. The cervical skin defect was closed with an island deltopectoral flap. A soft stent was kept in the neotrachea for 3 weeks, and a tracheostomy tube was left beneath it. The tracheostomy was subsequently closed with local advancement flaps, and the patient currently maintains an excellent airway. Conclusions: Prefabricated composite free flaps are an attractive option for certain challenging cases of airway reconstruction.

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Sweet potato chlorotic stunt virus (SPCSV), family Closteroviridae and Sweet potato feathery mottle virus (SPFMV), family Potyviridae are whitefly and aphid transmitted, respectively, which in double infections cause sweet potato virus disease (SPVD) that is a serious sweet potato (Ipomoea batatas Lam.) disease in Africa (2). During the past decade, sweet potato plants showing symptoms similar to SPVD have been observed in most areas of Spain. Nevertheless, not much information is available about the identity of the viruses infecting this crop in Spain. During the summer of 2002, sweet potato plants with foliar mosaic, stunting, leaf malformation, chlorosis, and ringspot symptoms were observed in several farms in Málaga (southern Spain) and Tenerife and Lanzarote (Canary Islands, Spain). Vine cuttings were collected from 21 symptomatic plants in Málaga and from eight plants on Lanzarote and six on Tenerife. Scions were grafted to the indicator hosts, Brazilian morning glory (I. setosa) and I. nil cv. Scarlett O'Hara. Three weeks after graft inoculations, all plants showed various degrees of mosaic, chlorosis, leaf malformation, and stunting. Four field collections (two from Málaga, one from Tenerife, and one from Lanzarote) with severe symptoms on I. setosa were selected for whitefly (Bemisia tabaci biotype Q) transmission experiments. Acquisition and transmission periods were 48 h. I. setosa was the acquisition host, and I. nil was the transmission host. For each isolate, groups of 10 whiteflies per I. nil plant were used. All I. nil plants used as transmission hosts with the four, field collections showed chlorosis and leaf malformation. Reverse-transcription polymerase chain reaction (RT-PCR) was performed on I. setosa (grafted with the four selected field collections) and I. nil plants (from the whitefly transmission experiments) with primers for the HSP70h gene of SPCSV. A 450-bp DNA fragment was obtained with all I. setosa and I. nil samples. Sequencing of the 450-bp DNA from two samples from Málaga yielded a nucleotide sequence with 98 to 99% similarity to the HSP70h gene of West African SPCSV isolates. Foliar samples from I. setosa, originally grafted with the 21 vine cuttings, were used for nitrocellulose membrane enzyme-linked immunosorbent assay (NCM-ELISA) testing with antiserum specific to SPFMV-RC (provided by J. Moyer, North Carolina State University, Raleigh). Positive control was sap extract from I. setosa that was infected with the common strain of SPFMV. Procedures for NCM-ELISA were as described (4). NCM-ELISA testing suggested that SPFMV was present in all samples. RT-PCR was conducted with degenerate primers POT1/POT2 (1). The nucleotide sequence that was amplified by these two primers spans part of the NIb protein and part of the coat protein gene of potyviruses. All samples yielded the expected 1.3-kb DNA. Sequencing of the RT-PCR products of two isolates from Malaga and sequence comparisons yielded nucleotide sequences with 97% similarity to two East African isolates (Nam 1 and Nam 3) of SPFMV (3). These results confirm the presence of SPCSV and SPFMV in sweet potato in Spain. References: (1) D. Colinet and J. Kummert. J. Virol. Methods 45:149, 1993. (2) R. W. Gibson et al. Plant Pathol. 47:95, 1998. (3) J. F. Kreuze et al. Arch. Virol. 145:567, 2000. (4) E. R. Souto et al. Plant Dis. 87:1226, 2003.

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Sweet potato feathery mottle virus (SPFMV), Sweet potato virus G (SPVG), and Sweet potato virus 2 (SPV2) (also known as Ipomoea vein mosaic virus (2) and Sweet potato virus Y) are members of the genus Potyvirus (family Potyviridae), which can synergistically interact with Sweet potato chlorotic stunt virus (SPCSV; genus Crinivirus, family Closteroviridae), increasing symptom severity on sweet potato (Ipomoea batatas (L.) Lam.) (1,2,3). During 2002, 2006, and 2007, vine cuttings from sweet potato plants were collected in Malaga (southern Spain), Tenerife, and Lanzarote (Canary Islands, Spain) to be tested for the presence of viruses. Sampled plants ranged from asymptomatic to severely affected by symptoms of sweet potato virus disease (SPVD), caused by dual infection with SPFMV or other potyviruses with SPCSV. Scions collected during 2002 were grafted to the indicator host I. setosa. Foliar samples from I. setosa were used for nitrocellulose membrane (NCM)-ELISA testing with antisera specific to SPVG or SPV2 (provided by C. A. Clark, Louisiana State University) following described procedures (2). NCM-ELISA testing indicated that SPVG was present in samples from Malaga, Tenerife, and Lanzarote, whereas SPV2 was only found in samples from Malaga. Reverse-transcription (RT)-PCR was performed on RNA extracts from sweet potato or I. setosa leaves using primer pairs MA541 (5′-AACAATTCCAGATAGTAGAGGGGTTG-3′)/MA542(5′-TGTGGGGACAGCATGATCCAATAG-3′) and MA540 (5′-AACCCCAACACCAGCAAAATCAGTTAAG-3′)/MA542 corresponding to the capsid protein (CP) genes of SPVG and SPV2, respectively. Thirteen of 47 samples from Malaga and 4 of 30 from the Canary Islands yielded the expected 483-bp DNA fragment with the primers for SPVG. Fifteen of 47 samples from Malaga yielded the expected 627-bp DNA fragment with primers for SPV2. Two RT-PCR amplicons of SPVG, one from Malaga and one from Tenerife, were sequenced. Their nucleotide sequences (GenBank Accession Nos. EF577438 and EF577439, respectively) showed 98% identity to SPVG isolates from Louisiana (2) and China. Sequencing of one RT-PCR amplicon of SPV2 from Malaga resulted in a nucleotide sequence (GenBank Accession No. EF577437) with 99% identity to SPV2 from Lousiana and Australia (3). The presence of SPVG and SPV2 increases the already existing risk of SPVD, since the main viruses involved in the synergism, SPFMV and SPCSV, are present in Spain (4). SPCSV was also detected in some of the plants infected with SPVG or SPV2, in some cases, in coinfection with SPFMV. References: (1) C. D. Kokkinos and C. A. Clark. Plant Dis. 90:1347, 2006. (2) E. R. Souto et al. Plant Dis. 87:1226, 2003. (3) F. Tairo et al. Plant Dis. 90:1120, 2006. (4) R. A. Valverde et al. Plant Dis. 88:428, 2004.

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Electricity is a very vital needs for the life of the community it is today. Electricity became the primary needsof the relatively inexpensive price because in addition is also very helpful in everyday life. In addition toelectricity has huge advantages, electricity also has a hazard that can lead to accidents such as fire, electricalcurrent was stung and damage electrical equipment. Bali is an island of the gods and the visit of a veryfamous Tourism both locally and internationally. The beauty of Bali we must keep together in order to lookmore natural. Lighting is one of the effects of the sun rays create the beauty of being a more natural look. Theplacement of the lights as the lighting to create a natural atmosphere, usually placed on top of or below,because the light on the object is not interrupted. Because of the Permasalahn above, then the electricalinstallation has also become very influential for aesthetics, so the installation is generally ditanan in theground. The main constraint in the system in the ground is a way to install and secure the conductor. Of these problems this devotion will provide information about the security system wiring installation. Electricalhazards can be eliminated by following all electrical installation requirements. Danger of electric shock andfires can be corrected with electrical installation safety contained in the 2011 electrical installation Generalrequirements (Amendment 2011serta year 2014 PUIL, who hinted to secure the environment in this securinghuman safety, mandatory use of electrical installation in accordance with the National Standard safetyIndonesia (SNI). In this devotion will be given explanations and Training Security System Installation Cableplant in the village of Payangan Gianyar-Melinggih Sub-district, which provide devotion often occur becauseof electrical interference system wiring and equipment who do not meet the requirements of the electricalinstallation.

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Background and ObjectiveTo investigate the safety, efficacy, and feasibility of performing mini PCN (MIP-M Karl Storz) as a day case procedure. We report our experience and outcomes from our case series which to our knowledge is the first reported in the UK. Material and MethodsTen patients appropriate for mini PCN and day-case surgery were selected prospectively. All 10 patients underwent a mini PCN procedure in a prone position. Access was achieved by the operating surgeon under fluoroscopic guidance in 9 cases and by a consultant uroradiologist under ultrasound guidance in 1 patient with a ureterosigmoidostomy using a Kellet needle and the MIP-M system (Karl Storz, Germany). Stones were fragmented with a 550um laser fibre and retrieved by both the Vortex effect and a grasper. Drainage was achieved with a 6 Fr antegrade stent in 9 cases and a 10 Fr nephrostomy tube in one patient. Stone related outcomes, duration of surgery, length of stay and complications were recorded. ResultsAll cases were completed as planned. The mean operating time was 93 minutes. A day case rate of 80% was achieved. Two patients were admitted overnight for social reasons; one lived on a nearby island and was not ready for discharge in time to catch the last ferry and another no longer had a responsible adult at home to monitor him overnight. All patients were deemed radiologically stone free. No readmissions, transfusion, infections or other complications were recorded at 90 days postoperatively. ConclusionWe have shown that day-case mini PCN is a feasible and safe procedure in selected patients. A larger number of cases are needed to establish our patient selection criteria and corroborate our early outcomes.

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Relapsing Polychondritis is an autoimmune disease that can present with a variety of non-specific symptoms involving the ears, nose, throat, head and neck. Although uncommon, we should be aware of this disease entity, and should include it as a differential diagnosis in patients who complain of difficulty breathing. It is also prudent that we never forget to look at the larger picture beyond specific symptoms to understand and explain a patient’s condition. CASE An 18 year old female was admitted at the Pediatric emergency room (PER) due to recurrent, non-productive cough associated with occasional difficulty of breathing. One year prior to this admission, the patient complained of on and off cough, with no other associated symptoms. There was no improvement with antibiotics she was given at a local clinic, and the cough spontaneously resolved only to recur. Along with the recurrent cough, she eventually experienced difficulty of breathing and found herself in and out of the hospital, treated for bronchial asthma or pulmonary tuberculosis. Due to the symptoms’ recurring and worsening nature, the family consulted at our institution, where she was referred to the ORL service for further evaluation. On examination, she exhibited hoarseness, occasional stridor and difficulty of breathing. She also had a characteristic saddle nose deformity. Flexible nasolaryngotracheoscopy revealed a smooth extraluminal bulge extending from the area of the subglottis up to the second tracheal ring, at the 4 to 7 o’clock position of the neck. A neck soft tissue lateral (STL) film showed widening of the prevertebral soft tissue spaces with irregular calcifications at the level of C4 to C6 pushing the trachea anteriorly, causing narrowing of the tracheal air column (Fig. 1). CT scans revealed a hom*ogenous, ill-defined mass, posterolateral to the trachea, pushing the trachea anteriorly (Fig. 2). A CT-guided aspiration biopsy (CT-GAB) was deferred by the radiologist who opined that the biopsy would be technically difficult since the mass was small and adjacent to the vessels. Prophylactic tracheostomy and open biopsy were recommended, but no consent was given by the family, and they opted to go home. 4 months after, the patient returned to the PER with difficulty of breathing. She was also noted to have bilateral auricular perichondritis and ocular redness which were described by the mother as usually associated with her episodes of dyspnea. An emergent tracheostomy and suspension laryngoscopy were performed, revealing marked enlargement of the cricoid and arytenoid cartilages. Both appeared to be heavily calcified. The thyroid cartilage was thinned out and was laterally splayed. On tracheoscopy, a smooth, mucosal swelling and smooth tracheal rings with concentric narrowing were seen. An open biopsy revealed an extraluminal hard, gritty mass adherent to the thyroid cartilage, posteriorly extending from the thyroid notch to the first tracheal ring. Biopsy specimens measuring approximately 1.5 x 1.5 cm aggregate diameter were sent for histopathology which revealed fragments of mature hyaline cartilage and lamellar bone with fragments of fibrocartilaginous tissue of chronic non-specific inflammation. With the history of recurrent cough and dyspnea; saddle-nose deformity; binaural perichondritis; ocular redness/inflammation, and histologic finding of cartilage inflammation, an assessment of relapsing polychondritis was made. She was referred to the Rheumatology service for further evaluation. and started on steroids, with note of improvement of her symptoms. DISCUSSION Relapsing polychondritis is a rare, autoimmune condition. It is characterized by recurrent inflammation leading to destruction of cartilage and other connective tissues. The ear, nose and tracheobronchial cartilage are most commonly affected.1 Males and females are affected equally with an average age at diagnosis of 51 years old. Only a few cases of relapsing polychondritis have been reported in children.2 It is believed that autoantibodies to cartilage components, specifically to collagen type II, cause inflammatory infiltration and cellular mechanisms involving lysosomal enzyme release and eventually result in the destruction of the cartilage due to the following mechanisms: excessive release of proteolytic enzymes by chondrocytes, down-regulation of collagen synthesis, and autoimmune reactions against cartilage intercellular matrix components.3 Histopathologic studies reveal cartilage destruction with loss of basophilic staining and islands of lymphocytic infiltration. Subsequently, fragmentation of cartilage occurs with replacement by fibrous tissue. 4 Relapsing polychondritis most often manifests as swelling and erythema of the ear (88%) and arthralgias (81%). Repeated auricular inflammation, scarring and retraction may cause the appearance of “cauliflower ears.” Ocular inflammation manifests in almost 60% of patients.5,2 Relapsing polychondritis may also result in dermatologic, cardiac, renal and neurologic manifestations. Respiratory involvement is the most common cause of death.6 Chondritis may affect the external nares, nasal septal turbinates, eustachian tubes, epiglottis, larynx, thyroid, cricoid, arytenoid, trachea, and bronchi. Nasal chondritis involves the distal part of the nasal septum and may lead to a saddle nose deformity. Laryngotracheal involvement may initially manifest as recurrent cough. Hoarseness, dyspnea, anterior neck pain, stridor, and wheezing may also be observed. The obstruction is due to edema, vocal cord palsy, and fixed subglottic or bronchial stenoses. This may suddenly exacerbate to dynamic airway collapse necessitating the need for tracheostomy.1,5 Life-threatening respiratory involvement is more common in females with a 2.6:1 ratio.4 Due to the wide-spectrum of signs and symptoms and their non-specificity, a diagnosis of relapsing polychondritis is often only attained a few years after the first manifestation of the disease and after repeated consults with various specialists. The time from onset of initial symptoms to diagnosis varies from 8 months to 13 years.4 McAdam, et al,7 proposed diagnostic criteria based on the most common clinical features of relapsing polychondritis. This was further modified by Damiani and Levine8 (See Table 1). Our patient presented with five of McAdam’s signs namely: recurrent chondritis of both ears, chondritis of nasal cartilages, chondritis of the laryngotracheal cartilage, and ocular inflammation. Hence, a diagnosis of relapsing polychondritis was established. There is no specific laboratory exam for relapsing polychondritis. However, normocytic, normochromic anemia, mild leukocytosis, thrombocytosis, hypergammaglobulinemia and elevated ESR are often observed.6,9 Our patient manifested with normocytic, hypochromic anemia, mild leukocytosis and with thrombocytosis. Bronchoscopy is an indispensable tool in establishing the exact site, nature and severity of airway involvement. It may show an inflammation of the tracheobronchial tree with narrowing or collapse of the airways. Bronchoscopy must be done with caution as it may cause dyspnea, airway collapse, hypoxia, asphyxia and death.4 Bronchoscopy in this patient revealed an inflamed and edematous epiglottis with progressive concentric narrowing of the tracheal space. A computed tomography (CT) scan can show deformity or circumferential thickening of the cricoid or tracheal cartilage, edema, and fibrosis or ossification of the soft tissues.6 The course of relapsing polychondritis may vary from immediate death to a relatively benign and painless course for several years. The prognosis is based on the degree of respiratory and cardiovascular involvement.2 Corticosteroids are the mainstay of treatment in relapsing polychondritis. This is due to their anti-inflammatory and anti-chondrolytic properties. Non-steroidal anti-inflammatory drugs, dapsone and colchicines may be used for mild cases. Immunosuppressive therapy in the form of cyclophosphamide, azathioprine and cyclosporine is used for severe cases.2,5 Our patient was initially treated with hydrocortisone 100 mg IV every 12 hours and was later shifted to prednisone 40 mg per day. Her disease was sufficiently controlled with this medication. Tracheostomy, as was performed in our patient, may be necessary when there is respiratory distress and subglottic involvement. Other possible adjuncts to medical therapy include continuous positive airway pressure for symptomatic relief, and metallic stent placement.5,10

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Abstract A new distribution map is provided for Chrysanthemum stunt viroid. Hosts: Chysanthemum (Dendranthema morifolium). Information is given on the geographical distribution in Australia, South Australia, Austria, Belgium, Brazil, Sao Paulo, Canada, Alberta, Nova, Scotia, Ontario, China, Jiangsu, Czechoslovakia(former), Denmark, France, Germany, Hungary, India, Assam, Uttar Pradesh, Italy, Mainland Italy, Sicily, Japan, Shikoku, Netherlands, New Zealand, Norway, Poland, South Africa, Sweden, UK, Channel Islands, England and Wales, USA, Kansas, Michigan, New York, Pennsylvania.

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Abstract A new distribution map is provided for Rice grassy stunt tenuivirus Viruses: Tenuivirus. Hosts: Rice (Oryza sativa). Information is given on the geographical distribution in ASIA, Bangladesh, Brunei, Darussalam, China, India, Kerala, Tamil Nadu, Indonesia, Java, Nusa, Tenggara, Sulawesi, Sumatra, Japan, Kyushu, Korea Republic, Malaysia, Philippines, Sri Lanka, Taiwan, Thailand, Vietnam, OCEANIA, Fiji, Papua New Guinea, Solomon Islands.

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Abstract A new distribution map is provided for Chrysanthemum stunt viroid. Viroid: Pospiviroidae: Pospiviroid. Hosts: chrysanthemum (Dendranthema morifolium) and related ornamentals. Information is given on the geographical distribution in Europe (Austria, Belgium, Czech Republic, Denmark, France, Germany, Hungary, Italy (mainland Italy), Netherlands, Norway, Poland, Spain (Canary Islands), Sweden, UK (England and Wales)), Asia (China (Jiangsu), India (Assam, Uttar Pradesh), Japan (Hokkaido, Honshu, Kyushu, Ryukyu Archipelago, Shikoku), Korea Republic), Africa (South Africa), North America (Canada (Alberta, Nova Scotia, Ontario), USA (Kansas, Michigan, Minnesota, New York, Pennsylvania)), South America (Brazil (Sao Paulo)), Oceania (Australia (Queensland, South Australia), New Zealand).

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Abstract A new distribution map is provided for Chrysanthemum stunt viroid. Pospiviroidae: Pospiviroid. Hosts: Asteraceae especially Dendranthema [Chrysanthemum] spp. Information is given on the geographical distribution in Europe (Austria, Belgium, Czech Republic, France, Germany, Italy, Netherlands, Norway, Poland, Slovenia, Spain, Canary Islands, Sweden, UK, England and Wales), Asia (China, Anhui, Hainan, Hebei, Jiangsu, India, Assam, Himachal Pradesh, Karnataka, Rajasthan, Sikkim, Uttar Pradesh, Japan, Hokkaido, Honshu, Kyushu, Ryukyu Archipelago, Shikoku, Korea Republic, Taiwan, Turkey), Africa (Egypt, South Africa), North America (Canada, Ontario, USA, Kansas, Minnesota, New York), South America (Brazil, Sao Paulo), Oceania (Australia, Queensland, South Australia, New Zealand).

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Abstract A new distribution map is provided for Sweet potato chlorotic stunt virus (Closteroviridae: Crinivirus). Host: sweet potato (Ipomoea batatas). Information on the geographical distribution in Europe (Spain, Canary Islands), Asia (China, Anhui, Chongqing, Fujian, Guangdong, Guangxi, Hebei, Henan, Jiangsu, Shaanxi, Shandong, Shanxi, Sichuan, Zhejiang, Israel, Korea Republic), Africa (Egypt, Ethiopia, Ghana, Kenya, Madagascar, Nigeria, Rwanda, South Africa, Tanzania, Uganda, Zambia), North America (USA, North Carolina), Central America and Caribbean (Costa Rica, Guatemala, Honduras), South America (Argentina, Brazil, Pernambuco, Rio Grande do Sul, Peru) and Oceania (Papua New Guinea) is also given.

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Objective: To evaluate risk factors that contribute to urethrocutaneous fistulas formation after one stage hypospadias repair. Material & method: A case control study was performed on hypospadias patients that underwent one stage hypospadias repair. We analyzed the correlation of urethrocutaneous fistula formation with patient age, hypospadias classification, chordee severity, other urogenital anomalies, history of hormonal therapy, suture size, duration of operation, type of dressing, type of stent, duration of stenting, and three types of operation technique, which are TIP, Duckett, and Onlay Island Flap. Results: There were 116 patients with mean age 5,7 ± 3,9 years old (4 months – 19 years old). Urethrocutaneous fistula occured in 12 patients (10,3%). From the data analysis, we didn’t find any significant correlation between urethrocutaneous fistula formation and patient’s age (p = 0,426), hypospadias classification (p = 0,695), chordee severity (p = 0,564), other urogenital anomalies (p = 0,964), history of hormonal therapy (p = 0,739), suture size (p = 0,248), duration of operation (p = 0,856), type of dressings (p = 0,580), type of stents (p = 0,600), and duration of stenting (p = 0,796). We also didn’t find any significant correlation between urethrocutaneous fistula formation and operation technique TIP vs Duckett (p = 0,314), and TIP vs Onlay Island Flap (p = 0,644). Conclusion: There were no significant correlation between urethrocutaneous fistula formation and patient age, hypospadias classification, chordee severity, other urogenital anomalies, history of hormonal therapy, suture size, duration of operation, type of dressing, type of stent, and duration of stenting. There were also no significant correlation between urethrocutaneous fistula formation and operation technique TIP vs Duckett, and TIP vs Onlay Island Flap. Keywords: Hypospadias, one stage urethroplasty, urethrocutaneous fistula.

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Refereed publications (also known as peer-reviewed) are the currency of academia, yet many PhD theses in Australia result in only one or two such papers. Typically, a doctoral thesis requires the candidate to present (and pass) a public Confirmation Seminar, around nine to twelve months into candidacy, in which a panel of the candidate’s supervisors and invited experts adjudicate upon whether the work is likely to continue and ultimately succeed in the goal of a coherent and original contribution to knowledge. A Final Seminar, also public and sometimes involving the traditional viva voce or oral defence of the thesis, is presented two or three months before approval is given to send the 80,000 to 100,000 word tome off for external examination. And that soul-destroying or elation-releasing examiner’s verdict can be many months in the delivery: a limbo-like period during which the candidate’s status as a student is ended and her or his receipt of any scholarship or funding guerdon is terminated with perfunctory speed. This is the only time most students spend seriously writing up their research for publication although, naturally, many are more involved in job hunting as they pin their hopes on passing the thesis examination.There is, however, a slightly more palatable alternative to this nail-biting process of the traditional PhD, and that is the PhD by Published Papers (also known as PhD by Publications or PhD by Published Works). The form of my own soon-to-be-submitted thesis, it permits the submission for examination of a collection of papers that have been refereed and accepted (or are in the process of being refereed) for publication in academic journals or books. Apart from the obvious benefits in getting published early in one’s (hopefully) burgeoning academic career, it also takes away a lot of the stress come final submission time. After all, I try to assure myself, the thesis examiners can’t really discredit the process of double-blind, peer-review the bulk of the thesis has already undergone: their job is to examine how well I’ve unified the papers into a cohesive thesis … right? But perhaps they should at least be wary, because, unfortunately, the requirements for this kind of PhD vary considerably from institution to institution and there have been some cases where the submitted work is of questionable quality compared to that produced by graduates from more demanding universities. Hence, this paper argues that in my subject area of interest—film and television studies—there is a huge range in the set requirements for doctorates, from universities that award the degree to film artists for prior published work that has undergone little or no academic scrutiny and has involved little or no on-campus participation to at least three Australian universities that require candidates be enrolled for a minimum period of full-time study and only submit scholarly work generated and published (or submitted for publication) during candidature. I would also suggest that uncertainty about where a graduate’s work rests on this continuum risks confusing a hard-won PhD by Published Papers with the sometimes risible honorary doctorate. Let’s begin by dredging the depths of those murky, quasi-academic waters to examine the occasionally less-than-salubrious honorary doctorate. The conferring of this degree is generally a recognition of an individual’s body of (usually published) work but is often conferred for contributions to knowledge or society in general that are not even remotely academic. The honorary doctorate does not usually carry with it the right to use the title “Dr” (although many self-aggrandising recipients in the non-academic world flout this unwritten code of conduct, and, indeed, Monash University’s Monash Magazine had no hesitation in describing its 2008 recipient, musician, screenwriter, and art-school-dropout Nick Cave, as “Dr Cave” (O’Loughlin)). Some shady universities even offer such degrees for sale or ‘donation’ and thus do great damage to that institution’s credibility as well as to the credibility of the degree itself. Such overseas “diploma mills”—including Ashwood University, Belford University, Glendale University and Suffield University—are identified by their advertising of “Life Experience Degrees,” for which a curriculum vitae outlining the prospective graduand’s oeuvre is accepted on face value as long as their credit cards are not rejected. An aspiring screen auteur simply specifies film and television as their major and before you can shout “Cut!” there’s a degree in the mail. Most of these pseudo-universities are not based in Australia but are perfectly happy to confer their ‘titles’ to any well-heeled, vanity-driven Australians capable of completing the online form. Nevertheless, many academics fear a similarly disreputable marketplace might develop here, and Norfolk Island-based Greenwich University presents a particularly illuminating example. Previously empowered by an Act of Parliament consented to by Senator Ian Macdonald, the then Minister for Territories, this “university” had the legal right to confer honorary degrees from 1998. The Act was eventually overridden by legislation passed in 2002, after a concerted effort by the Australian Universities Quality Agency Ltd. and the Australian Vice-Chancellors’ Committee to force the accreditation requirements of the Australian Qualifications Framework upon the institution in question, thus preventing it from making degrees available for purchase over the Internet. Greenwich University did not seek re-approval and soon relocated to its original home of Hawaii (Brown). But even real universities flounder in similarly muddy waters when, unsolicited, they make dubious decisions to grant degrees to individuals they hold in high esteem. Although meaning well by not courting pecuniary gain, they nevertheless invite criticism over their choice of recipient for their honoris causa, despite the decision usually only being reached after a process of debate and discussion by university committees. Often people are rewarded, it seems, as much for their fame as for their achievements or publications. One such example of a celebrity who has had his onscreen renown recognised by an honorary doctorate is film and television actor/comedian Billy Connolly who was awarded an Honorary Doctor of Letters by The University of Glasgow in 2006, prompting Stuart Jeffries to complain that “something has gone terribly wrong in British academia” (Jeffries). Eileen McNamara also bemoans the levels to which some institutions will sink to in search of media attention and exposure, when she writes of St Andrews University in Scotland conferring an honorary doctorate to film actor and producer, Michael Douglas: “What was designed to acknowledge intellectual achievement has devolved into a publicity grab with universities competing for celebrity honorees” (McNamara). Fame as an actor (and the list gets even weirder when the scope of enquiry is widened beyond the field of film and television), seems to be an achievement worth recognising with an honorary doctorate, according to some universities, and this kind of discredit is best avoided by Australian institutions of higher learning if they are to maintain credibility. Certainly, universities down under would do well to follow elsewhere than in the footprints of Long Island University’s Southampton College. Perhaps the height of academic prostitution of parchments for the attention of mass media occurred when in 1996 this US school bestowed an Honorary Doctorate of Amphibious Letters upon that mop-like puppet of film and television fame known as the “muppet,” Kermit the Frog. Indeed, this polystyrene and cloth creation with an anonymous hand operating its mouth had its acceptance speech duly published (see “Kermit’s Acceptance Speech”) and the Long Island University’s Southampton College received much valuable press. After all, any publicity is good publicity. Or perhaps this furry frog’s honorary degree was a cynical stunt meant to highlight the ridiculousness of the practice? In 1986 a similar example, much closer to my own home, occurred when in anticipation and condemnation of the conferral of an honorary doctorate upon Prince Philip by Monash University in Melbourne, the “Members of the Monash Association of Students had earlier given a 21-month-old Chihuahua an honorary science degree” (Jeffries), effectively suggesting that the honorary doctorate is, in fact, a dog of a degree. On a more serious note, there have been honorary doctorates conferred upon far more worthy recipients in the field of film and television by some Australian universities. Indigenous film-maker Tracey Moffatt was awarded an honorary doctorate by Griffith University in November of 2004. Moffatt was a graduate of the Griffith University’s film school and had an excellent body of work including the films Night Cries: A Rural Tragedy (1990) and beDevil (1993). Acclaimed playwright and screenwriter David Williamson was presented with an Honorary Doctorate of Letters by The University of Queensland in December of 2004. His work had previously picked up four Australian Film Institute awards for best screenplay. An Honorary Doctorate of Visual and Performing Arts was given to film director Fred Schepisi AO by The University of Melbourne in May of 2006. His films had also been earlier recognised with Australian Film Institute awards as well as the Golden Globe Best Miniseries or Television Movie award for Empire Falls in 2006. Director George Miller was crowned with an Honorary Doctorate in Film from the Australian Film, Television, and Radio School in April 2007, although he already had a medical doctor’s testamur on his wall. In May of this year, filmmaker George Gittoes, a fine arts dropout from The University of Sydney, received an honorary doctorate by The University of New South Wales. His documentaries, Soundtrack to War (2005) and Rampage (2006), screened at the Sydney and Berlin film festivals, and he has been employed by the Australian Government as an official war artist. Interestingly, the high quality screen work recognised by these Australian universities may have earned the recipients ‘real’ PhDs had they sought the qualification. Many of these film artists could have just as easily submitted their work for the degree of PhD by Published Papers at several universities that accept prior work in lieu of an original exegesis, and where a film is equated with a book or journal article. But such universities still invite comparisons of their PhDs by Published Papers with honorary doctorates due to rather too-easy-to-meet criteria. The privately funded Bond University, for example, recommends a minimum full-time enrolment of just three months and certainly seems more lax in its regulations than other Antipodean institution: a healthy curriculum vitae and payment of the prescribed fee (currently AUD$24,500 per annum) are the only requirements. Restricting my enquiries once again to the field of my own research, film and television, I note that Dr. Ingo Petzke achieved his 2004 PhD by Published Works based upon films produced in Germany well before enrolling at Bond, contextualized within a discussion of the history of avant-garde film-making in that country. Might not a cynic enquire as to how this PhD significantly differs from an honorary doctorate? Although Petzke undoubtedly paid his fees and met all of Bond’s requirements for his thesis entitled Slow Motion: Thirty Years in Film, one cannot criticise that cynic for wondering if Petzke’s films are indeed equivalent to a collection of refereed papers. It should be noted that Bond is not alone when it comes to awarding candidates the PhD by Published Papers for work published or screened in the distant past. Although yet to grant it in the area of film or television, Swinburne University of Technology (SUT) is an institution that distinctly specifies its PhD by Publications is to be awarded for “research which has been carried out prior to admission to candidature” (8). Similarly, the Griffith Law School states: “The PhD (by publications) is awarded to established researchers who have an international reputation based on already published works” (1). It appears that Bond is no solitary voice in the academic wilderness, for SUT and the Griffith Law School also apparently consider the usual milestones of Confirmation and Final Seminars to be unnecessary if the so-called candidate is already well published. Like Bond, Griffith University (GU) is prepared to consider a collection of films to be equivalent to a number of refereed papers. Dr Ian Lang’s 2002 PhD (by Publication) thesis entitled Conditional Truths: Remapping Paths To Documentary ‘Independence’ contains not refereed, scholarly articles but the following videos: Wheels Across the Himalaya (1981); Yallambee, People of Hope (1986); This Is What I Call Living (1988); The Art of Place: Hanoi Brisbane Art Exchange (1995); and Millennium Shift: The Search for New World Art (1997). While this is a most impressive body of work, and is well unified by appropriate discussion within the thesis, the cynic who raised eyebrows at Petzke’s thesis might also be questioning this thesis: Dr Lang’s videos all preceded enrolment at GU and none have been refereed or acknowledged with major prizes. Certainly, the act of releasing a film for distribution has much in common with book publishing, but should these videos be considered to be on a par with academic papers published in, say, the prestigious and demanding journal Screen? While recognition at awards ceremonies might arguably correlate with peer review there is still the question as to how scholarly a film actually is. Of course, documentary films such as those in Lang’s thesis can be shown to be addressing gaps in the literature, as is the expectation of any research paper, but the onus remains on the author/film-maker to demonstrate this via a detailed contextual review and a well-written, erudite argument that unifies the works into a cohesive thesis. This Lang has done, to the extent that suspicious cynic might wonder why he chose not to present his work for a standard PhD award. Another issue unaddressed by most institutions is the possibility that the publications have been self-refereed or refereed by the candidate’s editorial colleagues in a case wherein the papers appear in a book the candidate has edited or co-edited. Dr Gillian Swanson’s 2004 GU thesis Towards a Cultural History of Private Life: Sexual Character, Consuming Practices and Cultural Knowledge, which addresses amongst many other cultural artefacts the film Lawrence of Arabia (David Lean 1962), has nine publications: five of which come from two books she co-edited, Nationalising Femininity: Culture, Sexuality and Cinema in Britain in World War Two, (Gledhill and Swanson 1996) and Deciphering Culture: Ordinary Curiosities and Subjective Narratives (Crisp et al 2000). While few would dispute the quality of Swanson’s work, the persistent cynic might wonder if these five papers really qualify as refereed publications. The tacit understanding of a refereed publication is that it is blind reviewed i.e. the contributor’s name is removed from the document. Such a system is used to prevent bias and favouritism but this level of anonymity might be absent when the contributor to a book is also one of the book’s editors. Of course, Dr Swanson probably took great care to distance herself from the refereeing process undertaken by her co-editors, but without an inbuilt check, allegations of cronyism from unfriendly cynics may well result. A related factor in making comparisons of different university’s PhDs by Published Papers is the requirements different universities have about the standard of the journal the paper is published in. It used to be a simple matter in Australia: the government’s Department of Education, Science and Training (DEST) held a Register of Refereed Journals. If your benefactor in disseminating your work was on the list, your publications were of near-unquestionable quality. Not any more: DEST will no longer accept nominations for listing on the Register and will not undertake to rule on whether a particular journal article meets the HERDC [Higher Education Research Data Collection] requirements for inclusion in publication counts. HEPs [Higher Education Providers] have always had the discretion to determine if a publication produced in a journal meets the requirements for inclusion in the HERDC regardless of whether or not the journal was included on the Register of Refereed Journals. As stated in the HERDC specifications, the Register is not an exhaustive list of all journals which satisfy the peer-review requirements (DEST). The last listing for the DEST Register of Refereed Journals was the 3rd of February 2006, making way for a new tiered list of academic journals, which is currently under review in the Australian tertiary education sector (see discussion of this development in the Redden and Mitchell articles in this issue). In the interim, some university faculties created their own rankings of journals, but not the Faculty of Creative Industries at the Queensland University of Technology (QUT) where I am studying for my PhD by Published Papers. Although QUT does not have a list of ranked journals for a candidate to submit papers to, it is otherwise quite strict in its requirements. The QUT University Regulations state, “Papers submitted as a PhD thesis must be closely related in terms of subject matter and form a cohesive research narrative” (QUT PhD regulation 14.1.2). Thus there is the requirement at QUT that apart from the usual introduction, methodology and literature review, an argument must be made as to how the papers present a sustained research project via “an overarching discussion of the main features linking the publications” (14.2.12). It is also therein stated that it should be an “account of research progress linking the research papers” (4.2.6). In other words, a unifying essay must make an argument for consideration of the sometimes diversely published papers as a cohesive body of work, undertaken in a deliberate journey of research. In my own case, an aural auteur analysis of sound in the films of Rolf de Heer, I argue that my published papers (eight in total) represent a journey from genre analysis (one paper) to standard auteur analysis (three papers) to an argument that sound should be considered in auteur analysis (one paper) to the major innovation of the thesis, aural auteur analysis (three papers). It should also be noted that unlike Bond, GU or SUT, the QUT regulations for the standard PhD still apply: a Confirmation Seminar, Final Seminar and a minimum two years of full-time enrolment (with a minimum of three months residency in Brisbane) are all compulsory. Such milestones and sine qua non ensure the candidate’s academic progress and intellectual development such that she or he is able to confidently engage in meaningful quodlibets regarding the thesis’s topic. Another interesting and significant feature of the QUT guidelines for this type of degree is the edict that papers submitted must be “published, accepted or submitted during the period of candidature” (14.1.1). Similarly, the University of Canberra (UC) states “The articles or other published material must be prepared during the period of candidature” (10). Likewise, Edith Cowan University (ECU) will confer its PhD by Publications to those candidates whose thesis consists of “only papers published in refereed scholarly media during the period of enrolment” (2). In other words, one cannot simply front up to ECU, QUT, or UC with a résumé of articles or films published over a lifetime of writing or film-making and ask for a PhD by Published Papers. Publications of the candidate prepared prior to commencement of candidature are simply not acceptable at these institutions and such PhDs by Published Papers from QUT, UC and ECU are entirely different to those offered by Bond, GU and SUT. Furthermore, without a requirement for a substantial period of enrolment and residency, recipients of PhDs by Published Papers from Bond, GU, or SUT are unlikely to have participated significantly in the research environment of their relevant faculty and peers. Such newly minted doctors may be as unfamiliar with the campus and its research activities as the recipient of an honorary doctorate usually is, as he or she poses for the media’s cameras en route to the glamorous awards ceremony. Much of my argument in this paper is built upon the assumption that the process of refereeing a paper (or for that matter, a film) guarantees a high level of academic rigour, but I confess that this premise is patently naïve, if not actually flawed. Refereeing can result in the rejection of new ideas that conflict with the established opinions of the referees. Interdisciplinary collaboration can be impeded and the lack of referee’s accountability is a potential problem, too. It can also be no less nail-biting a process than the examination of a finished thesis, given that some journals take over a year to complete the refereeing process, and some journal’s editorial committees have recognised this shortcoming. Despite being a mainstay of its editorial approach since 1869, the prestigious science journal, Nature, which only publishes about 7% of its submissions, has led the way with regard to varying the procedure of refereeing, implementing in 2006 a four-month trial period of ‘Open Peer Review’. Their website states, Authors could choose to have their submissions posted on a preprint server for open comments, in parallel with the conventional peer review process. Anyone in the field could then post comments, provided they were prepared to identify themselves. Once the usual confidential peer review process is complete, the public ‘open peer review’ process was closed and the editors made their decision about publication with the help of all reports and comments (Campbell). Unfortunately, the experiment was unpopular with both authors and online peer reviewers. What the Nature experiment does demonstrate, however, is that the traditional process of blind refereeing is not yet perfected and can possibly evolve into something less problematic in the future. Until then, refereeing continues to be the best system there is for applying structured academic scrutiny to submitted papers. With the reforms of the higher education sector, including forced mergers of universities and colleges of advanced education and the re-introduction of university fees (carried out under the aegis of John Dawkins, Minister for Employment, Education and Training from 1987 to 1991), and the subsequent rationing of monies according to research dividends (calculated according to numbers of research degree conferrals and publications), there has been a veritable explosion in the number of institutions offering PhDs in Australia. But the general public may not always be capable of differentiating between legitimately accredited programs and diploma mills, given that the requirements for the first differ substantially. From relatively easily obtainable PhDs by Published Papers at Bond, GU and SUT to more rigorous requirements at ECU, QUT and UC, there is undoubtedly a huge range in the demands of degrees that recognise a candidate’s published body of work. The cynical reader may assume that with this paper I am simply trying to shore up my own forthcoming graduation with a PhD by Published papers from potential criticisms that it is on par with a ‘purchased’ doctorate. Perhaps they are right, for this is a new degree in QUT’s Creative Industries faculty and has only been awarded to one other candidate (Dr Marcus Foth for his 2006 thesis entitled Towards a Design Methodology to Support Social Networks of Residents in Inner-City Apartment Buildings). But I believe QUT is setting a benchmark, along with ECU and UC, to which other universities should aspire. In conclusion, I believe further efforts should be undertaken to heighten the differences in status between PhDs by Published Papers generated during enrolment, PhDs by Published Papers generated before enrolment and honorary doctorates awarded for non-academic published work. Failure to do so courts cynical comparison of all PhD by Published Papers with unearnt doctorates bought from Internet shysters. References Brown, George. “Protecting Australia’s Higher Education System: A Proactive Versus Reactive Approach in Review (1999–2004).” Proceedings of the Australian Universities Quality Forum 2004. Australian Universities Quality Agency, 2004. 11 June 2008 ‹http://www.auqa.edu.au/auqf/2004/program/papers/Brown.pdf>. Campbell, Philip. “Nature Peer Review Trial and Debate.” Nature: International Weekly Journal of Science. December 2006. 11 June 2008 ‹http://www.nature.com/nature/peerreview/> Crisp, Jane, Kay Ferres, and Gillian Swanson, eds. Deciphering Culture: Ordinary Curiosities and Subjective Narratives. London: Routledge, 2000. Department of Education, Science and Training (DEST). “Closed—Register of Refereed Journals.” Higher Education Research Data Collection, 2008. 11 June 2008 ‹http://www.dest.gov.au/sectors/research_sector/online_forms_services/ higher_education_research_data_ collection.htm>. Edith Cowan University. “Policy Content.” Postgraduate Research: Thesis by Publication, 2003. 11 June 2008 ‹http://www.ecu.edu.au/GPPS/policies_db/tmp/ac063.pdf>. Gledhill, Christine, and Gillian Swanson, eds. Nationalising Femininity: Culture, Sexuality and Cinema in Britain in World War Two. Manchester: Manchester UP, 1996. Griffith Law School, Griffith University. Handbook for Research Higher Degree Students. 24 March 2004. 11 June 2008 ‹http://www.griffith.edu.au/centre/slrc/pdf/rhdhandbook.pdf>. Jeffries, Stuart. “I’m a celebrity, get me an honorary degree!” The Guardian 6 July 2006. 11 June 2008 ‹http://education.guardian.co.uk/higher/comment/story/0,,1813525,00.html>. Kermit the Frog. “Kermit’s Commencement Address at Southampton Graduate Campus.” Long Island University News 19 May 1996. 11 June 2008 ‹http://www.southampton.liu.edu/news/commence/1996/kermit.htm>. McNamara, Eileen. “Honorary senselessness.” The Boston Globe 7 May 2006. ‹http://www. boston.com/news/local/articles/2006/05/07/honorary_senselessness/>. O’Loughlin, Shaunnagh. “Doctor Cave.” Monash Magazine 21 (May 2008). 13 Aug. 2008 ‹http://www.monash.edu.au/pubs/monmag/issue21-2008/alumni/cave.html>. Queensland University of Technology. “Presentation of PhD Theses by Published Papers.” Queensland University of Technology Doctor of Philosophy Regulations (IF49). 12 Oct. 2007. 11 June 2008 ‹http://www.mopp.qut.edu.au/Appendix/appendix09.jsp#14%20Presentation %20of%20PhD%20Theses>. Swinburne University of Technology. Research Higher Degrees and Policies. 14 Nov. 2007. 11 June 2008 ‹http://www.swinburne.edu.au/corporate/registrar/ppd/docs/RHDpolicy& procedure.pdf>. University of Canberra. Higher Degrees by Research: Policy and Procedures (The Gold Book). 7.3.3.27 (a). 15 Nov. 2004. 11 June 2008 ‹http://www.canberra.edu.au/research/attachments/ goldbook/Pt207_AB20approved3220arp07.pdf>.

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<p>Editor-in-Chief Huseyin Uzunboylu, Near East University, Cyprus huseyin.uzunboylu@neu.edu.tr Tel: +9 0392 6802000 - 110 Executive Editor Cigdem Hursen, Near East University, Cyprus cigdem.hursen@neu.edu.tr Tel: +9 0392 6802000 - 111 Editorial Board Ahmet Güneyli, Near East University, Cyprus Alevriadou Anastasia, University of Western Macedonia, Greece Canan Zeki, Eastern Mediterranean University, Cyprus Gokmen Daglı, Near East University, Cyprus Jesus Garcia Laborda, University of Alcala, Spain Milan Matijevic, University of Zagreb, Croatia Nerguz Bulut Serin, Lefke European University, Cyprus Özge Hacıfazlioglu, Kultur University, Turkey Kobus Maree, Pretoria University, South Africa Owner and Publisher SciencePark Science, Organization and Counseling LTD.<br />Publisher Contact<br />SciencePark Science, Organization and Counseling LTD.<br />13 Subat Street, No: 17, 99030<br />Kyrenia – Cyprus<br />E-mail: info@sproc.org<br />Tel: +90 5338366993<br />Fax: +90 3928157195 www.sproc.org<br />Editorial Contact<br />Cigdem Hursen<br />Near East University, Faculty of Education<br />Department of Educational Sciences<br />Nicosia, Cyprus<br />editor.cjes@gmail.com<br />Tel. +90 392 6802000 - 111 Sponsor Cypriot Journal of Educational Sciences is an academic journal which is sponsored by Near East University and Cyprus Educational Sciences Association. Frequency 4 issues (March 31, June 30, September 30, and December 31) per year (after May 2009). Technical Staff Meltem Haksiz Vasfi Tugun Basak Baglama Proofreading Academic Proofreading www.academicproofreading.com Cover Design Hasan Ozdal Azmiye Yinal Publishing Language All Manuscripts must be in English language. Abstracting/Indexing Academic Keys, DOAJ, PsycINFO, EBSCO, Ulrich's Educational Research Abstracts (ERA), Georgetown University Library, Asian Education Index, Turkish Education Index, Google Scholar and AWER Index Issue Publishing Date 31 December 2015 International Advisory Board Abdullahi Fido, Kuwait University, Kuwait Ahmet Guneyli, Near East University, Cyprus Aijaz Ahmed Gujjar, Federal College of Education, Pakistan Alison Sheila Taysum, University of Leicester, United Kingdom Asuncion Lopez-Varela, Universidad Complutense, MADRID, Spain Baysen, Engin, Near East University, Cyprus Boaz Shulruf, University of Auckland, New Zealand Chia-Hao Yang, Chaoyang University of Technology, Taiwan Chong Ho Yu, Arizona State University, United States Christian Guetl, Graz University of Technology, Austria Christine E. Corcoran, University of Birmingham, United States Minor Outlying Islands Christine J. Briggs, University of Louisiana at Lafayette, United States Christopher Boyle, Charles Sturt University, Australia Çiğdem Hürsen, Near East University, Cyprus Colette Gray, Stranmillis University College, Ireland Cristina Daskagiani, Greece David Wyss Rudge, Western Michigan University, United States Donald Wilson Zimmerman, Carleton University, Canada Ellina Chernobilsky, Caldwell College, United States Evridiki Zachopoulou, Democritus University of Thrace, Greece Giuliana Dettori, ITD-CNR, Italy Helen Gunter, University of Manchester, United Kingdom Hüseyin Uzunboylu, Near East University, Cyprus Jafar Yaghoubi, Zanjan University, Iran, Islamic Republic Of Jere T. Humphreys, Arizona State University, United States John CK Wang, National Institute of Education, Singapore John Cowan, Edinburgh Napier University, United Kingdom Josie Maria Rodriguez Corral, University of Cádiz (Spain), Spain Kanji Akahori, Hakuoh University, Japan Madhumita Bhattacharya, Athabasca University &amp; Massey University, Canada Margaret Zeegers, University of Ballarat, Australia Marissa Silverman, Montclair State University, United States Muammer Caltik, Blacksea Techical University, Turkey Murat Tezer, Near East University, Cyprus Nadire Cavus, Near East University, Cyprus Othman Alsawaie, United Arab Emirates University, United Arab Emirates Ozge Hacifazlioglu, Bahcesehir University, Turkey Paulo Jorge Santos, Faculty of Arts, Porto University, Portugal, Portugal Sirin Karadeniz, Bahcesehir University, Turkey Note: All members of international advisory board articles' indexed in SSCI. Important Information During review process we use iThenticate plagiarism software. So, it is recommended to the authors should scan with iThenticate plagiarism or other free plagiarism software of their manuscripts. © 2015 SciencePark Science, Organization and Counseling LTD. All rights reserved. The ideas published in the journal belong to the authors. Important Announcement We would like to announce that Cypriot Journal of Educational Sciences will only be published online from 1 September 2015. There will not be a printed version (ISSN: 1305-9076) of the journal.</p>

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<p>Editor-in-C hief Huseyin Uzunboylu, Near East University, Cyprus huseyin.uzunboylu@neu.edu.tr Tel: +9 0392 6802000 - 110 <br />Executive Editor Cigdem Hursen, Near East University, Cyprus cigdem.hursen@neu.edu.tr Tel: +9 0392 6802000 - 111 <br />Editorial Board Ahmet Güneyli, Near East University, Cyprus Alevriadou Anastasia, University of Western Macedonia, Greece Canan Zeki, Eastern Mediterranean University, Cyprus Gokmen Daglı, Near East University, Cyprus Jesus Garcia Laborda, University of Alcala, Spain Milan Matijevic, University of Zagreb, Croatia Nerguz Bulut Serin, Lefke European University, Cyprus Özge Hacıfazlioglu, Kultur University, Turkey Kobus Maree, Pretoria University, South Africa Owner and Publisher SciencePark Science, Organization and Counseling LTD.</p><p><span>Publisher Contact</span></p><p>SciencePark Science, Organization and Counseling LTD.</p><p><span>13 Subat Street, No: 17, 99030 Kyrenia – Cyprus<span class="apple-converted-space"> </span><br /> E-mail: info@sproc.org</span></p><p><span>Tel: +90 5338366993 Fax: +90 3928157195</span></p><p><span>www.sproc.org</span></p><p><span>Editorial Contact</span></p><p><span>Cigdem Hursen</span></p><p><span>Near East University,</span></p><p>Faculty of Education Department of Educational Sciences Nicosia, Cyprus editor.cjes@gmail.com</p><p><span>Tel. +90 392 6802000 - 111 </span>Sponsor Cypriot Journal of Educational Sciences is an academic journal which is sponsored by Near East University and Cyprus Educational Sciences Association. Frequency 4 issues (March 31, June 30, September 30, and December 31) per year (after May 2009). Technical Staff Meltem Haksiz Vasfi Tugun Basak Baglama Proofreading Academic Proofreading www.academicproofreading.com Cover Design Hasan Ozdal Azmiye Yinal Publishing Language All Manuscripts must be in English language. Abstracting/Indexing Academic Keys, DOAJ, PsycINFO, EBSCO, Ulrich's Educational Research Abstracts (ERA), Georgetown University Library, Asian Education Index, Turkish Education Index, Google Scholar and AWER Index Issue Publishing Date September 2015 International Advisory Board Abdullahi Fido, Kuwait University, Kuwait Ahmet Guneyli, Near East University, Cyprus Aijaz Ahmed Gujjar, Federal College of Education, Pakistan Alison Sheila Taysum, University of Leicester, United Kingdom Asuncion Lopez-Varela, Universidad Complutense, MADRID, Spain Baysen, Engin, Near East University, Cyprus Boaz Shulruf, University of Auckland, New Zealand Chia-Hao Yang, Chaoyang University of Technology, Taiwan Chong Ho Yu, Arizona State University, United States Christian Guetl, Graz University of Technology, Austria Christine E. Corcoran, University of Birmingham, United States Minor Outlying Islands Christine J. Briggs, University of Louisiana at Lafayette, United States Christopher Boyle, Charles Sturt University, Australia Çiğdem Hürsen, Near East University, Cyprus Colette Gray, Stranmillis University College, Ireland Cristina Daskagiani, Greece David Wyss Rudge, Western Michigan University, United States Donald Wilson Zimmerman, Carleton University, Canada Ellina Chernobilsky, Caldwell College, United States Evridiki Zachopoulou, Democritus University of Thrace, Greece Giuliana Dettori, ITD-CNR, Italy Helen Gunter, University of Manchester, United Kingdom Hüseyin Uzunboylu, Near East University, Cyprus Jafar Yaghoubi, Zanjan University, Iran, Islamic Republic Of Jere T. Humphreys, Arizona State University, United States John CK Wang, National Institute of Education, Singapore John Cowan, Edinburgh Napier University, United Kingdom Josie Maria Rodriguez Corral, University of Cádiz (Spain), Spain Kanji Akahori, Hakuoh University, Japan Madhumita Bhattacharya, Athabasca University &amp; Massey University, Canada Margaret Zeegers, University of Ballarat, Australia Marissa Silverman, Montclair State University, United States Muammer Caltik, Blacksea Techical University, Turkey Murat Tezer, Near East University, Cyprus Nadire Cavus, Near East University, Cyprus Othman Alsawaie, United Arab Emirates University, United Arab Emirates Ozge Hacifazlioglu, Bahcesehir University, Turkey Paulo Jorge Santos, Faculty of Arts, Porto University, Portugal Sirin Karadeniz, Bahcesehir University, Turkey Note: All members of international advisory board articles' indexed in SSCI. Important Information During review process we use iThenticate plagiarism software. So, it is recommended to the authors should scan with iThenticate plagiarism or other free plagiarism software of their manuscripts. © 2015 SciencePark Science, Organization and Counseling LTD. All rights reserved. The ideas published in the journal belong to the authors. Important Announcement We would like to announce that Cypriot Journal of Educational Sciences will only be published online from 1 September 2015. There will not be a printed version (ISSN: 1305-9076) of the journal.</p><p><br /><br /></p><p><span><br /></span></p><p> </p>

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas and their like” (McGillivray 134–35) transforming natural vistas into theatrical scenes. Such a transformation was made possible by a habit of spectating that was informed by the theatrical metaphor or theatrum mundi, one version of which emphasised the relationship between spectator and the thing seen. The idea of the natural world as an aesthetic object first developed in poetry and painting and then through English landscape garden style was wrought in three dimensions on the land itself. From representations of place a theatrical transformation occurred so that gardens became a places of representation.“The Genius of the Place in All”The eighteenth century inherited theatrum mundi from the Renaissance, although the genealogy of its key features date back to ancient times. Broadly speaking, theatrum mundi was a metaphorical expression of the world and humanity in two ways: dramaturgically and formally. During the Renaissance the dramaturgical metaphor was a moral emblem concerned with the contingency of human life; as Shakespeare famously wrote, “men and women [were] merely players” whose lives consisted of “seven ages” or “acts” (2.7.139–65). In contrast to the dramaturgical metaphor with its emphasis on role-playing humanity, the formalist version highlighted a relationship between spectator, theatre-space and spectacle. Rooted in Renaissance neo-Platonism, the formalist metaphor configured the world as a spectacle and “Man” its spectator. If the dramaturgical metaphor was inflected with medieval moral pessimism, the formalist metaphor was more optimistic.The neo-Platonist spectator searched in the world for a divine plan or grand design and spectatorship became an epistemological challenge. As a seer and a knower on the world stage, the human being became the one who thought about the world not just as a theatre but also through theatre. This is apparent in the etymology of “theatre” from the Greek theatron, or “seeing place,” but the word also shares a stem with “theory”: theaomai or “to look at.” In a graceful compression of both roots, Martin Heidegger suggests a “theatre” might be any “seeing place” in which any thing being beheld offers itself to careful scrutiny by the beholder (163–65). By the eighteenth century, the ancient idea of a seeing-knowing place coalesced with the new empirical method and aesthetic sensibility: the world was out there, so to speak, to provide pleasure and instruction.Joseph Addison, among others, in the first half of the century reconsidered the utilitarian appeal of the natural world and proposed it as the model for artistic inspiration and appreciation. In “Pleasures of the Imagination,” a series of essays in The Spectator published in 1712, Addison claimed that “there is something more bold and masterly in the rough careless strokes of nature, than in the nice touches and embellishments of art,” and compared to the beauty of an ordered garden, “the sight wanders up and down without confinement” the “wide fields of nature” and is “fed with an infinite variety of images, without any certain stint or number” (67).Yet art still had a role because, Addison argues, although “wild scenes [. . .] are more delightful than any artificial shows” the pleasure of nature increases the more it begins to resemble art; the mind experiences the “double” pleasure of comparing nature’s original beauty with its copy (68). This is why “we take delight in a prospect which is well laid out, and diversified, with fields and meadows, woods and rivers” (68); a carefully designed estate can be both profitable and beautiful and “a man might make a pretty landskip of his own possessions” (69). Although nature should always be one’s guide, nonetheless, with some small “improvements” it was possible to transform an estate into a landscape picture. Nearly twenty years later in response to the neo-Palladian architectural ambitions of Richard Boyle, the third Earl of Burlington, and with a similarly pictorial eye to nature, Alexander Pope advised:To build, to plant, whatever you intend,To rear the Column, or the Arch to bend,To swell the Terras, or to sink the Grot;In all, let Nature never be forgot.But treat the Goddess like a modest fair,Nor over-dress, nor leave her wholly bare;Let not each beauty ev’ry where be spy’d,Where half the skill is decently to hide.He gains all points, who pleasingly confounds,Surprizes, varies, and conceals the Bounds.Consult the Genius of the Place in all;That tells the Waters or to rise, or fall,Or helps th’ ambitious Hill the heav’ns to scale,Or scoops in circling theatres the Vale,Calls in the Country, catches opening glades, Joins willing woods, and varies shades from shades,Now breaks or now directs, th’ intending Lines;Paints as you plant, and, as you work, designs. (Epistle IV, ll 47–64) Whereas Addison still gestured towards estate management, Pope explicitly advocated a painterly approach to garden design. His epistle articulated some key principles that he enacted in his own garden at Twickenham and which would inform later garden design. No matter what one added to a landscape, one needed to be guided by nature; one should be moderate in one’s designs and neither plant too much nor too little; one must be aware of the spectator’s journey through the garden and take care to provide variety by creating “surprises” that would be revealed at different points. Finally, one had to find the “spirit” of the place that gave it its distinct character and use this to create the cohesion in diversity that was aspired to in a garden. Nature’s aestheticisation had begun with poetry, developed into painting, and was now enacted on actual natural environments with the emergence of English landscape style. This painterly approach to gardening demanded an imaginative, emotional, and intellectual engagement with place and it stylistically rejected the neo-classical geometry and regularity of the baroque garden (exemplified by Le Nôtre’s gardens at Versailles). Experiencing landscape now took on a third dimension as wealthy landowners and their friends put themselves within the picture frame and into the scene. Although landscape style changed during the century, a number of principles remained more or less consistent: the garden should be modelled on nature but “improved,” any improvements should not be obvious, pictorial composition should be observed, the garden should be concerned with the spectator’s experience and should aim to provoke an imaginative or emotional engagement with it. During the seventeenth century, developments in theatrical technology, particularly the emergence of the proscenium arch theatre with moveable scenery, showed that poetry and painting could be spectacularly combined on the stage. Later in the eighteenth century the artist and stage designer Philippe Jacques de Loutherbourg combined picturesque painting aesthetics with theatrical design in works such as The Wonders of Derbyshire in 1779 (McGillivray 136). It was a short step to shift the onstage scene outside. Theatricality was invoked when pictorial principles were applied three dimensionally; gardens became sites for pastoral genre scenes that ambiguously positioned their visitors both as spectators and actors. Theatrical SceneryGardens and theatres were explicitly connected. Like “theatre,” the word “garden” was sometimes used to describe a collection, in book form, which promised “a whole world of items” which was not always “redeemable” in “straightforward ways” (Hunt, Gardens 54–55). Theatrum mundi could be emblematically expressed in a garden through statues and architectural fabriques which drew spectators into complex chains of associations involving literature, art, and society, as they progressed through it.In the previous century, writes John Dixon Hunt, “the expectation of a fine garden [. . .] was that it work upon its visitor, involving him [sic] often insidiously as a participant in its dramas, which were presented to him as he explored its spaces by a variety of statues, inscriptions and [. . .] hydraulically controlled automata” (Gardens 54). Such devices, which featured heavily in the Italian baroque garden, were by the mid eighteenth century seen by English and French garden theorists to be overly contrived. Nonetheless, as David Marshall argues, “eighteenth-century garden design is famous for its excesses [. . .] the picturesque garden may have aimed to be less theatrical, but it aimed no less to be theater” (38). Such gardens still required their visitors’ participation and were designed to deliver an experience that stimulated the spectators’ imaginations and emotions as they moved through them. Theatrum mundi is implicit in eighteenth-century gardens through a common idea of the world reimagined into four geographical quadrants emblematically represented by fabriques in the garden. The model here is Alexander Pope’s influential poem, “The Temple of Fame” (1715), which depicted the eponymous temple with four different geographic faces: its western face was represented by western classical architecture, its east face by Chinese, Persian, and Assyrian, its north was Gothic and Celtic, and its south, Egyptian. These tropes make their appearance in eighteenth-century landscape gardens. In Désert de Retz, a garden created between 1774 and 1789 by François Racine de Monville, about twenty kilometres west of Paris, one can still see amongst its remaining fabriques: a ruined “gothic” church, a “Tartar” tent (it used to have a Chinese maison, now lost), a pyramid, and the classically inspired Temple of Pan. Similar principles underpin the design of Jardin (now Parc) Monceau that I discuss below. Retz: Figure 1. Tartar tent.Figure 2. Temple of PanStowe Gardens in Buckinghamshire has a similar array of structures (although the classical predominates) including its original Chinese pavillion. It, too, once featured a pyramid designed by the architect and playwright John Vanbrugh, and erected as a memorial to him after his death in 1726. On it was carved a quote from Horace that explicitly referenced the dramaturgical version of theatrum mundi: You have played, eaten enough and drunk enough,Now is time to leave the stage for younger men. (Garnett 19) Stowe’s Elysian Fields, designed by William Kent in the 1730s according to picturesque principles, offered its visitor two narrative choices, to take the Path of Virtue or the Path of Vice, just like a re-imagined morality play. As visitors progressed along their chosen paths they would encounter various fabriques and statues, some carved with inscriptions in either Latin or English, like the Vanbrugh pyramid, that would encourage associations between the ancient world and the contemporary world of the garden’s owner Richard Temple, Lord Cobham, and his circle. Stowe: Figure 3. Chinese Pavillion.Figure 4. Temple of VirtueKent’s background was as a painter and scene designer and he brought a theatrical sensibility to his designs; as Hunt writes, Kent particularly enjoyed designing “recessions into woodland space where ‘wings’ [were] created” (Picturesque 29). Importantly, Kent’s garden drawings reveal his awareness of gardens as “theatrical scenes for human action and interaction, where the premium is upon more personal experiences” and it this spatial dimension that was opened up at Stowe (Picturesque 30).Picturesque garden design emphasised pictorial composition that was similar to stage design and because a garden, like a stage, was a three-dimensional place for human action, it could also function as a set for that action. Unlike a painting, a garden was experiential and time-based and a visitor to it had an experience not unlike, to cautiously use an anachronism, a contemporary promenade performance. The habit of imaginatively wandering through a theatre in book-form, moving associatively from one item to the next, trying to discern the author’s pattern or structure, was one educated Europeans were used to, and a garden provided an embodied dimension to this activity. We can see how this might have been by visiting Parc Monceau in Paris which still contains remnants of the garden designed by Louis Carrogis (known as Carmontelle) for the Duc de Chartres in the 1770s. Carmontelle, like Kent, had a theatrical background and his primary role was as head of entertainments for the Orléans family; as such he was responsible for designing and writing plays for the family’s private theatricals (Hays 449). According to Hunt, Carmontelle intended visitors to Jardin de Monceau to take a specific itinerary through its “quantity of curious things”:Visitors entered by a Chinese gateway, next door to a gothic building that served as a chemical laboratory, and passed through greenhouses and coloured pavilions. Upon pressing a button, a mirrored wall opened into a winter garden painted with trompe-l’œil trees, floored with red sand, filled with exotic plants, and containing at its far end a grotto in which supper parties were held while music was played in the chamber above. Outside was a farm. Then there followed a series of exotic “locations”: a Temple of Mars, a winding river with an island of rocks and a Dutch mill, a dairy, two flower gardens, a Turkish tent poised, minaret-like, above an icehouse, a grove of tombs [. . .], and an Italian vineyard with a classical Bacchus at its center, regularly laid out to contrast with an irregular wood that succeeded it. The final stretches of the itinerary included a Naumachia or Roman water-theatre [. . .], more Turkish and Chinese effects, a ruined castle, yet another water-mill, and an island on which sheep grazed. (Picturesque 121) Monceau: Figure 5. Naumachia.Figure 6. PyramidIn its presentation of a multitude of different times and different places one can trace a line of descent from Jardin de Monceau to the great nineteenth-century World Expos and on to Disneyland. This lineage is not as trite as it seems once we realise that Carmontelle himself intended the garden to represent “all times and all places” and Pope’s four quadrants of the world were represented by fabriques at Monceau (Picturesque 121). As Jardin de Monceau reveals, gardens were also sites for smaller performative interventions such as the popular fêtes champêtres, garden parties in which the participants ate, drank, danced, played music, and acted in comedies. Role playing and masquerade were an important part of the fêtes as we see, for example, in Jean-Antoine Watteau’s Fêtes Vénitiennes (1718–19) where a “Moorishly” attired man addresses (or is dancing with) a young woman before an audience of young men and women, lolling around a fabrique (Watteau). Scenic design in the theatre inspired garden designs and gardens “featured prominently as dramatic locations in intermezzi, operas, and plays”, an exchange that encouraged visitors to gardens to see themselves as performers as much as spectators (Hunt, Gardens 64). A garden, particularly within the liminal aegis of a fête was a site for deceptions, tricks, ruses and revelations, assignations and seductions, all activities which were inherently theatrical; in such a garden visitors could find themselves acting in or watching a comedy or drama of their own devising. Marie-Antoinette built English gardens and a rural “hamlet” at Versailles. She and her intimate circle would retire to rustic cottages, which belied the opulence of their interiors, and dressed in white muslin dresses and straw hats, would play at being dairy maids, milking cows (pre-cleaned by the servants) into fine porcelain buckets (Martin 3). Just as the queen acted in pastoral operas in her theatre in the grounds of the Petit Trianon, her hamlet provided an opportunity for her to “live” a pastoral fantasy. Similarly, François Racine de Monville, who commissioned Désert de Retz, was a talented harpist and flautist and his Temple of Pan was, appropriately, a music room.Versailles: Figure 7. Hamlet ConclusionRichard Steele, Addison’s friend and co-founder of The Spectator, casually invoked theatrum mundi when he wrote in 1720: “the World and the Stage [. . .] have been ten thousand times observed to be the Pictures of one another” (51). Steele’s reiteration of a Renaissance commonplace revealed a different emphasis, an emphasis on the metaphor’s spatial and spectacular elements. Although Steele reasserts the idea that the world and stage resemble each other, he does so through a third level of abstraction: it is as pictures that they have an affinity. World and stage are both positioned for the observer within complementary picture frames and it is as pictures that he or she is invited to make sense of them. The formalist version of theatrum mundi invokes a spectator beholding the world for his (usually!) pleasure and in the process nature itself is transformed. No longer were natural landscapes wildernesses to be tamed and economically exploited, but could become gardens rendered into scenes for their aristocratic owners’ pleasure. Désert de Retz, as its name suggests, was an artfully composed wilderness, a version of the natural world sculpted into scenery. Theatrum mundi, through the aesthetic category of the picturesque, emerged in English landscape style and effected a theatricalised transformation of nature that was enacted in the aristocratic gardens of Europe.ReferencesAddison, Joseph. The Spectator. No. 414 (25 June 1712): 67–70. Eighteenth Century Collections Online.Garnett, Oliver. Stowe. Buckinghamshire. The National Trust, 2011.Hays, David. “Carmontelle's Design for the Jardin de Monceau: A Freemasonic Garden in Late-Eighteenth-Century France.” Eighteenth-Century Studies 32.4 (1999): 447–62.Heidegger, Martin. The Question Concerning Technology and Other Essays. Trans. William Lovitt. New York: Harper and Row, 1977.Hunt, John Dixon. Gardens and the Picturesque: Studies in the History of Landscape Architecture. Cambridge, Massachusetts: MIT Press, 1992.———. The Picturesque Garden in Europe. London: Thames and Hudson, 2002.Marshall, David. The Frame of Art. Fictions of Aesthetic Experience, 1750–1815. Baltimore: Johns Hopkins UP, 2005.Martin, Meredith S. Dairy Queens: The Politics of Pastoral Architecture from Catherine de' Medici to Marie-Antoinette. Harvard: Harvard UP, 2011.McGillivray, Glen. "The Picturesque World Stage." Performance Research 13.4 (2008): 127–39.Pope, Alexander. “Epistle IV. To Richard Boyle, Earl of Burlington.” Epistles to Several Persons. London, 1744. Eighteenth Century Collections Online.———. The Temple of Fame: A Vision. By Mr. Pope. 2nd ed. London, 1715. Eighteenth Century Collections Online. Shakespeare, William. As You Like It. Ed. Agnes Latham. London: Routledge, 1991.Steele, Richard. The Theatre. No. 7 (23 January 1720).

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IntroductionThe wandering narrator is a familiar figure in contemporary literature. This narrator is often searching for something abstract or ill-defined connected to the past and the traces it leaves behind. The works of the German writer W.G. Sebald inspired a number of theories on the various ways a writer might intersect place, memory, and representation through seemingly aimless wandering. This article expands on the scholarship around Sebald’s themes to identify two modes of investigative wandering: (1) wandering “in place”, through a city where a past trauma has occurred, and (2) wandering “out of place”, which occurs when a wanderer encounters a city that is a holding place of traumas experienced elsewhere.Sebald’s narrators mostly conduct wandering “in place” because they are actively immersed in, and wandering through, locations that trigger both memory and thought. In this article, after exploring both Sebald’s work and theories of place in literature, I analyse another example of wandering in place, in the Paris of Patrick Modiano’s novel, The Search Warrant (2014). I conclude by discussing how I encountered this mode of wandering myself when in Moscow and St Petersburg researching my first novel, The Memory Artist (2016). In contrasting these two modes of wandering, my aim is to contribute further nuance to the interpretation of conceptions of place in literature. By articulating the concept of wandering “out of place”, I identify a category of wanderer and writer who, like myself, finds connection with places and their stories without having a direct encounter with that place. Theories of Place and Wandering in W.G. Sebald’s WorkIn this section, I introduce Sebald as a literary wanderer. Born in the south of Germany in 1944, Sebald is perhaps best known for his four “prose fictions”— Austerlitz published in 2001, The Emigrants published in 1996, The Rings of Saturn published in 1998, and Vertigo published in 2000—all of which blend historiography and fiction in mostly plot-less narratives. These works follow a closely autobiographical narrator as he traverses Europe, visiting people and places connected to Europe’s turbulent twentieth century. He muses on the difficulty of preserving the truths of history and speaking of others’ traumas. Sebald describes how “places do seem to me to have some kind of memory, in that they activate memory in those who look at them” (Sebald quoted in Jaggi). Sebald left his native Germany in 1966 and moved to England, where he lived until his untimely death in a car accident in 2001 (Gussow). His four prose fictions feature the same autobiographical narrator: a middle-aged German man who lives in northern England. The narrator traverses Europe with a compulsion to research, ponder, and ultimately, represent historical catastrophes and traumas that haunt him. Anna MacDonald describes how Sebald’s texts “move freely between history and memory, biography, autobiography and fiction, travel writing and art criticism, scientific observation and dreams, photographic and other textual images” (115). The Holocaust and human displacement are simultaneously at the forefront of the narrator’s preoccupations but rarely referenced directly. This singular approach has caused many commentators to remark that Sebald’s works are “haunted” by these traumatic events (Baumgarten 272).Sebald’s narrators are almost constantly on the move, obsessively documenting the locations, buildings, and people they encounter or the history of that place. As such, it is helpful to consider Sebald’s wandering narrator through theories of landscape and its representation in art. Heike Polster describes the development of landscape from a Western European conception and notes how “the landscape idea in art and the techniques of linear perspective appear simultaneously” (88). Landscape is distinguished from raw physical environment by the role of the human mind: “landscape was perceived and constructed by a disembodied outsider” (88). As such, landscape is something created by our perceptions of place. Ulrich Baer makes a similar observation: “to look at a landscape as we do today manifests a specifically modern sense of self-understanding, which may be described as the individual’s ability to view herself within a larger, and possibly historical, context” (43).These conceptions of landscape suggest a desire for narrative. The attempt to fix our understanding of a place according to what we know about it, its past, and our own relationship to it, makes landscape inextricable from representation. To represent a landscape is to offer a representation of subjective perception. This understanding charges the landscapes of literature with meaning: the perceptions of a narrator who wanders and encounters place can be studied for their subjective properties.As I will highlight through the works of Sebald and Modiano, the wandering narrator draws on a number of sources in their representations of both place and memory, including their perceptions as they walk in place, the books they read, the people they encounter, as well as their subjective and affective responses. This multi-dimensional process aligns with Polster’s contention that “landscape is as much the external world as it is a visual and philosophical principle, a principle synthesizing the visual experience of material and geographical surroundings with our knowledge of the structures, characteristics, and histories of these surroundings” (70). The narrators in the works of Sebald and Modiano undertake this synthesised process as they traverse their respective locations. As noted, although their objectives are often vague, part of their process of drawing together experience and knowledge is a deep desire to connect with the pasts of those places. The particular kind of wanderer “in place” who I consider here is preoccupied with the past. In his study of Sebald’s work, Christian Moser describes how “the task of the literary walker is to uncover and decipher the hidden track, which, more often than not, is buried in the landscape like an invisible wound” (47-48). Pierre Nora describes places of memory, lieux de memoire, as locations “where memory crystallizes and secretes itself”. Interest in such sites arises when “consciousness of a break with the past is bound up with a sense that memory has been torn—but torn in such a way as to pose the problem of the embodiment of memory in certain sites where a sense of historical continuity persists” (Nora 7).Encountering and contemplating sites of memory, while wandering in place, can operate simultaneously as encounters with traumatic stories. According to Tim Ingold, “the landscape is constituted as an enduring record of—and testimony to—the lives and works of past generations who have dwelt within it, and in doing so, have left something of themselves […] landscape tells – or rather is – a story” (153). Such occurrences can be traced in the narratives of Sebald and Modiano, as their narrators participate both in the act of reading the story of landscape, through their wandering and their research about a place, but also in contributing to the telling of those stories, by inserting their own layer of subjective experience. In this way, the synthesised process of landscape put forward by Polster takes place.To perceive the landscape in this way is to “carry out an act of remembrance” (Ingold 152). The many ways that a person experiences and represents the stories that make up a landscape are varied and suited to a wandering methodology. MacDonald, for example, characterises Sebald’s methodology of “representation-via-digressive association”, which enables “writer, narrator, and reader alike to draw connections in, and through, space between temporally distant historical events and the monstrous geographies they have left in their wake” (MacDonald 116).Moser observes that Sebald’s narrative practice suggests an opposition between the pilgrimage, “devoted to worship, asceticism, and repentance”, and tourism, aimed at “entertainment and diversion” (Moser 37). If the pilgrim contemplates the objects, monuments, and relics they encounter, and the tourist is “given to fugitive consumption of commercialized sights”, Sebald’s walker is a kind of post-traumatic wanderer who “searches for the traces of a silent catastrophe that constitutes the obverse of modernity and its history of progress” (Moser 37). Thus, wandering tends to “cultivate a certain mode of perception”, one that is highly attuned to the history of a place, that looks for traces rather than common sites of consumption (Moser 37).It is worth exploring the motivations of a wandering narrator. Sebald’s narrator in The Rings of Saturn (2002) provides us with a vague impetus for his wandering: “in the hope of dispelling the emptiness that had taken hold of me after the completion of a long stint of work” (3). In Vertigo (2002), Sebald’s narrator walks with seemingly little purpose, resulting in a sense of confusion or nausea alluded to in the book’s title: “so what else could I do … but wander aimlessly around until well into the night”. On the next page, he refers again to his “aimlessly wandering about the city”, which he continues until he realises that his shoes have fallen apart (35-37). What becomes apparent from such comments is that the process of wandering is driven by mostly subconscious compulsions. The restlessness of Sebald’s wandering narrators represents their unease about our capacity to forget the history of a place, and thereby lose something intangible yet vital that comes from recognising traumatic pasts.In Sebald’s work, if there is any logic to the wanderer’s movement, it is mostly hidden from them while wandering. The narrator of Vertigo, after days of wandering through northern Italian cities, remarks that “if the paths I had followed had been inked in, it would have seemed as though a man had kept trying out new tracks and connections over and over, only to be thwarted each time by the limitations of his reason, imagination or willpower” (Sebald, Vertigo 34). Moser writes how “the hidden order that lies behind the peripatetic movement becomes visible retroactively – only after the walker has consulted a map. It is the map that allows Sebald to decode the ‘writing’ of his steps” (48). Wandering in place enables digressions and preoccupations, which then constitute the landscape ultimately represented. Wandering and reading the map of one’s steps afterwards form part of the same process: the attempt to piece together—to create a landscape—that uncovers lost or hidden histories. Sebald’s Vertigo, divided into four parts, layers the narrator’s personal wandering through Italy, Austria, and Germany, with the stories of those who were there before him, including the writers Stendhal, Kafka, and Casanova. An opposing factor to memory is a landscape’s capacity to forget; or rather, since landscape conceived here is a construction of our own minds, to reflect our own amnesia. Lewis observes that Sebald’s narrator in Vertigo “is disturbed by the suppression of history evident even in the landscape”. Sebald’s narrator describes Henri Beyle (the writer Stendhal) and his experience visiting the location of the Battle of Marengo as such:The difference between the images of the battle which he had in his head and what he now saw before him as evidence that the battle had in fact taken place occasioned in him a vertiginous sense of confusion […] In its shabbiness, it fitted neither with his conception of the turbulence of the Battle of Marengo nor the vast field of the dead on which he was now standing, alone with himself, like one meeting his doom. (17-18)The “vertiginous sense of confusion” signals a preoccupation with attempting to interpret sites of memory and, importantly, what Nora calls a “consciousness of a break with the past” (Nora 7) that characterises an interest in lieux de memoire. The confusion and feeling of unknowing is, I suggest, a characteristic of a wandering narrator. They do not quite know what they are looking for, nor what would constitute a finished wandering experience. This lack of resolution is a hallmark of the wandering narrative. A parallel can be drawn here with trauma fiction theory, which categorises a particular kind of literature that aims to recognise and represent the ethical and psychological impediments to representing trauma (Whitehead). Baumgarten describes the affective response to Sebald’s works:Here there are neither answers nor questions but a haunted presence. Unresolved, fragmented, incomplete, relying on shards for evidence, the narrator insists on the inconclusiveness of his experience: rather than arriving at a conclusion, narrator and reader are left disturbed. (272)Sebald’s narrators are illustrative literary wanderers. They demonstrate a conception of landscape that theorists such as Polster, Baer, and Ingold articulate: landscapes tell stories for those who investigate them, and are constituted by a synthesis of personal experience, the historical record, and the present condition of a place. This way of encountering a place is necessarily fragmented and can be informed by the tenets of trauma fiction, which seeks ways of representing traumatic histories by resisting linear narratives and conclusive resolutions. Modiano: Wandering in Place in ParisModiano’s The Search Warrant is another literary example of wandering in place. This autobiographical novel similarly illustrates the notion of landscape as a construction of a narrator who wanders through cities and forms landscape through an amalgamation of perception, knowledge, and memory.Although Modiano’s wandering narrator appears to be searching the Paris of the 1990s for traces of a Jewish girl, missing since the Second World War, he is also conducting an “aimless” wandering in search of traces of his own past in Paris. The novel opens with the narrator reading an old newspaper article, dated 1942, and reporting a missing fourteen-year-old girl in Paris. The narrator becomes consumed with a need to learn the fate of the girl. The search also becomes a search for his own past, as the streets of Paris from which Dora Bruder disappeared are also the streets his father worked among during the Nazi Occupation of Paris. They are also the same streets along which the narrator walked as an angst-ridden youth in the 1960s.Throughout the novel, the narrator uses a combination of facts uncovered by research, documentary evidence, and imagination, which combine with his own memories of walking in Paris. Although the fragmentation of sources creates a sense of uncertainty, together there is an affective weight, akin to Sebald’s “haunted presence”, in the layers Modiano’s narrator compiles. One chapter opens with an entry from the Clignancourt police station logbook, which records the disappearance of Dora Bruder:27 December 1941. Bruder, Dora, born Paris.12, 25/2/26, living at 41 Boulevard Ornano.Interview with Bruder, Ernest, age 42, father. (Modiano 69)However, the written record is ambiguous. “The following figures”, the narrator continues, “are written in the margin, but I have no idea what they stand for: 7029 21/12” (Modiano 69). Moreover, the physical record of the interview with Dora’s father is missing from the police archives. All he knows is that Dora’s father waited thirteen days before reporting her disappearance, likely wary of drawing attention to her: a Jewish girl in Occupied Paris. Confronted by uncertainty, the narrator recalls his own experience of running away as a youth in Paris: “I remember the intensity of my feelings while I was on the run in January 1960 – an intensity such as I have seldom known. It was the intoxication of cutting all ties at a stroke […] Running away – it seems – is a call for help and occasionally a form of suicide” (Modiano 71). The narrator’s construction of landscape is multi-layered: his past, Dora’s past, his present. Overhanging this is the history of Nazi-occupied Paris and the cultural memory of France’s collaboration with Nazi Germany.With the aid of other police documents, the narrator traces Dora’s return home, and then her arrest and detainment in the Tourelles barracks in Paris. From Tourelles, detainees were deported to Drancy concentration camp. However, the narrator cannot confirm whether Dora was deported to Drancy. In the absence of evidence, the narrator supplies other documents: profiles of those known to be deported, in an attempt to construct a story.Hena: I shall call her by her forename. She was nineteen … What I know about Hena amounts to almost nothing: she was born on 11 December 1922 at Pruszkow in Poland, and she lived at no. 42 Rue Oberkampf, the steeply sloping street I have so often climbed. (111)Unable to make conclusions about Dora’s story, the narrator is drawn back to a physical location: the Tourelles barracks. He describes a walk he took there in 1996: “Rue des Archives, Rue de Bretagne, Rue des-Filles-du-Calvaire. Then the uphill slope of the Rue Oberkampf, where Hena had lived” (Modiano 124). The narrator combines what he experiences in the city with the documentary evidence left behind, to create a landscape. He reaches the Tourelles barracks: “the boulevard was empty, lost in a silence so deep I could hear the rustling of the planes”. When he sees a sign that says “MILITARY ZONE. FILMING OR PHOTOGRAPHY PROHIBITED”, the cumulative effect of his solitary and uncertain wandering results in despair at the difficulty of preserving the past: “I told myself that nobody remembers anything anymore. A no-man’s-land lay beyond that wall, a zone of emptiness and oblivion” (Modiano 124). The wandering process here, including the narrator’s layering of his own experience with Hena’s life, the lack of resolution, and the wandering narrator’s disbelief at the seemingly incongruous appearance of a place today in relation to its past, mirrors the feeling of Sebald’s narrator at the site of the Battle of Marengo, quoted above.Earlier in the novel, after frustrated attempts to find information about Dora’s mother and father, the narrator reflects that “they are the sort of people who leave few traces. Virtually anonymous” (Modiano 23). He remarks that Dora’s parents are “inseparable from those Paris streets, those suburban landscapes where, by chance, I discovered they had lived” (Modiano 23). There is a disjunction between knowledge and something deeper, the undefined impetus that drives the narrator to walk, to search, and therefore to write: “often, what I know about them amounts to no more than a simple address. And such topographical precision contrasts with what we shall never know about their life—this blank, this mute block of the unknown” (Modiano 23). This contrast of topographical precision and the “unknown” echoes the feeling of Sebald’s narrator when contemplating sites of memory. One may wander “in place” yet still feel a sense of confusion and gaps in knowledge: this is, I suggest, an intended aesthetic effect by both authors. Reader and narrator alike feel a sense of yearning and melancholy as a result of the narrator’s wandering. Wandering out of Place in Moscow and St PetersburgWhen I travelled to Russia in 2015, I sought to document, with a Sebaldian wandering methodology, processes of finding memory both in and out of place. Like Sebald and Modiano, I was invested in hidden histories and the relationship between the physical environment and memory. Yet unlike those authors, I focused my wandering mostly on places that reflected or referenced events that occurred elsewhere rather than events that happened in that specific place. As such, I was wandering out of place.The importance of memory, both in and out of place, is a central concept in my novel The Memory Artist. The narrator, Pasha, reflects the concerns of current and past members of Russia’s civic organisation named Memorial, which seeks to document and preserve the memory of victims of Communism. Contemporary activists lament that in modern Russia the traumas of the Gulag labour camps, collectivisation, and the “Terror” of executions under Joseph Stalin, are inadequately commemorated. In a 2012 interview, Irina Flige, co-founder of the civic body Memorial Society in St Petersburg, encapsulated activists’ disappointment at seeing burial sites of Terror victims fall into oblivion:By the beginning of 2000s these newly-found sites of mass burials had been lost. Even those that had been marked by signs were lost for a second time! Just imagine: a place was found [...] people came and held vigils in memory of those who were buried there. But then this generation passed on and a new generation forgot the way to these sites – both literally and metaphorically. (Flige quoted in Karp)A shift in generation, and a culture of secrecy or inaction surrounding efforts to preserve the locations of graves or former labour camps, perpetuate a “structural deficit of knowledge”, whereby knowledge of the physical locations of memory is lost (Anstett 2). This, in turn, affects the way people and societies construct their memories. When sites of past trauma are not documented or acknowledged as such, it is more difficult to construct a narrative about those places, particularly those that confront and document a violent past. Physical absence in the landscape permits a deficit of storytelling.This “structural deficit of knowledge” is exacerbated when sites of memory are located in distant locations. The former Soviet labour camps and locations of some mass graves are scattered across vast locations far from Russia’s main cities. Yet for some, those cities now act as holding environments for the memory of lost camp locations, mass graves, and histories. For example, a monument in Moscow may commemorate victims of an overseas labour camp. Lieux de memoire shift from being “in place” to existing “out of place”, in monuments and memorials. As I walked through Moscow and St Petersburg, I had the sensation I was wandering both in and out of place, as I encountered the histories of memories physically close but also geographically distant.For example, I arrived early one morning at the Lubyanka building in central Moscow, a pre-revolutionary building with yellow walls and terracotta borders, the longstanding headquarters of the Soviet and now Russian secret police (image 1). Many victims of the worst repressive years under Stalin were either shot here or awaited deportation to Gulag camps in Siberia and other remote areas. The place is both a site of memory and one that gestures to traumatic pasts inflicted elsewhere.Image 1: The Lubyanka, in Central MoscowA monument to victims of political repression was erected near the Lubyanka Building in 1990. The monument takes the form of a stone taken from the Solovetsky Islands, an archipelago in the far north, on the White Sea, and the location of the Solovetsky Monastery that Lenin turned into a prison camp in 1921 (image 2). The Solovetsky Stone rests in view of the Lubyanka. In the 1980s, the stone was taken by boat to Arkhangelsk and then by train to Moscow. The wanderer encounters memory in place, in the stone and building, and also out of place, in the signified trauma that occurred elsewhere. Wandering out of place thus has the potential to connect a wanderer, and a reader, to geographically remote histories, not unlike war memorials that commemorate overseas battles. This has important implications for the preservation of stories. The narrator of The Memory Artist reflects that “the act of taking a stone all the way from Solovetsky to Moscow … was surely a sign that we give things and objects and matter a little of our own minds … in a way I understood that [the stone’s] presence would be a kind of return for those who did not, that somehow the stone had already been there, in Moscow” (Brabon 177).Image 2: The Monument to Victims of Political Repression, Near the LubyankaIn some ways, wandering out of place is similar to the examples of wandering in place considered here: in both instances the person wandering constructs a landscape that is a synthesis of their present perception, their individual history, and their knowledge of the history of a place. Yet wandering out of place offers a nuanced understanding of wandering by revealing the ways one can encounter the history, trauma, and memory that occur in distant places, highlighting the importance of symbols, memorials, and preserved knowledge. Image 3: Reflectons of the LubyankaConclusionThe ways a writer encounters and represents the stories that constitute a landscape, including traumatic histories that took place there, are varied and well-suited to a wandering methodology. There are notable traits of a wandering narrator: the digressive, associative form of thinking and writing, the unmapped journeys that are, despite themselves, full of compulsive purpose, and the lack of finality or answers inherent in a wanderer’s narrative. Wandering permits an encounter with memory out of place. The Solovetsky Islands remain a place I have never been, yet my encounter with the symbolic stone at the Lubyanka in Moscow lingers as a historical reminder. This sense of never arriving, of not reaching answers, echoes the narrators of Sebald and Modiano. Continued narrative uncertainty generates a sense of perpetual wandering, symbolic of the writer’s shadowy task of representing the past.ReferencesAnstett, Elisabeth. “Memory of Political Repression in Post-Soviet Russia: The Example of the Gulag.” Online Encyclopedia of Mass Violence, 13 Sep. 2011. 2 Aug. 2019 <https://www.sciencespo.fr/mass-violence-war-massacre-resistance/en/document/memory-political-repression-post-soviet-russia-example-gulag>.Baer, Ulrich. “To Give Memory a Place: Holocaust Photography and the Landscape Tradition.” Representations 69 (2000): 38–62.Baumgarten, Murray. “‘Not Knowing What I Should Think:’ The Landscape of Postmemory in W.G. Sebald’s The Emigrants.” Partial Answers: Journal of Literature and the History of Ideas 5.2 (2007): 267–87.Brabon, Katherine. The Memory Artist. Crows Nest: Allen and Unwin, 2016.Gussow, Mel. “W.G. Sebald, Elegiac German Novelist, Is Dead at 57.” The New York Times 15 Dec. 2001. 2 Aug. 2019 <https://www.nytimes.com/2001/12/15/books/w-g-sebald-elegiac-german-novelist-is-dead-at-57.html>.Ingold, Tim. “The Temporality of the Landscape.” World Archaeology 25.2 (1993): 152–174.Jaggi, Maya. “The Last Word: An Interview with WG Sebald.” The Guardian 22 Sep. 2001. 2 Aug. 2019 <www.theguardian.com/books/2001/sep/22/artsandhumanities.highereducation>.Karp, Masha. “An Interview with Irina Flige.” RightsinRussia.com 11 Apr. 2012. 2 Aug. 2019 <http://www.rightsinrussia.info/archive/interviews-1/irina-flige/masha-karp>.Lewis, Tess. “WG Sebald: The Past Is Another Country.” New Criterion 20 (2001).MacDonald, Anna. “‘Pictures in a Rebus’: Puzzling Out W.G. Sebald’s Monstrous Geographies.” In Monstrous Spaces: The Other Frontier. Eds. Niculae Liviu Gheran and Ken Monteith. Oxford: Interdisciplinary Press, 2013. 115–25.Modiano, Patrick. The Search Warrant. Trans. Joanna Kilmartin. London: Harvill Secker, 2014.Moser, Christian. “Peripatetic Liminality: Sebald and the Tradition of the Literary Walk.” In The Undiscover’d Country: W.G. Sebald and the Poetics of Travel. Ed. Markus Zisselsberger. Rochester New York: Camden House, 2010. 37–62. Nora, Pierre. “Between Memory and History: Les Lieux de Memoire.” Representations 26: (Spring 1989): 7–24.Polster, Heike. The Aesthetics of Passage: The Imag(in)ed Experience of Time in Thomas Lehr, W.G. Sebald, and Peter Handke. Würzburg: Königshausen and Neumann, 2009.Sebald, W.G. The Rings of Saturn. Trans. Michael Hulse. London: Vintage, 2002. ———. Vertigo. Trans. Michael Hulse. London: Vintage, 2002.Whitehead, Anne. Trauma Fiction. Edinburgh: Edinburgh University Press, 2004.