Bibliographies: 'Great Universal Stores Ltd' – Grafiati (2024)

Abstract:

The case is all about the journey of an entrepreneur Mr. Musthafa with his venture iD Fresh Foods India Ltd. Back in 2006 with a humble beginning, as a small store selling Idli and Dosa batter at Tippsandra, Bengaluru, iD at 2018, has grown multi-fold, presented in over 21,000 stores, 17 cities and is planning to expand to 30 cities in next few years. A number of accolades in its hat like “Best food marketing idea 2016”, “Vocational excellence award 2016”, “Best packaging design award 2015” and many other appreciations, “iD Fresh Food” would be a great case study for the B-school students or students of other business management courses and would add value to the marketing or entrepreneurship literature. This case study specially examined the marketing strategies adopted by the company to establish itself in the cluttered RTC (Ready to cook) packaged food sector in an emerging market scenario. The issue of the case is to examine whether the company should diversify or continues its basic philosophy of serving natural preservative free packaged food items and how far the closely-knit management style is going to sustain its market leadership position in future.

Abstract:

There were 911 sites including 704 cultural, 180 natural, 27 mixed properties which were included as outstanding universal value by the UNESCO World Heritage Convention in June 2010. Malaysian cultural heritage sites, Malacca and Georgetown, were listed since 2007. Since World Heritage Lists is not an ultimate benchmark for heritage street revitalization performance, therefore, this research will provide a set of attributing variables to investigate the revitalization attributes in creating a great heritage streets. The research employed unobtrusive method of content analysis and obtrusive method. This paper will share its findings based on research’s pilot study and document analysis. Keywords urban architectural heritage, urban revitalization, revitalization index eISSN 2514-751X © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.

Abstract:

The main stages of the life of Myroslav Luschak were revealed and analysed in the article. Myroslav Luschak was a graduate of the Stanislaviv Theological Seminary, worked as an employee of the Ukrainian cooperative and a merchant, a man whose dreams about priesthood life were suddenly interrupted during Soviet intervention in Eastern Galicia. Based on archival sources, witness stories, specific scientific literature and journalism issues the main events of the life of the mentioned personality in childhood, adolescence and adulthood were revealed. When Myroslav finished school, he began to work at the railway station together with his father and elder brother. All that time Myroslav’s parents were instilling a great love for God to him. In 1930-1931 he served in the Polish army. A few years later Myroslav Luschak started to work in the Ukrainian cooperative organization, and in 1939 he worked as a seller in «Maslosoyuz». In the same year Myroslav Luschak graduated the Stanislaviv Seminary and wanted to become a priest. The main attention is paid to period 1939-1941, when Soviet occupation of Stanislaviv caused fateful events in the life of Myroslav Luschak and led finally to his death. From September 1939 to June 1941 he worked at the Universal freight base Oblspozhyvspilka in Stanislaviv. In June 1941 when Myroslav Luschak was returning home from the church, he was arrested by the Soviet NKVD and imprisoned in the Stanislaviv prison. Myroslav disappeared without a trace after his arrest, and his relatives searched for him for many years. Only in October 1989 during the archeological excavations of Demianiv Laz close to Ivano-Frankivsk the documents of Myroslav Luschak were found. Repressions of the Soviet totalitarian regime against people and Church are considered by the authors of this article as the main reasons of the destroyed dreams of the researched person.

Abstract:

Intensive pig breeding is usually aimed at increasing the growth of young pigs, reducing feed costs by 1 kg of live weight gain, balancing diets with the content of the main nutrients. In order to obtain high-quality pig production, it is necessary to make corrections of rations in pigs of different technological groups using mineral feed additives that take into account not only the physiological needs of minerals of the corresponding age groups and classes of pigs but also the biogeochemical zone or the province where the farms are located in which feed is grown, as well as the conditions that accompany the emergence of the deficit. However, the use of these substances should not adversely affect the quality of products, its cost. These substances include iron preparations. Carbohydrates are the main source of energy for the life of the organism. They get into the blood from the digestive tract in the form of monosaccharide – glucose. When it comes from the intestines into the bloodstream, glucose passes through the portal vein to the liver, where it becomes a glycogen. The activities of practically all organs without exception are more or less dependent on the content of carbohydrates in the blood streaming into them. Glucose is a universal energy source. As expended, glucose stores in the blood are replenished and, thus, its relatively stable content in the plasma is provided. The transformation of glucose in the tissues occurs both with the participation of oxygen, and without it, by glycolysis. Glycogen under the influence of the enzyme phosphorylase is split into glucose and phosphoric acid. Glucose, as a source of energy, is necessary for all tissues of the body, especially its great importance for the functions of the muscular and nervous systems. The results of our studies indicate that the glucose content in the experimental pigs' blood was lower by an average of 4.7% (P < 0.05) – the first group; 6.4% (P < 0.02) was the second group and 8.2% (P < 0.01) was the third group compared to the control animals. Decrease in glucose (within the limits of physiological fluctuations) is associated with more intensive use of the body tissues as an energy source. The activation of energy processes and increase of an additional background of phosphates in the body due to the action of chelating iron compounds is evidenced by the observed increase in the activity of alkaline phosphatase in pigs in experimental groups. The enzyme mentioned catalyzes the cleavage of the phosphate group from the organic monophosphoric acid orthophosphoric acid, and is responsible for the absorption of phosphorus from animal rations. The activity of LF was significantly higher with respect to control in the blood of experimental animals throughout the study period at 1.2; 1.5 and 1.6 times. The higher activity of alkaline phosphatase in the blood of pigs in experimental groups is also explained by the increase of phosphorylation processes due to the better absorption of phosphorus from the feed by the organism due to the action of iron chelate compounds.

Abstract:

Environments containing significant concentration of NaCl such as salt lakes harbor extremophiles microorganisms which have a great biotechnology interest. To explore the diversity of Bacteria in Chott Tinsilt (Algeria), an isolation program was performed. Water samples were collected from the saltern during the pre-salt harvesting phase. This Chott is high in salt (22.47% (w/v). Seven halophiles Bacteria were selected for further characterization. The isolated strains were able to grow optimally in media with 10–25% (w/v) total salts. Molecular identification of the isolates was performed by sequencing the 16S rRNA gene. It showed that these cultured isolates included members belonging to the Halomonas, Staphylococcus, Salinivibrio, Planococcus and Halobacillus genera with less than 98% of similarity with their closest phylogenetic relative. The halophilic bacterial isolates were also characterized for the production of biosurfactant and industrially important enzymes. Most isolates produced hydrolases and biosurfactants at high salt concentration. In fact, this is the first report on bacterial strains (A4 and B4) which were a good biosurfactant and coagulase producer at 20% and 25% ((w/v)) NaCl. In addition, the biosurfactant produced by the strain B4 at high salinity (25%) was also stable at high temperature (30-100°C) and high alkalinity (pH 11).Key word: Salt Lake, Bacteria, biosurfactant, Chott, halophiles, hydrolases, 16S rRNAINTRODUCTIONSaline lakes cover approximately 10% of the Earth’s surface area. The microbial populations of many hypersaline environments have already been studied in different geographical regions such as Great Salt Lake (USA), Dead Sea (Israel), Wadi Natrun Lake (Egypt), Lake Magadi (Kenya), Soda Lake (Antarctica) and Big Soda Lake and Mono Lake (California). Hypersaline regions differ from each other in terms of geographical location, salt concentration and chemical composition, which determine the nature of inhabitant microorganisms (Gupta et al., 2015). Then low taxonomic diversity is common to all these saline environments (Oren et al., 1993). Halophiles are found in nearly all major microbial clades, including prokaryotic (Bacteria and Archaea) and eukaryotic forms (DasSarma and Arora, 2001). They are classified as slight halophiles when they grow optimally at 0.2–0.85 M (2–5%) NaCl, as moderate halophiles when they grow at 0.85–3.4 M (5–20%) NaCl, and as extreme halophiles when they grow at 3.4–5.1 M (20–30%) NaCl. Hyper saline environments are inhabited by extremely halophilic and halotolerant microorganisms such as Halobacillus sp, Halobacterium sp., Haloarcula sp., Salinibacter ruber , Haloferax sp and Bacillus spp. (Solomon and Viswalingam, 2013). There is a tremendous demand for halophilic bacteria due to their biotechnological importance as sources of halophilic enzymes. Enzymes derived from halophiles are endowed with unique structural features and catalytic power to sustain the metabolic and physiological processes under high salt conditions. Some of these enzymes have been reported to be active and stable under more than one extreme condition (Karan and Khare, 2010). Applications are being considered in a range of industries such as food processing, washing, biosynthetic processes and environmental bioremediation. Halophilic proteases are widely used in the detergent and food industries (DasSarma and Arora, 2001). However, esterases and lipases have also been useful in laundry detergents for the removal of oil stains and are widely used as biocatalysts because of their ability to produce pure compounds. Likewise, amylases are used industrially in the first step of the production of high fructose corn syrup (hydrolysis of corn starch). They are also used in the textile industry in the de-sizing process and added to laundry detergents. Furthermore, for the environmental applications, the use of halophiles for bioremediation and biodegradation of various materials from industrial effluents to soil contaminants and accidental spills are being widely explored. In addition to enzymes, halophilic / halotolerants microorganisms living in saline environments, offer another potential applications in various fields of biotechnology like the production of biosurfactant. Biosurfactants are amphiphilic compounds synthesized from plants and microorganisms. They reduce surface tension and interfacial tension between individual molecules at the surface and interface respectively (Akbari et al., 2018). Comparing to the chemical surfactant, biosurfactant are promising alternative molecules due to their low toxicity, high biodegradability, environmental capability, mild production conditions, lower critical micelle concentration, higher selectivity, availability of resources and ability to function in wide ranges of pH, temperature and salinity (Rocha et al., 1992). They are used in various industries which include pharmaceuticals, petroleum, food, detergents, cosmetics, paints, paper products and water treatment (Akbari et al., 2018). The search for biosurfactants in extremophiles is particularly promising since these biomolecules can adapt and be stable in the harsh environments in which they are to be applied in biotechnology.OBJECTIVESEastern Algeria features numerous ecosystems including hypersaline environments, which are an important source of salt for food. The microbial diversity in Chott Tinsilt, a shallow Salt Lake with more than 200g/L salt concentration and a superficies of 2.154 Ha, has never yet been studied. The purpose of this research was to chemically analyse water samples collected from the Chott, isolate novel extremely or moderate halophilic Bacteria, and examine their phenotypic and phylogenetic characteristics with a view to screening for biosurfactants and enzymes of industrial interest.MATERIALS AND METHODSStudy area: The area is at 5 km of the Commune of Souk-Naâmane and 17 km in the South of the town of Aïn-Melila. This area skirts the trunk road 3 serving Constantine and Batna and the railway Constantine-Biskra. It is part the administrative jurisdiction of the Wilaya of Oum El Bouaghi. The Chott belongs to the wetlands of the High Plains of Constantine with a depth varying rather regularly without never exceeding 0.5 meter. Its length extends on 4 km with a width of 2.5 km (figure 1).Water samples and physico-chemical analysis: In February 2013, water samples were collected from various places at the Chott Tinsilt using Global Positioning System (GPS) coordinates of 35°53’14” N lat. and 06°28’44”E long. Samples were collected randomly in sterile polythene bags and transported immediately to the laboratory for isolation of halophilic microorganisms. All samples were treated within 24 h after collection. Temperature, pH and salinity were measured in situ using a multi-parameter probe (Hanna Instruments, Smithfield, RI, USA). The analytical methods used in this study to measure ions concentration (Ca2+, Mg2+, Fe2+, Na+, K+, Cl−, HCO3−, SO42−) were based on 4500-S-2 F standard methods described elsewhere (Association et al., 1920).Isolation of halophilic bacteria from water sample: The media (M1) used in the present study contain (g/L): 2.0 g of KCl, 100.0/200.0 g of NaCl, 1.0 g of MgSO4.7HO2, 3.0 g of Sodium Citrate, 0.36 g of MnCl2, 10.0 g of yeast extract and 15.0 g agar. The pH was adjusted to 8.0. Different dilutions of water samples were added to the above medium and incubated at 30°C during 2–7 days or more depending on growth. Appearance and growth of halophilic bacteria were monitored regularly. The growth was diluted 10 times and plated on complete medium agar (g/L): glucose 10.0; peptone 5.0; yeast extract 5.0; KH2PO4 5.0; agar 30.0; and NaCl 100.0/200.0. Resultant colonies were purified by repeated streaking on complete media agar. The pure cultures were preserved in 20% glycerol vials and stored at −80°C for long-term preservation.Biochemical characterisation of halophilic bacterial isolates: Bacterial isolates were studied for Gram’s reaction, cell morphology and pigmentation. Enzymatic assays (catalase, oxidase, nitrate reductase and urease), and assays for fermentation of lactose and mannitol were done as described by Smibert (1994).Optimization of growth conditions: Temperature, pH, and salt concentration were optimized for the growth of halophilic bacterial isolates. These growth parameters were studied quantitatively by growing the bacterial isolates in M1 medium with shaking at 200 rpm and measuring the cell density at 600 nm after 8 days of incubation. To study the effect of NaCl on the growth, bacterial isolates were inoculated on M1 medium supplemented with different concentration of NaCl: 1%-35% (w/v). The effect of pH on the growth of halophilic bacterial strains was studied by inoculating isolates on above described growth media containing NaCl and adjusted to acidic pH of 5 and 6 by using 1N HCl and alkaline pH of 8, 9, 10, 11 and 12 using 5N NaOH. The effect of temperature was studied by culturing the bacterial isolates in M1 medium at different temperatures of incubation (4°C–55°C).Screening of halophilic bacteria for hydrolytic enzymes: Hydrolase producing bacteria among the isolates were screened by plate assay on starch, tributyrin, gelatin and DNA agar plates respectively for amylase, lipase, protease and DNAse activities. Amylolytic activity of the cultures was screened on starch nutrient agar plates containing g/L: starch 10.0; peptone 5.0; yeast extract 3.0; agar 30.0; NaCl 100.0/250.0. The pH was 7.0. After incubation at 30 ºC for 7 days, the zone of clearance was determined by flooding the plates with iodine solution. The potential amylase producers were selected based on ratio of zone of clearance diameter to colony diameter. Lipase activity of the cultures was screened on tributyrin nutrient agar plates containing 1% (v/v) of tributyrin. Isolates that showed clear zones of tributyrin hydrolysis were identified as lipase producing bacteria. Proteolytic activity of the isolates was similarly screened on gelatin nutrient agar plates containing 10.0 g/L of gelatin. The isolates showing zones of gelatin clearance upon treatment with acidic mercuric chloride were selected and designated as protease producing bacteria. The presence of DNAse activity on plates was determined on DNAse test agar (BBL) containing 10%-25% (w/v) total salt. After incubation for 7days, the plates were flooded with 1N HCl solution. Clear halos around the colonies indicated DNAse activity (Jeffries et al., 1957).Milk clotting activity (coagulase activity) of the isolates was also determined following the procedure described (Berridge, 1952). Skim milk powder was reconstituted in 10 mM aqueous CaCl2 (pH 6.5) to a final concentration of 0.12 kg/L. Enzyme extracts were added at a rate of 0.1 mL per mL of milk. The coagulation point was determined by manual rotating of the test tube periodically, at short time intervals, and checking for visible clot formation.Screening of halophilic bacteria for biosurfactant production. Oil spread Assay: The Petridis base was filled with 50 mL of distilled water. On the water surface, 20μL of diesel and 10μl of culture were added respectively. The culture was introduced at different spots on the diesel, which is coated on the water surface. The occurrence of a clear zone was an indicator of positive result (Morikawa et al., 2000). The diameter of the oil expelling circles was measured by slide caliber (with a degree of accuracy of 0.02 mm).Surface tension and emulsification index (E24): Isolates were cultivated at 30 °C for 7 days on the enrichment medium containing 10-25% NaCl and diesel oil as the sole carbon source. The medium was centrifuged (7000 rpm for 20 min) and the surface tension of the cell-free culture broth was measured with a TS90000 surface tensiometer (Nima, Coventry, England) as a qualitative indicator of biosurfactant production. The culture broth was collected with a Pasteur pipette to remove the non-emulsified hydrocarbons. The emulsifying capacity was evaluated by an emulsification index (E24). The E24 of culture samples was determined by adding 2 mL of diesel oil to the same amount of culture, mixed for 2 min with a vortex, and allowed to stand for 24 h. E24 index is defined as the percentage of height of emulsified layer (mm) divided by the total height of the liquid column (mm).Biosurfactant stability studies : After growth on diesel oil as sole source of carbone, cultures supernatant obtained after centrifugation at 6,000 rpm for 15 min were considered as the source of crude biosurfactant. Its stability was determined by subjecting the culture supernatant to various temperature ranges (30, 40, 50, 60, 70, 80 and 100 °C) for 30 min then cooled to room temperature. Similarly, the effect of different pH (2–11) on the activity of the biosurfactant was tested. The activity of the biosurfactant was investigated by measuring the emulsification index (El-Sersy, 2012).Molecular identification of potential strains. DNA extraction and PCR amplification of 16S rDNA: Total cellular DNA was extracted from strains and purified as described by Sambrook et al. (1989). DNA was purified using Geneclean® Turbo (Q-BIO gene, Carlsbad, CA, USA) before use as a template in polymerase chain reaction (PCR) amplification. For the 16S rDNA gene sequence, the purified DNA was amplified using a universal primer set, forward primer (27f; 5′-AGA GTT TGA TCM TGG CTC AG) and a reverse primer (1492r; 5′-TAC GGY TAC CTT GTT ACG ACT T) (Lane, 1991). Agarose gel electrophoresis confirmed the amplification product as a 1400-bp DNA fragment.16S rDNA sequencing and Phylogenic analysis: Amplicons generated using primer pair 27f-1492r was sequenced using an automatic sequencer system at Macrogene Company (Seoul, Korea). The sequences were compared with those of the NCBI BLAST GenBank nucleotide sequence databases. Phylogenetic trees were constructed by the neighbor-joining method using MEGA version 5.05 software (Tamura et al., 2011). Bootstrap resembling analysis for 1,000 replicates was performed to estimate the confidence of tree topologies.Nucleotide sequence accession numbers: The nucleotide sequences reported in this work have been deposited in the EMBL Nucleotide Sequence Database. The accession numbers are represented in table 5.Statistics: All experiments were conducted in triplicates. Results were evaluated for statistical significance using ANOVA.RESULTSPhysico-chemical parameters of the collected water samples: The physicochemical properties of the collected water samples are reported in table 1. At the time of sampling, the temperature was 10.6°C and pH 7.89. The salinity of the sample, as determined in situ, was 224.70 g/L (22,47% (w/v)). Chemical analysis of water sample indicated that Na +and Cl- were the most abundant ions (table 1). SO4-2 and Mg+2 was present in much smaller amounts compared to Na +and Cl- concentration. Low levels of calcium, potassium and bicarbonate were also detected, often at less than 1 g/L.Characterization of isolates. Morphological and biochemical characteristic feature of halophilic bacterial isolates: Among 52 strains isolated from water of Chott Tinsilt, seven distinct bacteria (A1, A2, A3, A4, B1, B4 and B5) were chosen for further characterization (table 2). The colour of the isolates varied from beige, pale yellow, yellowish and orange. The bacterial isolates A1, A2, A4, B1 and B5 were rod shaped and gram negative (except B5), whereas A3 and B4 were cocci and gram positive. All strains were oxidase and catalase positive except for B1. Nitrate reductase and urease activities were observed in all the bacterial isolates, except B4. All the bacterial isolates were negative for H2S formation. B5 was the only strain positive for mannitol fermentation (table 2).We isolated halophilic bacteria on growth medium with NaCl supplementation at pH 7 and temperature of 30°C. We studied the effect of NaCl, temperature and pH on the growth of bacterial isolates. All the isolates exhibited growth only in the presence of NaCl indicating that these strains are halophilic. The optimum growth of isolates A3 and B1 was observed in the presence of 10% NaCl, whereas it was 15% NaCl for A1, A2 and B5. A4 and B4 showed optimum growth in the presence of 20% and 25% NaCl respectively. A4, B4 and B5 strains can tolerate up to 35% NaCl.The isolate B1 showed growth in medium supplemented with 10% NaCl and pH range of 7–10. The optimum pH for the growth B1 was 9 and they did not show any detectable growth at or below pH 6 (table 2), which indicates the alkaliphilic nature of B1 isolate. The bacterial isolates A1, A2 and A4 exhibited growth in the range of pH 6–10, while A3 and B4 did not show any growth at pH greater than 8. The optimum pH for growth of all strains (except B1) was pH 7.0 (table 2). These results indicate that A1, A2, A3, A4, B4 and B5 are neutrophilic in nature. All the bacterial isolates exhibited optimal growth at 30°C and no detectable growth at 55°C. Also, detectable growth of isolates A1, A2 and A4 was observed at 4°C. However, none of the bacterial strains could grow below 4°C and above 50°C (table 2).Screening of the halophilic enzymes: To characterize the diversity of halophiles able to produce hydrolytic enzymes among the population of microorganisms inhabiting the hypersaline habitats of East Algeria (Chott Tinsilt), a screening was performed. As described in Materials and Methods, samples were plated on solid media containing 10%-25% (w/v) of total salts and different substrates for the detection of amylase, protease, lipase and DNAse activities. However, coagulase activity was determined in liquid medium using milk as substrate (figure 3). Distributions of hydrolytic activity among the isolates are summarized in table 4.From the seven bacterial isolates, four strains A1, A2, A4 and B5 showed combined hydrolytic activities. They were positive for gelatinase, lipase and coagulase. A3 strain showed gelatinase and lipase activities. DNAse activities were detected with A1, A4, B1 and B5 isolates. B4 presented lipase and coagulase activity. Surprisingly, no amylase activity was detected among all the isolates.Screening for biosurfactant producing isolates: Oil spread assay: The results showed that all the strains could produce notable (>4 cm diameter) oil expelling circles (ranging from 4.11 cm to 4.67 cm). The average diameter for strain B5 was 4.67 cm, significantly (P < 0.05) higher than for the other strains.Surface tension and emulsification index (E24): The assimilation of hydrocarbons as the sole sources of carbon by the isolate strains led to the production of biosurfactants indicated by the emulsification index and the lowering of the surface tension of cell-free supernatant. Based on rapid growth on media containing diesel oil as sole carbon source, the seven isolates were tested for biosurfactant production and emulsification activity. The obtained values of the surface tension measurements as well as the emulsification index (E24) are shown in table 3. The highest reduction of surface tension was achieved with B5 and A3 isolates with values of 25.3 mN m−1 and 28.1 mN m−1 respectively. The emulsifying capacity evaluated by the E24 emulsification index was highest in the culture of isolate B4 (78%), B5 (77%) and A3 (76%) as shown in table 3 and figure 2. These emulsions were stable even after 4 months. The bacteria with emulsification indices higher than 50 % and/or reduction in the surface tension (under 30 mN/m) have been defined as potential biosurfactant producers. Based on surface tension and the E24 index results, isolates B5, B4, A3 and A4 are the best candidates for biosurfactant production. It is important to note that, strains B4 and A4 produce biosurfactant in medium containing respectively 25% and 20% (w/v) NaCl.Stability of biosurfactant activities: The applicability of biosurfactants in several biotechnological fields depends on their stability at different environmental conditions (temperatures, pH and NaCl). For this study, the strain B4 appear very interesting (It can produce biosurfactant at 25 % NaCl) and was choosen for futher analysis for biosurfactant stability. The effects of temperature and pH on the biosurfactant production by the strain B4 are shown in figure 4.biosurfactant in medium containing respectively 25% and 20% (w/v) NaCl.Stability of biosurfactant activities: The applicability of biosurfactants in several biotechnological fields depends on their stability at different environmental conditions (temperatures, pH and NaCl). For this study, the strain B4 appear very interesting (It can produce biosurfactant at 25 % NaCl) and was chosen for further analysis for biosurfactant stability. The effects of temperature and pH on the biosurfactant production by the strain B4 are shown in figure 4. The biosurfactant produced by this strain was shown to be thermostable giving an E-24 Index value greater than 78% (figure 4A). Heating of the biosurfactant to 100 °C caused no significant effect on the biosurfactant performance. Therefore, the surface activity of the crude biosurfactant supernatant remained relatively stable to pH changes between pH 6 and 11. At pH 11, the value of E24 showed almost 76% activity, whereas below pH 6 the activity was decreased up to 40% (figure 4A). The decreases of the emulsification activity by decreasing the pH value from basic to an acidic region; may be due to partial precipitation of the biosurfactant. This result indicated that biosurfactant produced by strain B4 show higher stability at alkaline than in acidic conditions.Molecular identification and phylogenies of potential isolates: To identify halophilic bacterial isolates, the 16S rDNA gene was amplified using gene-specific primers. A PCR product of ≈ 1.3 kb was detected in all the seven isolates. The 16S rDNA amplicons of each bacterial isolate was sequenced on both strands using 27F and 1492R primers. The complete nucleotide sequence of 1336,1374, 1377,1313, 1305,1308 and 1273 bp sequences were obtained from A1, A2, A3, A4, B1, B4 and B5 isolates respectively, and subjected to BLAST analysis. The 16S rDNA sequence analysis showed that the isolated strains belong to the genera Halomonas, Staphylococcus, Salinivibrio, Planococcus and Halobacillus as shown in table 5. The halophilic isolates A2 and A4 showed 97% similarity with the Halomonas variabilis strain GSP3 (accession no. AY505527) and the Halomonas sp. M59 (accession no. AM229319), respectively. As for A1, it showed 96% similarity with the Halomonas venusta strain GSP24 (accession no. AY553074). B1 and B4 showed for their part 96% similarity with the Salinivibrio costicola subsp. alcaliphilus strain 18AG DSM4743 (accession no. NR_042255) and the Planococcus citreus (accession no. JX122551), respectively. The bacterial isolate B5 showed 98% sequence similarity with the Halobacillus trueperi (accession no. HG931926), As for A3, it showed only 95% similarity with the Staphylococcus arlettae (accession no. KR047785). The 16S rDNA nucleotide sequences of all the seven halophilic bacterial strains have been submitted to the NCBI GenBank database under the accession number presented in table 5. The phylogenetic association of the isolates is shown in figure 5.DICUSSIONThe physicochemical properties of the collected water samples indicated that this water was relatively neutral (pH 7.89) similar to the Dead Sea and the Great Salt Lake (USA) and in contrast to the more basic lakes such as Lake Wadi Natrun (Egypt) (pH 11) and El Golea Salt Lake (Algeria) (pH 9). The salinity of the sample was 224.70 g/L (22,47% (w/v). This range of salinity (20-30%) for Chott Tinsilt is comparable to a number of well characterized hypersaline ecosystems including both natural and man-made habitats, such as the Great Salt Lake (USA) and solar salterns of Puerto Rico. Thus, Chott Tinsilt is a hypersaline environment, i.e. environments with salt concentrations well above that of seawater. Chemical analysis of water sample indicated that Na +and Cl- were the most abundant ions, as in most hypersaline ecosystems (with some exceptions such as the Dead Sea). These chemical water characteristics were consistent with the previously reported data in other hypersaline ecosystems (DasSarma and Arora, 2001; Oren, 2002; Hacěne et al., 2004). Among 52 strains isolated from this Chott, seven distinct bacteria (A1, A2, A3, A4, B1, B4 and B5) were chosen for phenotypique, genotypique and phylogenetique characterization.The 16S rDNA sequence analysis showed that the isolated strains belong to the genera Halomonas, Staphylococcus, Salinivibrio, Planococcus and Halobacillus. Genera obtained in the present study are commonly occurring in various saline habitats across the globe. Staphylococci have the ability to grow in a wide range of salt concentrations (Graham and Wilkinson, 1992; Morikawa et al., 2009; Roohi et al., 2014). For example, in Pakistan, Staphylococcus strains were isolated from various salt samples during the study conducted by Roohi et al. (2014) and these results agreed with previous reports. Halomonas, halophilic and/or halotolerant Gram-negative bacteria are typically found in saline environments (Kim et al., 2013). The presence of Planococcus and Halobacillus has been reported in studies about hypersaline lakes; like La Sal del Rey (USA) (Phillips et al., 2012) and Great Salt Lake (Spring et al., 1996), respectively. The Salinivibrio costicola was a representative model for studies on osmoregulatory and other physiological mechanisms of moderately halophilic bacteria (Oren, 2006).However, it is interesting to note that all strains shared less than 98.7% identity (the usual species cut-off proposed by Yarza et al. (2014) with their closest phylogenetic relative, suggesting that they could be considered as new species. Phenotypic, genetic and phylogenetic analyses have been suggested for the complete identification of these strains. Theses bacterial strains were tested for the production of industrially important enzymes (Amylase, protease, lipase, DNAse and coagulase). These isolates are good candidates as sources of novel enzymes with biotechnological potential as they can be used in different industrial processes at high salt concentration (up to 25% NaCl for B4). Prominent amylase, lipase, protease and DNAase activities have been reported from different hypersaline environments across the globe; e.g., Spain (Sánchez‐Porro et al., 2003), Iran (Rohban et al., 2009), Tunisia (Baati et al., 2010) and India (Gupta et al., 2016). However, to the best of our knowledge, the coagulase activity has never been detected in extreme halophilic bacteria. Isolation and characterization of crude enzymes (especially coagulase) to investigate their properties and stability are in progress.The finding of novel enzymes with optimal activities at various ranges of salt concentrations is of great importance. Besides being intrinsically stable and active at high salt concentrations, halophilic and halotolerant enzymes offer great opportunities in biotechnological applications, such as environmental bioremediation (marine, oilfiel) and food processing. The bacterial isolates were also characterized for production of biosurfactants by oil-spread assay, measurement of surface tension and emulsification index (E24). There are few reports on biosurfactant producers in hypersaline environments and in recent years, there has been a greater increase in interest and importance in halophilic bacteria for biomolecules (Donio et al., 2013; Sarafin et al., 2014). Halophiles, which have a unique lipid composition, may have an important role to play as surface-active agents. The archae bacterial ether-linked phytanyl membrane lipid of the extremely halophilic bacteria has been shown to have surfactant properties (Post and Collins, 1982). Yakimov et al. (1995) reported the production of biosurfactant by a halotolerant Bacillus licheniformis strain BAS 50 which was able to produce a lipopeptide surfactant when cultured at salinities up to 13% NaCl. From solar salt, Halomonas sp. BS4 and Kocuria marina BS-15 were found to be able to produce biosurfactant when cultured at salinities of 8% and 10% NaCl respectively (Donio et al., 2013; Sarafin et al., 2014). In the present work, strains B4 and A4 produce biosurfactant in medium containing respectively 25% and 20% NaCl. To our knowledge, this is the first report on biosurfactant production by bacteria under such salt concentration. Biosurfactants have a wide variety of industrial and environmental applications (Akbari et al., 2018) but their applicability depends on their stability at different environmental conditions. The strain B4 which can produce biosurfactant at 25% NaCl showed good stability in alkaline pH and at a temperature range of 30°C-100°C. Due to the enormous utilization of biosurfactant in detergent manufacture the choice of alkaline biosurfactant is researched (Elazzazy et al., 2015). On the other hand, the interesting finding was the thermostability of the produced biosurfactant even after heat treatment (100°C for 30 min) which suggests the use of this biosurfactant in industries where heating is of a paramount importance (Khopade et al., 2012). To date, more attention has been focused on biosurfactant producing bacteria under extreme conditions for industrial and commercial usefulness. In fact, the biosurfactant produce by strain B4 have promising usefulness in pharmaceutical, cosmetics and food industries and for bioremediation in marine environment and Microbial enhanced oil recovery (MEOR) where the salinity, temperature and pH are high.CONCLUSIONThis is the first study on the culturable halophilic bacteria community inhabiting Chott Tinsilt in Eastern Algeria. Different genera of halotolerant bacteria with different phylogeneticaly characteristics have been isolated from this Chott. Culturing of bacteria and their molecular analysis provides an opportunity to have a wide range of cultured microorganisms from extreme habitats like hypersaline environments. Enzymes produced by halophilic bacteria show interesting properties like their ability to remain functional in extreme conditions, such as high temperatures, wide range of pH, and high salt concentrations. These enzymes have great economical potential in industrial, agricultural, chemical, pharmaceutical, and biotechnological applications. Thus, the halophiles isolated from Chott Tinsilt offer an important potential for application in microbial and enzyme biotechnology. In addition, these halo bacterial biosurfactants producers isolated from this Chott will help to develop more valuable eco-friendly products to the pharmacological and food industries and will be usefulness for bioremediation in marine environment and petroleum industry.ACKNOWLEDGMENTSOur thanks to Professor Abdelhamid Zoubir for proofreading the English composition of the present paper.CONFLICT OF INTERESTThe authors declare that they have no conflict of interest.Akbari, S., N. H. Abdurahman, R. M. Yunus, F. Fayaz and O. R. Alara, 2018. Biosurfactants—a new frontier for social and environmental safety: A mini review. Biotechnology research innovation, 2(1): 81-90.Association, A. P. H., A. W. W. Association, W. P. C. Federation and W. E. Federation, 1920. Standard methods for the examination of water and wastewater. American Public Health Association.Baati, H., R. Amdouni, N. Gharsallah, A. Sghir and E. Ammar, 2010. Isolation and characterization of moderately halophilic bacteria from tunisian solar saltern. Current microbiology, 60(3): 157-161.Berridge, N., 1952. Some observations on the determination of the activity of rennet. Analyst, 77(911): 57b-62.DasSarma, S. and P. Arora, 2001. Halophiles. Encyclopedia of life sciences. Nature publishishing group: 1-9.Donio, M. B. S., F. A. Ronica, V. T. Viji, S. Velmurugan, J. S. C. A. Jenifer, M. Michaelbabu, P. Dhar and T. Citarasu, 2013. Halomonas sp. Bs4, a biosurfactant producing halophilic bacterium isolated from solar salt works in India and their biomedical importance. SpringerPlus, 2(1): 149.El-Sersy, N. A., 2012. Plackett-burman design to optimize biosurfactant production by marine Bacillus subtilis n10. Roman biotechnol lett, 17(2): 7049-7064.Elazzazy, A. M., T. Abdelmoneim and O. Almaghrabi, 2015. Isolation and characterization of biosurfactant production under extreme environmental conditions by alkali-halo-thermophilic bacteria from Saudi Arabia. Saudi journal of biological Sciences, 22(4): 466-475.Graham, J. E. and B. Wilkinson, 1992. Staphylococcus aureus osmoregulation: Roles for choline, glycine betaine, proline, and taurine. Journal of bacteriology, 174(8): 2711-2716.Gupta, S., P. Sharma, K. Dev and A. Sourirajan, 2016. Halophilic bacteria of lunsu produce an array of industrially important enzymes with salt tolerant activity. Biochemistry research international, 1: 1-10.Gupta, S., P. Sharma, K. Dev, M. Srivastava and A. Sourirajan, 2015. A diverse group of halophilic bacteria exist in lunsu, a natural salt water body of Himachal Pradesh, India. SpringerPlus 4(1): 274.Hacěne, H., F. Rafa, N. Chebhouni, S. Boutaiba, T. Bhatnagar, J. C. Baratti and B. Ollivier, 2004. 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Ohta, Y. Tanaka, K. Takeyasu and T. Msadek, 2009. Adaptation beyond the stress response: Cell structure dynamics and population heterogeneity in Staphylococcus aureus. Microbes environments, 25: 75-82.Morikawa, M., Y. Hirata and T. J. B. e. B. A.-M. Imanaka, 2000. A study on the structure–function relationship of lipopeptide biosurfactants. Biochimica et biophysica acta, 1488(3): 211-218.Oren, A., 2002. Diversity of halophilic microorganisms: Environments, phylogeny, physiology, and applications. Journal of industrial microbiology biotechnology, 28(1): 56-63.Oren, A., 2006. Halophilic microorganisms and their environments. Springer science & business media.Oren, A., R. Vreeland and L. Hochstein, 1993. Ecology of extremely halophilic microorganisms. The biology of halophilic bacteria, 2(1): 1-8.Phillips, K., F. Zaidan, O. R. Elizondo and K. L. Lowe, 2012. Phenotypic characterization and 16s rDNA identification of culturable non-obligate halophilic bacterial communities from a hypersaline lake, la sal del rey, in extreme south texas (USA). Aquatic biosystems, 8(1): 1-5.Post, F. and N. Collins, 1982. A preliminary investigation of the membrane lipid of Halobacterium halobium as a food additive 1. Journal of food biochemistry, 6(1): 25-38.Rocha, C., F. San-Blas, G. San-Blas and L. Vierma, 1992. Biosurfactant production by two isolates of Pseudomonas aeruginosa. World Journal of microbiology biotechnology, 8(2): 125-128.Rohban, R., M. A. Amoozegar and A. Ventosa, 2009. Screening and isolation of halophilic bacteria producing extracellular hydrolyses from howz soltan lake, Iran. Journal of industrial microbiology biotechnology, 36(3): 333-340.Roohi, A., I. Ahmed, N. Khalid, M. Iqbal and M. Jamil, 2014. Isolation and phylogenetic identification of halotolerant/halophilic bacteria from the salt mines of Karak, Pakistan. 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Schleifer, W. B. Whitman, J. Euzéby, R. Amann and R. Rosselló-Móra, 2014. Uniting the classification of cultured and uncultured bacteria and archaea using 16s rRNA gene sequences. Nature reviews microbiology, 12(9): 635-645

Abstract:

For improving the generality, expandability and accuracy, the general embedded intelligent monitoring system of tower crane is developed. The system can be applied to different kinds of tower cranes running at any lifting ratio, can be initialized using U disk with the information of tower crane, and fit the lifting torque curve automatically. In dangerous state, the system can sent out alarm signals with sounds and lights, and cut off power by sending signals to PLC through communication interface RS485. When electricity goes off suddenly, the system can record the real-time operating information automatically, and store them in a black box, which can be taken as the basis for confirming the accident responsibility.In recent years, tower cranes play a more and more important role in the construction of tall buildings, in other construction fields are also more widely used. For the safety of tower cranes, various monitors have been developed for monitoring the running information of crane tower [1-8]. These monitors can’t eliminate the errors caused by temperature variations automatically. The specific tower crane’s parameters such as geometric parameters, alarming parameters, lifting ratio, lifting torque should be embedded into the core program, so a monitor can only be applied to a specific type of tower crane, lack of generality and expansibility.For improving the defects of the existing monitors, a general intelligent monitoring modular system of tower crane with high precision is developed, which can initialize the system automatically, eliminate the temperature drift and creep effect of sensor, and store power-off data, which is the function of black box.Hardware design of the monitoring systemThe system uses modularized design mode. These modules include embedded motherboard module, sensor module, signal processing module, data acquisition module, power module, output control module, display and touch screen module. The hardware structure is shown in figure 1. Figure 1 Hardware structure of the monitoring systemEmbedded motherboard module is the core of the system. The motherboard uses the embedded microprocessor ARM 9 as MCU, onboard SDRAM and NAND Flash. Memory size can be chosen according to users’ needs. SDRAM is used for running procedure and cache data. NAND Flash is used to store embedded Linux operating system, applications and operating data of tower crane. Onboard clock with rechargeable batteries provides the information of year, month, day, hour, minute and second. This module provides time tag for real-time operating data. Most interfaces are taken out by the plugs on the embedded motherboard. They include I/O interface, RS232 interface, RS485 interface, USB interface, LCD interface, Audio interface, Touch Screen interface. Pull and plug structure is used between all interfaces and peripheral equipments, which not only makes the system to be aseismatic, but also makes its configuration flexible. Watch-dog circuit is designed on the embedded motherboard, which makes the system reset to normal state automatically after its crash because of interference, program fleet, or getting stuck in an infinite loop, so the system stability is improved greatly. In order to store operating data when power is down suddenly, the power-down protection circuit is designed. The saved data will be helpful to repeat the accident process later, confirm the accident responsibility, and provide the basis for structure optimization of tower crane.Sensor module is confirmed by the main parameters related to tower crane’s security, such as lifting weight, lifting torque, trolley luffing, lifting height, rotary angle and wind speed. Axle pin shear load cell is chosen to acquire lifting weight signals. Potentiometer accompanied with multi-stopper or incremental encoder is chosen to acquire trolley luffing and lifting height signals. Potentiometer accompanied with multi-stopper or absolute photoelectric encoder is chosen to acquire rotary angle signals. Photoelectric sensor is chosen to acquire wind speed signals. The output signals of these sensors can be 0~5V or 4~20mA analog signals, or digital signal from RS485 bus. The system can choose corresponding signal processing method according to the type of sensor signal, which increases the flexibility on the selection of sensors, and is helpful for the users to expand monitoring objects. If the acquired signal is analog signal, it will be processed with filtering, isolation, anti-interference processing by signal isolate module, and sent to A/D module for converting into digital signals, then transformed into RS485 signal by the communication protocol conversion device according to Modbus protocol. If the acquired signal is digital signal with RS485 interface, it can be linked to RS485 bus directly. All the acquired signals are sent to embedded motherboard for data processing through RS485 bus.The data acquisition module is linked to the data acquisition control module on embedded motherboard through RS485 interface. Under the control of program, the system inquires the sensors at regular intervals, and acquires the operating data of crane tower. Median filter technology is used to eliminate interferences from singularity signals. After analysis and processing, the data are stored in the database on ARM platform.Switch signal can be output to relay module or PLC from output control module through RS485 bus, then each actuator will be power on or power off according to demand, so the motion of tower crane will be under control.Video module is connected with motherboard through TFT interface. After being processed, real-time operating parameters are displayed on LCD. The working time, work cycle times, alarm, overweight and ultar-torque information will be stored into database automatically. For meeting the needs of different users, the video module is compatible with 5.7, 8.4 or 10.4 inches of color display.Touch screen is connected with embedded motherboard by touch screen interface, so human machine interaction is realized. Initialization, data download, alarm information inquire, parameter modification can be finished through touch screen.Speaker is linked with audio interface, thus alarm signals is human voice signal, not harsh buzz.USB interface can be linked to conventional U disk directly. Using U disk, users can upload basic parameters of tower crane, initialize system, download operating data, which provides the basis for the structural optimization and accident analysis. Software design of the monitoring systemAccording to the modular design principle, the system software is divided into grading encryption module, system update module, parameter settings module, calibration module, data acquisition and processor module, lifting parameters monitoring module, alarm query module, work statistics module.Alarm thresholds are guarantee for safety operation of the tower crane. Operating data of tower crane are the basis of service life prediction, structural optimization, accident analysis, accident responsibility confirmation. According to key field, the database is divided into different security levels for security requirements. Key fields are grade encryption with symmetrical encryption algorithm, and data keys are protected with elliptic curve encryption algorithm. The association is realized between the users’ permission and security grade of key fields, which will ensure authorized users with different grades to access the equivalent encrypted key fields. The user who meets the grade can access equivalent encrypted database and encrypted key field in the database, also can access low-grade encrypted key fields. This ensures the confidentiality and integrity of key data, and makes the system a real black box.The system is divided into operating mode and management mode in order to make the system toggle between the two states conveniently. The default state is operating mode. As long as the power is on, the monitoring system will be started by the system guide program, and monitor the operating state of the tower crane. The real-time operating data will be displayed on the display screen. At the dangerous state, warning signal will be sent to the driver through voice alarm and light alarm, and corresponding control signal will be output to execution unit to cut off relevant power for tower crane’s safety.By clicking at the mode switch button on the initial interface, the toggle can be finished between the management mode and the operating mode. Under the management mode, there are 4 grades encrypted modes, namely the system update, alarm query, parameter setting and data query. The driver only can browse relevant information. Ordinary administrator can download the alarm information for further analysis. Senior administrator can modify the alarm threshold. The highest administrator can reinitialize system to make it adapt to different types of tower crane. Only browse and download function are available in the key fields of alarm inquiry, anyone can't modify the data. The overload fields in alarm database are encrypted, only senior administrator can browse. The sensitive fields are prevented from being tampered to the great extent, which will provide the reliable basis for the structural optimization and accident analysis. The system can be initialized through the USB interface. Before initialization, type, structural parameters, alarm thresholds, control thresholds, lifting torque characteristics of tower crane should be made as Excel files and then converted to XML files by format conversion files developed specially, then the XML files are downloaded to U disk. The U disk is inserted into USB interface, then the highest administrator can initialize the system according to hints from system. After initialization, senior administrator can modify structural parameters, alarm thresholds, control thresholds by clicking on parameters setting menu. So long as users can make the corresponding excel form, the system initialization can be finished easily according to above steps and used for monitoring. This is very convenient for user.Tower crane belongs to mobile construction machinery. Over time, sensor signals may have some drift, so it is necessary to calibrate the system regularly for guaranteeing the monitoring accuracy. Considering the tower is a linear elastic structure, sensors are linear sensors,in calibration linear equation is used:y=kx+b (1)where x is sample value of sensor, y is actual value. k, b are calibration coefficients, and are calculated out by two-points method. At running mode, the relationship between x and y is:y=[(y1-y0)/(x1-x0)](x-x0)+y0 (2)After calibration, temperature drift and creep can be eliminated, so the monitoring accuracy is improved greatly.Lifting torque is the most important parameter of condition monitoring of tower crane. Comparing the real-time torque M(L) with rated torque Me(L), the movement of tower crane can be controlled under a safe status.M (L)= Q (L)×L (3)Where, Q(L)is actual lifting weight, L is trolley luffing. Me(L) = Qe(L)×L (4)Where, Q e(L) is rated lifting weight. The design values of rated lifting weight are discrete, while trolley luffing is continuous. Therefore there is a rated lifting weight in any position. According to the mechanical characteristics of tower crane, the rated lifting weight is calculated out at any point by 3 spline interpolation according to the rated lifting weight at design points.When lifting weight or lifting torque is beyond rated value, alarm signal and control signal will be sent out. The hoist motor with high, medium and low speed is controlled by the ratio of lifting weight Q and maximum lifting weight Qmax,so the hoisting speed can be controlled automatically by the lifting weight. The luffing motor with high and low speed is controlled by the ratio of lifting torque M and rated lifting torque Me. Thus the luffing speed can be controlled by the lifting torque automatically. The flow chart is shown in figure 2. Fig. 2 real-time control of lifting weight and lifting torqueWhen accidents take place, power will be off suddenly. It is vital for identifying accident liability to record the operating data at the time of power-off. If measures are not taken to save the operating data, the relevant departments is likely to shirk responsibility. In order to solve the problem, the power-off protection module is designed. The module can save the operating data within 120 seconds automatically before power is off suddenly. In this 120 seconds, data is recorded every 0.1 seconds, and stores in a 2D array with 6 rows 1200 columns in queue method. The elements of the first line are the recent time (year-month-day-hour-minute-second), the elements of the second line to sixth line are lifting weight, lifting torque, trolley luffing, lifting height and wind speed in turn. The initial values are zero, when a set of data are obtained, the elements in the first column are eliminated, the elements in the backward columns move frontwards, new elements are filled into the last column of the array, so the array always saves the operating data at the recent 120 seconds. In order to improve the real-time property of the response, and to extend the service life of the nonvolatile memory chip EEPROM-93C46, the array is cached in volatile flip SDRAM usually. So long as power-off signal produces, the array will be shift to EEPROM, at once.In order to achieve the task, the external interruption thread and the power-off monitoring thread of program is set up, the power-off monitoring thread of program is the highest priority. These two threads is idle during normal operation. When power is off, the power-off monitoring thread of program can be executed immediately. When power-off is monitored by power-off control circuit, the external interruption pins produces interrupt signal. The ARM microprocessor responds to external interrupt request, and wakes up the processing thread of external interruption, then sets synchronized events as informing state. After receiving the synchronized events, the data cached in SDRAM will be written to EEPROM in time.ConclusionThe general intelligence embedded monitoring system of tower crane, which can be applicable to various types of tower crane operating under any lifting rates, uses U disk with the information of the tower crane to finish the system initialization and fits the lifting torque curve automatically. In dangerous state, the system will give out the voice and light alarm, link with the relay or PLC by the RS485 communication interface, and cut off the power. When power is down suddenly, the instantaneous operating data can be recorded automatically, and stored in a black box, which can be taken as the proof for identifying accident responsibility. The system has been used to monitor the "JiangLu" series of tower cranes successfully, and achieved good social and economic benefits.AcknowledgementsThe authors wish to thank China Natural Science Foundation(50975289), China Postdoctoral Science Foundation(20100471229), Hunan science & technology plan, Jianglu Machinery & Electronics Co. Ltd for funding this work.Reference Leonard Bernold. Intelligent Technology for Crane Accident Prevention. Journal of Construction Engineering and Management. 1997, 9: 122~124.Gu Lichen,Lei Peng,Jia Yongfeng. Tower crane' monitor and control based on multi-sensor. Journal of Vibration, Measurement and Diagnosis. 2006, 26(SUPPL.): 174-178.Wang Ming,Zhang Guiqing,Yan Qiao,et, al. Development of a novel black box for tower crane based on an ARM-based embedded system. Proceedings of the IEEE International Conference on Automation and Logistics. 2007: 82-87.Wang Renqun, Yin Chenbo, Zhang Song, et, al. Tower Crane Safety Monitoring and Control System Based on CAN Bus. Instrument Techniques and Sensor. 2010(4): 48-51.Zheng Conghai,Li Yanming,Yang Shanhu,et, al. Intelligent Monitoring System for Tower Crane Based on BUS Architecture and Cut IEEE1451 Standard. Computer Measurement & Control. 2010, 18, (9): 1992-1995.Yang Yu,Zhenlian Zhao,Liang Chen. Research and Design of Tower Crane Condition Monitoring and Fault Diagnosis System. 2010 Proceedings of International Conference on Artificial Intelligence and Computational Intelligence. 2010: 405-408.Yu Yang, Chen Liang, Zhao Zhenlian. Research and design of tower crane condition monitoring and fault diagnosis system. International Conference on Artificial Intelligence and Computational Intelligence, 2010, 3: 405-408.Chen Baojiang, Zeng Xiaoyuan. Research on structural frame of the embedded monitoring and control system for tower crane. 2010 International Conference on Mechanic Automation and Control Engineering. 2010: 5374-5377.

Abstract:

Within world-systems research there is an overwhelming tendency to treat nation-states as hom*ogenous wholes. With some notable exceptions. this approach downplays the existence and operation of core-periphery relations on the sub-national level and the resultant inequality between different regions of nation-states. This study uses various complementary literatures in an integrative fashion to address this lacuna within the world-systems approach. We argue that uneven geographical development within core nations can at least partially be explained by the historical appropriation of natural capital; a universal process in which site-specific geographic factors and the larger political-economic context of the world-system interact. over time. to produce linked regions of relative accumulation and deprivation. To demonstrate the utility of this approach. we examine eastern North Carolina "s history as the principal producer of naval stores for Great Britain "s navy during Britain "s ascension toward hegemonic status in the world-system during the eighteenth century. We highlight how those initial extractive activities functioned as a "de-generative sector, hindering the region "s overall development. We argue generally for a synthetic approach to development theory and corresponding empirical examinations of modern and historical inequalities.

Abstract:

If I find out that you have bought a $90 red light sabre, Tara, well there's going to be trouble. -- Kevin Brabazon A few Saturdays ago, my 71-year old father tried to convince me of imminent responsibilities. As I am considering the purchase of a house, there are mortgages, bank fees and years of misery to endure. Unfortunately, I am not an effective Big Picture Person. The lure of the light sabre is almost too great. For 30 year old Generation Xers like myself, it is more than a cultural object. It is a textual anchor, and a necessary component to any future history of the present. Revelling in the aura of the Australian release for Star Wars: The Phantom Menace, this paper investigates popular memory, an undertheorised affiliation between popular culture and cultural studies.1 The excitement encircling the Star Wars prequel has been justified in terms of 'hype' or marketing. Such judgements frame the men and women cuing for tickets, talking Yodas and light sabres as fools or duped souls who need to get out more. My analysis explores why Star Wars has generated this enthusiasm, and how cultural studies can mobilise this passionate commitment to consider notions of popularity, preservation and ephemerality. We'll always have Tattooine. Star Wars has been a primary popular cultural social formation for a generation. The stories of Luke Skywalker, Princess Leia, Han Solo, Chewbacca, Darth Vader, Yoda, C-3PO and R2D2 offer an alternative narrative for the late 1970s and 1980s. It was a comfort to have the Royal Shakespearian tones of Alec Guinness confirming that the Force would be with us, through economic rationalism, unemployment, Pauline Hanson and Madonna discovering yoga. The Star Wars Trilogy, encompassing A New Hope, The Empire Strikes Back and Return of the Jedi, was released between 1977 and 1983. These films have rarely slipped from public attention, being periodically 'brought back' through new cinematic and video releases. The currency of Star Wars is matched with the other great popular cultural formations of the post-war period: the James Bond series and Star Trek. One reason for the continued success of these programmes is that other writers, film makers and producers cannot leave these texts alone. Bond survives not only through Pierce Brosnan's good looks, but the 'Hey Baby' antics of Austin Powers. Star Trek, through four distinct series, has become an industry that will last longer than Voyager's passage back from the Delta Quadrant. Star Wars, perhaps even more effectively than the other popular cultural heavyweights, has enmeshed itself into other filmic and televisual programming. Films like Spaceballs and television quizzes on Good News Week keep the knowledge system and language current and pertinent.2 Like Umberto Eco realised of Casablanca, Star Wars is "a living example of living textuality" (199). Both films are popular because of imperfections and intertextual archetypes, forming a filmic quilt of sensations and affectivities. Viewers are aware that "the cliches are talking among themselves" (Eco 209). As these cinematic texts move through time, the depth and commitment of these (con)textual dialogues are repeated and reinscribed. To hold on to a memory is to isolate a moment or an image and encircle it with meaning. Each day we experience millions of texts: some are remembered, but most are lost. Some popular cultural texts move from ephemera to popular memory to history. In moving beyond individual reminiscences -- the personal experiences of our lifetime -- we enter the sphere of popular culture. Collective or popular memory is a group or community experience of a textualised reality. For example, during the Second World War, there were many private experiences, but certain moments arch beyond the individual. Songs by Vera Lynn are fully textualised experiences that become the fodder for collective memory. Similarly, Star Wars provides a sense-making mechanism for the 1980s. Like all popular culture, these texts allow myriad readership strategies, but there is collective recognition of relevance and importance. Popular memory is such an important site because it provides us, as cultural critics, with a map of emotionally resonant sites of the past, moments that are linked with specific subjectivities and a commonality of expression. While Star Wars, like all popular cultural formations, has a wide audience, there are specific readings that are pertinent for particular groups. To unify a generation around cultural texts is an act of collective memory. As Harris has suggested, "sometimes, youth does interesting things with its legacy and creatively adapts its problematic into seemingly autonomous cultural forms" (79). Generation X refers to an age cohort born between the mid-1960s and the mid-1970s. Finally cultural studies theorists have found a Grail subculture. Being depthless, ambivalent, sexually repressed and social failures, Xers are a cultural studies dream come true. They were the children of the media revolution. Star Wars is integral to this textualised database. A fan on the night of the first screening corrected a journalist: "we aren't Generation X, we are the Star Wars generation" (Brendon, in Miller 9). An infatuation and reflexivity with the media is the single framework of knowledge in which Xers operate. This shared understanding is the basis for comedy, and particularly revealed (in Australia) in programmes like The Panel and Good News Week. Television themes, lines of film dialogue and contemporary news broadcasts are the basis of the game show. The aesthetics of life transforms television into a real. Or, put another way, "individual lives may be fragmented and confused but McDonald's is universal" (Hopkins 17). A group of textual readers share a literacy, a new way of reading the word and world of texts. Nostalgia is a weapon. The 1990s has been a decade of revivals: from Abba to skateboards, an era of retro reinscription has challenged linear theories of history and popular culture. As Timothy Carter reveals, "we all loved the Star Wars movies when we were younger, and so we naturally look forward to a continuation of those films" (9). The 1980s has often been portrayed as a bad time, of Thatcher and Reagan, cold war brinkmanship, youth unemployment and HIV. For those who were children and (amorphously phrased) 'young adults' of this era, the popular memory is of fluorescent fingerless gloves, Ray Bans, 'Choose Life' t-shirts and bubble skirts. It was an era of styling mousse, big hair, the Wham tan, Kylie and Jason and Rick Astley's dancing. Star Wars action figures gave the films a tangibility, holding the future of the rebellion in our hands (literally). These memories clumsily slop into the cup of the present. The problem with 'youth' is that it is semiotically too rich: the expression is understood, but not explained, by discourses as varied as the educational system, family structures, leisure industries and legal, medical and psychological institutions. It is a term of saturation, where normality is taught, and deviance is monitored. All cultural studies theorists carry the baggage of the Birmingham Centre into any history of youth culture. The taken-for-granted 'youth as resistance' mantra, embodied in Resistance through Rituals and Subculture: The Meaning of Style, transformed young people into the ventriloquist's puppet of cultural studies. The strings of the dancing, smoking, swearing and drinking puppet took many years to cut. The feminist blade of Angela McRobbie did some damage to the fraying filaments, as did Dick Hebdige's reflexive corrections in Hiding in the Light. However, the publications, promotion and pedagogy of Gen X ended the theoretical charade. Gen X, the media sophisticates, played with popular culture, rather than 'proper politics.' In Coupland's Generation X, Claire, one of the main characters believed that "Either our lives become stories, or there's just no way to get through them." ... We know that this is why the three of us left our lives behind us and came to the desert -- to tell stories and to make our own lives worthwhile tales in the process. (8) Television and film are part of this story telling process. This intense connection generated an ironic and reflexive literacy in the media. Television became the basis for personal pleasures and local resistances, resulting in a disciplined mobilisation of popular cultural surfaces. Even better than the real thing. As the youngest of Generation Xers are now in their late twenties, they have moved from McJobs to careers. Robert Kizlik, a teacher trainer at an American community college expressed horror as the lack of 'commonsensical knowledge' from his new students. He conducted a survey for teachers training in the social sciences, assessing their grasp of history. There was one hundred percent recognition of such names as Madonna, Mike Tyson, and Sharon Stone, but they hardly qualify as important social studies content ... . I wondered silently just what it is that these students are going to teach when they become employed ... . The deeper question is not that we have so many high school graduates and third and fourth year college students who are devoid of basic information about American history and culture, but rather, how, in the first place, these students came to have the expectations that they could become teachers. (n. pag.) Kizlik's fear is that the students, regardless of their enthusiasm, had poor recognition of knowledge he deemed significant and worthy. His teaching task, to convince students of the need for non-popular cultural knowledges, has resulted in his course being termed 'boring' or 'hard'. He has been unable to reconcile the convoluted connections between personal stories and televisual narratives. I am reminded (perhaps unhelpfully) of one of the most famous filmic teachers, Mr Holland. Upon being attacked by his superiors for using rock and roll in his classes, he replied that he would use anything to instil in his students a love of music. Working with, rather than against, popular culture is an obvious pedagogical imperative. George Lucas has, for example, confirmed the Oprahfied spirituality of the current age. Obviously Star Wars utilises fables, myths3 and fairy tales to summon the beautiful Princess, the gallant hero and the evil Empire, but has become something more. Star Wars slots cleanly into an era of Body Shop Feminism, John Gray's gender politics and Rikki Lake's relationship management. Brian Johnson and Susan Oh argued that the film is actually a new religion. A long time ago in a galaxy far far away -- late 1970s California -- the known universe of George Lucas came into being. In the beginning, George created Star Wars. And the screen was without form, and void. And George said, 'Let there be light', and there was Industrial Light and Magic. And George divided the light from the darkness, with light sabres, and called the darkness the Evil Empire.... And George saw that it was good. (14) The writers underestimate the profound emotional investment placed in the trilogy by millions of people. Genesis narratives describe the Star Wars phenomenon, but do not analyse it. The reason why the films are important is not only because they are a replacement for religion. Instead, they are an integrated component of popular memory. Johnson and Oh have underestimated the influence of pop culture as "the new religion" (14). It is not a form of cheap grace. The history of ideas is neither linear nor traceable. There is no clear path from Plato to Prozac or Moses to Mogadon. Obi-Wan Kenobi is not a personal trainer for the ailing spirituality of our age. It was Ewan McGregor who fulfilled the Xer dream to be the young Obi Wan. As he has stated, "there is nothing cooler than being a Jedi knight" (qtd. in Grant 15). Having survived feet sawing in Shallow Grave and a painfully large enema in Trainspotting, there are few actors who are better prepared to carry the iconographic burden of a Star Wars prequel. Born in 1971, he is the Molly Ringwall of the 1990s. There is something delicious about the new Obi Wan, that hails what Hicks described as "a sense of awareness and self- awareness, of detached observation, of not taking things seriously, and a use of subtle dry humour" (79). The metaphoric light sabre was passed to McGregor. The pull of the dark side. When fans attend The Phantom Menace, they tend to the past, as to a loved garden. Whether this memory is a monument or a ruin depends on the preservation of the analogue world in the digital realm. The most significant theoretical and discursive task in the present is to disrupt the dual ideologies punctuating the contemporary era: inevitable technological change and progress.4 Only then may theorists ponder the future of a digitised past. Disempowered groups, who were denied a voice and role in the analogue history of the twentieth century, will have inequalities reified and reinforced through the digital archiving of contemporary life. The Web has been pivotal to the new Star Wars film. Lucasfilm has an Internet division and an official Website. Between mid November and May, this site has been accessed twenty million times (Gallott 15). Other sites, such as TheForce.net and Countdown to Star Wars, are a record of the enthusiasm and passion of fans. As Daniel Fallon and Matthew Buchanan have realised, "these sites represent the ultimate in film fandom -- virtual communities where like-minded enthusiasts can bathe in the aura generated by their favourite masterpiece" (27). Screensavers, games, desktop wallpaper, interviews and photo galleries have been downloaded and customised. Some ephemeral responses to The Phantom Menace have been digitally recorded. Yet this moment of audience affectivity will be lost without a consideration of digital memory. The potentials and problems of the digital and analogue environments need to be oriented into critical theories of information, knowledge, entertainment and pleasure. The binary language of computer-mediated communication allows a smooth transference of data. Knowledge and meaning systems are not exchanged as easily. Classifying, organising and preserving information make it useful. Archival procedures have been both late and irregular in their application.5 Bocher and Ihlenfeldt assert that 2500 new web sites are coming on-line every day ("A Higher Signal-to-Noise Ratio"). The difficulties and problems confronting librarians and archivists who wish to preserve digital information is revealed in the Australian government's PADI (Preserving Access to Digital Information) Site. Compared with an object in a museum which may lie undisturbed for years in a storeroom, or a book on a shelf, or even Egyptian hieroglyd on the wall of a tomb, digital information requires much more active maintenance. If we want access to digital information in the future, we must plan and act now. (PADI, "Why Preserve Access to Digital Information?") phics carve The speed of digitisation means that responsibility for preserving cultural texts, and the skills necessary to enact this process, is increasing the pressure facing information professionals. An even greater difficulty when preserving digital information is what to keep, and what to release to the ephemeral winds of cyberspace. 'Qualitative criteria' construct an historical record that restates the ideologies of the powerful. Concerns with quality undermine the voices of the disempowered, displaced and decentred. The media's instability through technological obsolescence adds a time imperative that is absent from other archival discussions.6 While these problems have always taken place in the analogue world, there was a myriad of alternative sites where ephemeral material was stored, such as the family home. Popular cultural information will suffer most from the 'blind spots' of digital archivists. While libraries rarely preserve the ephemera of a time, many homes (including mine) preserve the 'trash' of a culture. A red light sabre, toy dalek, Duran Duran posters and a talking Undertaker are all traces of past obsessions and fandoms. Passion evaporates, and interests morph into new trends. These objects remain in attics, under beds, in boxes and sheds throughout the world. Digital documents necessitate a larger project of preservation, with great financial (and spatial) commitments of technology, software and maintenance. Libraries rarely preserve the ephemera -- the texture and light -- of the analogue world. The digital era reduces the number of fan-based archivists. Subsequently forfeited is the spectrum of interests and ideologies that construct the popular memory of a culture. Once bits replace atoms, the recorded world becomes structured by digital codes. Only particular texts will be significant enough to store digitally. Samuel Florman stated that "in the digital age nothing need be lost; do we face the prospect of drowning in trivia as the generations succeed each other?" (n. pag.) The trivia of academics may be the fodder (and pleasures) of everyday life. Digitised preservation, like analogue preservation, can never 'represent' plural paths through the past. There is always a limit and boundary to what is acceptable obsolescence. The Star Wars films suggests that "the whole palette of digital technology is much more subtle and supple; if you can dream it, you can see it" (Corliss 65). This film will also record how many of the dreams survive and are archived. Films, throughout the century, have changed the way in which we construct and remember the past. They convey an expressive memory, rather than an accurate history. Certainly, Star Wars is only a movie. Yet, as Rushkoff has suggested, "we have developed a new language of references and self-references that identify media as a real thing and media history as an actual social history" (32). The build up in Australia to The Phantom Menace has been wilfully joyful. This is a history of the present, a time which I know will, in retrospect, be remembered with great fondness. It is a collective event for a generation, but it speaks to us all in different ways. At ten, it is easy to be amazed and enthralled at popular culture. By thirty, it is more difficult. When we see Star Wars, we go back to visit our memories. With red light sabre in hand, we splice through time, as much as space. Footnotes The United States release of the film occurred on 19 May 1999. In Australia, the film's first screenings were on 3 June. Many cinemas showed The Phantom Menace at 12:01 am, (very) early Thursday morning. The three main players of the GNW team, Paul McDermott, Mikey Robbins and Julie McCrossin, were featured on the cover of Australia's Juice magazine in costumes from The Phantom Menace, being Obi-Wan, Yoda and Queen Amidala respectively. Actually, the National Air and Space Museum had a Star Wars exhibition in 1997, titled "Star Wars: The Magic of Myth". For example, Janet Collins, Michael Hammond and Jerry Wellington, in Teaching and Learning with the Media, stated that "the message is simple: we now have the technology to inform, entertain and educate. Miss it and you, your family and your school will be left behind" (3). Herb Brody described the Net as "an overstuffed, underorganised attic full of pictures and documents that vary wildly in value", in "Wired Science". The interesting question is, whose values will predominate when the attic is being cleared and sorted? This problem is extended because the statutory provision of legal deposit, which obliges publishers to place copies of publications in the national library of the country in which the item is published, does not include CD-ROMs or software. References Bocher, Bob, and Kay Ihlenfeldt. "A Higher Signal-to-Noise Ratio: Effective Use of WebSearch Engines." State of Wisconsin Department of Public Instruction Website. 13 Mar. 1998. 15 June 1999 <http://www.dpi.state.wi.us/dpi/dlcl/lbstat/search2.php>. Brody, Herb. "Wired Science." Technology Review Oct. 1996. 15 June 1999 <http://www.techreview.com/articles/oct96/brody.php>. Carter, Timothy. "Wars Weary." Cinescape 39 (Mar./Apr. 1999): 9. Collins, Janet, Michael Hammond, and Jerry Wellington. Teaching and Learning with Multimedia. London: Routledge, 1997. Corliss, Richard. "Ready, Set, Glow!" Time 18 (3 May 1999): 65. Count Down to Star Wars. 1999. 15 June 1999 <http://starwars.countingdown.com/>. Coupland, Douglas. Generation X. London: Abacus, 1991. Eco, Umberto. Travels in Hyper-Reality. London: Picador, 1987. Fallon, Daniel, and Matthew Buchanan. "Now Screening." Australian Net Guide 4.5 (June 1999): 27. Florman, Samuel. "From Here to Eternity." MIT's Technology Review 100.3 (Apr. 1997). Gallott, Kirsten. "May the Web Be with you." Who Weekly 24 May 1999: 15. Grant, Fiona. "Ewan's Star Soars!" TV Week 29 May - 4 June 1999: 15. Hall, Stuart, and Tony Jefferson, eds. Resistance through Rituals. London: Hutchinson, 1976. Harris, David. From Class Struggle to the Politics of Pleasure: the Effects of Gramscianism on Cultural Studies. London: Routledge, 1992. Hebdige, Dick. Hiding in the Light. London: Routledge, 1988. Hopkins, Susan. "Generation Pulp." Youth Studies Australia Spring 1995. Johnson, Brian, and Susan Oh. "The Second Coming: as the Newest Star Wars Film Illustrates, Pop Culture Has Become a New Religion." Maclean's 24 May 1999: 14-8. Juice 78 (June 1999). Kizlik, Robert. "Generation X Wants to Teach." International Journal of Instructional Media 26.2 (Spring 1999). Lucasfilm Ltd. Star Wars: Welcome to the Official Site. 1999. 15 June 1999 <http://www.starwars.com/>. Miller, Nick. "Generation X-Wing Fighter." The West Australian 4 June 1999: 9. PADI. "What Digital Information Should be Preserved? Appraisal and Selection." Preserving Access to Digital Information (PADI) Website. 11 March 1999. 15 June 1999 <http://www.nla.gov.au/padi/what.php>. PADI. "Why Preserve Access to Digital Information?" Preserving Access to Digital Information (PADI) Website. <http://www.nla.gov.au/padi/why.php>. Rushkoff, Douglas. Media Virus. Sydney: Random House, 1994. Citation reference for this article MLA style: Tara Brabazon. "A Red Light Sabre to Go, and Other Histories of the Present." M/C: A Journal of Media and Culture 2.4 (1999). [your date of access] <http://www.uq.edu.au/mc/9906/sabre.php>. Chicago style: Tara Brabazon, "A Red Light Sabre to Go, and Other Histories of the Present," M/C: A Journal of Media and Culture 2, no. 4 (1999), <http://www.uq.edu.au/mc/9906/sabre.php> ([your date of access]). APA style: Tara Brabazon. (1999) A red light sabre to go, and other histories of the present. M/C: A Journal of Media and Culture 2(4). <http://www.uq.edu.au/mc/9906/sabre.php> ([your date of access]).

Abstract:

As the distinction between disclosure-fuelled celebrity and lasting fame becomes difficult to discern, the “based on a true story” label has gained a particular traction among readers and viewers. This is despite much public approbation and private angst sometimes resulting from such disclosure as “little in the law or in society protects people from the consequences of others’ revelations about them” (Smith 537). Even fiction writers can stray into difficult ethical and artistic territory when they disclose the private facts of real lives—that is, recognisably biographical information—in their work, with autoethnographic fiction where authors base their fiction on their own lives (Davis and Ellis) not immune as this often discloses others’ stories (Ellis) as well. F. Scott Fitzgerald famously counselled writers to take their subjects from life and, moreover, to look to the singular, specific life, although this then had to be abstracted: “Begin with an individual, and before you know it, you find that you have created a type; begin with a type, and you find that you have created—nothing” (139). One of the problems when assessing fiction through this lens, however, is that, although many writers are inspired in their work by an actual life, event or historical period, the resulting work is usually ultimately guided by literary concerns—what writers often term the quest for aesthetic truth—rather than historical accuracy (Owen et al. 2008). In contrast, a biography is, and continues to be, by definition, an accurate account of a real persons’ life. Despite postmodern assertions regarding the relativity of truth and decades of investigation into the incorporation of fiction into biography, other non-fiction texts and research narratives (see, for instance: Wyatt), many biographers attest to still feeling irrevocably tied to the factual evidence in a way that novelists and the scriptors of biographically-based fictional television drama, movies and theatrical pieces do not (Wolpert; Murphy; Inglis). To cite a recent example, Louis Nowra’s Ice takes the life of nineteenth-century self-made entrepreneur and politician Malcolm McEacharn as its base, but never aspires to be classified as creative nonfiction, history or biography. The history in a historical novel is thus often, and legitimately, skewed or sidelined in order to achieve the most satisfying work of art, although some have argued that fiction may uniquely represent the real, as it is able to “play […] in the gap between the narratives of history and the actualities of the past” (Nelson n.p.). Fiction and non-fictional forms are, moreover, increasingly intermingling and intertwining in content and intent. The ugly word “faction” was an attempt to suggest that the two could simply be elided but, acknowledging wide-ranging debates about whether literature can represent the complexities of life with any accuracy and post-structuralist assertions that the idea of any absolute truth is outmoded, contemporary authors play with, and across, these boundaries, creating hybrid texts that consciously slide between invention and disclosure, but which publishers, critics and readers continue to define firmly as either fiction or biography. This dancing between forms is not particularly new. A striking example was Marion Halligan’s 2001 novel The Fog Garden which opens with a personal essay about the then recent death of her own much-loved husband. This had been previously published as an autobiographical memoir, “Cathedral of Love,” and again in an essay collection as “Lapping.” The protagonist of the novel is a recently widowed writer named Clare, but the inclusion of Halligan’s essay, together with the book’s marketing campaign which made much of the author’s own sadness, encourages readers to read the novel as a disclosure of the author’s own personal experience. This is despite Halligan’s attempt to keep the two separate: “Clare isn’t me. She’s like me. Some of her experience, terrors, have been mine. Some haven’t” (Fog Garden 9). In such acts of disclosure and denial, fiction and non-fiction can interrogate, test and even create each other, however quite vicious criticism can result when readers feel the boundaries demarking the two are breached. This is most common when authors admit to some dishonesty in terms of self-disclosure as can be seen, for instance, in the furore surrounding highly inflated and even wholly fabricated memoirs such as James Frey’s A Million Little Pieces, Margaret B. Jones’s Love and Consequences and Misha Defonseca’s A Mémoire of the Holocaust Years. Related problems and anxieties arise when authors move beyond incorporating and disclosing the facts of their own lives in memoir or (autobiographical) fiction, to using the lives of others in this way. Daphne Patai sums up the difference: “A person telling her life story is, in a sense, offering up her self for her own and her listener’s scrutiny […] Whether we should appropriate another’s life in this way becomes a legitimate question” (24–5). While this is difficult but seemingly manageable for non-fiction writers because of their foundational reliance on evidence, this anxiety escalates for fiction writers. This seems particularly extreme in relation to how audience expectations and prior knowledge of actual events can shape perceptions and interpretations of the resulting work, even when those events are changed and the work is declared to be one of fiction. I have discussed elsewhere, for instance, the difficult terrain of crafting fiction from well-known criminal cases (Brien, “Based on a True Story”). The reception of such work shows how difficult it is to dissociate creative product from its source material once the public and media has made this connection, no matter how distant that finished product may be from the original facts.As the field of biography continues to evolve for writers, critics and theorists, a study of one key text at a moment in that evolution—Jill Shearer’s play Georgia and its reliance on disclosing the life of artist Georgia O’Keeffe for its content and dramatic power—reveals not only some of the challenges and opportunities this close relationship offers to the writers and readers of life stories, but also the pitfalls of attempting to dissemble regarding artistic intention. This award-winning play has been staged a number of times in the past decade but has attracted little critical attention. Yet, when I attended a performance of Georgia at La Boite Theatre in Brisbane in 1999, I was moved by the production and admiring of Shearer’s writing which was, I told anyone who would listen, a powerfully dramatic interpretation of O’Keeffe’s life, one of my favourite artists. A full decade on, aspects of the work and its performance still resonate through my thinking. Author of more than twenty plays performed throughout Australia and New Zealand as well as on Broadway, Shearer was then (and is) one of Australia’s leading playwrights, and I judged Georgia to be a major, mature work: clear, challenging and confident. Reading the Currency Press script a year or so after seeing the play reinforced for me how distinctive and successful a piece of theatre Shearer had created utilising a literary technique which has been described elsewhere as fictionalised biography—biography which utilises fictional forms in its presentation but stays as close to the historical record as conventional biography (Brien, The Case of Mary Dean).The published version of the script indeed acknowledges on its title page that Georgia is “inspired by the later life of the American artist Georgia O’Keeffe” (Shearer). The back cover blurb begins with a quote attributed to O’Keeffe and then describes the content of the play entirely in terms of biographical detail: The great American artist Georgia O’Keeffe is physically, emotionally and artistically debilitated by her failing eyesight. Living amidst the Navajo spiritual landscape in her desert home in New Mexico, she becomes prey to the ghosts of her past. Her solitude is broken by Juan, a young potter, whose curious influence on her life remains until her death at 98 (Georgia back cover). This short text ends by unequivocally reinforcing the relation between the play and the artist’s life: “Georgia is a passionate play that explores with sensitivity and wry humour the contradictions and the paradoxes of the life of Georgia O’Keeffe” (Georgia back cover). These few lines of plot synopsis actually contain a surprisingly large number of facts regarding O’Keeffe’s later life. After the death of her husband (the photographer and modern art impresario Alfred Steiglitz whose ghost is a central character in the play), O’Keeffe did indeed relocate permanently to Abiquiú in New Mexico. In 1971, aged 84, she was suffering from an irreversible degenerative disease, had lost her central vision and stopped painting. One autumn day in 1973, Juan Hamilton, a young potter, appeared at her adobe house looking for work. She hired him and he became her lover, closest confidante and business manager until her death at 98. These facts form not only the background story but also much of the riveting content for Georgia which, as the published script’s introduction states, takes as its central themes: “the dilemma of the artist as a an older woman; her yearning to create against the fear of failing artistic powers; her mental strength and vulnerability; her sexuality in the face of physical deterioration; her need for companionship and the paradoxical love of solitude” (Rider vii). These issues are not only those which art historians identify as animating the O’Keeffe’s later life and painting, but ones which are discussed at length in many of the biographies of the artist published from 1980 to 2007 (see, for instance: Arrowsmith and West; Berry; Calloway and Bry; Castro; Drohojowska-Philp; Eisler; Eldredge; Harris; Hogrefe; Lisle; Peters; Reily; Robinson).Despite this clear focus on disclosing aspects of O’Keeffe’s life, both the director’s and playwright’s notes prefacing the published script declare firmly that Georgia is fiction, not biography. While accepting that these statements may be related to copyright and privacy concerns, the stridency of the denials of the biography label with its implied intention of disclosing the facts of a life, are worthy of analysis. Although noting that Georgia is “about the American artist Georgia O’Keeffe”, director of the La Boite production Sue Rider asserts that not only that the play moves “beyond the biographical” (vii) but, a few pages later, that it is “thankfully not biography” (xii). This is despite Rider’s own underscoring of the connection to O’Keeffe by setting up an exhibition of the artist’s work adjacent to the theatre. Shearer, whose research acknowledgments include a number of works about O’Keeffe, is even more overtly strident in her denial of any biographical links stating that her characters, “this Juan, Anna Marie and Dorothy Norman are a work of dramatic fiction, as is the play, and should be taken as such” (xiii).Yet, set against a reading of the biographies of the artist, including those written in the intervening decade, Georgia clearly and remarkably accurately discloses the tensions and contradictions of O’Keeffe’s life. It also draws on a significant amount of documented biographical data to enhance the dramatic power of what is disclosed by the play for audiences with this knowledge. The play does work as a coherent narrative for a viewer without any prior knowledge of O’Keeffe’s life, but the meaning of the dramatic action is enhanced by any biographical knowledge the audience possesses. In this way, the play’s act of disclosure is reinforced by this externally held knowledge. Although O’Keeffe’s oeuvre is less well known and much anecdotal detail about her life is not as familiar for Australian viewers as for those in the artist’s homeland, Shearer writes for an international as well as an Australian audience, and the program and adjacent exhibition for the Brisbane performance included biographical information. It is also worth noting that large slabs of biographical detail are also omitted from the play. These omissions to disclosure include O’Keeffe’s early life from her birth in 1887 in Wisconsin to her studies in Chicago and New York from 1904 to 1908, as well as her work as a commercial artist and art teacher in Texas and other Southern American states from 1912 to 1916. It is from this moment in 1916, however, that the play (although opening in 1946) constructs O’Keeffe’s life right through to her death in 1986 by utilising such literary devices as flashbacks, dream sequences and verbal and visual references.An indication of the level of accuracy of the play as biographical disclosure can be ascertained by unpacking the few lines of opening stage directions, “The Steiglitz’s suite in the old mid-range Shelton Hotel, New York, 1946 ... Georgia, 59, in black, enters, dragging a coffin” (1). In 1946, when O’Keeffe was indeed aged 59, Steiglitz died. The couple had lived part of every year at the Shelton Towers Hotel at 525 Lexington Avenue (now the New York Marriott East Side), a moderately priced hotel made famous by its depiction in O’Keeffe’s paintings and Steiglitz’s photographs. When Stieglitz suffered a cerebral thrombosis, O’Keeffe was spending the summer in New Mexico, but she returned to New York where her husband died on 13 July. This level of biographical accuracy continues throughout Georgia. Halfway through the first page “Anita, 52” enters. This character represents Anita Pollitzer, artist, critic and O’Keeffe’s lifelong friend. The publication of her biography of O’Keeffe, A Woman on Paper, and Georgia’s disapproval of this, is discussed in the play, as are their letters, which were collected and published in 1990 as Lovingly, Georgia (Gibiore). Anita’s first lines in the play after greeting her friend refer to this substantial correspondence: “You write beautifully. I always tell people: “I have a friend who writes the most beautiful letters” (1). In the play, as in life, it is Anita who introduces O’Keeffe’s work to Stieglitz who is, in turn, accurately described as: “Gallery owner. Two Nine One, Fifth Avenue. Leader of the New York avant-garde, the first to bring in the European moderns” (6). The play also chronicles how (unknown to O’Keeffe) Steiglitz exhibited the drawings Pollitzer gave him under the incorrect name, a scene which continues with Steiglitz persuading Georgia to allow her drawings to remain in his gallery (as he did in life) and ends with a reference to his famous photographs of her hands and nude form. Although the action of a substantial amount of real time is collapsed into a few dramatic minutes and, without doubt, the dialogue is invented, this invention achieves the level of aesthetic truth aimed for by many contemporary biographers (Jones)—as can be assessed when referring back to the accepted biographical account. What actually appears to have happened was that, in the autumn 1915, while teaching art in South Carolina, O’Keeffe was working on a series of abstract charcoal drawings that are now recognised as among the most innovative in American art of that time. She mailed some of these drawings to Pollitzer, who showed them Steiglitz, who exhibited ten of them in April 1916, O’Keeffe only learning of this through an acquaintance. O’Keeffe, who had first visited 291 in 1908 but never spoken to Stieglitz, held his critical opinion in high regard, and although confronting him over not seeking her permission and citing her name incorrectly, eventually agreed to let her drawings hang (Harris). Despite Shearer’s denial, the other characters in Georgia are also largely biographical sketches. Her “Anna Marie”, who never appears in the play but is spoken of, is Juan’s wife (in real life Anna Marie Hamilton), and “Dorothy Norman” is the character who has an affair with Steiglitz—the discovery of which leads to Georgia’s nervous breakdown in the play. In life, while O’Keeffe was in New Mexico, Stieglitz became involved with the much younger Norman who was, he claimed, only his gallery assistant. When O’Keeffe discovered Norman posing nude for her husband (this is vividly imagined in Georgia), O’Keeffe moved out of the Shelton and suffered from the depression that led to her nervous breakdown. “ Juan,” who ages from 26 to 39 in the play, represents the potter Juan Hamilton who encouraged the nearly blind O’Keeffe to paint again. In the biographical record there is much conjecture about Hamilton’s motives, and Shearer sensitively portrays her interpretation of this liaison and the difficult territory of sexual desire between a man and a much older woman, as she also too discloses the complex relationship between O’Keeffe and the much older Steiglitz.This complexity is described through the action of the play, but its disclosure is best appreciated if the biographical data is known. There are also a number of moments of biographical disclosure in the play that can only be fully understood with biographical knowledge in hand. For instance, Juan refers to Georgia’s paintings as “Beautiful, sexy flowers [... especially] the calla lilies” (24). All attending the play are aware (from the exhibition, program and technical aspects of the production) that, in life, O’Keeffe was famous for her flower paintings. However, knowing that these had brought her fame and fortune early in her career with, in 1928, a work titled Calla Lily selling for U.S. $25,000, then an enormous sum for any living American artist, adds to the meaning of this line in the play. Conversely, the significant level of biographical disclosure throughout Georgia does not diminish, in any way, the power or integrity of Shearer’s play as a literary work. Universal literary (and biographical) themes—love, desire and betrayal—animate Georgia; Steiglitz’s spirit haunts Georgia years after his death and much of the play’s dramatic energy is generated by her passion for both her dead husband and her younger lover, with some of her hopeless desire sublimated through her relationship with Juan. Nadia Wheatley reads such a relationship between invention and disclosure in terms of myth—relating how, in the process of writing her biography of Charmain Clift, she came to see Clift and her husband George Johnson take on a larger significance than their individual lives: “They were archetypes; ourselves writ large; experimenters who could test and try things for us; legendary figures through whom we could live vicariously” (5). In this, Wheatley finds that “while myth has no real beginning or end, it also does not bother itself with cause and effect. Nor does it worry about contradictions. Parallel tellings are vital to the fabric” (5). In contrast with both Rider and Shearer’s insistence that Georgia was “not biography”, it could be posited that (at least part of) Georgia’s power arises from the creation of such mythic value, and expressly through its nuanced disclosure of the relevant factual (biographical) elements in parallel to the development of its dramatic (invented) elements. Alongside this, accepting Georgia as such a form of biographical disclosure would mean that as well as a superbly inventive creative work, the highly original insights Shearer offers to the mass of O’Keeffe biography—something of an American industry—could be celebrated, rather than excused or denied. ReferencesArrowsmith, Alexandra, and Thomas West, eds. Georgia O’Keeffe & Alfred Stieglitz: Two Lives—A Conversation in Paintings and Photographs. Washington DC: HarperCollins and Calloway Editions, and The Phillips Collection, 1992.Berry, Michael. Georgia O’Keeffe. New York: Chelsea House, 1988.Brien, Donna Lee. The Case of Mary Dean: Sex, Poisoning and Gender Relations in Australia. Unpublished PhD Thesis. Queensland University of Technology, 2004. –––. “‘Based on a True Story’: The Problem of the Perception of Biographical Truth in Narratives Based on Real Lives”. TEXT: Journal of Writers and Writing Programs 13.2 (Oct. 2009). 19 Oct. 2009 < http://www.textjournal.com.au >.Calloway, Nicholas, and Doris Bry, eds. Georgia O’Keeffe in the West. New York: Knopf, 1989.Castro, Jan G. The Art and Life of Georgia O’Keeffe. New York: Crown Publishing, Random House, 1985.Davis, Christine S., and Carolyn Ellis. “Autoethnographic Introspection in Ethnographic Fiction: A Method of Inquiry.” In Pranee Liamputtong and Jean Rumbold, eds. Knowing Differently: Arts-Based and Collaborative Research. New York: Nova Science, 2008. 99–117.Defonseca, Misha. Misha: A Mémoire of the Holocaust Years. Bluebell, PA: Mt. Ivy Press, 1997.Drohojowska-Philp, Hunter. Full Bloom: The Art and Life of Georgia O’Keeffe. New York: WW Norton, 2004.Ellis, Carolyn. “Telling Secrets, Revealing Lives: Relational Ethics in Research with Intimate Others.” Qualitative Inquiry 13.1 (2007): 3–29. Eisler, Benita. O’Keeffe and Stieglitz: An American Romance. New York: Doubleday, 1991.Eldredge, Charles C. Georgia O’Keeffe: American and Modern. New Haven: Yale UP, 1993.Fitzgerald, F. Scott. The Diamond as Big as the Ritz and Other Stories. Harmondsworth, U.K.: Penguin, 1962.Frey, James. A Million Little Pieces. New York: N.A. Talese/Doubleday, 2003.Gibiore, Clive, ed. Lovingly, Georgia. New York: Simon and Schuster, 1990.Halligan, Marion. “Lapping.” In Peter Craven, ed. Best Australian Essays. Melbourne: Bookman P, 1999. 208–13.Halligan, Marion. The Fog Garden. Sydney: Allen and Unwin, 2001.Halligan, Marion. “The Cathedral of Love.” The Age 27 Nov. 1999: Saturday Extra 1.Harris, J. C. “Georgia O’Keeffe at 291”. Archives of General Psychiatry 64.2 (Feb. 2007): 135–37.Hogrefe, Jeffrey. O’Keeffe: The Life of an American Legend. New York: Bantam, 1994.Inglis, Ian. “Popular Music History on Screen: The Pop/Rock Biopic.” Popular Music History 2.1 (2007): 77–93.Jones, Kip. “A Biographic Researcher in Pursuit of an Aesthetic: The Use of Arts-Based (Re)presentations in “Performative” Dissemination of Life Stories”. Qualitative Sociology Review 2.1 (Apr. 2006): 66–85. Jones, Margaret B. Love and Consequences: A Memoir of Hope and Survival. New York: Riverhead Books, 2008.Lisle, Laurie. Portrait of an Artist: A Biography of Georgia O’Keeffe. New York: Seaview Books, 1980.Murphy, Mary. “Limited Lives: The Problem of the Literary Biopic”. Kinema 17 (Spr. 2002): 67–74. Nelson, Camilla. “Faking It: History and Creative Writing.” TEXT: Journal of Writing and Writing Courses 11.2 (Oct. 2007). 19 Oct. 2009 < http://www.textjournal.com.au/oct07/nelson.htm >.Nowra, Louis. Ice. Crows Nest: Allen and Unwin, 2008.Owen, Jillian A. Tullis, Chris McRae, Tony E. Adams, and Alisha Vitale. “Truth Troubles.” Qualitative Inquiry 15.1 (2008): 178–200.Patai, Daphne. “Ethical Problems of Personal Narratives, or, Who Should Eat the Last Piece of Cake.” International Journal of Oral History 8 (1987): 5–27.Peters, Sarah W. Becoming O’Keeffe. New York: Abbeville Press, 1991.Pollitzer, Anita. A Woman on Paper. New York: Simon and Schuster, 1988.Reily, Nancy Hopkins. Georgia O’Keeffe. A Private Friendship, Part II. Santa Fe, NM: Sunstone Press, 2009.Rider, Sue. “Director’s Note.” Georgia [playscript]. Sydney: Currency Press, 2000. vii–xii.Robinson, Roxana. Georgia O’Keeffe: A Life. London: Bloomsbury Publishing, 1990. Shearer, Jill. Georgia [playscript]. Sydney: Currency Press, 2000.Smith, Thomas R. “How Our Lives Become Stories: Making Selves [review]”. Biography 23.3 (2000): 534–38.Wheatley, Nadia. The Life and Myth of Charmian Clift. Sydney: Flamingo, 2001.Wolpert, Stanley. “Biography as History: A Personal Reflection”. Journal of Interdisciplinary History 40.3 (2010): 399–412. Pub. online (Oct. 2009). 19 Oct. 2009 < http://www.mitpressjournals.org/toc/jinh/40/3 >.Wyatt, Jonathan. “Research, Narrative and Fiction: Conference Story”. The Qualitative Report 12.2 (Jun. 2007): 318–31.

Abstract:

Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the good writer competes only with the dead. The good detective story writer […] competes not only with all the unburied dead but with all the hosts of the living as well” (3). In fact, there are so many examples of crime fiction works that, as early as the 1920s, one of the original ‘Queens of Crime’, Dorothy L. Sayers, complained: It is impossible to keep track of all the detective-stories produced to-day [sic]. Book upon book, magazine upon magazine pour out from the Press, crammed with murders, thefts, arsons, frauds, conspiracies, problems, puzzles, mysteries, thrills, maniacs, crooks, poisoners, forgers, garrotters, police, spies, secret-service men, detectives, until it seems that half the world must be engaged in setting riddles for the other half to solve (95). Twenty years after Sayers wrote on the matter of the vast quantities of crime fiction available, W.H. Auden wrote one of the more famous essays on the genre: The Guilty Vicarage: Notes on the Detective Story, by an Addict. Auden is, perhaps, better known as a poet but his connection to the crime fiction genre is undisputed. As well as his poetic works that reference crime fiction and commentaries on crime fiction, one of Auden’s fellow poets, Cecil Day-Lewis, wrote a series of crime fiction novels under the pseudonym Nicholas Blake: the central protagonist of these novels, Nigel Strangeways, was modelled upon Auden (Scaggs 27). Interestingly, some writers whose names are now synonymous with the genre, such as Edgar Allan Poe and Raymond Chandler, established the link between poetry and crime fiction many years before the publication of The Guilty Vicarage. Edmund Wilson suggested that “reading detective stories is simply a kind of vice that, for silliness and minor harmfulness, ranks somewhere between crossword puzzles and smoking” (395). In the first line of The Guilty Vicarage, Auden supports Wilson’s claim and confesses that: “For me, as for many others, the reading of detective stories is an addiction like tobacco or alcohol” (406). This indicates that the genre is at best a trivial pursuit, at worst a pursuit that is bad for your health and is, increasingly, socially unacceptable, while Auden’s ideas around taste—high and low—are made clear when he declares that “detective stories have nothing to do with works of art” (406). The debates that surround genre and taste are many and varied. The mid-1920s was a point in time which had witnessed crime fiction writers produce some of the finest examples of fiction to ever be published and when readers and publishers were watching, with anticipation, as a new generation of crime fiction writers were readying themselves to enter what would become known as the genre’s Golden Age. At this time, R. Austin Freeman wrote that: By the critic and the professedly literary person the detective story is apt to be dismissed contemptuously as outside the pale of literature, to be conceived of as a type of work produced by half-educated and wholly incompetent writers for consumption by office boys, factory girls, and other persons devoid of culture and literary taste (7). This article responds to Auden’s essay and explores how crime fiction appeals to many different tastes: tastes that are acquired, change over time, are embraced, or kept as guilty secrets. In addition, this article will challenge Auden’s very narrow definition of crime fiction and suggest how Auden’s religious imagery, deployed to explain why many people choose to read crime fiction, can be incorporated into a broader popular discourse on punishment. This latter argument demonstrates that a taste for crime fiction and a taste for justice are inextricably intertwined. Crime Fiction: A Type For Every Taste Cathy Cole has observed that “crime novels are housed in their own section in many bookshops, separated from literary novels much as you’d keep a child with measles away from the rest of the class” (116). Times have changed. So too, have our tastes. Crime fiction, once sequestered in corners, now demands vast tracts of prime real estate in bookstores allowing readers to “make their way to the appropriate shelves, and begin to browse […] sorting through a wide variety of very different types of novels” (Malmgren 115). This is a result of the sheer size of the genre, noted above, as well as the genre’s expanding scope. Indeed, those who worked to re-invent crime fiction in the 1800s could not have envisaged the “taxonomic exuberance” (Derrida 206) of the writers who have defined crime fiction sub-genres, as well as how readers would respond by not only wanting to read crime fiction but also wanting to read many different types of crime fiction tailored to their particular tastes. To understand the demand for this diversity, it is important to reflect upon some of the appeal factors of crime fiction for readers. Many rules have been promulgated for the writers of crime fiction to follow. Ronald Knox produced a set of 10 rules in 1928. These included Rule 3 “Not more than one secret room or passage is allowable”, and Rule 10 “Twin brothers, and doubles generally, must not appear unless we have been duly prepared for them” (194–6). In the same year, S.S. Van Dine produced another list of 20 rules, which included Rule 3 “There must be no love interest: The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar”, and Rule 7 “There simply must be a corpse in a detective novel, and the deader the corpse the better” (189–93). Some of these directives have been deliberately ignored or have become out-of-date over time while others continue to be followed in contemporary crime writing practice. In sharp contrast, there are no rules for reading this genre. Individuals are, generally, free to choose what, where, when, why, and how they read crime fiction. There are, however, different appeal factors for readers. The most common of these appeal factors, often described as doorways, are story, setting, character, and language. As the following passage explains: The story doorway beckons those who enjoy reading to find out what happens next. The setting doorway opens widest for readers who enjoy being immersed in an evocation of place or time. The doorway of character is for readers who enjoy looking at the world through others’ eyes. Readers who most appreciate skilful writing enter through the doorway of language (Wyatt online). These doorways draw readers to the crime fiction genre. There are stories that allow us to easily predict what will come next or make us hold our breath until the very last page, the books that we will cheerfully lend to a family member or a friend and those that we keep close to hand to re-read again and again. There are settings as diverse as country manors, exotic locations, and familiar city streets, places we have been and others that we might want to explore. There are characters such as the accidental sleuth, the hardboiled detective, and the refined police officer, amongst many others, the men and women—complete with idiosyncrasies and flaws—who we have grown to admire and trust. There is also the language that all writers, regardless of genre, depend upon to tell their tales. In crime fiction, even the most basic task of describing where the murder victim was found can range from words that convey the genteel—“The room of the tragedy” (Christie 62)—to the absurd: “There it was, jammed between a pallet load of best export boneless beef and half a tonne of spring lamb” (Maloney 1). These appeal factors indicate why readers might choose crime fiction over another genre, or choose one type of crime fiction over another. Yet such factors fail to explain what crime fiction is or adequately answer why the genre is devoured in such vast quantities. Firstly, crime fiction stories are those in which there is the committing of a crime, or at least the suspicion of a crime (Cole), and the story that unfolds revolves around the efforts of an amateur or professional detective to solve that crime (Scaggs). Secondly, crime fiction offers the reassurance of resolution, a guarantee that from “previous experience and from certain cultural conventions associated with this genre that ultimately the mystery will be fully explained” (Zunshine 122). For Auden, the definition of the crime novel was quite specific, and he argued that referring to the genre by “the vulgar definition, ‘a Whodunit’ is correct” (407). Auden went on to offer a basic formula stating that: “a murder occurs; many are suspected; all but one suspect, who is the murderer, are eliminated; the murderer is arrested or dies” (407). The idea of a formula is certainly a useful one, particularly when production demands—in terms of both quality and quantity—are so high, because the formula facilitates creators in the “rapid and efficient production of new works” (Cawelti 9). For contemporary crime fiction readers, the doorways to reading, discussed briefly above, have been cast wide open. Stories relying upon the basic crime fiction formula as a foundation can be gothic tales, clue puzzles, forensic procedurals, spy thrillers, hardboiled narratives, or violent crime narratives, amongst many others. The settings can be quiet villages or busy metropolises, landscapes that readers actually inhabit or that provide a form of affordable tourism. These stories can be set in the past, the here and now, or the future. Characters can range from Edgar Allan Poe’s C. Auguste Dupin to Dashiell Hammett’s Sam Spade, from Agatha Christie’s Miss Jane Marple to Kerry Greenwood’s Honourable Phryne Fisher. Similarly, language can come in numerous styles from the direct (even rough) words of Carter Brown to the literary prose of Peter Temple. Anything is possible, meaning everything is available to readers. For Auden—although he required a crime to be committed and expected that crime to be resolved—these doorways were only slightly ajar. For him, the story had to be a Whodunit; the setting had to be rural England, though a college setting was also considered suitable; the characters had to be “eccentric (aesthetically interesting individuals) and good (instinctively ethical)” and there needed to be a “completely satisfactory detective” (Sherlock Holmes, Inspector French, and Father Brown were identified as “satisfactory”); and the language descriptive and detailed (406, 409, 408). To illustrate this point, Auden’s concept of crime fiction has been plotted on a taxonomy, below, that traces the genre’s main developments over a period of three centuries. As can be seen, much of what is, today, taken for granted as being classified as crime fiction is completely excluded from Auden’s ideal. Figure 1: Taxonomy of Crime Fiction (Adapted from Franks, Murder 136) Crime Fiction: A Personal Journey I discovered crime fiction the summer before I started high school when I saw the film version of The Big Sleep starring Humphrey Bogart and Lauren Bacall. A few days after I had seen the film I started reading the Raymond Chandler novel of the same title, featuring his famous detective Philip Marlowe, and was transfixed by the second paragraph: The main hallway of the Sternwood place was two stories high. Over the entrance doors, which would have let in a troop of Indian elephants, there was a broad stained-glass panel showing a knight in dark armour rescuing a lady who was tied to a tree and didn’t have any clothes on but some very long and convenient hair. The knight had pushed the visor of his helmet back to be sociable, and he was fiddling with the knots on the ropes that tied the lady to the tree and not getting anywhere. I stood there and thought that if I lived in the house, I would sooner or later have to climb up there and help him. He didn’t seem to be really trying (9). John Scaggs has written that this passage indicates Marlowe is an idealised figure, a knight of romance rewritten onto the mean streets of mid-20th century Los Angeles (62); a relocation Susan Roland calls a “secular form of the divinely sanctioned knight errant on a quest for metaphysical justice” (139): my kind of guy. Like many young people I looked for adventure and escape in books, a search that was realised with Raymond Chandler and his contemporaries. On the escapism scale, these men with their stories of tough-talking detectives taking on murderers and other criminals, law enforcement officers, and the occasional femme fatale, were certainly a sharp upgrade from C.S. Lewis and the Chronicles of Narnia. After reading the works written by the pioneers of the hardboiled and roman noir traditions, I looked to other American authors such as Edgar Allan Poe who, in the mid-1800s, became the father of the modern detective story, and Thorne Smith who, in the 1920s and 1930s, produced magical realist tales with characters who often chose to dabble on the wrong side of the law. This led me to the works of British crime writers including Arthur Conan Doyle, Agatha Christie, and Dorothy L. Sayers. My personal library then became dominated by Australian writers of crime fiction, from the stories of bushrangers and convicts of the Colonial era to contemporary tales of police and private investigators. There have been various attempts to “improve” or “refine” my tastes: to convince me that serious literature is real reading and frivolous fiction is merely a distraction. Certainly, the reading of those novels, often described as classics, provide perfect combinations of beauty and brilliance. Their narratives, however, do not often result in satisfactory endings. This routinely frustrates me because, while I understand the philosophical frameworks that many writers operate within, I believe the characters of such works are too often treated unfairly in the final pages. For example, at the end of Ernest Hemingway’s A Farewell to Arms, Frederick Henry “left the hospital and walked back to the hotel in the rain” after his son is stillborn and “Mrs Henry” becomes “very ill” and dies (292–93). Another example can be found on the last page of George Orwell’s Nineteen Eighty-Four when Winston Smith “gazed up at the enormous face” and he realised that he “loved Big Brother” (311). Endings such as these provide a space for reflection about the world around us but rarely spark an immediate response of how great that world is to live in (Franks Motive). The subject matter of crime fiction does not easily facilitate fairy-tale finishes, yet, people continue to read the genre because, generally, the concluding chapter will show that justice, of some form, will be done. Punishment will be meted out to the ‘bad characters’ that have broken society’s moral or legal laws; the ‘good characters’ may experience hardships and may suffer but they will, generally, prevail. Crime Fiction: A Taste For Justice Superimposed upon Auden’s parameters around crime fiction, are his ideas of the law in the real world and how such laws are interwoven with the Christian-based system of ethics. This can be seen in Auden’s listing of three classes of crime: “(a) offenses against God and one’s neighbor or neighbors; (b) offenses against God and society; (c) offenses against God” (407). Murder, in Auden’s opinion, is a class (b) offense: for the crime fiction novel, the society reflected within the story should be one in “a state of grace, i.e., a society where there is no need of the law, no contradiction between the aesthetic individual and the ethical universal, and where murder, therefore, is the unheard-of act which precipitates a crisis” (408). Additionally, in the crime novel “as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder” (408). Thus, as Charles J. Rzepka notes, “according to W.H. Auden, the ‘classical’ English detective story typically re-enacts rites of scapegoating and expulsion that affirm the innocence of a community of good people supposedly ignorant of evil” (12). This premise—of good versus evil—supports Auden’s claim that the punishment of wrongdoers, particularly those who claim the “right to be omnipotent” and commit murder (409), should be swift and final: As to the murderer’s end, of the three alternatives—execution, suicide, and madness—the first is preferable; for if he commits suicide he refuses to repent, and if he goes mad he cannot repent, but if he does not repent society cannot forgive. Execution, on the other hand, is the act of atonement by which the murderer is forgiven by society (409). The unilateral endorsem*nt of state-sanctioned murder is problematic, however, because—of the main justifications for punishment: retribution; deterrence; incapacitation; and rehabilitation (Carter Snead 1245)—punishment, in this context, focuses exclusively upon retribution and deterrence, incapacitation is achieved by default, but the idea of rehabilitation is completely ignored. This, in turn, ignores how the reading of crime fiction can be incorporated into a broader popular discourse on punishment and how a taste for crime fiction and a taste for justice are inextricably intertwined. One of the ways to explore the connection between crime fiction and justice is through the lens of Emile Durkheim’s thesis on the conscience collective which proposes punishment is a process allowing for the demonstration of group norms and the strengthening of moral boundaries. David Garland, in summarising this thesis, states: So although the modern state has a near monopoly of penal violence and controls the administration of penalties, a much wider population feels itself to be involved in the process of punishment, and supplies the context of social support and valorization within which state punishment takes place (32). It is claimed here that this “much wider population” connecting with the task of punishment can be taken further. Crime fiction, above all other forms of literary production, which, for those who do not directly contribute to the maintenance of their respective legal systems, facilitates a feeling of active participation in the penalising of a variety of perpetrators: from the issuing of fines to incarceration (Franks Punishment). Crime fiction readers are therefore, temporarily at least, direct contributors to a more stable society: one that is clearly based upon right and wrong and reliant upon the conscience collective to maintain and reaffirm order. In this context, the reader is no longer alone, with only their crime fiction novel for company, but has become an active member of “a moral framework which binds individuals to each other and to its conventions and institutions” (Garland 51). This allows crime fiction, once viewed as a “vice” (Wilson 395) or an “addiction” (Auden 406), to be seen as playing a crucial role in the preservation of social mores. It has been argued “only the most literal of literary minds would dispute the claim that fictional characters help shape the way we think of ourselves, and hence help us articulate more clearly what it means to be human” (Galgut 190). Crime fiction focuses on what it means to be human, and how complex humans are, because stories of murders, and the men and women who perpetrate and solve them, comment on what drives some people to take a life and others to avenge that life which is lost and, by extension, engages with a broad community of readers around ideas of justice and punishment. It is, furthermore, argued here that the idea of the story is one of the more important doorways for crime fiction and, more specifically, the conclusions that these stories, traditionally, offer. For Auden, the ending should be one of restoration of the spirit, as he suspected that “the typical reader of detective stories is, like myself, a person who suffers from a sense of sin” (411). In this way, the “phantasy, then, which the detective story addict indulges is the phantasy of being restored to the Garden of Eden, to a state of innocence, where he may know love as love and not as the law” (412), indicating that it was not necessarily an accident that “the detective story has flourished most in predominantly Protestant countries” (408). Today, modern crime fiction is a “broad church, where talented authors raise questions and cast light on a variety of societal and other issues through the prism of an exciting, page-turning story” (Sisterson). Moreover, our tastes in crime fiction have been tempered by a growing fear of real crime, particularly murder, “a crime of unique horror” (Hitchens 200). This has seen some readers develop a taste for crime fiction that is not produced within a framework of ecclesiastical faith but is rather grounded in reliance upon those who enact punishment in both the fictional and real worlds. As P.D. James has written: [N]ot by luck or divine intervention, but by human ingenuity, human intelligence and human courage. It confirms our hope that, despite some evidence to the contrary, we live in a beneficent and moral universe in which problems can be solved by rational means and peace and order restored from communal or personal disruption and chaos (174). Dorothy L. Sayers, despite her work to legitimise crime fiction, wrote that there: “certainly does seem a possibility that the detective story will some time come to an end, simply because the public will have learnt all the tricks” (108). Of course, many readers have “learnt all the tricks”, or most of them. This does not, however, detract from the genre’s overall appeal. We have not grown bored with, or become tired of, the formula that revolves around good and evil, and justice and punishment. Quite the opposite. Our knowledge of, as well as our faith in, the genre’s “tricks” gives a level of confidence to readers who are looking for endings that punish murderers and other wrongdoers, allowing for more satisfactory conclusions than the, rather depressing, ends given to Mr. Henry and Mr. Smith by Ernest Hemingway and George Orwell noted above. Conclusion For some, the popularity of crime fiction is a curious case indeed. When Penguin and Collins published the Marsh Million—100,000 copies each of 10 Ngaio Marsh titles in 1949—the author’s relief at the success of the project was palpable when she commented that “it was pleasant to find detective fiction being discussed as a tolerable form of reading by people whose opinion one valued” (172). More recently, upon the announcement that a Miles Franklin Award would be given to Peter Temple for his crime novel Truth, John Sutherland, a former chairman of the judges for one of the world’s most famous literary awards, suggested that submitting a crime novel for the Booker Prize would be: “like putting a donkey into the Grand National”. Much like art, fashion, food, and home furnishings or any one of the innumerable fields of activity and endeavour that are subject to opinion, there will always be those within the world of fiction who claim positions as arbiters of taste. Yet reading is intensely personal. I like a strong, well-plotted story, appreciate a carefully researched setting, and can admire elegant language, but if a character is too difficult to embrace—if I find I cannot make an emotional connection, if I find myself ambivalent about their fate—then a book is discarded as not being to my taste. It is also important to recognise that some tastes are transient. Crime fiction stories that are popular today could be forgotten tomorrow. Some stories appeal to such a broad range of tastes they are immediately included in the crime fiction canon. Yet others evolve over time to accommodate widespread changes in taste (an excellent example of this can be seen in the continual re-imagining of the stories of Sherlock Holmes). Personal tastes also adapt to our experiences and our surroundings. A book that someone adores in their 20s might be dismissed in their 40s. A storyline that was meaningful when read abroad may lose some of its magic when read at home. Personal events, from a change in employment to the loss of a loved one, can also impact upon what we want to read. Similarly, world events, such as economic crises and military conflicts, can also influence our reading preferences. Auden professed an almost insatiable appetite for crime fiction, describing the reading of detective stories as an addiction, and listed a very specific set of criteria to define the Whodunit. Today, such self-imposed restrictions are rare as, while there are many rules for writing crime fiction, there are no rules for reading this (or any other) genre. People are, generally, free to choose what, where, when, why, and how they read crime fiction, and to follow the deliberate or whimsical paths that their tastes may lay down for them. Crime fiction writers, past and present, offer: an incredible array of detective stories from the locked room to the clue puzzle; settings that range from the English country estate to city skyscrapers in glamorous locations around the world; numerous characters from cerebral sleuths who can solve a crime in their living room over a nice, hot cup of tea to weapon wielding heroes who track down villains on foot in darkened alleyways; and, language that ranges from the cultured conversations from the novels of the genre’s Golden Age to the hard-hitting terminology of forensic and legal procedurals. Overlaid on these appeal factors is the capacity of crime fiction to feed a taste for justice: to engage, vicariously at least, in the establishment of a more stable society. Of course, there are those who turn to the genre for a temporary distraction, an occasional guilty pleasure. There are those who stumble across the genre by accident or deliberately seek it out. 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