No Easy Way Through: Black Workers and Race Leadership at the Nadir

It is difficult, even excruciating, to imagine the staggering descent from high optimism to despondency experienced by many African Americans who lived between emancipation and the dawn of the twentieth century. For historians living in the post–civil rights era, recapturing the scale, velocity, and brutality of that dramatic fall has been hampered by two conceptual problems. The first of these, undergirded by prominent trends in the formerly “new” social history, is a widely shared enthusiasm for illuminating those hidden corners of daily life where men and women on the receiving end of Jim Crow continued to wield a degree of control. “Agency” has been the buzzword for a generation of scholarship that emphasizes the staying power and persistence of black Southerners in the face of relentless assaults on their social and economic status, their civil rights, and even, at times, their collective existence. This is, in many ways, an understandable reaction to an earlier consensus that relegated black historical initiative to the margins of a national fable cleansed of unseemly violence and sharp social conflict, but it can also be problematic.

Development of a novel PCR assay for the identification of the black yeast, Exophiala (Wangiella) dermatitidis from adult patients with cystic fibrosis (CF)

Cystic fibrosis (CF) patients may suffer increased morbidity and mortality through colonisation, allergy and invasive infection from fungi. The black yeast, Exophiala dermatitidis (synonym Wangiella dermatitidis) has been found with increasing frequency in sputum specimens of CF patients, with reported isolation rates ranging from 1.1 to 15.7%. At present, no diagnostic PCR exists to aid with the clinical laboratory detection and identification of this organism. A novel species-specific PCR-based assay was developed for the detection of E. dermatitidis, based on employment of rDNA operons and interspacer (ITS) regions between these rDNA operons. Two novel primers, (designated ExdF & ExdR) were designed in silico with the aid of computer-aided alignment software and with the alignment of multiple species of Exophiala, as well as with other commonly described yeasts and filamentous fungi within CF sputum, including Candida. Aspergillus and Scedosporium. An amplicon of approximately 455 by was generated, spanning the partial ITS I region - the complete 5.8S rDNA region - partial ITS2 region, employing ExdF (forward primer [16-mer], 5'-CCG CCT ATT CAG GTC C-3' and ExdR (reverse primer [16-mer], 5'-TCT CTC CCA CTC CCG C-3', was employed and optimised on extracted genomic DNA from a well characterised culture of E. dermatitidis, as well as with high quality genomic DNA template from a further 16 unrelated fungi, including Candida albicans, C. dubliniensis, C. parapsilosis, C. glabrata, Scedosporium apiospermum, Penicillium sp., Aspergillus fumigatus, Aspergillus versicolor, Pichia guilliermondii, Rhodotorula sp., Trichosporon sp., Aureobasidium pullulans, Fusarium sp., Mucor hiemalis, Bionectria ochroleuca, Gibberella pulicaris. Results demonstrated that only DNA from E. dermatitidis gave an amplification product of the expected sire, whilst none of the other fungi were amplifiable. Subsequent employment of this primer pair detected this yeast from mycological cultures from 2/50 (4%) adult CF patients. These two patients were the only patients who were previously shown to have a cultural history of E. dermatitidis from their sputum. E. dermatitidis is a slow-growing fungus, which usually takes up to two weeks to culture in the microbiology laboratory and therefore is slow to detect conventionally, with the risk of bacterial overgrowth from common co-habiting pan- and multiresistant bacterial pathogens from sputum. namely Pseudomonas aeruginosa and Burkholderia cepacia complex organisms, hence this species-specific PCR assay may help detect this organism from CF sputum more specifically and rapidly. Overall, employment of this novel assay nay help in the understanding of the occurrence. aetiology and epidemiology of E. dermatitidis, as an emerging fungal agent in patients with CF. (C) 2008 European Cystic Fibrosis Society. Published by Elsevier B.V. All rights reserved.

History, an Exit Strategy: The Retrofuture Fabulations of kara lynch

A cartographer constructs a map of an individual creative history, that of the American artist kara lynch, as it emerges in connection to a collective history of African American cultural expression. Positioning history as complex, dynamic systems of interwoven memory networks, the map follows lynch’s traversals through various “zones of cultural haunting”: places where collective memories made invisible through systematic processes of cultural erasure may be recovered and revived. Through these traversals, which are inspired by lynch’s “forever project” Invisible, the map covers such terrains as haunted narratives, mechanisms of abstraction and coding within African American media production, water as an informational technology, the distribution of memory in blood, the dialectics of materiality and immateriality that frame considerations of black subjectivity, and the possibility that place of music might not be the site of sound but instead the social production of memory.

Class, Factionalism, and the Radical Retreat: Black Laborers and the Republican Party in South Carolina, 1865-1900

a chapter-length piece in a collection which I've co-edited and written the introduction for, which examines class and other tensions in the ranks of the Republican party during and after Reconstruction in South Carolina, with a focus on the confrontation between insurgent former slaves and Party moderates over the social content of the RP programme.

Urban planning after the Black Death: townscape transformations in later-medieval England (1350-1530)

This article offers a reconsideration of planning and development in
English towns and cities after the Black Death (1348). Conventional historical
accounts have stressed the occurrence of urban ‘decay’ in the later fourteenth and fifteenth centuries. Here, instead, a case is made that after 1350 urban planning continued to influence towns and cities in England through the transformation of their townscapes. Using the conceptual approaches of urban morphologists in particular, the article demonstrates that not only did the foundation of new towns and creation of new suburbs characterize the period 1350–1530, but so too did the redevelopment of existing urban landscapes through civic improvements and public works. These reveal evidence for the particular ‘agents of change’ involved in the planning and development process, such as surveyors, officials, patrons and architects, and also the role played by maps and drawn surveys. In this reappraisal, England’s urban experiences can be seen to have been closely connected with those instances of urban planning after the Black Death occurring elsewhere in contemporary continental Europe.

In Troubles and Darkness:Black Red Gold

This is an essay including annotated critical editions documenting the history of reception of this song since 1848. Published in the Liederlexikon for the AHRC and DFG funded project 'The History of Reception of the Songs of the 1848 Revolution' (2009-2013).

An investigation into the effects of homopteran honeydew sugars versus floral nectar sugars on black fly longevity, flight performance and digestion /

Floral nectar is thought to be the primary carbohydrate source for most dipteran species. However, it has been shown that black flies (Burgin & Hunter 1997 a,b,c), mosquitoes (Foster 1995; Burkett et al. 1999; Russell & Hunter 2002), deer flies (Magnarelli & Burger 1984; Janzen & Hunter 1998; Ossowski & Hunter 2000), horse flies (Schutz & Gaugler 1989; Hunter & Ossowski 1999) and sand flies (MacVicker et al. 1990; Wallbanks et al. 1990; Cameron et al. 1992, 1995; Schlein & Jacobson 1994, 1999; Hamilton & EI Naiem 2000) feed on homopteran honeydew as well as floral nectar. Prior to 1997 floral nectar was thought to be the main source of carbohydrates for black flies. However, Burgin & Hunter (1 997a) demonstrated that up to 35% of black flies had recently consumed meals of homo pte ran honeydew. This information has necessitated a re-assessment of many life history aspects of black flies. Attempts are being made to examine the effects of nectar versus honeydew on black fly fecundity and parasite transmission (Hazzard 2003). Recently, Stanfield and Hunter (unpublished data) have shown that in female black flies, honeydew sugars produce flights of longer distance and duration than do nectar sugars. This thesis examines two aspects of black fly biology as it relates to sugar meal consumption. First, the effects of honeydew and nectar on black fly longevity are examined. Second, the proximate causation behind longer flight performances in honeydew-fed flies will be examined. The comparison between these two sources is important because nectar is composed of mainly simple sugars (monosaccharides and disaccharides) whereas honeydew is composed of both simple and complex sugars (including trisaccharides and tetrasaccharides ).

Welland Canal Survey of Lands James Black 1826

Survey map and description of William Youell's land created by The Welland Canal Company. The land was in the posession of James Black Esquire at the time of the survey. Included is a written description of the land along with a drawing of the land. The drawing of the land can be found with the record for George Keefer (p. 73). Noteable features include; bridges, mill, lock no.s, 32, 33, 34, 35. Surveyor notes are seen in pencil on the map. The land was originally surveyed in 1826 and then again on July 25th 1831 by George Keefer for James Black.Refer to page 73 for map (George Keefer record).

Two Black Gentlemen Photographed by John Cooper, London/St. Thomas, Ont. [n.d.]

An undated cabinet card of two Black men photographed by John Cooper, who operated as a photographer in London, Ont. and St. Thomas, Ont. from 1857 - 1890. The reverse of the photograph features the photographer's stamp in coloured ink. This photograph was in the possession of Iris Sloman Bell, of St. Catharines. The Sloman - Bell family have relatives who include former Black slaves from the United States. John Cooper is listed as a photographer and daguerrean artist in 1857 - 1890 in London, Ont. and in 1874 in St. Thomas, Ont. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Rethinking community in Dionne Brand’s What we all long for, Ahdaf Soueif’s The map of love, Michael Ondaatje’s Anil’s ghost and Joseph Boyden’s Three day road and through black spruce

Dans cette thèse, j’ai étudié les alternatives aux communautés normatives proposées dans les romans suivants: What We All Long For de Dionne Brand, The Map of Love d’Ahdaf Soueif, Anil’s Ghost de Michael Ondaatje aini que Three Day Road et Through Black Spruce de Joseph Boyden. En utilisant un nombre de termes clés (les aspirations, la traduction (culturelle) subversive, la guérison, l’autodétermination), j’ai examiné la critiques des communautés normatives aussi bien que la configuration des communautés alternatives développées dans les œuvres cités ci-haut. L’étude de trois romans diasporiques et deux romans amérindiens m’a permis d’établir un « dialogue » entre deux visions du monde ainsi qu’entre deux approches aux crises des communautés normatives. En effet, la conception d’une communauté alternative présentée dans le roman de Boyden souligne le rôle important que joue la famille dans la conception d’une société postcolonial alternative. Les romans diasporiques, en revanche, évitent de fonder leurs conceptions de la communauté alternative sur la famille traditionnelle comme unité d’organisation sociale. Les communautés alternatives proposées dans les romans diasporiques sont basées sur des alliances au-delà des différences nationales, culturelles, religieuses et ethniques. Le premier chapitre a traité la communauté affective proposée comme alternative à la communauté multiculturelle canadienne. Le deuxième chapitre a traité la communauté alternative et la mezzaterra, l’espace du quel cette communauté ressort, dans The Map of Love de Soueif. Dans le troisième chapitre, j’ai exploré la relation entre la guérison, le toucher et l'émergence d'une communauté alternative dans Anil's Ghost d’Ondaatje. Dans le dernier chapitre, j’ai analysé la façon dont l'affirmation de l'autonomie juridique et la narration pourrait contribuer à la découverte de la vision qui guide la communauté Cri dépeint, dans les romans de Boyden, dans sa tentative de construire une communauté alternative postcoloniale. Mots clés: Communautés alternatives, traduction (culturelle) subversive, affect, communautés normatives en crise, multiculturalisme et guérison

La genèse de The Souls of Black Folk : le chapitre initial de la vie intellectuelle de W. E. B. Du Bois, 1885-1903

En 1903, paraît le magnum opus de William Edward Burghardt Du Bois, The Souls of Black Folk. Ce dernier écrit cet ouvrage en poursuivant trois objectifs. Primo, il souhaite démontrer que Booker T. Washington et ses supporters font fausse route en défendant l’idée selon laquelle les Afro-américains pourront accéder à un avenir meilleur en échangeant leurs droits politiques contre des opportunités économiques. Secundo, Du Bois cherche à faire la lumière sur les talents distinctifs et les grandes réalisations de son peuple afin de convaincre les Blancs que les Noirs ne leur sont pas biologiquement ou moralement inférieurs et, par conséquent, que l’égalité raciale doit être totale et immédiate. Tertio, il veut persuader les Américains de devenir de meilleurs citoyens, en renouant avec les idéaux de leur République et en vivant en fonction de principes moraux élevés. L’écriture de Souls marque un tournant majeur dans la vie intellectuelle de son auteur, car il renonce à cette époque au discours conciliatoire qu’il avait tenu dans sa jeunesse. Les idées qu’il défend dans son livre ont germé quelques années plus tôt, au contact de certains de ses professeurs de l’Université de Berlin, d’Alexander Crummell et surtout, en effectuant une étude de terrain sur la communauté noire de Philadelphie. Du Bois réalise alors l’ampleur des injustices dont sont victimes les Noirs et contre lesquelles la bonne volonté et le travail acharné ne peuvent rien.

Black stem rust "...two blighted ears of wheat, which few persons would have thought it worthwhile to carry with them round the world..."

A brief survey of the history of this most severe pathogen of wheat and our developing understanding of it.

Playing with history: negotiating subjectivity in contemporary lens based work

Contemporary artists exploring Jewish identity in the UK are caught between two exclusions, broadly speaking: an art community that that sees itself as ‘post –identity’ and a ‘black’ art scene that revolves around the organizations that emerged out of the Identity debates of the 1980s and 1990s, namely Iniva, Third Text, Autograph. These organizations and those debates, don’t usually include Jewish identity within their remit as Jewish artists are considered to be well represented in the British art scene and, in any case, white. Out of these assumptions, questions arise in relation to the position of Jews in Britain and what is at stake for an artist in exploring Jewish Identity in their work. There is considerable scholarship, relatively speaking on art and Jewish Identity in the US (such as Lisa Bloom; Norman Kleeblatt; Catherine Sousslouf), which inform the debates on visual culture and Jews. In this chapter, I will be drawing out some of the distinctions between the US and the UK debates within my analysis, building on my own writing over the last ten years as well as the work of Juliet Steyn, Jon Stratton and Griselda Pollock. In short, this chapter aims to explore the problematic of what Jewish Identity can offer the viewer as art; what place such art inhabits within a wider artistic context and how, if at all, it is received. There is a predominance of lens based work that explores Identity arising out of the provenance of feminist practices and the politics of documentary that will be important in the framing of the work. I do not aim to consider what constitutes a Jewish artist, that has been done elsewhere and is an inadequate and somewhat spurious conversation . I will also not be focusing on artists whose intention is to celebrate an unproblematised Jewishness (however that is constituted in any given work). Recent artworks and scholarship has in any case rendered the trumpeting of attachment to any singular identity anachronistic at best. I will focus on artists working in the UK who incorporate questions of Jewishness into a larger visual enquiry that build on Judith Butler’s notion of identity as process or performative as well as the more recent debates and artwork that consider the intersectionality of identifications that co-constitute provisional identities (Jones, Modood, Sara Ahmed, Braidotti/Nikki S Lee, Glenn Ligon). The case studies to think through these questions of identity, will be artworks by Susan Hiller, Doug Fishbone and Suzanne Triester. In thinking through works by these artists, I will also serve to contextualise them, situating them briefly within the history of the landmark exhibition in the UK, Rubies and Rebels and the work of Ruth Novaczek, Lily Markewitz, Oreet Ashery and myself.