Simultaneous determination of dopamine and ascorbic acid at an in-site functionalized self-assembled monolayer on gold electrode

The in-site functionalization of 4-aminothiophenol (4-ATP) self-assembled monolayer on gold electrode at physiological pH yields a redox active monolayer of 4'-mercapto-N-phenylquinone diimine (MNPD). The functionalized electrode exhibits excellent electrocatalytic responses towards dopamine (DA) and ascorbic acid (AA), reducing the overpotentials by about 0.22 V and 0.34 V, respectively, with greatly enhanced current responses. Due to its different catalytic activities toward DA and AA, the modified electrode resolves the overlapping voltammetric responses of DA and AA into two well-defined voltammetric peaks by differential pulse voltammetry (DPV), which can be used for the simultaneous determination of these species in a mixture. The catalytic peak current obtained from DPV was linearly related to DA and AA concentration in the ranges of 5.0 x 10-6 - 1.25 x 10-4 M and 8.0 x 10-6 - 1.3 x 10-4 M with correlation coefficient of 0.999 and 0.998, respectively. The detective limits (3sigma) for DA and AA were found to be 1.2 x 10-6 M and 2.4 x 10-6 M, respectively.

The Newgate Novel and Sensation Fiction 1830-1868

Pykett, Lyn. 'The Newgate Novel and Sensation Fiction 1830-1868', In: The Cambridge Companion to Crime fiction (Cambridge: Cambridge University Press, 2003), pp.19-39 RAE2008

Wilkie Collins

Pykett, L. (2005). Wilkie Collins. Authors in Context Series. Oxford: Oxford University Press. RAE2008

Vuelta a lo que resultó un comienzo: de géneros literarios y política en “Simbiosis”, de Rodolfo Walsh

“Simbiosis”, aparecido originalmente en 1956, constituye la instancia inicial de la serie de cuentos policiales de Rodolfo Walsh que, extendida hasta 1962, protagonizan Daniel Hernández y el comisario Laurenzi. Pero “Simbiosis” representa, además, un momento de rupturas en la trayectoria de Walsh, rupturas observables a la luz de su obra previa, y que contribuyen a definir la singular posición que el escritor procura adoptar en el campo literario de la época. En la nacionalización del género policial que propone, el cuento a la vez recupera y cuestiona el canon clásico del género, al adoptar motivos de la literatura fantástica cuya operatividad como explicaciones de un delito se asocia a su origen en el saber popular, saber al cual Laurenzi accede como comisario de pueblo. Correlativamente, la equívoca resolución del crimen, debatida entre dos matrices de género, una racional y otra sobrenatural, así como el interrogante sobre la culpabilidad que deja abierto el relato, son resonancias significativas de su contexto histórico, desatendidas aún por la crítica: se trata, en particular, de los debates sobre culpables e inocentes políticos que inició en 1955 el derrocamiento militar del gobierno peronista.

Hearing Voices

A BBC Radio 4 Afternoon Play. A police detective starts having auditory halluincations but the case he is working on provides the clue to his deep-seated psychological conflict.

Food of the Blue

An episode of BBC Radio 4's detective series 'Baldi'. Paolo Baldi finds himself in a world of superstar academics, but why are their bloodless corpses littering the college? And what is that thing they drink to rejuvenate the venerable institution?

Release:A Theatre of Witness Documentary

‘RELEASE’ a documentary by Declan Keeney

Everyone has a past; but should they be defined by it? The legacy of the conflict in Northern Ireland weighs heavily on many of those who experienced it. The pain and loss is as relevant today as it was 30 years ago. The act of remembering itself can be a difficult and dangerous journey. The documentary film 'Release' shot and directed by Declan Keeney explores the life stories of six remarkable men, told in their own words and in their own way through an original Theatre of Witness production of the same name that toured Northern Ireland and the Border Counties in 2012. The film explores themes of forgiveness, remembering and the pain of living with our ever-present past.
With great courage and conviction, a former RUC detective, a former Prison Governor, a former British soldier, two ex-prisoners and a community activist who survived a car bomb as a child come together across the sectarian divide to create a group of men working for peace. Their journey is at times heart breaking, extraordinary, breathtakingly brave but ultimately transformational. It is a story of survival, but most importantly it is their story and in their own words.

Transgressing Contemporary Boundaries:The Narrator as True Custodian of Cultural Knowledge in Ulster Society

Historically in Gaelic culture, the bard was greatly valued and admired as an important and integral part of society. Travelled, schooled and specifically trained in their art, the bard helped ensure identity and reassurance for Gaelic families by grounding them both temporarily and spatially into their landscape. Entrusted with the duty and responsibility of recording place and event, the bards worked without writing and by transgressing man-made boundaries, travelled throughout the land weaving their histories into the very fabric of society.

Now no longer with us, we find ourselves without the distinguished chronicler to undertake this duty. Yet the responsibility of the Gaelic bard is one still shared by all artists today; to facilitate memory and identity, whether good or bad. Many Ulster writers, by happenstance and geography have found themselves located in a place of painful histories. An immediate difficulty for those local writers becomes manifest by being intrinsically implicated into those histories – whilst having first-hand knowledge and comprehension beyond that of the outsider, the local writer is automatically damned by association and relationship, thereby tarnishing their voice in comparison to the perceived impartiality of others.
Some writers however have successfully sought ways to escape this limitation and have worked in ways that can transgress the restrictions of prejudgement. John Hewitt, by purposely becoming a self-imposed tourist was able to distance himself to write impartially about the past, recognising that ’the place without its ghosts is a barren place.’1 In ‘The Colony’,2 tradition, peoples and mapping of the land are all narrated by Hewitt in a similar way to the Gaelic bardic topographic poems of Sean O'Dubhagain and Giolla Na Naomh O'Huidhrin3 in compiling a rich cultural atlas.

Similarly the Belfast poet and novelist Ciaran Carson also writes and records the city from an intermediary position; that of translator. Mediating between reader and aisling,4 Carson himself takes the reader on a journey into name, meaning, time and place, focusing primarily on the city of Belfast, familiar in name but impenetrable in depth to most.

Furthermore, this once-forgotten tradition to chronicle is now being continued by the new breed of Irish crime writers where the likes of Brian McGilloway, Stuart Neville and Adrian McKinty can, by way of the crime novel, accurately record contemporary society. Thus, ghost estates, listed buildings, archaeological digs, street and city have all provided setting and subject matter for recent novels. Moreover by choosing the ‘outsider from within’ as their chief protagonist, whether detective or criminal, each author is able to transgress the boundaries of prejudice and preconception that hinder genuine understanding and knowledge.

Looking in turn at the Gaelic bard, the twentieth century Ulster poet and the new breed of Irish crime writer, the authors will outline the real value of the narrator, by being able to act as cultural transgressor beyond the seeming and alleged as the true chronicler in society, and then with specific reference to city and countryside in Ireland, as a valuable custodian of knowledge in architecture and place.

Keywords
Architecture, Crime Fiction, Cultural Atlas, Place, Poetry.

1 From ‘The Bloody Brae’, a one act play written by John Hewitt in the 1930’s.
2 Hewitt, J. (1968) published in Collected Poems 1932-67. London:McGibbon & Kee.
3 Lengthy and detailed medieval Gaelic poems composed in the fourteenth and fifteenth centuries first edited by John O'Donovan in 1862 for the Irish Archaeological and Celtic Society in Dublin.
4 The aisling is the Irish song or poem genre when the poet is visited by their muse in a daydream or dream-vision state.

Navigating the Borderlands: Brian McGilloway as Contemporary Cartographer of the Liminal in the Ulster Landscape

Set in the borderlands between Letterkenny and Derry-Londonderry, a landscape scarred by geological fold, river and cartographer’s pen, the Ulster crime novelist Brian McGilloway chronicles the hopes and fears of a contemporary society unable to escape a complicated history, redolent and entwined with the voices of its ‘ghosts of its past.’ Through his choice of chief protagonist, An Garda Síochána officer Benedict Devlin, McGilloway turns detective to critically investigate the both the seemingly straightforward and the unseen dwelling in the rural Ulster landscape. Following in the footsteps of Nordic and Tartan Noir in making commentary on current societ,y McGilloway recognises the importance of the past in trying to reach an understanding of the present. His critique however goes beyond criminal behaviour motivated primarily by politics or religion, allowing a deeper and more meaningful diagnosis of the ‘state of the nation’. Place, name and event become especially important in contextualising the liminality of McGilloway’s real rural border settings. In doing so, McGilloway continues in the rich tradition of Ulster poet such as Heaney, MacNiece, Muldoon and Hewitt in trying to rationalise the man-made amidst the elemental in the land of both the ‘Planter & The Gael.’ History, language, tradition and the sacral are all instruments of investigation in helping McGilloway present a revealing pathology and atlas of our times to his readers. Turning literary investigator, the author contends that there is much to learn from this physiography, not just for the borderlands region, but for the wider countryside and society beyond. Keywords Cultural Atlas, Crime Fiction, Place, Poetry, Rural.

David Skene-Melvin papers, 1918, 1995, n.d.

David Skene-Melvin, literary historian and bibliographer, donated his extensive collection of books on Crime, Mystery and Detective fiction to the Popular Culture Program at Brock University in July 2001. The donation forms a significant part of the Skene-Melvin Collection of Crime, Mystery and Detective Fiction, James A. Gibson Library, Brock University.

Confesser un homicide : le rôle de l’enquêteur et de la preuve

Les chercheurs s’étant penchés sur les facteurs influençant la décision du suspect de confesser son crime ont mis en évidence que deux facteurs sont principalement influents : la force de la preuve (Des Lauriers-Varin et St-Yves, 2006; Moston et al., 1992) et la conduite de l’enquêteur (Holmberg et Christianson, 2002; Kebell et al., 2005). Par contre, les contradictions entre ces études ont apporté davantage de confusion que de réponses à la pratique. Cette étude vise donc à explorer l’incidence de ces deux facteurs sur l’inclination du suspect à confesser son crime et les possibles interactions entre eux. Pour ce faire, 50 enregistrements vidéo d’interrogatoires d’homicide furent visionnés et les données furent soumises à des analyses statistiques et qualitatives. Les résultats d’une régression logistique démontrent que la conduite de l’enquêteur est le facteur prédominant pour prédire l’obtention d’aveux du suspect en contrôlant pour l’effet des variables statiques et de la preuve. Également, les résultats mettent en évidence qu’en augmentant les attitudes et comportements associés à une conduite « positive », l’enquêteur augmentait les probabilités d’aveux du suspect. De plus, les résultats indiquent que l’augmentation du nombre d’éléments de preuves est associée à une plus grande démonstration de « rapport de force » de la part de l’enquêteur. Les résultats sont discutés en relation à l’effet des principaux facteurs sur les schémas et dynamiques prenant place entre l’enquêteur et le suspect.