'Looking at the Others': Oscar Wilde and the Reading Gaol Archive

In looking at Wilde and the prison, scholarship has understandably focussed on the lengthy and complex De Profundis, and how the prison experience confirmed or re-shaped Wilde as a writer and thinker. Wilde himself claimed to have been saved by the ‘others’ that he encountered in prison, and these ‘others’ have received scant attention. Who were they? How does a greater knowledge of them supplement our sense of the nineteenth-century prison and of Wilde? This essay looks closely at the Reading Gaol archive, tracing out the lives of some of those with whom Wilde was incarcerated and providing analyses of the prison population in Reading while Wilde was there. Aside from yielding the only known photographs of any of the young working-class men in whom Wilde took an interest, the essay seeks to build a more nuanced reading of Wilde's experience. Above all, the aim is to open out the meanings of the Wilde myth, and, in particular, to offer a more socially inclusive version.

Frames and the interpreter in the Imperial War Museum photographic archive

Using Azoulay's frame of the civil gaze, this chapter examines selected Second World War images, catalogued under 'interpreter' in the IWM's photographic archive, looking at representative situations in which interpreters typically operate in wartime - communicating with clandestine forces, liaising between the army and civilians, and dealing with the aftermath of war.

Change in the archive: Blanchot's 'L'Entretien infini'

Today we are faced with the problem of how to relate the archives of deconstructionist thinkers to their thought, which seems opposed to historically-oriented or genetic criticism. This article is the first to look comprehensively at the gestation of Maurice Blanchot's L'Entretien infini, including the work's page-proofs which were made available in 2009. I thus address the multiple processes of change at work throughout Blanchot's writing, with change being a process whose importance goes beyond any single new form of writing resulting from it. My presentation of the archival material is contextualized via a discussion of the notion of L'Absence de livre (the project's working title). Rather than being a straightfoward incompleteness or fragmentation, this notion establishes a fraught relationship between such ideas and what it calls ‘le Livre’.

Everything is about to happen: an ongoing archive of artists’ books

Group exhibition of artist's books including Frozen Tears I - III (2003-7) curated by Gregorio Magnani.

Everything is about to happen: an ongoing archive of artists’ books, as part of The Library Vacine

Group exhibition of artists books curated by Gregorio Magnani, including Frozen Tears I - III (2003-7). Including books by Kasper Andreasen, Linus Bill and Adrien Horni, blisterZine, Daniel Gustav Cramer, Arnaud Desjardin, Michael Dean, Karl Holmqvist, Louis Luthi, Sara MacKillop, Dan Mitchell, Kristen Mueller, Sophie Nys, Simon Popper, Preston is my Paris, Alessandro Roma, Karin Ruggaber, John Russell, Erik Steinbrecher, Peter Tillessen, Erik van der Weijde

Detection of a New Yellow Fever Virus Lineage Within the South American Genotype I in Brazil

Nucleotide sequences of two regions of the genomes of 11 yellow fever virus (YFV) samples isolated from monkeys or humans with symptomatic yellow fever (YF) in Brazil in 2000,2004, and 2008 were determined with the objective of establishing the genotypes and studying the genetic variation. Results of the Bayesian phylogenetic analysis showed that sequences generated from strains from 2004 and 2008 formed a new subclade within the clade 1 of the South American genotype I. The new subgroup is here designated as 1E. Sequences of YFV strains recovered in 2000 belong to the subclade 1D, which comprises previously characterized YFV strains from Brazil. Molecular dating analyses suggested that the new subclade 1E started diversifying from 1D about 1975 and that the most recent 2004-2008 isolates arose about 1985. J. Med. Virol. 82:175-185, 2010. (C) 2009 Wiley-Liss, Inc.