Free spores of a Derrnocystidiurn-like organism were recovered from the epidermis and covering mucus of gills and fins of moribund farmed salmon Salmo salar. The parasite appeared in juvenile fish only and at low water temperatures (15°C). The most prominent external macroscopical clinical signs of disease were thickened fins that gave the tips a pronounced greyish opaque appearance often in combination with signs of fin rot/fin erosion. The gills were swollen and pale and could also be necrotic. Examination of fresh mounts and tissues prepared for light and electron microscopy showed vacuolated spherical spores typical for parasites of the genus Dermocystidium. Irregularly vacuolated spores with 1 or multiple nuclel were also observed. Histological examination of infected salmon indicated concurrent Flexibacter sp. infection that was venfied in Gram-negative stained imprints. The present findmg is the first observation of Dermocystidlum in Sweden. In addition, this is the first record of a Dermocystidiurn-hke agent that occurs freely in the mucus and epidermis of freshwater teleosts.

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This chapter ties Richard Marsh’s Mrs Musgrave – And Her Husband (1895) to the anxiety surrounding the degeneration debate. Simultaneously crime novel, detective novel and Gothic fiction, Mrs Musgrave – And Her Husband mobilises the discourses of eugenics and criminal anthropology as they were articulated by figures such as Francis Galton and Cesare Lombroso. The chapter argues that the novel provides a unique contribution to the debate surrounding hereditary criminality by simultaneously and deliberately validating and critiquing the racist and sexist matrix that arguably informed late-nineteenth-century British culture and society. Unlike much other late-nineteenth-century fiction, the novel employs a pattern where racial and sexual discourses are repeatedly set on course only to be derailed, and derailed only to be brought back on track again.

This paper discusses a series of horror war films set during the US invasions of Afghanistan and Iraq with the help of the concept of affect as outlined by Eve Sedgwick and Brian Massumi. The films studied in this paper combine the zombie genre with the military invasion story so that monstrous affect is always produced against what is referred to as a super-political landscape. In analysing these films, the paper abandons the a priori expectation that the use of affect will produce a set of sane (non-paranoid), fostering and liberating possibilities. The general argument of the paper is instead that these films simultaneously induce interpretative paranoia and present the spectator with the possibility that the foundation for this paranoia is inherently unstable. Thus, the paper ultimately explores the usefulness of affect on material that appears to lend itself to the traditional deconstructive endeavour and discerns points of commonality between deconstruction and affect studies.