Auswahl der wissenschaftlichen Literatur zum Thema „Germany Libraries Administration“

The internal situation in the Don region in 1918, during the intervention of armed units of the Austrian and German armies, has been overshadowed in the scholarship by two key phenomena: fates of the Volunteer Movement and formation of the quasi-state, All-Great Don Host. It is important to reconstruct the events that took place in the Don towns and villages in May–November 1918. Historical sources are scattered throughout archives and libraries. The author has used fonds of the State Archive of the Russian Federation, the State Archive of the Rostov Region, and the Center for Documentation on the Contemporary History of the Rostov Region. Austrian and German units that appeared on the borders of the Don region in early May 1918 engaged in combat only with the Red Army detachments. Cossacks and foreign troops fought together from the very beginning. In future, the German administration strove to organize uninterrupted supplies of industrial raw materials and products, food and fodder from the Don territory. In order to do this, the Germans occupied key control points and transport communications in the Western part of the region. A double government was introduced in the villages: alongside atamans there appeared German commandants. Re-election of Ataman P. N. Krasnov in August 1918 was ensured by the Germans; his most influential opponents were neutralized; censorship for the press was introduced. The Germans held a neutral position towards Russian officers and the Volunteer Army. The experience of intervention in the South of Russia influenced the fate of Germany, as German soldiers received a practical lesson in revolutionary action. Presence of the Central Powers’ troops in Russia forced the Entente countries to intervene more actively in the affairs of their former ally. Germany assumed that successful results of the armistice on the Eastern Front could be replicated on the Western Front.

Danish archaeology in the shadow of the swastika, 1933-1945 With Hitler’s takeover in 1933 and the emergence of the National Socialist regime, Prehistoric archaeology in Germany was strengthened, both on the economical and the scholarly level. Prehistoric archaeologists entered into a Faustian bargain with the new government, and arguing the presence of Germanic peoples outside the borders of the Third Reich, they legitimated the Nazi “Drang nach Osten”. With the Fuhrer’s lack of interest in German prehistory, the fight for control of this field became a matter between two organisations, the Ahnenerbe, which was attached to Heinrich Himmler’s SS, and the competing Reichsbund für Deutsche Vorgeschichte under NSDAP’s chief ideologist, Alfred Rosenberg’s “Amt Rosenberg” (Figs. 1-2). When the Second World War broke out in 1939, Ahnenerbe appeared as winner of the fight over the German prehistory. However, the archaeological power struggles continued in the conquered territories until the end of the war.Immediately after the Nazi takeover in 1933, leading staff members of the Danish National Museum in Copenhagen, such as Mouritz Mackeprang, Poul Nørlund, and Johannes Brøndsted (Figs. 3-4) dissociated themselves from the political development south of the border. However, in the course of time, and in conformity with the official Danish accommodation policy towards Germany in the 1930s, the opposition changed their attitude into a more neutral policy of cultural adjustment towards Nazified German colleagues.The Danish government’s surrender on the 9th of April 1940 meant a continuing German recognition of Denmark as a sovereign state. From the German side, the communication with the Danish government was handled by the German ministry of foreign affairs in Berlin, and by the German legation in Copenhagen. Denmark was the sole occupied country under the domain of the ministry of foreign affairs, and from the beginning of the occupation it became a regular element in the policy of the ministry to prevent other political organs within the Nazi polycracy to gain influence in Denmark. Not until the appointment of SS-Gruppenfuhrer Werner Best (Fig. 5) as the German Reich Plenipotentiary in Denmark in November 1942, the SS and the Ahnenerbe got an opportunity to secure their influence in Denmark. However, due to the chilly attitude in the Danish population towards the German culture propaganda, practiced mainly through the German Scientific Institute in Copenhagen, and the gradual worsening of the political conditions following the resignation of the Danish government on the 29th of August 1943, the Ahnenerbe, led by Wolfram Sievers (Fig. 6), was never firmly established in Denmark. The one result of Ahnenerbe’s influence in Denmark worth mentioning was the effort by the Kiel Archaeologist Karl Kersten (Fig. 7) to prevent German destruction of prehistoric Danish (Germanic) relics. Kersten began his work in 1940 and was met from the start with aversion from the National Museum in Copenhagen, which regarded the activities of the Ahnenerbe-archaeologist as German interference with Danish conditions. Yet, in time the work of the Kiel archaeologist was accepted and recognised by the muse- um, and he was officially recognized by the Danish state when in 1957, Kersten was made Knight of Dannebrog.Less successful than the Ahnenerbe rival was the prominent Nazi archaeologist Hans Reinerth (Fig. 8) and the efforts by Reichsbund für Deutsche Vorgeschichte to gain influence on the Danish scene of culture politics. One of Reinerth’s few successes in occupied Denmark was a short contact with two Danish archaeologists, Gudmund Hatt and Mogens B. Mackeprang (Figs. 9-10). However, the connections with the RfDV-leader do not seem to have been maintained, once the Danish government had ceased to function from the 29th of August 1943.During the occupation, around 300 listed burial mounds and an unknown number of prehistoric relics below ground level were destroyed or damaged due to construction projects carried out by the German occupants (Figs. 11-12). The complaints about the damage put forward by the National Museum were generally met by understanding in the German administration and in the Bauleitung (construction department), whereas the Wehrmacht had a more indifferent approach to the complaints. As opposed to this, the Danish museums managed to get through the war with no damage or German confiscations worth mentioning, thus avoiding the fate of museums, collections, and libraries in countries such as France, Poland, and the Soviet Union.Lars Schreiber PedersenÅrhusTranslated by Annette Lerche Trolle

The history of Czechoslovak private libraries reflected great historical events, specifically in the change of ownership between 1918 and 1945/1954. The biggest change came after the Second World War, when the highest state officials decided to punish war criminals. In general, all Germans were labelled as enemies of the republic and were to bear collective guilt for starting the war. Their punishment included, among other things, the loss of property, which also concerned their libraries. This study focuses on the state administration dealing with such property.

The article covers the activity of theatrical groups in the German-occupied territory of Ukraine during the Second World War, as well as the place of the theater in the policy of the occupying power,the repertoire component and the use of the occupation administration of acting groups to propagate Nazi ideas among the local population. The author shows the use of the Ukrainian theater's legitimate position to communicate with the civilian population and preserve national artistic traditions. In the atmosphere of destruction of social institutions, narrowed literary and artistic life, lack of domestic cinema, closure of museums, libraries, limited schooling and discontinued activities of higher education, the theater became an artistic, aesthetic and educational institution.

Summary This work is an overview on those medieval canon law manuscripts which still testify the literary culture of the Benedictine Abbey of St. Germain des Prés. For the reconstruction of its original collection, have been used the material of two important libraries, i.e. Paris, Bibliothèque Nationale and the National Library of St. Petersburg. This description can give an outline on the original medieval library, focusing on its canon law material. The analyzed manuscripts testify not only the ownership by this very abbey, but a flourishing canon law activity in several fields of the ecclesiastical institutionalized life wherein they were used on the day-to-day basis. The several hands and many supplements or inscriptions show well the application of canonical norms for instruction, for cases at the ecclesiastical tribunal, for the interpretation of administration sacraments and sacramentals, particularly regarding the matrimonial and penitential service of the faithful.

PurposeThe purpose is to investigate the professional identity of public library, archive and museum (LAM) professionals in Denmark, Germany, Hungary, Norway and Sweden.Design/methodology/approachThe data have been gathered through the administration of three questionnaires. A comprehensive analysis is conducted to explore the variations in the professionals’ perceptions of their professional proximities to the other LAM professions and other related professions, considering demographic factors such as age, education, gender and immigrant background of participants.FindingsThrough a lens of micro- and macro-professional identities, the findings underscore both clearly perceived role separation between the LAM professions and notable points of convergence, suggesting opportunities for collaborative efforts. The implications of these discoveries are discussed, offering a foundation for future research endeavors.Originality/valueThe study highlights the professions perceived to have the most and least similarity to LAMs based on questionnaire responses, providing valuable insights into the interplay between various professional domains.

NB: Artiklen er på dansk, kun resuméet er på engelsk. In November 1943, the German Wehrmacht’s Commander-in-Chief in Denmark, Hermann von Hanneken, moved his headquarters from Copenhagen to Silkeborg. He demanded that a representative of Danish department heads be sent there to ensure efficient arrangement for, and implementation of, the Wehrmacht’s needs. The department heads unanimously appointed Chief County Administrator Peder Herschend to “provisionally carry out the central administration and administer its central institutions according to due process of law on their behalf for urgent decisions.” Herschend took on the task and established an office in Silkeborg (the Silkeborg Office) to this end. He was assisted by a small, experienced staff of civil servants, some of them from the Ministry of Foreign Affairs. Until May 1945, Herschend functioned as adviser to the Danish authorities in Jutland and on Funen and as intermediary with the German headquarters when necessary. The Silkeborg Office was closed on 16 May. An official log was kept at the Silkeborg Office from November 1943 to May 1945. Notes were kept on all the cases with which the Office had to deal. The log is in five volumes, consisting of a total of approximately 7,000 pages, in which some 3,036 cases were recorded. There is one copy of the log in the National Archives and one at the Royal Library (Herschend’s copy). The National Archive’s copy contains only the log cases while the Royal Library’s copy also has a volume with the telegrams exchanged between Herschend and the Ministry of Foreign Affairs. The log has by no means been ignored but has been used only rarely. It is a unique source of information on many aspects of German occupation policy in Denmark at the regional level, particularly indispensable given that nearly all of the corresponding German archives were destroyed. The log covering the period from 4 May to 16 May 1945 has now been published in its entirety. It bears witness not only to a role change during the days of capitulation in which it was no longer the occupying power that decreed and confiscated but also to the fact that liberation brought many new problems and other players onto the scene. The Silkeborg Office handled everything professionally. If there was a celebratory atmosphere in the Office on 4 and 5 May, this was not commented on in the log. Herschend and his co-workers sought throughout the entire process to maintain an official style that, in numerous cases, was the only means of satisfying the Germans.

From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. British Broadcasting Commission. “Films ‘Fuel Online File-Sharing’.’’ 22 Feb. 2005 http://news.bbc.co.uk/1/hi/technology/3890527.stm>. Bretherton, I. “The Origins of Attachment Theory: John Bowlby and Mary Ainsworth.” 1994. 23 Jan. 2005 http://www.psy.med.br/livros/autores/bowlby/bowlby.pdf>. Bunniesormaybemidgets. Chat Room Comment. “What Did Those Girls Do to Rhonda?” 28 Mar. 2005 http://us.imdb.com/title/tt0110598/board/>. Chinese Graphic Arts Net. Mantras of the Dharani Sutra. 20 Feb. 2005 http://www.cgan.com/english/english/cpg/engcp10.htm>. Ewins, R. Barkcloth and the Origins of Paper. 1991. 20 Feb. 2005 http://www.justpacific.com/pacific/papers/barkcloth~paper.html>. Grassl K.R. The DVD Statistical Report. 14 Mar. 2005 http://www.corbell.com>. Hahn, C. M. The Topic Is Paper. 20 Feb. 2005 http://www.nystamp.org/Topic_is_paper.html>. Harper, D. Online Etymology Dictionary. 14 Mar. 2005 http://www.etymonline.com/>. Mask of Zorro, The. Screenplay by J McCulley. UA, 1920. Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. Citation reference for this article MLA Style Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.

Does science have a moral component? Today, as well as in the past, the perspectives of scientists diverge. Some scientists join political groups and work for them. They only care about financial benefits and waiving moral and ethical rules. Others take an alienated stance, arguing that science only has scientific objectives that must be addressed. They lack concern for ethical aspects and stand by the motto “science for the sake of science.” Others say it is important to have ethical rules in science and that we cannot preserve humankind and its movement towards the future without ethical and moral principles. Considering that the world is currently in the second decade of the 21st century, it is evident that it has been divided into two distinct axes: the first being democracy, with its significance to every human life, and the second being dictatorship and tyranny, where human life is deemed worthless in pursuit of a particular objective. Ukraine has become the first outpost of this division and an example for humankind, where moral and ethical rules serve as the foundation of its statehood, which it has been defending in the cruel war with the Moscow nuclear empire since 2014. Ukraine, through its centuries-old sacrifices and historical experience, has enlightened humanity with the authentic foundations of morality: the heroism of its defenders, the fervent patriotism of its people, spiritual principles, empathy, saving people and animals, aiding the needy, the volunteer movement, the humane treatment of prisoners of war, and adherence to international legal principles. Our main goal is to protect our personal freedom, which is vital for every scientist to be self-fulfilled. What is the distinction in morality/ethics between homo sovieticus and a doctor? The Hippocratic Oath has been a moral compass for all doctors for several millennia. Its essence has not changed. The Soviet government abolished the Hippocratic Oath in 1917 because it prevented their political objective of enslaving the population [1]. The Bolsheviks imposed a new healthcare system through a decree: they legalized abortions in 1920 and active euthanasia (by medical professionals) in 1922 [1,2]. The Presidium of the Verkhovna Rada reinstated the Hippocratic Oath in 1971. Called “The Oath of the Soviet Doctor,” it was meant to raise the doctor’s prestige and emphasize their duty before the Soviet state [3]. The decline of medical ethics in the Russian Federation also saw the abandonment of ancient traditions focused on the patient in the principles of medical practitioners’ activities and the continued functioning as a tool of the ruling government [4]. The oath of Russian physicians, with its patronizing and sexist language, completely disregards the rights of the patient and the physician’s responsibility to take preventive measures and fulfill their duties before society. The expert in medical ethics, Pellegrino, observed, “It’s hard to imagine a more devastating mutilation of the body of medical ethics.” The re-emergence of pre-existing medical behavior patterns, which were rooted in the Ukrainian environment and influenced by Greek-Catholic customs prior to the Soviet era, was observed with the declaration of Ukraine’s independence in 1991. Professor Bohdan Nadraha was a strong supporter of the creation of updated medical ethics [5]. As one of the initiators of the revival of the Ukrainian Medical Society in Lviv and as the head of the Court of Medical Honor from 1992 to 1996, he firmly advocated for the reinstatement of bioethical principles among physicians and their practice in accordance with the principles of Hippocrates. Professor Ihor Herych created a document called “The Hippocratic Oath of the Doctor”, and Lviv Regional Medical Administration officially accepted it in 2007 [6]. Article 81 describes the ethical behavior of a doctor, including the doctor’s attitude towards the patient, the quality of medical care, confidentiality, the doctor’s role in end-of-life care, transplantation issues, conducting clinical trials, patient’s informed consent, and responsibility of doctors before the society. During a meeting with members of the Medical Commission of the Shevchenko Scientific Society and the Ukrainian Medical Society in Lviv, His Beatitude Liubomyr Husar addressed the physicians regarding the observance of the Hippocratic Oath, “In my opinion, it is imperative to comprehend that medicine is not merely a profession, but a calling, regardless of the form of oath.” He further stated that “understanding the significance of one’s profession and performing it with the utmost diligence is essential” [7]. The doctor has a calling that obliges them to do everything possible for the patient’s benefit. His important advice on de-communization was, “Corruption is part of the Soviet legacy. In my perspective, it is imperative that the authorities, scientists, historians, and every member of society analyze the legacy of the Soviet era and the remaining negative elements and swiftly eradicate these undesirable elements” [8]. Ukrainian scientists have a lot to be proud of because they started the foundations back in the 19th century when they founded the Shevchenko Scientific Society in Lviv in 1873 with support from philanthropists from Naddniprianshchyna. The Ukrainian intelligentsia and academics united and forged a solid foundation for the ethical values they pursued, embracing the ideals of liberty and tolerance being stuck among the two empires – the Austro-Hungarian Empire and the oppressive autocratic Russian Empire. This Society experienced significant development under the leadership of academician Mykhailo Hrushevskyi. The medical commission was established and supervised by Yevhen Ozarkevych, a prominent public figure, scientist, and physician, in 1898. As a global Ukrainian multidisciplinary academy of sciences, the medical commission has given impetus to the development of various directions of Ukrainian science, culture, and language and became the intellectual foundation of the Ukrainian state in 1918. The Shevchenko Scientific Society operated in Poland until 1939 and was destroyed by the Soviet authorities. In 1989, the Ukrainian diaspora recommenced its operations in Ukraine. The active intellectual diaspora, with its centers in the United States, Canada, Europe, and Australia, has been operational for 50 years (working outside Ukraine). So, we have a story about moral scientists who lived and worked for their country and the world [9]. Doctors and scientists who were forced to emigrate continued the traditions of the Lviv Ukrainian Medical Society and the Shevchenko Scientific Society during the 46 years of communist rule in western Ukraine. They started the Ukrainian Medical Society of North America in 1950 and published their works in the world’s only medical journal, “Medical Herald” (1954). Roman Osinchuk, who graduated from Lviv University and emigrated to New York in 1947, was its Editor-in-Chief. The basis of their activities were moral and ethical principles. Pavlo Dzhul, who edited the “Medical Herald” from 1967 to 2003, said it was better to follow the rules of medical ethics and follow the Hippocratic Oath instead of making a new code of ethics. “Hippocrates, in his oath, called for the honest fulfillment of duties according to one’s abilities and knowledge... a physician should alleviate the suffering of the sick and preserve human life... should lead a pure and blameless life, be committed to their profession to the fullest, and stay far from all that is malicious, unjust, and harmful. The aforementioned adage “primum non nocere” ought to remain relevant throughout time. A doctor who adheres to these principles will be able to fulfill their duties with a clear conscience, even during times of great revolutionary breakthroughs in medicine. Therefore, there is no need to draft a new code of medical ethics, but rather to reaffirm the ideals of our forefathers” [10]. In modern times, Ukraine is again fighting for the eternal principles of morality against the essence of the Russian Federation distorted by Soviet narratives and other dictatorial regimes. The democratic world underestimated the threats of dictatorial and terrorist regimes. Aggressors use economic and informational methods to manipulate people with a false ideology. They shape their supporters into “biomass” and instill in them a hidden “dark” morality also involving their religions. This is the second year that Ukraine is experiencing war particularly painfully, and this was also demonstrated during the attack on Israel. How methodically and uniformly the dictator-terrorist regimes operate! What a treachery, deceit, and cruelty! Someone teaches well, and executors learn quickly! The world must arrive at lucid and expeditious conclusions, as this poses a serious threat to the democratic principles of humanity. Joe Biden spoke about it in his special address from the White House on October 19, 2023: “We’re facing an inflection point in history... those moments where the decisions we make today are going to determine the future... History has taught us that when terrorists don’t pay a price for their terror, when dictators don’t pay a price for their aggression, they cause more chaos and death and more destruction... making sure Israel and Ukraine succeed is vital for America’s national security... global democracy” [11]. Everyone should reflect on these words, especially the intellectual elite. Scientists worldwide need to know which direction they are moving in by using their knowledge, abilities, and work. The everyday work and moral decisions made by scientists represent the symbolic placement of weights on various platforms of the historical scales: either for democracy or for dictatorship. They are two components of the real world today. What prevails now will be our future! This is a challenging question for scientists living in dictatorial states. They either have to leave them or refrain from supporting the development of these societies by speaking at international congresses or publishing articles about their developments in scientific journals. It is imperative that they wait for better times, refrain from supporting and sustaining the dictatorship, and refrain from contributing to its perpetuation. Living in a country that routinely commits mass genocide against other nations, commits humanitarian and ecological crimes, kills children and prisoners of war, and demolishes churches, museums, hospitals, educational institutions, and cemeteries was not a lucky break for them. Hence, scientists in democratic societies must clearly define their objectives: are they engaged in genuine scientific research with a moral component and generating a perspective for humanity, or are they focusing on the financial aspect and inviting scientists from dictatorial regimes to international conferences and publishing their articles in reputable journals in exchange for financial support? Scientists from the Russian Federation are not victims, and the world must refrain from using the term “good” Russians. They are the representatives of a terrorist state, and they must be isolated during the war to enable their minds and conscience to comprehend the significance of human life [9]. The ethical oversight of scientific endeavors, viewed as a vital necessity, is a crucial prerequisite for the advancement of research and the existence of humankind in its entirety. Every scientist should be aware of their responsibility for the fate of humanity. True science must have a moral face! The war is a test to see how well the Ukrainian people believe in morals and science. Ukrainian scientists have taken a stand to defend their state, democracy, and freedom despite the circumstances of war by establishing an intellectual front [10]. Some scientists volunteered and sacrificed their lives for the democratic future of Ukraine and humankind. More than 80 scientists died in 2022-2023. Some scientists help the Armed Forces of Ukraine with their developments [11], and others save wounded Heroes [12]. We thank the scientists of Europe, America, Canada, and Australia who have supported and continue to support Ukraine [13,14], who do not create a platform for the propaganda of Russian science, and who do not invite Russian scientists to their professional congresses and conferences. Ferenc Krausz, the Hungarian Nobel Prize laureate in physics, donated his prize money to help Ukraine, which, contrary to the official policy of the Hungarian government in the international arena, has become an example of morality. Yet many scholars advocate the principle of neutrality and the grey zone. Many scientific conferences and professional gatherings don’t mention the war in Europe, they allow scientists from the Russian Federation to speak and moderate, and they don’t commemorate peaceful researchers who perished because of the war. This is what happened at an international conference organized by the European Society for Primary Immunodeficiency in Gothenburg on April 16-18, 2022. The professional community did not honor the memory of Oksana Leontiieva, a scientist and hematologist from Kyiv who was supposed to talk at this conference about her developments in transplanting primary immunodeficiency on October 17. On October 10, 2022, seven days before the scheduled speech, she was killed by a Russian bomb while en route to work. At that time, Russian scientists were actively delivering their speeches at the conference. Haven’t scientists around the world had enough of the horrible things happening in Europe, like Russian bombings of hospitals, schools, libraries, theaters, homes, cafés, and funerals? Aren’t they equated to the high crimes of war, genocide, and terrorism? Several independent organizations cited in the Raoul Wallenberg Center for Human Rights report for May 2022 established this. The report also concludes that “states have a legal obligation to prevent genocide beyond their borders when they become aware of a serious risk of genocide”. The threshold established by this report has been reached, and states are no longer allowed to deny it. For the past two years, there have been discussions about whether Western publications should refuse to publish scientific papers from Russian institutions. Only the Journal of Molecular Structure has issued a clear statement based on the humanitarian crisis arising from Russia’s invasion of Ukraine, ceasing the acceptance of manuscripts from scientists working in institutions of the Russian Federation [15]. Several journals declined to endorse a boycott for the sake of “universal science” (The British Medical Journal) [16] or to prevent “dividing the global research community and inhibiting the exchange of scientific knowledge” (Nature) [17]. Science has also decided not to boycott Russian submissions [18]. The “Journal of Hematopathology” has emerged as a prominent publication among Springer Nature’s journals, expressing its condemnation of Russia’s invasion of Ukraine while retaining a proactive approach towards evaluating manuscripts from Russian authors [19]. The war in Ukraine is condemned in several publications [20-21]. This is an example of outrage without real action. Russians are not even denied electronic access to scientific publications. Did these publications accept manuscripts from the Nazi regime during World War II or the Soviet regime during the Cold War era? When asked if American universities should have boycotted German/Nazi universities during World War II, they answered, “...when the Nazis criminalized higher education, they ceased to be universities” [22]. The united comprehensive approach of the civilized world, scientists in the first place, was able to defeat fascism and collapse the Soviet Union. Scientists all over the world are now deeply concerned about the Russian Federation’s actions in Ukraine. You learn nothing from history! Scientists from the Russian Federation supported the war with Ukraine during its early days, and many of them continue supporting it. The Russian Federation has criminalized its own research institutes and universities through its stringent regulations that suppress free speech and, consequently, academic freedom. Research institutions operate for the war machine in three shifts. Russian scientists are essential supporters of government policy. For example, about one million Russian scientists left the country in protest against the Russian invasion of Ukraine. Those who stayed don’t have enough important lab supplies from the West because of sanctions or reduced national funding for science [23]. But now is not the time for them to create the conditions for the development of science. Supporting them is a threat of the third world war! The manuscripts of Russian scientists with Homo sovieticus origins deserve to be boycotted by Western scientific publications until the war ends, with the complete withdrawal of Russian troops from Ukrainian territory, the reparations for the killed population, registered justice and convicted war crimes, restoration of the destroyed infrastructure; mitigating the environmental catastrophe in the Ukrainian territory due to widespread mining, dam explosion, etc. During wartime, international sanctions in the realm of science should be imposed, much like those for economic, sporting, and cultural spheres. For humankind to have perspective, isolation of the aggressor must function in the scientific field. Scientists should make a conscious decision regarding the purpose for which they live, work, think, and create. Think before the nuclear monster destroys the planet!!!