Zeitschriftenartikel zum Thema „Norsk dramatik“

Til tross for at klima omtales som vår tids største utfordring, har konsekvensene av klimakrisen fortsatt en marginal betydning i norsk utenrikspolitikk. Vi analyserer hvordan overgangen til et fornybart energisystem, økt klimamigrasjon, press på oljenasjonen Norges omdømme, og store utfordringer for FN, EU og NATO, vil endre betingelsene for norsk utenrikspolitikk. Vi beskriver hvordan utenrikspolitikken påvirkes i tre fremtidsbilder med henholdsvis rask omstilling (A), sen omstilling (B) og ingen omstilling (C). Det utenrikspolitiske handlingsrommet blir mindre i alle fremtidsbildene. Den viktigste prioriteringen i norsk utenrikspolitikk bør være å hindre dramatiske klimaendringer fordi det vil undergrave norsk velstand, sikkerhet og internasjonal stabilitet. I siste del av artikkelen drøfter vi hvilke konsekvenser klimakrisen bør få for prioriteringer i utenrikspolitikken og for våre viktigste allianser. Vi argumenterer for at klimakrisen gir tunge argumenter for å knytte Norge enda nærmere til EU, og for å samarbeide tettere med Kina.

George Mackay Brown (1921–1996), an Orcadian poet, author and dramatist, was undoubtedly one of the finest Scottish creative voices of the twentieth century. He was greatly influenced by Old Norse literature, and this is reflected in his writings in many ways. The present article aims to trace and discuss Old Norse themes and motifs in Brown’s poetry. His rune poems, translations of the twelfthcentury skaldic verse, experimentation with skaldic kennings, as well as choosing saga personalities, such as Saint Magnus, Earl Rognvald of Orkney and others, as protagonists of the poems show the poet’s in-depth interest in the historical and literary legacy of his native Orkney and Old Norse culture in general.

Abstract In the 1837 publication of Antiquitates Americanae by the Royal Society of Northern Antiquaries in Copenhagen, Carl Christian Rafn argued that indisputable evidence proved that Norse mariners had arrived in North America around the turn of the 11th century, making them—not Columbus and his crew—the first white people to colonize the hemisphere. For historical societies and intrigued readers in the U.S., evidence about Norse settlement around the turn of the millennium could stretch the chronological, geographical, and dramatic scale of the national history that was being actively archived and narrated in this period. Americans eager to be seen as trans-Atlantic intellectual peers seriously analyzed the evidence and narrative promoted by Rafn, but their ambivalence about both the precision of the evidence and the implications of the narrative ultimately led them to marginalize the theory of Norse discovery by the time of the Civil War. In constructing their archives and historical narratives, Americans were drawn into such trans-Atlantic intellectual currents and foreign nationalist historical projects as the theory of Norse discovery, but they also navigated and redirected these currents according to their own conceptions of what belonged within the nation’s archival record and what their nation’s historical narrative should be.

Utgangspunktet for dette temanummeret er den økte oppmerksomheten som er knyttet til skoleledelsens betydning for kvalitet i skolen. I løpet av de siste 20 årene har sett et dramatisk skifte i forventninger som rettes mot skoleledere, og konteksten for utøvelse av ledelse er blitt langt mer kompleks sammenlignet med tidligere. I dette nummeret av Acta Didactica er hensikten er å belyse skolelederutdanning og ledelsesutvikling fra ulike perspektiver og sammenhenger for å gi et bilde av hva skolelederutdanning og ledelsesutvikling er og kan være. På ulike måter belyser de elleve artiklene hva som preger kunnskapen vi har om skolelederutdanning og ledelsesutvikling i skolen i dag, hva som er dominerende trender i feltet og hva vet vi om forholdet mellom lederutdanning, ledelse i praksis og forskning om disse fenomenene. Selv om de fleste bidragene er skrevet i en norsk kontekst, reflekterer de den internasjonale diskursen om skoleledelsesutvikling og lederutdanning.Nøkkelord: Skolelederutdanning, ledelsesutvikling i skolen

Jared Diamond’s Collapse: How Societies Choose to Fail or Succeed (Viking Penguin, 2005), tells the dramatic decline of past civilizations—the Easter Islanders, the Anasazi in the Southwestern United States, the Mayans in Central America, the Norse Vinland settlement in Greenland. These civilizations did not slowly fall apart; they suffered drastic reductions in population and productivity. In Diamond's account, their collapses result from mismanaged resources, lost friends, gained enemies, climate changes, and most tellingly, their cultures and beliefs. Diamond provides captivating histories and an engaging explanation of the sciences required to piece those histories together, but his logic and his prescriptions would benefit from greater familiarity with some basic principles of economics and a richer understanding of human nature.

The current literature on international joint ventures pays considerable attention to why joint ventures are established or why they are dissolved, but we lack studies that give insight into their dynamic development. The aim of this article is to investigate the evolution of an international joint venture over time. We confront some of the theoretical insights developed during the last decades with the dramatic history of the aluminum producer Det Norske Nitridaktieselskap (DNN). The company was established shortly beforeWorld War I and was finally disbanded over seventy years later. For most of this time, DNN was an international joint venture with shifting ownership configurations. This gives us the possibility not only to discuss the motivation for why the company was established or why it was dissolved, but also to study the mid-life of the company. What was DNN's role within the general corporate strategies of the owners? Did this role change over time?

Utgangspunktet for artikkelen er den markante og mye omtalte omstillingen som store deler av norsk næringsliv for tiden gjennomgår, med tilhørende strategier for organisasjonsutvikling og nedbemanning. I artikkelen fokuseres det spesielt på HR sin rolle i forbindelse med dramatiske, raske, overlappende og krevende endringsprosesser. Et sentralt tema er hvordan HR-medarbeidere kan gjøre en positiv forskjell i endringsprosesser ved å bidra til meningsskapende prosesser, slik at det utvikles forståelse og endringsvilje hos de ansatte. Det ligger innenfor HR sitt ansvarsområde å se til at organisasjonsendringer gjennomføres i tråd med lover og regelverk, og å bidra til å implementere endringen med ønsket tempo og kvalitet. Blant de viktigste suksesskriteriene for organisasjonsendringer er gjennomføring med minst mulig tap, og at motivasjonen og innsatsen til medarbeiderne opprettholdes. Et hovedpoeng i artikkelen er at ledere og medarbeidere i en virksomhet bør ivaretas og engasjeres underveis i en omstillingsprosess. Vi drøfter ulike suksesskriterier og fallgruver ved endringsprosesser samt vise ulike grep for initiering, gjennomføring og evaluering av endringsprosesser. En konklusjon er at HR – ved å opptre som koordinerte og aktive endringsagenter – øker sannsynligheten for en meningsgivende og suksessfull endringsprosess.

The article is conceived as a survey exploration of significant historic developmental stages of the Norwegian educational drama field. The article first engages in an historical consideration of educational dramatics from traces of performed education in old Norse culture, via school drama organized by the church in the Middle Ages, to a decline of drama and theatre after Pietism in the eighteenth century, with a succeeding narrower view of knowledge and teaching in the following century and scarce information about drama as education. The focus then turns to deliberation of educational reforms in the twentieth and twenty-first centuries, offering new possibilities for drama pedagogy through the Progressive Education movement, followed by identifying the position of drama in the six national curriculum reforms from 1939 to 2020 and the changing role of the subject area resulting from policy accentuations underlying curriculum revisions.

Acta Didactica Norge ble etablert som fritt tilgjengelig tidsskrift for fagdidaktikk og lærerutdanning på nivå 1 i 2007 etter initiativ fra Institutt for lærerutdanning og skoleforskning ved Universitetet i Oslo. Det var det første norske tidsskriftet som tok i bruk tidsskrifts- og publiseringssystemet Open Journal Systems. I denne artikkelen trekkes det opp noen linjer i tidsskriftets tiårige historie fra etableringen i 2007 gjennom tre faser: oppstart, konsolidering og ekspansjon. Tidsskriftet er i dag et tidsskrift på publiseringstjenesten FRITT – frie tidsskrifter fra UiO. Det tar verken abonnements- eller publiseringsavgift. Tidsskriftet har hatt en kraftig vekst i antall artikler fra starten til i dag, og et høyt antall nedlastinger tyder på at det når ut til en stor leserskare. Acta Didactica Norge 2007 - 2017AbstractIn 2007 Acta Didactica Norge, an open-access, level 1 journal for subject didactics and teacher education, was established at the initiative of the Department of Teacher Education and School Research, the University of Oslo. It was the first Norwegian journal to use the Open Journal Systems for online journals. This article provides an overview of the first ten years, through the start-up, consolidation, and expansion phases. Today Acta Didactica Norge is one of Oslo University’s FRITT journals, which does not require subscription or publication fees. FRITT is an Open Access journal publishing service hosted by the University Library. During the last ten years the journal has had a dramatic increase in submitted and published articles and a high number of downloads give evidence of a wide readership.

I denne artikkelen presenteres funn fra en studie på programfag drama i norsk videregående skole. Dramalærere samt tidligere og nåværende dramaelever fra tre skoler ble intervjuet om hvordan de så på forholdet mellom dramarommet og psykisk helse. Av studien gikk det frem at dramarommet oppleves som et paradoks, både veldig fritt og krevende på samme tid. For å undersøke hvilke faktorer som kan bidra positivt og mulig negativt for elevenes psykiske helseopplevelse i dramarommet, tar vi utgangspunkt i en ressursorientert helseforståelse og bringer inn begrepet toleransevinduet fra psykologien. Dramarommets paradoks utdypes med tre perspektiver som spenningsfelt: mellom å bli pushet og ivaretatt, mellom innlevelse og distanse i den sceniske virkeligheten, og mellom ulike forventninger til dramafaget. Studien viser at elevene ønsker å pushes faglig, og at de opplever stor mestring når de klarer noe de på forhånd ikke trodde. Samtidig er dette komplekst og avhenger av å finne balansen mellom de mange sammenvevde motsetningene som er i dialektisk samspill. De estetiske læreprosessene i dramafaget kan innebære både muligheter og utfordringer når det gjelder opplevelse av psykisk helse og personlig utvikling. ENGLISH ABSTRACT Pushing or cuddling – perspectives on the paradox of the drama space This article presents findings from a study addressing the A-levels drama program in Norwegian upper secondary education. Drama teachers and former and current drama students from three schools were interviewed. The study demonstrated that the drama space is perceived as a paradox, both as very free and demanding. To investigate which factors may contribute positively and possibly negatively to the students’ experience of mental health in the drama space, we lean on a resource-oriented understanding of health and introduce the concept of the tolerance window from psychology. The paradox of the drama space is examined through three perspectives as fields of tension: between pushing and caring, between the emotional identification and distance in the dramatic as-if reality, and between the incongruent expectations to drama and theatre education. The study illustrates that the students want to be pushed educationally and that they experience great achievement and life efficacy when they manage something they did not believe beforehand. This is, however, complex, and depends on finding a balance between the many entangled interactions. The aesthetic learning processes in the drama space may offer possibilities as well as challenges regarding mental health experience and personal development.

The serovars of Salmonella enterica display dramatic differences in pathogenesis and host preferences. We developed a process (patent pending) for grouping Salmonella isolates and serovars by their public health risk. We collated a curated set of 12,337 S. enterica isolate genomes from human, beef, and bovine sources in the US. After annotating a virulence gene catalog for each isolate, we used unsupervised random forest methods to estimate the proximity (similarity) between isolates based upon the genomic presentation of putative virulence traits We then grouped isolates (virulence clusters) using hierarchical clustering (Ward’s method), used non-parametric bootstrapping to assess cluster stability, and externally validated the clusters against epidemiological virulence measures from FoodNet, the National Outbreak Reporting System (NORS), and US federal sampling of beef products. We identified five stable virulence clusters of S. enterica serovars. Cluster 1 (higher virulence) serovars yielded an annual incidence rate of domestically acquired sporadic cases roughly one and a half times higher than the other four clusters combined (Clusters 2–5, lower virulence). Compared to other clusters, cluster 1 also had a higher proportion of infections leading to hospitalization and was implicated in more foodborne and beef-associated outbreaks, despite being isolated at a similar frequency from beef products as other clusters. We also identified subpopulations within 11 serovars. Remarkably, we found S. Infantis and S. Typhimurium subpopulations that significantly differed in genome length and clinical case presentation. Further, we found that the presence of the pESI plasmid accounted for the genome length differences between the S. Infantis subpopulations. Our results show that S. enterica strains associated with highest incidence of human infections share a common virulence repertoire. This work could be updated regularly and used in combination with foodborne surveillance information to prioritize serovars of public health concern.

Object. The goal of this study was to evaluate the effect of antisense epidermal growth factor receptor (EGFR) RNA on the growth of rat glioma cells in vitro and in vivo and to determine the feasibility of targeting the EGFR gene for gene therapy in gliomas.Methods. Antisense EGFR complementary (c)DNA was transfected into C6 glioma cells by using lipofectamine. In vitro studies, Southern and Northern blot analyses, in situ hybridization, and immunohistochemical staining were designed to examine the integration and expression of antisense EGFR constructs. The 3′(4,5-dimethylthiazol-2-yl)2,5-diphenyl tetrazolium bromide (MTT) assay and the average number of argyrophilic nuclear organizer regions (Ag-NORs) were used to evaluate cell proliferation, whereas the terminal deoxynucleotidyl transferase—mediated deoxyuridine triphosphate nick-end labeling (TUNEL) method and microscopy were used to observe cell apoptosis. As part of the in vivo studies, parental C6 cells and C6 cells transfected with EGFR antisense cDNA were implanted stereotactically into the right caudate nucleus of Wistar rats (C6-injected animals and transfected C6-injected animals). Rats with well-established cerebral C6 glioma foci were treated intratumorally with either antisense EGFR cDNA or empty-vector DNA by using lipofectamine (treated-C6 and control treated group). The general behavior and survival of the rats, findings on magnetic resonance images of their brains, histopathological changes, proliferation activity, and apoptosis of the cerebral gliomas in each group of rats were examined.Exogenous antisense EGFR cDNA was integrated into the genome of C6 cells and expressed. In clones with a high expression of the antisense construct, there was a dramatic decrease in endogenous EGFR messenger RNA and protein levels, reduced proliferation activity, and induction of apoptosis in vitro. The mean survival time of rats injected with C6 cells was 17.3 days. The mean survival time of rats injected with C6 cells followed by treatment with empty vector in lipofectamine was 15.4 days. Survival time was significantly prolonged in 100% of the rats injected with antisense-transfected C6 cells and in two thirds of the rats injected with C6 cells followed by antisense EGFR cDNA. Magnetic resonance imaging revealed distinct cerebral tumor foci in C6-injected rats and in control rats of the treated group, but none were found in the rats injected with transfected C6 cells. Furthermore, tumor foci disappeared completely in C6-injected rats treated with antisense EGFR cDNA. The cerebral gliomas of the rats treated by injection of antisense EGFR RNA were characterized by reduced proliferation activity and the induction of apoptosis.Conclusions. The results of this study indicate that EGFR plays an important role in the genesis of malignant gliomas. It may, therefore, be an effective target of antisense gene therapy in patients with gliomas.

The Way from Force to Freedom in Grundtvig’s Life and WritingsBy William MichelsenAs it was shown by Kaj Thaning in Grundtvig Studies, 1981, Grundtvig, in 1825, made the discovery, new at the time, that the Christian church is older than The New Testament. He utilized the discovery to claim that the Apostolic Confession is the criterion of genuine Christianity, and the same year, in .The Rejoinder of the Church., he used it against H.N. Clausen, Professor of Theology, in an attempt to force him to lay down his office if he did not admit and apologize for his ‘scandalous teaching’. However, Grundtvig was charged instead, and, in 1826, received a sentence for libel of Clausen, and therefore resigned his office as a clergyman himself. Nonetheless, from 1832 to his death in 1872, Grundtvig became the most unswerving supporter of freedom in Danish spiritual life. The standpoint is clearly expressed in .Norse Mythology., 1832, and the same year Grundtvig was permitted to preach in the state church, from 1839 until his death as a vicar of Vartov Church. How can this change of attitude on Grundtvig’s part be explained?The assertion of the present article is that the apparently dramatic changes in Grundtvig’s attitude to freedom are consistent on a more fundamental level, partly depending on his religious development, partly on his concept of freedom which differed from the usual philosophical thinking of his time.Already before his birth, his parents had decided that Grundtvig was to become a clergyman, and in 1810, when his father demanded that he should make a personal application to the King for permission to be his father’s personal curate, he consequently felt force to submit, though it had always been his own wish to be a historian. So he saw himself as obliged through his ordination to defend genuine Christianity against any kind of Rationalist falsification - first on the basis of Luther scripturalism, and from 1825 on the basis of the Apostolic Confession. When H.N. Clausen did not lay down his office, Grundtvig had to lay down his.How then can it be explained that already in 1831 Grundtvig admitted that one must allow one’s opponent the same freedom to speak as one demands for oneself - the following year, even within the same state church. The explanation is to be found in Grundtvig’s experiences from his journeys to England, perhaps in particular from a conversation with Clara Bolton in 1830. More particularly the present article claims that his attitude rests on the assessment of John Wesley’s withdrawal from the state church, proposed by Grundtvig in his ‘Prospect of the World Chronicle’, 1817: it was not necessary because Wesley was not - like Luther – ‘excommunicated’ from the church, but only ‘excluded from the office of teaching’ - the same situation as Grundtvig felt he was in from 1826 to 1832.Grundtvig’s characteristic concept of freedom can be traced as far back as to 1814 (cf. Grundtvig Studies, 1986, pp. 8-9): Man is created with a will of his own, which may be either obedient or disobedient to the will of the Creator, and which is therefore free. Man, however, is not an independent being in the universe. Grundtvig was an opponent of the usual notion that the human personality is free by virtue of his reason.

A gift to VeledaThe large finds of military equipment in Southern Scandinavian bogs (the so-called war booty sacrifices) have long comprised a central aspect of research into the Iron Age. During recent decades, research has focused on the chronology and origin of these find assemblages, the hierarchical structure of Iron Age armies and their military strategic organisation and logistics. Comparably little attention has, on the other hand, been paid to the finds in their primary sense, i.e. as votive offerings and, accordingly, expressions of ritual acts with ideological and religious connotations. Our knowledge concerning the character of the acts performed before and during the actual depositions, and the religious background for these acts, is very limited. An historical account of which there has, until now, been little awareness in this respect, is the history of Veleda. According to Tacitus’ Historiae, Veleda was a prophetess of the German tribes north of the Lower Rhine. Tacitus’ account may serve as a source of inspiration towards a better understanding of these war booty offerings. The aim of this article is to draw attention to the ritual and sacral dimension of the Southern Scandinavian war-booty sacrifices and to paint a picture of the possible background and religious connotations for these finds.About the South Scandinavian war booty sacrificesThe Southern Scandinavian war booty sacrifices typically contain various types of weapons and elements of the personal equipment of individual warriors, as well as tools and other elements belonging to an army’s logistical apparatus. The find sites are concentrated geographically relative to the eastern coast of Jutland and on the island of Funen. The majority dates from the Late Roman Iron Age and the beginning of the Migration Period. It is generally accepted that the war booty offerings represent the equipment belonging to defeated armies, deposited by the victors of the conflicts. Recent debate has focussed on the question of whether the sites mirror offensive or defensive military actions. With regard to the ritual background and religious connotations of the sites, discussions have traditionally been based on descriptions by Classical writers of the sacrificial rituals of Celtic or Germanic tribes. These traditionally form the explanatory framework for the interpretation of the sites as representing votive offerings of a victorious army to some war god or other.The sacrificial sites as a ritual sceneCommon features of the war booty offerings are their location in a wetland environment, originally a lake or bog, and the intensive destruction of the artefacts previous to their deposition. Analyses indicate that this destruction was conducted very intentionally and according to a firmly structured pattern of ritual behaviour. The sacrifices thus represent considerable organisational and logistical investment(s), involving the participation of large groups of people. Through an association with high steep moraine hillsides, the topography of some of the offering sites resembles that of a natural amphitheatre. The localities seem to have been intentionally chosen to allow a large audience to witness the performance of the offering. The offerings can thus be seen as highly performative and dramatic spectacles, which, drawing on both additive and visual effects, can be expected to have left a lasting impression in the memories both of individuals and of the community.Tacitus’ account of VeledaTacitus’ account of Veleda forms part of his report in books IV and V of Historiae, on the revolt of the tribes of the Batavi and the Bructeri against Roman administration, which took place around 70 AD in the province of Germania Inferior. The prophetess is introduced in the context of the siege and destruction of Castra Vetera, near modern Xanten, in 69/70 AD. According to Tacitus, she had foretold the victory of the alliance of Germanic tribes; one of the legionaries of the defeated legions was sent to her along with other gifts. She is described as a woman of the tribe of the Bructeri. Furthermore she is told to have had enormous authority, due to her prophetical and even divine power. Shortly after the siege of Castra Vetera, the Germans are reported to have succeeded in capturing the flagship of the Roman Rhine fleet, which again was brought as a present to Veleda.Veleda and her giftsVeleda is described more elaborately as being one of many prophetesses worshipped by the Germanic tribes, and who even may have achieved divine status. She was said to dwell in a tall tower of some kind, and direct contact with her was prohibited. Against the background of Veleda’s divine status, and her role as a mediator between gods and humans, the gifts which were brought to her after the Germans’ two victories can be seen as offerings. The Roman legate, said to have been killed on his way to Veleda, corresponds to the presentation and execution of the enemy commander in the context of the Roman triumph, or the killing of the Roman officers in the aftermath of the Battle of Teutoburg Forest. The trireme, the largest type of contemporary military vessel, cannot be expected to have been intended for military use but as an obvious expression of Roman military power, and hence clear proof for the Germans’ triumph.From Castra Vetera to IllerupThe range of gifts which, according to Tacitus, were brought to Veleda, correlates with some of the elements of the war booty offerings. With regard to the Roman officer, it was especially weapons and personal equipment, presumably those of the leading commanders of the defeated armies, that were deposited at several sites. These probably received special attention during preparation of the offerings. Tacitus’ account on the captured trireme is reminiscent of the finds of either complete or parts of what can be assumed to have been specialised military vessels seen in a number of war booty offerings. The similarities between the example of Veleda and the war booty offerings are not limited to the respective gifts/offerings. In both cases, the giving of gifts/offerings is in the context of a military campaign. The vessels, in particular, can be characterised as very spectacular items, and in both cases the victor of the military conflict was responsible for the giving of gifts/offerings.Veleda and her sisters in the NorthTacitus’ description of Veleda, and other references to Germanic prophetesses in Classical writings, shows parallels to the description of the Völva in much later Old Norse written sources from the medieval period. Fulfilling a role as a mediator between the gods and humans, these female prophetesses seem not only to have been part of actual society, but also an element of contemporary mythology. The Völva can be perceived as being associated with the mythological concept of the Norns, which again relate to other mythological figures, such as the Valkyries, Disir and a number of minor deities. Like Veleda, these religious specialists and mythological beings all relate to the general concept of fate, and in particular to warriors and war. Several mythological beings and female deities that appear in the Old Norse written sources, presumably representing an old stratum within the mythological narrative, show close links to a wetland environment, in the form of lakes, wells or bogs.The goddess in the lakeEven though both the various historical sources and the archaeological evidence are characterised by considerable variation in terms of space and time they nevertheless open up far-reaching perspectives and can be used as source of inspiration for a better understanding of war booty offerings. This applies not least to the question of whether these phenomena result from unsuccessful invasions or successful raids abroad. The latter hypothesis has been promoted more recently with reference to the Roman Triumph. The example of Veleda shows that the tribe of the Bructeri celebrated a version of the Triumph, indicating a similar practice in a Germanic context. This supports the above hypothesis that at least some of the war booty offerings may result from the showing off to the native community of war booty acquired abroad. The story of Veleda is of particular interest with reference to the nature of the ritual and religious dimension of the finds. Tacitus’ account of Veleda resembles the Southern Scandinavian war booty offerings on several counts. Additionally, there are obvious parallels between Veleda and the other Germanic prophetesses, on the one hand, and a large number of female characters in Old Norse written sources on Pre-Christian mythology, on the other. These similarities may be rooted in a shared conceptualisation of the influence of the divine powers on the outcome of a battle, of the predictability of the will of these powers and how appreciation could be expressed to such powers or to the ones who had communicated their will. The example of Veleda can be seen, like the later written accounts of Vølvas, Norns, Valkyries and other mythological beings, as a distant echo of this concept; it presumably belongs to the oldest strata of Pre- Christian cosmology reflected in our written sources. The historical sources can be seen as mirroring a past cognitive reality and religious world view; according to which female beings, both as religious specialists and as mythological characters, fulfilled a crucial role in the context of coercion, war and death. Against this background, one may ask whether the war booty offerings can be interpreted as reflecting votive offerings relating to religious specialists who were incorporated into preparation of the military campaign. Additionally, one may ask whether the nameless war god, to whom the war booty offerings are traditionally thought to have been dedicated, may also be sought among the various female beings mentioned in Classical and later Old Norse sources. These sources mirror a mythological conceptualisation of wells, lakes and bogs as not merely transitional zones or entrances to the supernatural, but as the very dwelling place of various mythological beings. Against this background, the changing context of votive activities in Scandinavia, practised in both wetland environments and in the context of settlements, may have been rooted in the dualism of a female and masculine sphere in religious and military practice.Andres Sieg fried DobatMoesgård Museum/Aarhus Universitet

Russlands krig mot Ukraina har enorme konsekvenser, først og fremst for Ukraina, men også for Russland og Russlands andre nabostater. Krigen har ikke bare kastet om på europeisk og norsk sikkerhets- og utenrikspolitikk, den vil ha store konsekvenser også for den norske forskningen på, og kunnskapen om, Russland. Mulighetene for forskning i Russland har blitt stadig mer begrenset over flere år, og etter februar 2022 er døren nærmest helt stengt. Samtidig er kunnskap om Russland viktig for Norge, som deler grense og forvalter kritiske ressurser i samarbeid med Russland. Slik vil det fortsette å være. Spørsmålet nå er hvordan denne kunnskapen skal skapes og oppdateres, gitt at rammebetingelsene som den norske forskningen på Russland de siste 30 årene har blitt produsert under, har endret seg dramatisk. Hvordan skal vi oppdatere norsk kunnskap om Russland i årene fremover? Hvilke metoder og data er tilgjengelige, og hva kan vi forvente av disse? Abstract in EnglishWhat Now, Russologists?Russia’s war against Ukraine has enormous consequences. First and foremost for Ukraine, but also for Russia and its neighboring states. The war has not only changed European and Norwegian security and foreign policies, it will also have a significant impact on Norwegian research on and knowledge about Russia. The opportunities for doing research in Russia have become more limited in recent years. After February 2022, it has become impossible. At the same time, knowledge about Russia is important for Norway, which shares a border and administers critical resources in cooperation with Russia. This will continue to be the case. The question now is how this knowledge is to be created given that the framework conditions under which Norwegian research on Russia has been produced during the last 30 years have dramatically changed. How are we going to update Norwegian knowledge about Russia in the coming years? What methods and data are available, and what can we expect from these?

Balladane er forteljingar på vers, alle dramatiske, anten romantiske, tragiske eller komiske. Tekstene er i seg sjølve ein stor skatt, i dag lett tilgjengelege i digital form: som transkriberte tekster i Det gamle balladearkivet frå 19971 og i utval med faglege innleiingar i Visearkivet, bokselskapet.no.2 Balladeprosjektet med Folkeviseautomaten3 byr mellom anna også på song av og opplysning om kvedarar. Kjeldeskriftene, sjølve handskriftene til fleire av dei store folkevisesamlarane på 1800-talet, er også digitaliserte, t.d. samlingane etter Sophus Bugge og Moltke Moe på nettsida til Norsk folkeminnesamling.4 Også musikkmanuskript i Nasjonalbiblioteket som oppskriftene av Ludvig Mathias Lindeman er tilgjengelege på nettsida til Nasjonalbiblioteket, bokhylla.no.

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>. 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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>.