Zeitschriftenartikel zum Thema „Radcliffe College. Class of 1998“

This article explores the implications of social class background in the lives of women who attended Radcliffe College in the late 1940s and in the early 1960s. Viewing social classes as “cultures” with implications for how individuals understand their worlds, we examined social class background and cohort differences in women's experiences at Radcliffe, their adult life patterns, their constructions of women's roles, and the influence of the women's movement in their lives. Results indicated that women from working-class backgrounds in both cohorts felt alienated at Radcliffe. Cohort differences, across social class, reflected broad social changes in women's roles in terms of the rates of divorce, childbearing, level of education, and career activity. There were few social class-specific social changes, but there were a number of social class differences among the women in the Class of 1964. These differences suggested that women from working-class backgrounds viewed women's marital role with some suspicion, whereas women from middle- and upper-class backgrounds had a more positive view. Perhaps for this reason, working-class women reported that the women's movement confirmed and supported their skeptical view of middle-class gender norms.

Margaret Eleanor Atwood is born on November 18, 1939, Ottawa, Ontario, Canada. She received her undergraduate degree from Victoria College at the University of Toronto and her master's degree from Radcliffe College. Atwood is a Canadian writer best known for her novels, which include: The Edible Woman (1969), Surfacing (1972), Lady Oracle (1976), Life Before Man (1979), Bodily Harm (1981), The Handmaid's Tale (1985), Cat's Eye (1988), The Robber Bride (1993), Alias Grace (1996) and The Blind Assassin (1998). Atwood is a famous writer, and her novels are best sold all over the world. She has been labelled as a Canadian nationalist, feminist, and even a gothic writer. She is well known internationally in the USA, Europe, and Australia. This research aims at showing throughout Surfacing, the way Atwood portraits the narrator as a woman searching for her own identity.

Margaret Eleanor Atwood is born on November 18, 1939, Ottawa, Ontario, Canada. She received her undergraduate degree from Victoria College at the University of Toronto and her master's degree from Radcliffe College. Atwood is a Canadian writer best known for her novels, which include: The Edible Woman (1969), Surfacing (1972), Lady Oracle (1976), Life Before Man (1979), Bodily Harm (1981), The Handmaid's Tale (1985), Cat's Eye (1988), The Robber Bride (1993), Alias Grace (1996) and The Blind Assassin (1998). Atwood is a famous writer, and her novels are best sold all over the world. She has been labelled as a Canadian nationalist, feminist, and even a gothic writer. She is well known internationally in the USA, Europe, and Australia. This research aims at showing throughout Surfacing, the way Atwood portraits the narrator as a woman searching for her own identity.

The Betty H. Carter Women Veterans Historical Project was established in 1998 at the University of North Carolina at Greensboro (UNCG) and is housed in the University Archives & Manuscripts located in Jackson Library. In the late 1990s, the Woman’s College, now UNCG, Class of 1950 Reunion Committee met with University Archivist Betty Carter to plan their upcoming 50th Class Reunion. During the meetings, there were discussions about their classmates who had attended Woman’s College on from 1946 to 1950 on the GI Bill.

Drawing on five years of data, this case study presents an exploration of the influences of social class on one adolescent's language and literacy practices as she moved from high school in an isolated rural community to college in an urban environment. The study draws on several theoretical frameworks, including multiple literacies (Gallego & Hollingsworth, 2000), Gee's (1996) theory of Discourses, and sociocultural conceptions of social class (Anyon, 1981; Fine & Weis, 1998). Although Crystal, the focal informant, was a successful learner by most conventional standards, she experienced considerable struggle to stay in school and to adopt the dominant discourses of postsecondary education. As a rural high school student, she used a variety of language and literacy practices to “pose” as middle class. When she crossed to college, some of these practices served her better than others. Ultimately, she became alienated by college courses that did not acknowledge language competencies related to her status as a working-class person and that did not allow links between her interests in popular culture and her formal assignments. Implications for practice include the following: that secondary literacy teachers make social class a more salient category for inquiry and that college instructors make deliberate attempts to learn about the preferred discourse practices of their students. The study also suggests the importance of “insider” knowledge in studying the influence of social class on literacy and the need for further research examining how learners negotiate workplace discourses after college.

Gertrude stein wrote the twenty-five-page manuscript “the modern jew who has given up the faith of his fathers can reasonably and consistently believe in isolation” for a composition class at Radcliffe College in 1896, when she was twenty-two years old. The essay is distinctly occasional and reads like an early work. It is, nonetheless, one of the few known pieces in which Stein treats directly the question of Jewish identity and the only one to link that question to a specifically political description of the public sphere. The manuscript thus sheds a remarkable light on a number of the most contested questions in studies of Stein's life and works—the problem of her later protofascist political allegiances, of her sense of her exiled Americanness, and of her treatment of writing as an asemantic medium for sketching mobile identities.

Gertrude stein wrote the twenty-five-page manuscript “the modern jew who has given up the faith of his fathers can reasonably and consistently believe in isolation” for a composition class at Radcliffe College in 1896, when she was twenty-two years old. The essay is distinctly occasional and reads like an early work. It is, nonetheless, one of the few known pieces in which Stein treats directly the question of Jewish identity and the only one to link that question to a specifically political description of the public sphere. The manuscript thus sheds a remarkable light on a number of the most contested questions in studies of Stein's life and works—the problem of her later protofascist political allegiances, of her sense of her exiled Americanness, and of her treatment of writing as an asemantic medium for sketching mobile identities.

Microbiology is offered each semester at the Allied Health Campus of Pearl River Community College. The evening course meets weekly for 16 sessions from 5 p.m. to 10 p.m. Most students enrolled in the course are in one of the seven associate degree allied health programs on the allied health campus. Among the challenges of teaching a course in this situation is retention of enrolled students. Although the course is required for most of the allied health programs on the campus, many students enrolled, attended class for a few weeks, and withdrew from the course. During the 1998–1999 school year the retention rates for students enrolled in the night microbiology classes for Fall and Spring semesters were 52% and 47%, respectively. The format for the 1998–1999 academic year was a conventional course with 2½ hours of lecture material followed by 2 hours of laboratory. Little or no effort was made to correlate laboratory and lecture topics. The course format for Fall 1999 was modified to (i) provide the laboratory component at the beginning of the time slot, (ii) tailor the lecture topics to relate to the laboratory component each night, and (iii) add an outside reading component. The laboratory served as an introduction to the lecture topic, and the lecture became more significant since it related directly to the laboratory experience. Following this format change the retention rate for the Fall 1999 semester increased to 80%.

The aim of the present study was to determine whether a significant relationship exists between a student’s college (Allied Health, Arts and Science, Education, and Graduate School) and achievement in an advanced-level course in human physiology (PGY 412G). The mean percentage of correct answers on four multiple-choice tests, collectively totaling 400 points, was used to assess each student’s performance. A four (college)-by-three (academic year) analysis of variance was used for statistical comparisons among 660 students enrolled in PGY 412G from the fall semester of 1995 through the spring semester of 1998. Subsequent pairwise comparisons tests found that the College of Education students had a significantly lower mean percentage of correct answers (61%) compared with students in each of the other colleges ( P < 0.001). No significant differences in percentage scores were found among students enrolled in Allied Health (78%), Arts and Science (78%), or the Graduate School (77%). Also, percentages of correct answers averaged across all students were significantly lower during the 1997–1998 academic year than those in either the 1996–1997 year ( P < 0.001) or the 1995–1996 year ( P < 0.05). Students’ scores during these two earlier years did not differ significantly. Upward letter grade adjustments based on class distributions were made each semester, and more As and Bs and fewer Cs and Ds were given as course grades than expected from an absolute assessment scale. This grade inflation benefited low-scoring students from all colleges, particularly those students enrolled in the College of Education. To improve the understanding of human function of these low-scoring students may require special educational programs.

MPH methylphenidate, popularly known as Ritalin, was synthesized in 1954 in Switzerland and marketed in Brazil in 1998, belonging to the class of amphetamines. It acts in the CNS crossing the blood-brain barrier very easily. Used for cognitive improvement by college students. Its excessive consumption leads to dependence and possible side effects. The objective of this study was to analyze 91 university students who answered questionnaires on the theme. The collected data analyzed the incidence of Ritalin use among health academics at the University of Gurupi-UNIRG. After conducting the surveys, it was intended to understand the real reason that leads the student to the indiscriminate use of the drug and its possible consequences, to subsequently conduct guidance regarding the use without a prescription for academic purposes.

I first read the article “Master of Tessellations: M. C. Escher 1898–1972” in 1974. I was teaching a class titled Recreational Mathematics at a junior college in Montreal at the time, and the article served as a basis of the Escherrelated material that I added to the course content. As the years passed, my knowledge of Escher and involvement with his geometric artwork grew. I spoke about Escher art at NCTM conferences; met Escher's eldest son, George, at a regional NCTM conference in Halifax; developed Escher materials for Dale Seymour publications; and gave a speech titled “Escher in the Classroom” at the International Escher Congress held in Rome, Italy, in 1998 (the centennial of Escher's birth). All of this began for me with a Mathematics Teacher article.

This easy-to-read paperback is the result of the author's desire to learn more about how students think and feel about themselves as learners in a “large urban college” pre-freshman ESL composition class. It is intended for teachers, scholars, and graduate students who are interested in how students learn to write as well as their accompanying thought processes and emotions. The main body of the book, chapters 4–7, presents “case studies of the journal writing experiences of five students” (p. 8) chosen to represent the variety of cultural backgrounds and personal involvement with the freewriting process in journal keeping. The students came from Colombia, Ethiopia, the Dominican Republic, People's Republic of China, and Japan.

The discussion on the necessity of education on medical ethics closely links to questions; what quality one should have to be called a good doctor, and what kind of course will produce good doctors. We understand the necessity with circumstantial background. Medical surroundings has been rapidly changing. Under this new situation medical personnels are required to demonstrate new role model. However, since there has been no education in concrete shape, with no presentation of ethical standard appropriate for the situation and no awareness on ethical issue, medical personnels are not be able to respond accordingly. And we see conflict here. In 1981, early March, Professor Nicholas Fotion from Emory University came to the Graduate School of Yonsei University as exchange professor and was in charge of medical ethics. Doctors and the students majoring philosophy jointly attended his class. At that time, as Yonsei University College of Medicine has not formally introduced medical ethics as teaching subject, students were given the opportunity of reading papers and expressing their opinions during their training course of Community Medicine in their 4lh grade. While giving this classroom-level education, we were expecting to see the issue to be elevated to social level. In 1985, Prof. II Soon Kim took the office as Dean of College of Medicine. In 1986, he initiated the education of medical ethics as an individual subject. Students in iheir 4th grade attended the class for 13 weeks, 2 hours per week during their field training. In 1993 Prof. Hyung Chul Kim with the doctorate of ethics from the University of Chicago began his lecture in the College of Medicine, providing substantial assistance. In 1994，starting from the 2nd semester Graduate School began the lecture on medical ethics’ in the Departments of Medicine and Public Health. In 1996, starting from the second semester molecular biology joint program' began the lecture on ethics on advanced medicine'. While experiencing this progress, we came to realize that law and ethics are closely related in medicine. For instance, obligation to provide health care which, to our understanding, is an issue to be ethically regulated by medical personnels themselves has been stipulated in the law. Seeing this, we saw the necessity to review medicine-related law from the ethical point of view and to promote ethical awareness among medical personnels. And we also find it more appropriate to conduct interdisciplinary study and lecture, instead of studying them individually. In 1998，starting from the first semester the Graduate School of Health Science and Management, Yonsei University has established the Department of Medical Law and Ethics and has been advertising for students. On September 1, 1998 Yonsei University College of Medicine has introduced the Department of Medical Law and Ethics. The Graduate School of Yonsei University is planning to operate joint research program on medical law and ethics starting from the second semester, 1999.

John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.

Abstract: This important eleventh-century collection of Latin poetry antecedes a more famous anthology, the thirteenth-century Carmina Burana (“Songs from Benediktbeuern”). This Cambridge group includes a wide variety of contents – panegyrics, dirges, political, religious, and didactic lyrics, comic tales, as well as poems of spring and of love. Like a medieval “top hits,” this varied assemblage could easily have been a student’s or poet’s class book or a professional entertainer’s songbook.

Objectives Systemic Lupus Erythematosus (SLE) is a serious autoimmune disease often resulting in major end-organ damage and increased mortality. Currently, no data exists focussing on the presentation, long-term management and progression of SLE in the Australian paediatric population. We conducted the first Australian longitudinal review of childhood SLE, focussing on response to treatment and outcomes. Methods Detailed clinical and laboratory data of 42 children diagnosed with SLE before 16 years from 1998 to 2018 resident in Western Australia was collected. Data was collected at diagnosis and key clinical review time points and compared using the Systemic Lupus Collaborating Clinics (SLICC) and Systemic Lupus Erythematosus Disease Activity Index (SLEDAI) criteria. End organ damage was assessed against Systemic Lupus International Collaborating Clinics/American College of Rheumatology Damage Index (SDI). Incidence rates of disease complications and end organ damage were determined. Results Of the 42 children, 88% were female with average age at diagnosis of 12.5 years. Indigenous Australians were over represented with an incidence rate 18-fold higher than non-Indigenous, although most children were Caucasian, reflecting the demographics of the Australian population. Median duration of follow-up was 4.25 years. On final review, 28.6% had developed cumulative organ damage as described by the Systemic Lupus International Collaborating Clinics/American College of Rheumatology Damage Index (incidence rate: 0.08/PY (95% CI 0.04–0.14)), and one child died. Twenty-nine children had renal involvement (incidence rate: 0.38/PY (95% CI 0.26–0.56)). Of the 27 patients with biopsy proven lupus nephritis, 70% had Class III or IV disease. Average length of prednisolone use from diagnosis was 32.5 months. Hydroxychloroquine ( n = 36) and mycophenolate mofetil ( n =21) were the most widely used steroid sparing agents. 61.9% received rituximab and/or cyclophosphamide. Conclusion This is the first longitudinal retrospective review of Australian children with SLE, with a markedly higher incidence in Indigenous children. Although improving, rates of end organ complications remain high, similar to international cohort outcomes. Longitudinal multi-centre research is crucial to elucidate risk factors for poor outcomes, and identifying those warranting early more aggressive therapy.

jdjdBackground & Objectives: Atrial Septal Defect is a common congenital heart disease and surgical closure is the treatment of choice in many cases. This article presents the diagnostic criteria, surgical technique and postoperative management of hundred consecutive patients operated by a single surgeon at single centre.Materials and methods: One hundred (100) patients having atrial septal defect (ASD) underwent surgery at Osmania General Hospital, OMC, Hyderabad between January 1990 and October 1998. Sixty eight percentages (68%) of the patients were females and 32% of the patients were male. Fifty nine percentages (59%) of patients were in the age group of 11-30 yrs. Majority of the patients (70%) were symptomatic and were in NYHA class II. 'O' Rh-positive blood group was found in 35% of patients. Associated cardiac lesions were present in 28% of cases. One case each of Cortriatrium, Lutembacher's syndrome and Holt-Oram syndrome were present in this series. Eighty nine percentages (89 %) were moderate sized defects repaired by direct closure where as rest of 11% needed patch repair. Cold crystalloid cardioplegia with moderate hypothermia (28°C) was employed in 83 cases, ventricular fibrillation at normothermia in 5 cases and normothermic warm blood cardioplegia with continuous perfusion of coronary arteries in 12 patients.Results: Total duration of cardiopulmonary bypass ranged from 21 minutes to 100 minutes (mean duration 54.4 minutes) and aortic cross clamp time ranged from 10 minutes to 68 minutes (mean duration 22.9 minutes). Blood transfusion requirement ranged from 1 unit to 10 units (mean 3.1 units). There was no hospital death. Postoperative complication rate was 15%.Conclusion: Atrial septal defect closure is a safe, simple and effective operation with excellent long term results.Journal of College of Medical Sciences-Nepal, Vol.11(4) 2015: 9-13

Maria Thetis Nunes (1923-2009) constitui-se como uma intelectual brasileira que atuou em diferentes áreas do conhecimento ao longo do século XX. Nascida na cidade sergipana de Itabaiana, a jovem deixou o interior para prosseguir os estudos na capital Aracaju. Ali, no Atheneu Sergipense, cursou o ensino secundário entre 1935 e 1941. No ano seguinte ingressou na primeira turma da graduação em Geografia e História da Faculdade de Filosofia da Bahia. Nesse sentido, os seus itinerários como aluna do ensino secundário é o foco da presente pesquisa que possui como fontes: atas, jornais, discursos e depoimentos em diálogo com o referencial teórico de Jean-François Sirinelli (1998, 2003, 2006). O estudo concluiu que “professores-paradigma” são creditados como influenciadores dos caminhos percorridos pela jovem estudante secundarista. As práticas escolares dos seus professores, somadas ao universo cultural no qual Thetis Nunes esteve imersa – contando com contribuições do ambiente familiar e com as amizades dentro e fora da sala de aula, participando de agremiações estudantis e publicando na imprensa local ainda na condição de discente – reafirmam a importância dos estudos dos itinerários formativos para a compreensão da intelectual, bem como da História da Educação brasileira.The remains “of young scholar years” of a Brazilian intelectual: itinerary of the student Maria Thetis Nunes at Atheneu Sergipense (1935-1941). Maria Thetis Nunes (1923-2009) was a Brazilian intellectual that acted in different knowledge areas during the 20th century. Born in the city from Sergipe, Itabaiana, the young woman left the inland city to continue her studies in the capital city Aracaju. There, at Atheneu Sergipense, she studied the high school between 1935 and 1941. In the next year, she entered at the first graduation class in Geography and History of the Philosophy College of Bahia. In that matter, her itinerary as student of high school was the focus the present research that has as source: records, papers, speeches and testimonies in dialogs with the theoretical reference of Jean-François Sirinelli (1998, 2003, 2006). The study concluded that “paradigm-teachers” are credited as influences of paths went through the young high school student. The scholar practices of her teachers, added to the cultural universe in which Thetis Nunes was immersed, counting with the familiar environment contribution, with the friendships inside and outside the classroom, the participation in student organizations and publishing at the local press still as student, reaffirms the importance of the formation itinerary to the intellectual comprehension, as well as, of the Brazilian education history. Keywords: Atheneu Sergipense. Intellectual. Itinerary. Maria Thetis Nunes.

Melanie Ehrlich, PhD, is a professor in the Tulane Cancer Center, the Tulane Center for Medical Bioinformatics and Genomics and the Hayward Human Genetics Program at Tulane Medical School, New Orleans, LA. She obtained her PhD in molecular biology in 1971 from the State University of New York at Stony Brook and completed postdoctoral research at Albert Einstein College of Medicine in 1972. She has been working on various aspects of epigenetics, starting with DNA methylation, since 1973. Her group made many first findings about DNA methylation (see below). For example, in 1982 and 1983, in collaboration with Charles Gehrke at the University of Missouri, she was the first to report tissue-specific and cancer-specific differences in overall DNA methylation in humans. In 1985, Xian-Yang Zhang and Richard Wang in her lab discovered a class of human DNA sequences specifically hypomethylated in sperm. In 1998, her group was the first to describe extensive losses of DNA methylation in pericentromeric and centromeric DNA repeats in human cancer. Her lab's many publications on the prevalence of both DNA hypermethylation and hypomethylation in the same cancers brought needed balance to our understanding of the epigenetics of cancer and to its clinical implications [ 1 ]. Besides working on cancer epigenetics, her research group has helped elucidate cytogenetic and gene expression abnormalities in the immunodeficiency, centromeric and facial anomalies (ICF) syndrome, a rare recessive disease often caused by mutations in DNMT3B. Her group also studied the epigenetics and transcriptomics of facioscapulohumeral muscular dystrophy (FSHD), whose disease locus is a tandem 3.3-kb repeat at subtelomeric 4q (that happens to be hypomethylated in ICF DNA [ 2 ]). Her study of FSHD has taken her in the direction of muscle (skeletal muscle, heart and aorta) epigenetics [ 3–6 ]. Recently, she has led research that applies epigenetics much more rigorously than usual to the evaluation of genetic variants from genome-wide association studies (GWAS) of osteoporosis and obesity. In continued collaboration with Sriharsa Pradhan at New England Biolabs and Michelle Lacey at Tulane University, she has compared 5-hydroxymethylcytosine and 5-methylcytosine clustering in various human tissues [ 7 ] and is studying myoblast methylomes that they generated by a new high-resolution enzymatic technique (enzymatic methyl-seq).

Anu Raud (born in Russia, May 10, 1943) is an Estonian textile artist and author. She is a long-time lecturer at the Estonian Academy of Arts and Viljandi Culture Academy. On the occasion of Raud’s 75th birthday, Helen Kästik and Ave Matsin sat down with her to look back on her life and work as an artist. Even though much has been written about the work of Anu Raud, its main focus has been on her tapestries as carriers of the idea of national identity. The mundane practical aspects of crafting and the social position of the craftsperson have received a lot less attention. These were the topics that were discussed at Kääriku Farm in June, driven by the conviction that the professional choices of an outstanding artist allow us to draw conclusions about the position of art based on heritage craft in both Soviet and independent Estonia. While studying textile art at the State Art Institute, Raud developed a keen interest in ethnographic material thanks to the encouragement of her teachers Mari Adamson and Leila Pärtelpoeg. After graduating in 1967, she was assigned work at the national handicrafts manufacturing association Uku, which had been founded the previous year. Uku was based on an ingenious idea: to provide work to skilled craftspersons all over Estonia in order to preserve and popularise traditional handicraft. As the lead artist for Kihnu, Ruhnu and Southern Estonia, Anu Raud coordinated the work of crafts-people in these regions and went on collection trips to draw inspiration for the design of items based on traditional handicraft. In 1972, Anu Raud returned to the National Institute of Arts, this time as a lecturer, which also gave her more time for personal creative projects. Her work consists of more than a hundred tapestries that have been displayed at nearly 70 solo exhibitions. In April 2018, the Estonian National Museum opened the exhibition Landscapes of My Fatherland on the occasion of her 75th birthday. Raud emphasises that there is a clear message in all of her works: „All tapestries I make bear the scent or at the least a tiny taste of Estonia.“ The tapestries of Anu Raud are a clear expression of her values and show her intimate connection to her homeland, its nature and the culture of its past. Her style is characterised by subtle play of colours and the skilful use of elements from national crafts. The restoration of Estonian independence was followed by a turbulent period in the fates of both the republic and Anu Raud herself. Her work at the National Institute of Arts came to an end and her family was forced to move out of their apartment in Tallinn when it was returned to its former owners. After moving to her father’s home farm at Kääriku near Viljandi, Raud needed to find a new job. In 1994, she became the first head of the newly-opened department of farm design and national crafts at the Viljandi Culture College. While living at Kääriku, she has dedicated a lot of energy to the promotion of the region. Her rich collection of traditional handicraft accumulated over the years is kept at the nearby Heimtali Museum; for the 100th anniversary of the Estonian National Museum, Anu Raud gifted the Heimtali Museum of Domestic Life to the Republic of Estonia. Anu Raud has had a remarkable career and the attention she has received in connection to folk culture is extraordinary. Since 2009, Raud has been a Professor Emeritus of the National Academy of Arts and an honorary member of the Estonian Artists Association; in 2016, she was elected to the EstonianAcademy of Sciences. She has received numerous awards, including the Order of the White Star, 3rd Class (1998), the Kristjan Raud Award (1978, 1994), several awards from the Cultural Endowment of Estonia, the University of Tartu award for contribution to national identity (2013), National Culture Award (2014), and the National Lifetime Achievement Award (2018).

Anu Raud (born in Russia, May 10, 1943) is an Estonian textile artist and author. She is a long-time lecturer at the Estonian Academy of Arts and Viljandi Culture Academy. On the occasion of Raud’s 75th birthday, Helen Kästik and Ave Matsin sat down with her to look back on her life and work as an artist. Even though much has been written about the work of Anu Raud, its main focus has been on her tapestries as carriers of the idea of national identity. The mundane practical aspects of crafting and the social position of the craftsperson have received a lot less attention. These were the topics that were discussed at Kääriku Farm in June, driven by the conviction that the professional choices of an outstanding artist allow us to draw conclusions about the position of art based on heritage craft in both Soviet and independent Estonia. While studying textile art at the State Art Institute, Raud developed a keen interest in ethnographic material thanks to the encouragement of her teachers Mari Adamson and Leila Pärtelpoeg. After graduating in 1967, she was assigned work at the national handicrafts manufacturing association Uku, which had been founded the previous year. Uku was based on an ingenious idea: to provide work to skilled craftspersons all over Estonia in order to preserve and popularise traditional handicraft. As the lead artist for Kihnu, Ruhnu and Southern Estonia, Anu Raud coordinated the work of crafts-people in these regions and went on collection trips to draw inspiration for the design of items based on traditional handicraft. In 1972, Anu Raud returned to the National Institute of Arts, this time as a lecturer, which also gave her more time for personal creative projects. Her work consists of more than a hundred tapestries that have been displayed at nearly 70 solo exhibitions. In April 2018, the Estonian National Museum opened the exhibition Landscapes of My Fatherland on the occasion of her 75th birthday. Raud emphasises that there is a clear message in all of her works: „All tapestries I make bear the scent or at the least a tiny taste of Estonia.“ The tapestries of Anu Raud are a clear expression of her values and show her intimate connection to her homeland, its nature and the culture of its past. Her style is characterised by subtle play of colours and the skilful use of elements from national crafts. The restoration of Estonian independence was followed by a turbulent period in the fates of both the republic and Anu Raud herself. Her work at the National Institute of Arts came to an end and her family was forced to move out of their apartment in Tallinn when it was returned to its former owners. After moving to her father’s home farm at Kääriku near Viljandi, Raud needed to find a new job. In 1994, she became the first head of the newly-opened department of farm design and national crafts at the Viljandi Culture College. While living at Kääriku, she has dedicated a lot of energy to the promotion of the region. Her rich collection of traditional handicraft accumulated over the years is kept at the nearby Heimtali Museum; for the 100th anniversary of the Estonian National Museum, Anu Raud gifted the Heimtali Museum of Domestic Life to the Republic of Estonia. Anu Raud has had a remarkable career and the attention she has received in connection to folk culture is extraordinary. Since 2009, Raud has been a Professor Emeritus of the National Academy of Arts and an honorary member of the Estonian Artists Association; in 2016, she was elected to the EstonianAcademy of Sciences. She has received numerous awards, including the Order of the White Star, 3rd Class (1998), the Kristjan Raud Award (1978, 1994), several awards from the Cultural Endowment of Estonia, the University of Tartu award for contribution to national identity (2013), National Culture Award (2014), and the National Lifetime Achievement Award (2018).

Abstract Background Recent studies have investigated the pathogenesis of the class of conditions known as “other iatrogenic immunodeficiency-associated lymphoproliferative diseases” (OIIA-LPDs), particularly in patients with rheumatoid arthritis (RA). Methotrexate (MTX) is a potent cause of LPDs, and withdrawal of MTX can result in spontaneous regression of LPD, which suggests that this drug plays an important role in the tumorigenesis of LPDs. In addition, an impaired immunity against Epstein-Barr virus (EBV) has been obserbed in RA patients. A number of reports describe LPD regression in patients with OIIA-LPDs-RA, but its precise etiology and pathogenesis remain unclear. Furthermore, the phenomenon of relapse/regrowth of LPDs after initial regression has not been well documented. This study retrospectively analyzed the clinicopathological features of OIIA-LPDs-RA patients to determine the influence of EBV infection on regression/relapse of the disease. Methods & Results Data were collected from 35 patients with RA who developed LPD and who were treated at our institute between 1998 and 2013. All patients had received treatment with MTX. The diagnosis of RA was made according to the American College of Rheumatology criteria. Based on immunohistochemistry performed on paraffin-embedded tissue sections, diagnoses were as follows: diffuse large B cell lymphoma (DLBCL; n=14), Hodgkin lymphoma (HL; n=7), follicular lymphoma (FL; n=4), mucosal-associated lymphoid tissue (MALT; n=3), Hodgkin-like lymphoma (HL-like; n=3), T-cell lymphoma (n=3), polymorphic LPD (P-LPD; n=2) according to the 4th WHO classification. Regarding EBV infection, 16 patients (44%) were positive. Patients with FL, MALT, and T-cell lymphoma were negative for EBV, except for one patient with T-cell lymphoma. In contrast, EBV infection positivity was prevalent in patients with DLBCL, HL, HL-like and P-LPD (46%, 100%, 100%, and 50%, respectively). Although HL indicated a specific phenotype, such as positivity for CD15 and CD30 (83%, and 100%, respectively), and rarely expressed CD20, OCT2 or BOB1 (0%, 14%, 14%, respectively), the phenotypes of HL-like and P-LPD were supposedly intermediate between DLBCL and HL. The phenotypes of FL, MALT, and T-cell lymphoma were the same as those of de novo cases. LPD regression was observed in 23 (66%) of 35 patients, which is more common than that seen in previous reports. Although LPD regression was not documented in patients with T-cell lymphoma, it did occur in all patients with HL, HL-like and P-LPD. In addition, the incidence of regression among patients with DLBCL, FL and MALT was 46%, 75% and 33%, respectively. The relationship between EBV infection and LPD regression among patients with HL, DLBCL, HL-like and P-LPD was statistically significant (p=0.048, Fisher's exact test). Of 23 patients with regression, 13 patients (56%) subsequently showed relapse/regrowth, and the incidence of this phenomenon was relatively high in patients with HL, HL-like and P-LPD (100%, 67%, and 50%, respectively), whereas a lower incidence was seen in patients with DLBCL, FL, and MALT (7%, 33%, and 0%, respectively). Summary/Conclusions LPD regression was relatively common (66%) in patients with OIIA-LPDs-RA, particularly in patients with B cell phenotypes. There was a significant relationship between LPDs and EBV infection in patients with HL, DLBCL and HL-like, suggesting that underlying EBV infection might influence the immunosuppressant effect of MTX against EBV in those phenotypes. Further, LPD relapse/regrowth was common in patients with HL, HL-like and P-LPD and was unlikely in patients with DLBCL. Further studies would be of benefit to investigate the underlying molecular mechanism of regression/relapse of LPD after withdrawal of MTX. Disclosures: No relevant conflicts of interest to declare.

Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.

Statement of the problem. The article is devoted to the outstanding figure of vocal art of Slobozhanshchyna Mykola Fedorovych Manoilo (1927–1998), the opera singer, who was awarded the title of “People’s Artist of the USSR” (1976) for impeccable performance of baritone parts of the classical repertoire on the stage of Kharkiv Theatre of Opera and Ballet, as well as of the chamber repertoire compiled of Ukrainian folk songs and works by Ukrainian composers. Based on his own experience of studying in the class of solo singing of M. Manoilo (1988), the author of the article offers the experience of scientific and methodological generalization of creative principles of vocal pedagogy of the teacher, while emphasizing the role of Manoilo as a unique singer. The relevance of the topic and its practical significance are stipulated by the urgent need of vocal pedagogy to form a tradition of scientific reflection on the specialization of the vocalist, the representation of classical guidelines and methods in the modern dimension, establishing creative contacts of different generations. The purpose of the article is to reveal the pedagogical principles by M. Manoilo as an outstanding representative of the Kharkiv vocal school, genealogy and dominant features of his performing creative work. Analysis of recent research and publications. The creative figure of M. Manoilo has not yet received serious coverage in the domestic musicology yet. Existing sources are brief biographic descriptions in reference books and encyclopaedias, the anthology “Ukrainian singers in the memoirs of contemporaries, compiler I. Lysenko (2003), or mentions of his name in books on the artistic life of Kharkiv (O. Chepalov, 2012; Tsurkan, 2013). The methodology contains a number of interrelated approaches to the study of the phenomenon of the singer’s artistic personality: historiographical, biographical, performing, and phenomenological. Presentation of basic research material. M. Manoilo inherited the principles of vocal pedagogy from P. Golubev, who taught at the Kharkiv Conservatory (1930–1953) and was the successor of the classical school of Italian bel canto singing, as a student of F. Bugamelli, which was involved by I. Slatin in teaching vocals at the Kharkiv Music College (1901–1918). The creative principles of the artist-interpreter M. Manoilo are a compendium of his mastery: &#9679; orientation on the generally accepted standard of sounding of a voice (bel canto); &#9679; persistent search for individual reading of the role on the path of constant musical and intellectual self-growth; &#9679; word culture; &#9679; unity of sound-forming technology and artistic and aesthetic principles of a musical work, due to its genre and stylistic nature; &#9679; psychological authenticity (own experience of “entering” the image and its “living-through”) and the singer’s ability for self-analysis; &#9679; mental and psychological signs of artistic personality – great persistence and strength of character, the desire to reach the highest point (acme) of creative self-representation. The “denominator” of M. Manoilo’s performing skills is the style – the performer’s orientation for the accuracy of the composer’s text. The results obtained. The principles of M. Manoilo’s vocal pedagogy were based on the basis of generalization of own scenic experience as a system of generally acquired and personality-oriented principles: – sound culture (uniformity of construction of the singing range; flexibility, strength, flight of voice, use of mixed register, rounding, covering); sound word culture; attention to diction; – author-centrism of the singer’s interpretation of the vocal-stage image; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – trust in intuition, which the singer should constantly “check” with his/her own intellect according to the composer’s text. Conclusions. As the heir of the Italian tradition of singing, in all genres of performance M. Manoilo represented such qualities as: proper breathing (free passage of all resonator zones), beautifully designed, high-quality singing tone, theatrical voice, which was overlapping the sound of the orchestra, sonority, flight, equality of the whole range. From the domestic singing paradigm one should add to Manoilo’s artistic portfolio the following: &#9679; recitative-speech cut of vocal intonation (melodic nature of singing is enriched by the relief of declamatory vocalization); &#9679; clear diction of the word being sung to reach the minds and hearts of listeners and establish a dialogue with the author; &#9679; cordocentrism – a particularly intense intra-emotional tone of performance as a personification of the Ukrainian “philosophy of the heart” (Н. Skovoroda); &#9679; integrative type of performing thinking – the unity of poetic-intonation and stage-artistic image of the singer. If a super-goal of music is, according to Aristotle, the entelechy, then singing technique is a way to achieve it. Such was the universal basis of M. Manoilo’s requirements of to himself, as well as to the students of his solo singing class

Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.

Abstract Introduction Systemic Lupus Erythematosus (SLE) is associated with thrombocytopenia in approximately 20 % of cases. Management of such cases has been similar to that of Immune ThrombocytoPenia (ITP) as an immune-mediated mechanism is inferred in the pathogenesis of SLE-associated thrombocytopenia. First line treatment is similar to primary ITP (corticosteroids, intravenous immunoglobulin), with the use of hydroxychloroquin in addition. Immunosuppressive agents, rituximab or splenectomy can be used as second line treatment. However, a significant number of patients will not respond to these treatments and will relapse afterward. More recently, Romiplostim and Eltrombopag, 2 agonists of thrombopoietin receptor (TPO-RA) have been approved for ITP as second line therapy resulting in sustained increment in platelet count in about 70-80 % of cases with reduction in bleeding. However, the experience with this class of agents in SLE is only anecdotal. Their effectiveness and side effects in SLE related ITP is unknown. Patients and Method This was a multicenter retrospective cohort study of patients with SLE related ITP diagnosed from 1998 to 2015 and treated with TPO-RA. All participating centers (n=13) were secondary or tertiary care hospitals belonging to the French national network for adult ITP. Clinical data were retrospectively collected from medical charts for each patient and completed by telephone interviews with patients and physicians by using a standardized questionnaire. ITP was defined according to the international working group definitions. SLE was defined according to the international guidelines (American College of Rheumatology for systemic lupus erythematosus, revised Sapporo criteria for antiphospholipid syndrome). Response (R) and complete response (CR) were defined according to standardized international criteria: platelet count > 30 × 109/L with at least a doubling of the baseline value or >100 × 109/L.2 Non-response (NR) was defined as the absence of platelet count increase >30 × 109/L with at least a doubling of the baseline count or the need for rescue therapy (IVIg and/or corticosteroids). Patient's characteristics (table 1&2) PS: PitiŽ Salptrire, F: female, M: male, HCQ: hydroxychloroquin, MMF: Mycophenolate mofetil, CTC: corticosteroid, RTX : rituximab, CYC: cyclophosphamide, IVIG : intravenous immunoglobulin, AZA: azathioprine, spm: splenectomy, Toci: tocilizumab, Aba: abatacept, Csa: ciclosporine, TPO-RA : thrombopoietin-receptor agonist, Elt : eltrombopag, Romipl : romiplostim, NS :non specified, CR: complete remission, R :responder, NR :non responder APLS: antiphospholipid syndrome, APL : antiphospholipid (presence of antibody without clinical symptoms) Results and Discussion A total of 16 patients (12 F/ 4M) received TPO-RA (Romiplostim 36%, eltrombopag 28 %, both 36%). Patients had received a median of 5.5 treatment lines for ITP. All but one patient responded at least to one of TPO-RA (93%). No SLE flare has been observed with these treatments. Unexpectedly, 3 patients (18,5%) developed thrombotic events as a side effect. Two arterial thrombosis occurred in patients receiving eltrombopag (both of them with a previous history of APL or APLS), and two venous thrombosis in the same patient (without antiphospholipid) treated with romiplostim. The same strategy was used in the 3 patients: TPO-RA was stopped but rechallenged promptly to increase platelet level, given that they were receiving anticoagulant or anti-aggregant therapy. No reoccurrence has been observed. The other side effects were similar to that observed with primary ITP. This study has some limitations due to its retrospective design, including some potential selection bias but the rapid and sustained response observed raises the possibility that in certain refractory cases of thrombocytopenia associated with SLE, TPO-RA might be a second line therapy to be considered in this patient population. Given the high rate of thrombotic events, we suggest that TPO-RA should be used with caution in patient with APL. Prospective systematic studies would help define the role of this class of agents in SLE and other rheumatic disease that progress with immune mediated thrombocytopenia. Table 1 Table 1. Table 2 Table 2. Disclosures Terriou: amgen: Consultancy; Novartis: Consultancy. Bussel:Prophylix Pharma: Membership on an entity's Board of Directors or advisory committees, Research Funding; Physicians Education Resource: Speakers Bureau; Novartis: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Protalex: Membership on an entity's Board of Directors or advisory committees, Research Funding; UpToDate: Patents & Royalties; BiologicTx: Research Funding; GSK: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Boehringer Ingelheim: Research Funding; Immunomedics: Research Funding; Ligand: Membership on an entity's Board of Directors or advisory committees, Research Funding; Symphogen: Membership on an entity's Board of Directors or advisory committees; Genzyme: Research Funding; Sysmex: Research Funding; Shionogi: Membership on an entity's Board of Directors or advisory committees; Momenta Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees; Amgen: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Eisai: Membership on an entity's Board of Directors or advisory committees, Research Funding; Rigel Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees, Research Funding; Cangene: Research Funding.

<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>* </span><span>A previous versions of this article was published in C. James Newlan’s journal, T</span><span>HE </span><span>S</span><span>OCIAL </span><span>C</span><span>RITIC</span><span>, </span><span>as Ellis Washington, </span><span>Excluding the Exclusionary Rule</span><span>, 3 T</span><span>HE </span><span>S</span><span>OC</span><span>. C</span><span>RITIC </span><span>(1998), and in E</span><span>LLIS </span><span>W</span><span>ASHINGTON</span><span>, T</span><span>HE </span><span>I</span><span>NSEPARABILITY OF </span><span>L</span><span>AW AND </span><span>M</span><span>ORALITY</span><span>: T</span><span>HE </span><span>C</span><span>ONSTITUTION</span><span>, N</span><span>ATURAL </span><span>L</span><span>AW AND THE </span><span>R</span><span>ULE OF </span><span>L</span><span>AW </span><span>16-28 (2002) [</span><span>hereinafter </span><span>W</span><span>ASHINGTON</span><span>, I</span><span>NSEPARABILITY OF </span><span>L</span><span>AW AND </span><span>M</span><span>ORALITY</span><span>]. For a comprehensive legal and historical analysis regarding the integration of the rule of law, jurispru- dence, and society in modern times, </span><span>see generally </span><span>Ellis Washington, </span><span>Reply to Judge Richard A. Posner on the Inseparability of Law and Morality</span><span>, 3 R</span><span>UTGERS </span><span>J. L. &amp; R</span><span>ELIG</span><span>. 1 (2001-2002); </span><span>The Nuremberg Trials: The Death of the Rule of Law </span><span>(In International Law), 49 L</span><span>OY</span><span>. L. R</span><span>EV</span><span>. 471-518 (2003). </span></p><p><span>** </span><span>Ellis Washington, DePauw University; B.A. 1983, University of Michigan; M.M. 1986, John Marshall Law School; J.D. 1994. The author an editor at the U</span><span>NIVERSITY OF </span><span>M</span><span>ICHIGAN </span><span>L</span><span>AW </span><span>R</span><span>EVIEW </span><span>and a law clerk for the Rutherford Institute. He was a faculty member at Davenport University and member of the Board of Visitors at Ave Maria School of Law. Currently, Mr. Washington is a freelance writer and lecturer at high schools, universities, and law schools throughout America specializing in the history of law, legal and political philosophy, jurisprudence, constitutional law, critical race theory, and legal feminist theory. He also teaches composition at Lansing Community College. In addition to numerous articles, he has published three books: T</span><span>HE </span><span>D</span><span>EVIL IS IN THE </span><span>D</span><span>ETAILS</span><span>: E</span><span>SSAYS ON </span><span>L</span><span>AW</span><span>, R</span><span>ACE</span><span>, P</span><span>OLITICS AND </span><span>R</span><span>ELIGION </span><span>(1999); B</span><span>EYOND </span><span>T</span><span>HE </span><span>V</span><span>EIL</span><span>: E</span><span>SSAYS IN THE </span><span>D</span><span>IALECTICAL </span><span>S</span><span>TYLE OF </span><span>S</span><span>OCRATES </span><span>(2000, 2004); T</span><span>HE </span><span>I</span><span>NSEPRABILITY OF </span><span>L</span><span>AW AND </span><span>M</span><span>ORALITY</span><span>: T</span><span>HE </span><span>C</span><span>ONSTITUTION</span><span>, N</span><span>ATURAL </span><span>L</span><span>AW AND THE </span><span>R</span><span>ULE OF </span><span>L</span><span>AW </span><span>(2002). His article, </span><span>The Nuremberg Trials: The Death of the Rule of Law (In International Law)</span><span>, 49 L</span><span>OY</span><span>. L. R</span><span>EV</span><span>. 471-518 (2003), has received both national and international recognition and has been accepted into many prestigious archives and collections including–Chambers Library of the Supreme Court of the United States, State Museum of Auschwitz-Birkenau, The Simon Wiesenthal Center, The U.S. Holocaust Memorial Museum, The Elie Wiesel Foundation for Humanity. </span></p><p><span>*Exceeding gratitude to my friend, attorney Che Ali Karega (a.k.a. “Machiavelli”) for his antagonism, advice, ideas, source materials, and inspiration. To Arthur LaBrew, musicologist and historian, founder Michigan Music Research Center (Detroit), for his prescient comments and attention to detail on earlier drafts of the Article. To C. James Newlan, publisher of the Journal, T</span><span>HE </span><span>S</span><span>OCIAL </span><span>C</span><span>RITIC</span><span>, for being my friend, my first publisher, an intellectual, a visionary, and the first person to believe that I had ideas worthy to be published and read. </span></p></div></div></div>

The study investigated the reported regressive performances of students in spatial reasoning concepts with a view to promote early spatial reasoning of lower primary school pupils across ability levels and sex. Non-equivalent experimental research design was employed. A hundred and five (105) pupils in four intact classes were exposed to six weeks intervention and subsequently post-tested. Data collected were analyzed using Analysis of Covariance. The study found significant effect of treatment on the performance of study participants in the ICT-integrated Think-Pair-Share treatment group. No significant interactive effect of ability was found though, the pupils of low-ability group benefitted more from the intervention (M = 12.32, 11.07; SD = 2.86, 2.98). There was no significant different of intervention between boys and girls across strategies and abilities. The study concluded that, while ICT-integrated learning strategies could improve output in spatial concepts of pupils at the primary school level, performances on the basis of sex-groups and ability groups have no significant interaction effect on the learners of spatial reasoning. Keywords: performance, spatial reasoning, treatment, strategies, ability group, think-pair-share, concrete-representation-abstract, learners’-self-controlled.INTRODUCTIONEarly graft of mathematic ability has been ascertained to predict later mathematical achievement and related endeavors in life [6]. Hence, the promotion of early mathematic competency is of critical importance. Established link between spatial ability and mathematics in early childhood by neuropsychological and brain imaging studies and behavioral evidences potent that math performance can be improved with spatial reasoning. Nigeria’s experience in local, national and international examinations show dwindling performances of examinees traceable to substantiated inefficient score in spatial reasoning items consistently featured [5, 1] in such standardized examinations. This was interpreted to mean that, children understanding of space pattern is necessary and demanded by the curriculum. The advent of information and communication technology (ICT) eulogized as potentially powerful and enabling tool for education change and reform is hereby engaged in learning delivery for comparative analysis of performance in learning spatial concepts among primary school pupils. METHODOLOGYNon-equivalent pretest, posttest and control group research design was adopted. The population consisted of 357,533 pupils’ enrolled in 1, 378 primary schools in Osun State (Daily Independent, 2013) characterized with male and female learners of varied academic abilities. Study sample was eked out using purposive and multi-stage sampling techniques. Primary III class was purposively selected based on the learners' age (6 – 8 years) limit in early childhood. Four schools with 105 intact class pupils were multi-stage sampled in the three major towns of the state considering available facilities for the study. Research instruments included Spatial Reasoning for Children (SpatReC), an interactive, multimedia package designed using C-Sharp (C#) programming language and follows the taxonomy based on Benjamin Blooms’ principles as revised by Anderson and Krathwohl in [8]; and Spatial Reasoning Test (SRT) used for pretest and posttest. Instruments, in a previous study [1] were adjudged validity and reliable. Learners in their intact classes were randomly assigned to study conditions namely; the three experimental groups and the one control group; three levels of cognitive ability groups - high, medium and low; and two sex groups - male and female. The intervention took forty minutes of Mathematics periods for three days in a week and six weeks in each of the schools excluding tests. ANALYSIS:Tests for significant interaction effect of treatment on groups were conducted. Result shows the test of equality of means to be significantly equal (t = 2.003, p - 0.05) in favor of equal variance assumed. The study’s subjects were thus adjudged to be reliably homogeneous (Table 1).Table 1: Test for Difference in the Participating group’s Post-test Scorest-test for Equality of MeanstdfSig.(2-tailed)Mean DifferenceStd. Error Difference95% Confidence Interval of the DifferenceLowerUpperEqual variances assumed2.003103.0481.253.626.0122.494Furthermore, the post-test scores of the research participants were subjected to a test of difference via analysis of covariance using their experimental groups as the differentiating variable and the pre-test scores as the covariate to remove the possible effect of previous learning and other confounds. The result showed significant difference in the post-test scores (F = 2.934, p - .05). It also showed from the table that, the R-squared value was 0.080 and the Adjusted R squared value stood at 0.053. This can be interpreted to mean that the maximum variance in the post test score is quite small. So other possible factors which might explain the difference in the post test scores and interact with the effectiveness of the learning strategies were sought after (Table 2).Table 2:Post-Test of Difference of Treatments Tests of Between-Subjects Effects - Dependent Variable: post test scoreSourceType III Sumof SquaresDfMean SquareFSig.Corrected Model96.677a332.2262.934.037Intercept34388.204134388.2043131.034.000GRP96.677332.2262.934.037R Squared = .080 (Adjusted R Squared = .053)The source of difference was located between the CRTL group and the CRA group (Table 3). It can be concluded that there exists significant difference among the learning strategies in improving performances.Table 3: Multiple Comparisons Post hoc TestDependent Variable: post-test score Tukey HSD(I) Treatment(J) TreatmentMean Difference(I-J)Std. ErrorSig.95% Confidence IntervalLower BoundUpper BoundCTRLTPS.413.924.970-2.002.83LSC.514.960.950-1.993.02CRA2.514*.960.049.015.02* The mean difference is significant at the 0.05 level.Would there be any interactive effect of intervention between various academic ability pupils by virtue of learning strategies? To answer this question, the post-test scores of the research participants were subjected to a test of difference via analysis of covariance. Result shown in Table 4 revealed that there is no significant interaction effect of experimental groupings and ability levels on the post-test scores (F = 1.440, p > .05). In this stance therefore, the research question is answerable in the negative.Table 4: Test of Difference of Treatment and Ability in Post-test Tests of Between-Subjects Effects Dependent Variable: post test scoreSourceType III Sum of SquaresDfMean SquareFSig.Corrected Model113.502a716.2151.440.198Intercept28102.188128102.1882495.206.000GRP * ability113.502716.2151.440.198a. R Squared = .094 (Adjusted R Squared = .029)Lastly, could any difference in performance result from variation in sexes? Despite the slight differences in group sizes, no significant difference in the performance on the basis of sex-groups (value = 0.186, > 0.05) was found. It as well showed that, there was no significant interaction found between groups and sex in describing performance of pupils in spatial reasoning (F = 0.030, p > 0.05) (Table5).Table 5: Test of Difference on Post-test in Treatment / Sex Groups DescriptivePost test scoreNMeanStd. DeviationStd. Error95% Confidence Interval for MeanMin.Max.dffsigLower BoundUpper BoundMale4118.153.190.49817.1419.1511281.030.862Female6418.273.560.44517.3819.151226103Total10518.223.405.33217.5618.881128104DISCUSSION - CONCLUSION:The application of ICT unto learning strategies was with a view to improve performance in spatial concepts in pupils of low and high ability at the primary school level. Notable results included significant effect of treatment on performance at the removal of possible effect of previous learning and other confounds. This discovery agrees with [3] whose study established that particular intervention in the experimental group might increase learner’s motivation and in turn lead to higher achievement levels for learners in the experimental group than for those in the control group. [2, 4] also found particular learning strategies - conceptual learning strategy and online tool substantially increasing math performance growth in separate studies. Ability levels’ effect on academic achievement as investigated indicated no significance in the post-test scores even after controlling for the previous learning through the pre-test. This result was at variance to [7] study on game-based learning (GBL) which found that, many students with low confidence toward learning mathematics can be restored and improve their confidence toward mathematics. Conclusively, performances on the basis of sex-groups and ability groups have no significant interaction found between ICT-integrated strategy learners of spatial reasoning. REFERENCES Adeleke, A. G. (2015) Comparative Effectiveness of ICT-Integrated Learners’-Self-Controlled, Concrete-Representational-and Think-Pair-Share Strategies in Enhancing Spatial reasoning Skills of Primary School Pupils in Osun State. A Doctoral Dissertation Submitted to Postgraduate College, Obafemi Awolowo University, Ile-Ife, Nigeria. Adeleke, M. A. (2007) Strategic Improvement of Mathematical Problem-solving Performance of Secondary School Students using Procedural and Conceptual Learning Strategies. Educational Research and Review Vol. 2 (9), pp.259-263. Alrabai, F. (2014) The Effects of Teachers’ In-Class Motivational Intervention on Learners’ EFL Achievement. Applied Linguistics. 2014 Oxford University Press.Haelermans, C. - Ghysels, J. (2014) The Effect of an Individualized Online Practice Tool on Math Performance - Evidence from a Randomized Field Experiment.Jegede, P. O., Adelodun, O. A. - Okoli, B. C. (1998) Evaluation of Test Characteristics of UME Mathematics Items in the Context of Bloom’s Taxonomic Categories. Journal of Creativity in Teaching for the Acquisition and Dissemination of Effective Learning (CITADEL) Vol.3 (6) pp.233-241.Krajewski, K - Schneider, W. (2009) Early development of quantity to number-word linkage as a precursor of mathematical school achievement and mathematical difficulties: Findings from a four-year longitudinal study. Learning and Instruction, 19(6), 513-526. Ku, O., Chen, S.-Y., Wu, D.-H., Lao, A.-C.-C., - Chan, T.-W. (2014). The Effects of Game-Based Learning on Mathematical Confidence and Performance: High Ability vs. Low Ability. Educational Technology - Society, 17 (3), 65–78.Wilson, L. O. (2013) Understanding the New Version of Bloom’s Taxonomy - A succinct discussion of the revisions of Bloom’s classic cognitive taxonomy by Anderson and Krathwohl and how to use them effectively. Available at http://www4.uwsp.edu/education/ lwilson/curric/newtaxonomy.htm

Ocean literacy is currently at the forefront of the development of the notion of marine environmental sustainability. It is critical to compare ocean literacy ideas in curriculum standards. Comics Convey various messages of maritime insight content on integrated, contextual, and meaningful learning. This study aims to design STEAM (to R-SLAMET; Religion, Science, Literacy, Art, Math, Engineer, and Technology) learning that contains ocean literacy messages in a comic media. Through the qualitative research method with study case type, researchers seek to aid early childhood education (ECE) educators in designing R-SLAMET learning through the media to overcome maritime cultural literacy problems. The participants of this study consisted of three educators and 43 children. The findings show that the natural play experience of early childhood can be a source of inspiration to find ocean literacy through R-SLAMET learning activities. Contextual play by children becomes a reference for designing comic-based R-SLAMET learning. Comic media can integrate R-SLAMET learning in improving children's ocean literacy. Keywords: children ocean literacy, comic media, STEAM to R-SLAMET learning design References: Arthur, J. (1990). Cultural Literacy. College English, 52(3), 281–281. JSTOR. https://doi.org/10.2307/377758 Campbell, D. T., & Stanley, J. C. (2015). Experimental and Quasi-Experimental Designs for Research. Ravenio Books. https://books.google.co.id/books?id=KCTrCgAAQBAJ Castek, E. J., Hagerman, M. S., Woodard, R., Bonine, K., Coiro, J., Graville, C., Jordan, M., Mencher, R., Olivares, M., Smith, B. E., Stornaiuolo, A., Sult, L., Tan, E., Tucker-raymond, E., & Wen, W. (2019). Principles for Equity-centered Design of STEAM Learning-through-Making. 34–35. Chang, C.-C., Hirenkumar, T. C., & Wu, C.-K. (2021). The Concept of Ocean Sustainability in Formal Education—Comparative Ocean Literacy Coverage Analysis of the Educational Standards of India and the USA. Sustainability, 13(8), 4314. https://doi.org/10.3390/su13084314 Chujan, W., Kilenthong, W. T., Patricia, A., Robert, J., Richard, C., Charles, D., John, D., Jere, E., Leslie, A., Jerome, S., Robert, C., Bancroft, K., Lee, J., Carol, S., Lees, N., Mills, R., Haley, S., Eleanor, E., Robert, P., … Erden, F. T. (2019). An early evaluation of a HighScope-based curriculum intervention in rural Thailand. International Journal of Innovation, Creativity and Change, 12(103), 17–25. https://doi.org/10.7822/omuefd.604939 Creswell, J. W. (2015). Educational research: Planning, conducting, and evaluating quantitative and qualitative research (Fifth edition). Pearson. Fortner, R. W., & Mayer, V. J. (1989). Marine and aquatic education – a challenge for science educators. Science Education, 73(2), 135–154. https://doi.org/10.1002/sce.3730730203 Hapidin, Gunarti, W., Pujianti, Y., & Siti Syarah, E. (2020). STEAM to R-SLAMET Modification: An Integrative Thematic Play Based Learning with R-SLAMETS Content in Early Child-hood Education. JPUD - Jurnal Pendidikan Usia Dini, 14(2), 262–274. https://doi.org/10.21009/jpud.142.05 Hapidin, Nurjannah, S. H. (Universitas N. J. (2018). Pengembangan Model Pembelajaran Tematik Seribu. Pendidikan Usia Dini, 12(Marine Education), 51–65. https://doi.org/10.21009/JPUD.121 Hartley, B. L., Thompson, R. C., & Pahl, S. (2015). Marine litter education boosts children’s understanding and self-reported actions. Marine Pollution Bulletin, 90(1), 209–217. https://doi.org/10.1016/j.marpolbul.2014.10.049 Hawthorne, M., & Alabaster, T. (1999). Citizen 2000: Development of a model of environmental citizenship. Global Environmental Change, 9(1), 25–43. https://doi.org/10.1016/S0959-3780(98)00022-3 Hermawanti, O., & Susilaningsih, S. (2020). Development of Educational Comic Media Based on PowerPoint Class III Indonesian Language Content. Elementary School Teacher, 4(2), 5. https://doi.org/10.15294/est.v4i2.29027 Hidayat, S., & Ridwan. (2017). Kebijakan poros maritim dan keamanan nasional indonesia: Tantangan dan harapan. Pertahanan & Bela Negara, 7(3), 107–121. Koutníková, M. (2018). The Application of Comics in Science Education. Acta Educationis Generalis, 7(3), 88–98. https://doi.org/10.1515/atd-2017-0026 Melliou, K., Moutafidou, A., & Bratitsis, T. (2014). Digital Comics Use to Develop Thinking Dispositions in Early Childhood Education. 2014 IEEE 14th International Conference on Advanced Learning Technologies, 502–504. https://doi.org/10.1109/ICALT.2014.148 Mogias, A., Boubonari, T., Realdon, G., Previati, M., Mokos, M., Koulouri, P., & Cheimonopoulou, M. Th. (2019). Evaluating Ocean Literacy of Elementary School Students: Preliminary Results of a Cross-Cultural Study in the Mediterranean Region. Frontiers in Marine Science, 6, 396. https://doi.org/10.3389/fmars.2019.00396 Mokos, M., Realdon, G., & Zubak Čižmek, I. (2020). How to Increase Ocean Literacy for Future Ocean Sustainability? The Influence of Non-Formal Marine Science Education. Sustainability, 12(24). https://doi.org/10.3390/su122410647 Ntobuo, N. E., Arbie, A., & Amali, L. N. (2018). The Development of Gravity Comic Learning Media Based on Gorontalo Culture. Jurnal Pendidikan IPA Indonesia, 7(2), 246–251. https://doi.org/10.15294/jpii.v7i2.14344 Oliver, K. L. (1998). A Journey into Narrative Analysis: A Methodology for Discovering Meanings. Journal of Teaching in Physical Education, 17(2), 244–259. https://doi.org/10.1123/jtpe.17.2.244 Pramitasari, M., Yetti, E., & Hapidin, H. (2018). Pengembangan Media Sliding Book Untuk Pengenalan Sains Kehidupan (Life Science) Kelautan Untuk Anak Usia 6-7 Tahun. JPUD - Jurnal Pendidikan Usia Dini, 12(2), 281–290. https://doi.org/10.21009/jpud.122.09 Puspitorini, R., Prodjosantoso, A. K., Subali, B., & Jumadi, J. (2017). Penggunaan Media Komik Dalam Pembelajaran Ipa Untuk Meningkatkan Motivasi Dan Hasil Belajar Kognitif Dan Afektif. Jurnal Cakrawala Pendidikan, 3(3). https://doi.org/10.21831/cp.v3i3.2385 Rahmatullah, R., Inanna, I., Rakib, M., Mustari, M., & Rabania, R. (2020). Developing Tematic Economic Comic with Characters for Early Childhood. Journal of Educational Science and Technology (EST), 293–300. https://doi.org/10.26858/est.v6i3.14949 Rina, N., Suminar, J. R., Damayani, N. A., & Hafiar, H. (2020). Character education based on digital comic media. International Journal of Interactive Mobile Technologies, 14(3), 107–127. https://doi.org/10.3991/ijim.v14i03.12111 Santoro, F., Santin, S., Gail, S., Fauville, G., & Tuddenham, P. (2017). Ocean Literacy for All; A toolkit. UNESCO United Nations Educational. Steel, B. S., Smith, C., Opsommer, L., Curiel, S., & Warner-Steel, R. (2005). Public ocean literacy in the United States. Ocean & Coastal Management, 48(2), 97–114. https://doi.org/10.1016/j.ocecoaman.2005.01.002 Syarah, E. S., Yetti, E., Fridani, L., Yufiarti, Hapidin, & Pupala, B. (2019). Electronic comics in elementary school science learning for marine conservation. Jurnal Pendidikan IPA Indonesia, 8(4), 500–511. https://doi.org/10.15294/jpii.v8i4.19377 Tatalovic, M. (2009). Science comics as tools for science education and communication: A brief, exploratory study. Journal of Science Communication, 8(4). Tuddenham, P., Schoedinger, S., Cava, F., & Strang, C. (2005). Science Content and Standards for Ocean Literacy: A Report on Ocean Literacy. https://doi.org/10.13140/RG.2.2.12126.84804 Visbeck, M. (2018). Ocean science research is key for a sustainable future. Nature Communications, 9(1), 690. https://doi.org/10.1038/s41467-018-03158-3 Yulianti, D., Khanafiyah, S., & Sulistyorini, S. (2016). Inquiry-Based Science Comic Physics Series Integrated with Character Education. 7. Yunandar, Y. (2018). Budaya Bahari Dam Tradisi Nelayan di Indonesia. Sabda: Jurnal Kajian Kebudayaan, 1(1), 22. https://doi.org/10.14710/sabda.v1i1.13243

Teachers have an important and primary role in the education system. The achievement of the teacher's role in education will have an impact on job satisfaction. This study aims to analyze the job satisfaction of Early Childhood Education teachers in terms of variables of technostress and work-family conflicts among teachers who are married. This study was designed with a correlational quantitative design. Data collection is done online with the assistance of Google forms-distributed throughout Indonesia. One hundred and fifty-seven teacher respondents who fit the criteria became the research sample. The data analysis technique uses hierarchical regression. The results of the analysis stated that there was a relationship between technostress and job satisfaction. The findings show that two of the five aspects of technostress that techno-overload and techno-insecurity have a negative correlation with job satisfaction, while techno-uncertainty has a positive correlation. In addition, two aspects of technostress namely techno-invasion and techno-complexity do not correlate with job satisfaction. next to the relationship between work-family conflict with job satisfaction. The findings show that one of the two aspects of work-family conflict is strain negatively correlated with job satisfaction while time and behavior do not correlate with job satisfaction. Based on the results of this study it can be concluded that early childhood teachers are more affected by their job satisfaction technostress/techno-overload compared to work-family conflict. Keywords: early childhood teacher, job satisfaction, technostress, work-family conflict References: A Suh, JL (2017). Understanding teleworkers' technostress and its influence on job satisfaction. Internet Research, 27(1), 140–159. https://doi.org/10.1108/IntR-06-2015-0181 1. Dwi Putranti, A., & Achmad Kurniady, D. (2013). The Contribution of Kindergarten Principals' Transformational Leadership and Teacher Job Satisfaction to Organizational Citizenship Behavior (Ocb) of Kindergarten Teachers throughout Kudus Regency. Journal of Education Administration, 1, 1–11. Effiyanti, T., & Sagala, GH (2016). Technostress in Teachers: Confirmation of the Stressor and Its Antecedents. XIX National Symposium on Accounting, 1–18. Ernst Kossek, E., & Ozeki, C. (1998). Work–family conflict, policies, and the job–life satisfaction relationship: A review and directions for organizational behavior–human resources research. Journal of Applied Psychology, 2(83), 139–149. https://doi.org/https://doi.org/10.1037/0021-9010.83.2.139 Frone, M., Russell, M., & Cooper, C. (1992). Prevalence of work-family conflict: Are work and family boundaries asymmetrically permeable? Journal of Organizational Behavior, 13(7), 723-729. Ghufron, MN (2016). Early Childhood Teacher Job Satisfaction in Terms of Class Climate and Teaching Efficacy. Ghufron. NM,. 2016, 4(2), 254–270. Greenhaus, JH, & Beutell, NJ (1985). Sources of Conflict between Work and Family Roles. The Academy of Management Review, 10(1), 76. https://doi.org/https://doi.org/10.2307/258214 Gregson, T. (1987). Factor Analysis of a Multiple-choice Format For Job Satisfaction. Sage Journals, 61(3), 747–750. https://doi.org/https://doi.org/10.2466/pr0.1987.61.3.747 Hardiyanti, WE, & Alwi, NM (2022). Analysis of the Digital Literacy Capabilities of ECE Teachers during the COVID-19 Pandemic. Journal of Obsession : Journal of Early Childhood Education, 6(4), 3759–3770. https://doi.org/10.31004/obsession.v6i4.1657 Herzberg, F. (1965). Job attitudes in the Soviet Union. Personnel Psychology. Hong, X., Liu, Q., & Zhang, M. (2021). Dual Stressors and Female Pre-school Teachers' Job Satisfaction During the COVID-19: The Mediation of Work-Family Conflict. Frontiers in Psychology, 12(June). https://doi.org/10.3389/fpsyg.2021.691498 Jena, R. (2015). Technostress in ICT enabled collaborative learning environment: An empirical study among Indian academicians. Computers in Human Behavior, 51. Jena, RK (2015). Impact of Technostress on Job Satisfaction: An Empirical Study among Indian Academicians. The International Technology Management Review, 5(3), 117. https://doi.org/10.2991/itmr.2015.5.3.1 Jiang, Y., Li, P., Wang, J., & Li, H. (2019). Relationships Between Kindergarten Teachers' Empowerment, Job Satisfaction, and Organizational Climate: A Chinese Model. Journal of Research in Childhood Education, 33(2), 257–270. https://doi.org/10.1080/02568543.2019.1577773 Kahn, RL, Wolfe, DM, Quinn, R., Snoek, JD, & R., & A, R. (1964). Organizational stress. New York: Wiley. Kim, S., & Lee, J. (2021). The mediating effects of ego resilience on the relationship between professionalism perception and technostress of early childhood teachers. International Journal of Learning, Teaching and Educational Research, 20(4), 245–264. https://doi.org/10.26803/IJLTER.20.4.13 Kreitner, R. and AK (200 CE). Organizational behavior. Jakarta: Salemba Empat. Kumar, K & Bhatia, L. (2011). Teachers and their Attitude Towards Teaching. Asia Pacific Journal of Research in Business Management, 2(9). Laksmi, NAP, & Hadi, C. (2012). The relationship between Dual Role Conflict (Work Family Conflict) and Job Satisfaction in Production Employees at PT.X. Journal of Industrial and Organizational Psychology, 1(02), 66–72. Lazarus, RS & Folkman, S. (1984). Stress, appraisal, and coping. New York : McGraw-Hill, Inc. Liu, XS, & Ramsey, J. (2008). Teachers' job satisfaction: Analyzes of the Teacher Follow-up Survey in the United States for 2000–2001. Teaching and Teacher Education, 24(5), 1173–1184. https://doi.org/10.1016/J.TATE.2006.11.010 Mukhlishon, G. (2016). 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This paper reviews eight highly-rated books on Moral Theology to find a common ground for an ethics education program for undergraduate students. Using James Rest’s four domains of moral functioning as its frame of reference, it examined the substantive contents and determined the extent of their alignment with identified learning outcomes for an undergraduate ethics course. Although they differed in the elements of approach and method, it is evident that in terms of their overall substantive content, the eight books adequately covered what is widely considered as the foundation stones of Catholic morality. Nonetheless, it is clear that their usefulness as “tool, tutor, and guide” for ethics education would largely have to depend on the professional competence, intended outcomes, pedagogical skills/strategies, and personal qualities of the facilitator. References Armstrong, Mary Beth, Edward Ketz & Dwigth Owsenc. Ethics Education in Accounting: Moving Towards Ethical Motivation and Ethical Behavior. Available online at https://doi.org/10.1016/S0748-5751(02)00017-9, 2002. Bebeau, Michael J., Rest, James R. & Narvaez, Darcia. Beyond the Promise: A Perspective on Research in Moral Education. Volume: 28 issue: 4, 1999:18-26 https://doi.org/10.3102/0013189X028004018. Bretzke, James T. Select Bibliography on Fundamental Moral Theology, 2014. Available online at https://www2.bc.edu/...bretzke/FundamentalMoralBibliography. Callahan, Daniel. Goals in the Teaching of Ethics. In Callahan, D., Bok, S. (Eds.) Ethics Teaching in Higher Education: 61-80. Part of The Hastings Center Series in Ethics book series. Springer, Boston, MA. DOI: https://doi.org/10.1007/978-1-4613-3138-4_2. (1980). Carino, Michael. Evangelism in a Postmodern World (Part 1) Reaching a Conversational Generation. (2000). Available online at https://bible.org/article/clash-cultures-evangelism-postmodern-world-part-i. Carol Ellam, Terry Stratton, & Denise Gibson Welcoming a New Generation to College: The Millennial Students. Journal of College Admission, n195, 2007. Cavadini, John C. Why Study God? “The Role of Theology at a Catholic University,” in Commonweal, October 2013. Available online at sites.nd.edu/oblation/.../why-study-god-the-role-of-theology-at-a-catholicuniversity/. Cessario, Romanus. O.P. Introduction to Moral Theology, Catholic University of America Press, 2001. Dorran, Robert M., S.J. “A New Project in Systematic Theology,” Theological Studies 2015, Vol. 76(2): 244-246. Gula, Richard M. Reason Informed by Faith: Foundations of Catholic Morality. New York: Paulist Press, 1989. Jimenez-David, Rina. (2016). A "teen-pregnancy crisis," Philippine Daily Inquirer, July 01 2016. Available online at inquirer.net. Klinker, JoAnn & Hackman, Donald G. “An Analysis of Principals’ Ethical Decision Making Using Rest’s Four Component Model of Moral Behavior,” Journal of School Leadership, Vol. 14 July 2004, 434-448. Kulm, Gerald, Roseman, JoEllen & Treistman. Michelle. “A Benchmarks-Based Approach to Textbook Evaluation,”2004 Available online at www.project2061.org/publications/textbook/.../approach.htm Kurtines, William M. Gewirtz, Jacob L & Lamb, Sharon (Eds.) The College Experience and Moral Development from Handbook of Moral Behavior and Development: Volume 2.2014. Lasco, Gideon. “Pagkakanya-kanya” Philippine Daily Inquirer, April 5, 2018.Available online at inquirer.net. Loewenberg Ball, D. “Bridging Practices: Intertwining Content and Pedagogy inTeaching and Learning to Teach,” (2000). Available online at journalss.sagepub.com/doi/10.1177/0022487100051003013 Mattison, William, C., III. Introducing Moral Theology. Brazos Press, 2008. May, William E. An Introduction to Moral Theology. Second Edition. (Huntington, Indiana: Our Sunday Visitor Publishing Division, 1983. Myyry, Liisa, “Components of Morality: A Professional Ethics Perspective on Moral Motivation, Moral Sensitivity, Moral Reasoning and Related Constructs among University Students,” in Social Psychology Studies 9. Department of Psychology, University of Helsinki. Nucci, Larry, & Narvaez, Darcia. ((Eds.). Handbook of Moral and Character Education. New York: Routledge, 2008 O’Reilly, Kevin E. OP, “University Education Construed in the Light of Faith. A Review,” Edited by the Dominicans of the English Province. Vol. 98, No. 1076, 373-386. July 2017 https://doi.org/10.1111/nbfr.12046. Ozar, David .T. Learning Outcomes for Ethics across the Curriculum Programs. 2001. Available online at https://www.uvu.edu/.../Learning%20Outcomes%20for%20Ethics%20Across%20the. Pesche, Karl H., SVD. Christian Ethics: General Moral Theology in the Light of Vatican II. Manila: Divine Word Publications, 1996. Pieper, J. Z.T. & Vermeer, P. “Religious Consciousness of Dutch Youth: Consequences for Religious Education,” in Journal of Empirical Theology, 2011: 14, 2, 56. Pinckaers, Servais, O.P. The Sources of Christian Ethics. Translated by Sr. Mary Thomas Noble, O.P.Washington, D.C.: Catholic University of America Press. 3rd Edition, 1995. Prummer, Dominic M. Handbook of Moral Theology. Roman Catholic Books, 1995. Radcliffe, Timothy, O.P. What is the Point of Being a Christian? New York: Burns and Oates, 2005. Ratzinger, Joseph. Principles of Catholic Theology. San Francisco: Ignatius Press, 1987. Rest, James R. “A Psychologist Looks at the Teaching of Ethics, “in Moral Development and Moral Education. Hastings Center Report, 12:29-36. February 1982. https://doi.org/10.2307/3560621. Sanks, T.Howland, S.J. “A Church That Can and Cannot Change: The Dynamics of Tradition,” in Theological Studies, 2015, Vol. 76 (2): 298-299. 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The Christian Path in a Pluralistic World and the Study of Spirituality (Maryland: Lexington Books, 2012).

We present a connection between two seemingly disparate fields: VC-theory and graph theory. This connection yields natural correspondences between fundamental concepts in VC-theory, such as shattering and VC-dimension, and well-studied concepts of graph theory related to connectivity, combinatorial optimization, forbidden subgraphs, and others.In one direction, we use this connection to derive results in graph theory. Our main tool is a generalization of the Sauer-Shelah Lemma (Pajor, 1985; Bollobás and Radcliffe, 1995; Dress, 1997; Holzman and Aharoni). Using this tool we obtain a series of inequalities and equalities related to properties of orientations of a graph. Some of these results appear to be new, for others we give new and simple proofs.In the other direction, we present new illustrative examples of shattering-extremal systems - a class of set-systems in VC-theory whose understanding is considered by some authors to be incomplete Bollobás and Radcliffe, 1995; Greco, 1998; Rónyai and Mészáros, 2011). These examples are derived from properties of orientations related to distances and flows in networks.

This essay is a section of a larger study funded in part by a Culinary Research Award from Radcliffe College 'to document Sayer's social concerns by analyzing each of his major cookbooks and specifying the dietary characteristics of each'. The three books were, as explained in the essay, directed at different audiences, and Joyce Toomre believes that a systematic comparison of them as regards range of recipes, variety of ingredients, methods of preparation and language of instruction will throw light, from an unusual angle, on the class structure of mid-Victorian society. The present essay, after introductory material, carries out such a comparison for soups.

Violence and aggression in the community college classroom is something overlooked by many. "In agiven month, 11 percent of all students reported having something stolen, 1.3 percent of all studentsreported being physically assaulted, and 12 percent of all teachers reported having something stolen, 5percent of these thefts occurring by way of force, weapons, or threats" (Barton, 1998). At this level ofeducation, it is typically assumed that students will act professionally and know how to control angerand situations of conflict. On the contrary, at this level, students may be under more stress thanelementary and/or secondary students. One in four professors witness conflict and/or violence in thecollege classroom ("One in four," 2009). Conflicts arise from many different reasons in the communitycollege classroom. Academic egos, social class, high school locale, and other factors give reason tomany conflicts in the college classroom.

We report a replication of Patel, Gibson, Ratner, Besson, and Holcomb (1998). The results of our replication are largely consistent with the conclusions of the original study. We found evidence of a P600 component of the event-related potential (ERP) in response to syntactic violations in language and harmonic inconsistencies in music. There were some minor differences in the spatial distribution of the P600 on the scalp between the replication and the original. The experiment was pre-registered at https://osf.io/g3b5j/. We conducted this experiment as part of an undergraduate cognitive science research methods class at Vassar College; we discuss the practice of integrating replication work into research methods courses.

The Japanese aspectual form teiru marks ‘the durative phase of a situation’ (Shirai, 2000: 333) and has four distinct meanings, progressive, resultative, perfect, and habitual. Because of the complex concepts and the polysemous nature of the structure, even advanced learners’ understanding and ability to interpret and produce appropriate teiru forms is at times fragmented and incomplete (e.g., Nishi, 2018; Shirai and Kurono, 1998; Shibata, 1999; Sugaya, 2002). This paper considers how Concept-Based Language Instruction (C-BLI) can help L2 beginning learners of Japanese, who were introduced to teiru for the first time, develop understanding of the target concept. C-BLI teaches categories of meaning and how they are connected to forms through the materialization and transformation of conceptual understandings (García, 2018; Lantolf et al., 2020). The instruction was conducted in a college-level intact first-year Japanese class for six weeks. This paper presents findings that illustrate the development of the entire class, focusing on the transformation in two focal students’ understanding and interpretations of the teiru form.

This paper examines the intersections of teacher educators' identities and the notion of race uplift. It is basedon a larger study that explores the experiences and practices of Black women professors at three differenthigher education institutions. The author maintains that as a result of their outsider-within position and raceuplift stance, Black women teacher educators may produce an academic other-mother identity. Whileconsidering the concepts of womanist theory, this paper attempts to offer a thick description of the kind ofrace uplift practiced by teacher educators of color. The author defines the outsider-within position and thehistorical relationship between the race uplift theme and womanism, reviews current literature about teachereducators of color - highlighting their experiences and how they view their work in the academy, andexamines the outsider-within position in Black women teacher educators. The author concludes with adiscussion of the other-mother identity and Black women teacher educators.Research indicates that the experiences of Black women faculty involve racist and sexist practices bycolleagues and students. Additionally, these women experience feelings of isolation, discrimination, andtokenism. Collins (1998) cautions that being marginalized in intersections of race, class, gender, sexuality,and/or citizenship places a variety of well-meaning intellectuals engaged in higher education in commonborder zones, and these same systems of power reproduce hierarchies in "outsider-within locations." Middleclass African Americans in the United States, for example, are aggressively recruited to join eliteinstitutions of higher education and other sites of institutional power, only to find themselves, upon arrival,confined to a new designated "place", or "outsider-within location" (Collins, 1998). Professor AnnetteHenry, also a teacher educator, describes the outsider-within location clearly from personal experience:Standing like an oak by the photocopier, a White male graduate student utters the only words hehas ever said to me during his years in the college of education: "You're lucky you got this job;"he mutters, assuredly, un-stapling a document. "They don't usually hire, well;" he leans towardme and whispers,"outsiders," as if telling me a deep dark secret. (Henry, 1998, p. 5)That is, they appear to belong, because they possess both the credentials for admittance and the rights offormal citizenship, "but that does not automatically translate into substantive citizenship rights" (Collins,1998, p. 5). Several Black women scholars have termed the race-, sex-, and class-based oppression theyexperienced in institutions of higher learning as "double", "triple", or "multiple oppressions" (Anzaldúa,1998; Guy-Sheftall, 1995; James, 1999; James & Farmer, 1993; King, D., 1993). These terms are meant tosuggest the cumulative effect of experiencing, gender, race, and class exploitation (Knight, 1998).These new spaces that marginalized Black women occupy in the academy, coupled with the possible erosionof activism within teaching due to a growing Black middle class (Collins, 1990), led me to ask questionssuch as: what is the current relationship between agency and teacher preparation?; in what ways are teachingpractices influenced by these new "outsider-within" locations?; and, how do contemporary Black womenteacher educators utilize notions of "race uplift" to shape their work?This paper examines the intersections of teacher educators' outsider within identity and the notion of raceuplift. While considering the concepts of womanist theory, it attempts to offer a thick description of raceuplift as practiced by Black women teacher educators. It is based on a qualitative investigation of threeBlack women teacher educators that sought to answer two questions: In what ways do their experiencesinform their teaching practice, and how does the notion of race uplift inform their work? The sample wasclearly purposive because the goals were to deepen society's understandings of the significant experiencesand practices of Black women who prepare teachers for K-12 classrooms.

Dans le lexique des anthropologues, le mot identité est apparu bien plus tard que le mot culture. Mais depuis quelques décennies, alors que divers anthropologues se sont presque vantés de soumettre à une forte critique et même de rejeter leur ancien concept de culture, l'identité a acquis un usage de plus en plus étendu et prépondérant, parallèlement à ce qui s'est passé dans d'autres sciences humaines et sociales, ainsi que dans le langage de la politique et des médias. Nombreux sont ceux dans les sciences sociales qui s'accordent pour dire que le concept d'identité a commencé à s'affirmer à partir des années soixante du siècle dernier. Il est habituel de placer le point de départ dans les travaux du psychologue Erik Erikson (1950 ; 1968), qui considérait l'adolescence comme la période de la vie la plus caractérisée par des problèmes d'identité personnelle. Cette reconstruction est devenue un lieu commun des sciences humaines et sociales du XXe siècle, et pour cette raison, elle nécessite quelques ajustements. Par exemple, le sociologue américain Robert E. Park (1939) utilisait déjà, à la fin des années 1930, le terme identité, en rapport avec ceux d'unité, d'intégrité, de continuité, pour décrire la manière dont les communautés et les familles se maintiennent dans le temps et l'espace. En ce qui concerne l'anthropologie, un examen rapide permet de constater que l'identité a déjà été utilisée dans les années 1920 par Bronislaw Malinowski d'une manière qui n'était pas du tout sporadique. Dans ses textes sur les Trobriandais – comme par exemple La vie sexuelle des Sauvages du Nord-Ouest de la Mélanésie (1930) – il parle de l'identité du dala, ou matrilignage, en référence à la « substance » biologique dont il est fait, une substance qui se transmet de génération en génération dans la lignée maternelle. Ce n’est peut-être pas par hasard que le terme identité fut ensuite appliqué par Raymond Firth, dans We, the Tikopia (1936), pour affirmer la continuité dans le temps du clan, et que Siegfried Nadel dans The Foundations of Social Anthropology (1949) parle explicitement de l’identité des groupes sociaux grâce auxquels une société s’articule. La monographie The Nuer (1940) d'Edward E. Evans-Pritchard confirme que l’on a fait de l’identité un usage continu et, en apparence, sans problèmes dans l'anthropologie sociale britannique sous l’influence de Malinowski. Dans ce texte fondamental, l’identité est attribuée aux clans, à chacune des classes d'âge et même à l'ensemble de la culture nuer, que les Nuer considèrent eux-mêmes comme unique, homogène et exclusive, même si le sentiment de la communauté locale était « plus profond que la reconnaissance de l'identité culturelle » (Evans-Pritchard 1975: 176). Par contre, l’autre grand anthropologue britannique, Alfred R. Radcliffe-Brown, qui était particulièrement rigoureux et attentif aux concepts que l'anthropologie devait utiliser (selon M.N. Srinivas, il « prenait grand soin de l'écriture, considérant les mots comme des pierres précieuses » 1973 : 12), il est resté, probablement pour cette raison, étranger au recours au terme d'identité. S’il fait son apparition dans son célèbre essai consacré à la structure sociale de 1940, c’est uniquement lorsqu'il fait référence à l'utilisation approximative de ce concept par Evans-Pritchard. Il soutient que certains anthropologues (y compris Evans-Pritchard) utilisent l’expression « structure sociale » uniquement pour désigner la persistance des groupes sociaux (nations, tribus, clans), qui gardent leur continuité (continuity) et leur identité (identity), malgré la succession de leurs membres (Radcliffe-Brown 1952 : 191). Son utilisation du terme identité ne se justifie ainsi que parce qu’il cite la pensée d'Evans-Pritchard presque textuellement. On a également l’impression que Radcliffe-Brown évite d’adopter le concept d’identité, utilisé par ses collègues et compatriotes, parce que les termes de continuité (continuity), de stabilité (stability), de définition (definiteness), de cohérence (consistency) sont déjà suffisamment précis pour définir une « loi sociologique » inhérente à toute structure sociale (Radcliffe-Brown 1952 : 45). Qu’est-ce que le concept d'identité ajouterait, sinon un attrait presque mystique et surtout une référence plus ou moins subtile à l'idée de substance, avec la signification métaphysique qu’elle implique? Radcliffe-Brown admet que la persistance des groupes dans le temps est une dimension importante et inaliénable de la structure sociale. Mais se focaliser uniquement sur la stabilité donne lieu à une vision trop étroite et unilatérale : la structure sociale comprend quelque chose de plus, qui doit être pris en compte. Si l’on ajoute le principe d’identité à la stabilité, à la cohérence et à la définition, ne risque-t-on pas de détourner l’attention de l’anthropologue de ce qui entre en conflit avec la continuité et la stabilité? Radcliffe-Brown a distingué entre la structure sociale (social structure), sujette à des changements continus, tels que ceux qui se produisent dans tous les organismes, et la forme structurale (structural form), qui « peut rester relativement constante pendant plus ou moins une longue période » (Radcliffe-Brown 1952 : 192). Même la forme structurale – a-t-il ajouté – « peut changer » (may change); et le changement est parfois graduel, presque imperceptible, alors que d’autres fois, il est soudain et violent, comme dans le cas des révolutions ou des conquêtes militaires. Considérant ces deux niveaux, la forme structurale est sans aucun doute le concept qui se prêterait le mieux à être associé à l'identité. Mais l’identité appliquée à la forme structurale ne nous aiderait certainement pas à appréhender avec précision les passages graduels, les glissements imprévus ou, au contraire, certaines « continuités de structure » qui se produisent même dans les changements les plus révolutionnaires (Radcliffe-Brown 1952 : 193). Bref, il est nécessaire de disposer d’une instrumentation beaucoup plus raffinée et calibrée que la notion d’identité, vague et encombrante, pour saisir l’interaction incessante et subtile entre continuité et discontinuité. On sait que Radcliffe-Brown avait l'intention de construire une anthropologie sociale rigoureuse basée sur le modèle des sciences naturelles. Dans cette perspective, l'identité aurait été un facteur de confusion, ainsi qu'un élément qui aurait poussé l'anthropologie naissante vers la philosophie et l'ontologie plutôt que vers la science. Alors que Radcliffe-Brown (décédé en 1955) avait réussi à éviter le problème de l'identité en anthropologie, Lévi-Strauss sera contraint de l'affronter ouvertement dans un séminaire proposé, conçu et organisé par son assistant philosophe Jean-Marie Benoist au Collège de France au milieu des années soixante-dix (1974-1975). Quelle stratégie Lévi-Strauss adopte-t-il pour s'attaquer à ce problème, sans se laisser aller à la « mode » qui, entre-temps, avait repris ce concept (Lévi-Strauss 1977 : 11)? La première étape est une concession : il admet que l’identité est un sujet d’ordre universel, c’est-à-dire qu’elle intéresse toutes les disciplines scientifiques, ainsi que « toutes les sociétés » étudiées par les ethnologues, et donc aussi l’anthropologie « de façon très spéciale » (Lévi-Strauss 1977 : 9). Pour Lévi-Strauss, les résultats suivants sont significatifs: i) aucune des sociétés examinées – même si elles constituent un petit échantillon – ne tient « pour acquise une identité substantielle » (Lévi-Strauss 1977 : 11), c’est-à-dire qu’il ne fait pas partie de leur pensée de concevoir l'identité en tant que substance ou la substance en tant que source et principe d'identité; ii) toutes les branches scientifiques interrogées émettent des doutes sur la notion d'identité et en font le plus souvent l'objet d'une « critique très sévère » (Lévi-Strauss 1977 : 11); iii) il est possible de constater une analogie entre le traitement réservé à l’identité de la part des « sociétés exotiques » examinées et les conceptions apparues dans les disciplines scientifiques (Lévi-Strauss 1977 : 11); iv) cela signifie alors que la « foi » que « nous mettons encore » sur l’identité doit être considérée comme « le reflet d'un état de civilisation », c'est-à-dire comme un produit historique et culturel transitoire, dont la « durée » peut être calculée en « quelques siècles » (Lévi-Strauss 1977 : 11) ; v) que nous assistons à une crise contemporaine de l'identité individuelle, en vertu de laquelle aucun individu ne peut se concevoir comme une « réalité substantielle », réduit qu’il est à une « fonction instable », à un « lieu » et à un « moment » éphémères d’« échanges et de conflits » auxquelles concourent des forces d’ordre naturel et historique (1977 : 11). Ceci fait dire à Lévi-Strauss que « quand on croit atteindre l'identité, on la trouve pulvérisée, en miettes » (in Benoist 1977 : 209), tout en constatant dans le même mouvement que, tant dans les sociétés examinées que dans les sciences interrogées, nous assistons à la négation d'une « identité substantielle » et même à une attitude destructrice qui fait « éclater » l’identité « en une multiplicité d’éléments ». Dans un cas comme dans l'autre, on arrive à « une critique de l’identité », plutôt qu’« à son affirmation pure et simple » (in Benoist et Lévi-Strauss 1977 : 331). Pourtant, nous ne pouvons pas oublier que Lévi-Strauss était parti d'une concession, c’est-à-dire de l'idée que nous ne pouvions pas nous passer du thème de l'identité : c'est quelque chose qui concerne d'une manière ou d'une autre toutes les sociétés, les sociétés exotiques étudiées par les anthropologues et les communautés scientifiques qui se forment dans la civilisation contemporaine. Lévi-Strauss aurait pu développer plus profondément et de manière plus radicale l’argument présenté au point iv), à savoir que l’identité est une croyance (voire une foi), produit d’une période historique de notre civilisation. Mieux encore, étant donné que les autres sociétés d’une part et nos sciences de l’autre « la soumettent à l’action d’une sorte de marteau-pilon », c’est-à-dire qu’elles la font « éclater » (in Benoist 1977 : 309), nous aussi nous pourrions finalement nous en débarrasser. Lévi-Strauss sent bien, cependant, la différence entre sa propre position et celle du public qui a participé au séminaire, beaucoup plus enclin à donner du poids et un sens à l'identité. Pour cette raison, il offre un compromis (un compromis kantien, pourrait-on dire), qui consiste à détacher la notion d’identité de celle de substance et à penser l’identité comme « une sorte de foyer virtuel auquel il nous est indispensable de nous référer pour expliquer un certain nombre de choses, mais sans qu’il ait jamais d’existence réelle » (in Benoist et Lévi-Strauss 1977 : 332). Si nous l’interprétons bien, c'est comme si Lévi-Strauss avait voulu dire à ses collègues anthropologues : « Voulez-vous vraiment utiliser le concept d'identité? » Au moins, sachez que cela ne fait jamais référence à une expérience réelle : c’est peut-être une aspiration, une affirmation, une manière de représenter des choses, auxquelles rien de réel ne correspond. Avec ce compromis, Lévi-Strauss semble finalement attribuer à l'identité une sorte de citoyenneté dans le langage des anthropologues. Cependant, même comme un feu virtuel, où se trouve l'idée d'identité : dans la tête des anthropologues, qui utilisent ce concept pour représenter des sociétés dans leur unité et leur particularité, ou dans la tête des groupes sociaux lorsqu'ils se représentent leur culture? Revenons à l'exemple de Malinowski et des Trobriandais. C'est Malinowski qui interprète le veyola, la substance biologique du matrilignage (dala), en termes d'identité, et établit un lien entre identité et substance. Parler de l'identité du dala, surtout si elle est soutenue par le concept de substance (c'est-à-dire quelque chose qui se perpétue avec le temps et qui est complet en soi, de sorte qu'il ne dépend de rien de ce qui lui est extérieur, selon la définition classique d'Aristote), finit par obscurcir la pensée plus profonde des Trobriandais, c’est-à-dire l’incomplétude structurelle du dala. Il ne suffit pas de naître dans le dala et de recevoir le veyola de la mère. Le veyola n'est pas une substance identitaire, mais une matière sans forme qui doit être modelée par l’intervention du tama ou tomakava, c'est-à-dire « l'étranger », avec lequel la mère est mariée et qui est proprement le modeleur, celui qui aide les enfants de son partenaire à grandir, à prendre un visage, une personnalité, non pas en assumant une identité, mais par une participation progressive à des relations sociales (Weiner 1976). Malgré l’utilisation extensive du terme identité dans leurs descriptions ethnographiques et leurs réflexions théoriques, les anthropologues feraient bien de se demander s’il est vraiment approprié de conserver ce concept dans leur boîte à outils ou s’il ne convient pas de considérer l’identité comme une modalité de représentation historiquement et culturellement connotée. L'auteur de cette entrée a tenté de démontrer que l'identité en tant que telle n'existe pas, sauf en tant que mode de représentation que les anthropologues peuvent rencontrer dans telle ou telle société (Remotti 2010). Toutes les sociétés, dans leur ensemble ou dans leurs éléments constitutifs, ressentent les besoins suivants : stabilité, continuité, permanence, cohérence d’un côté, spécificité, certitude et définissabilité de l’autre. Mais, comme l’a suggéré Radcliffe-Brown, les réponses à ces besoins sont toujours relatives et graduelles, jamais complètes, totales et définitives. Nous pourrions également ajouter que ces besoins sont toujours combinés avec des besoins opposés, ceux du changement et donc de l'ouverture aux autres et au futur (Remotti 1996 : 59-67). Autrement dit, les sociétés ne se limitent pas à être soumises au changement, mais le recherchent et l’organisent en quelque manière. Il peut y avoir des sociétés qui donnent des réponses unilatérales et qui favorisent les besoins de fermeture plutôt que d’ouverture, et d’autres le contraire. Si ce schéma est acceptable, alors on pourrait dire que l'identité – loin d'être un outil d'investigation – apparaît au contraire comme un thème et un terrain important de la recherche anthropologique. En retirant l'identité de leur boîte à outils, prenant ainsi leurs distances par rapport à l'idéologie de l'identité (un véritable mythe de notre temps), les anthropologues ont pour tâche de rechercher quelles sociétés produisent cette idéologie, comment elles construisent leurs représentations identitaires, pour quelles raisons, causes ou buts elles développent leurs croyances (même leur « foi » aveugle et aveuglante) en l’identité. Nous découvrirons alors que nous-mêmes, Occidentaux et modernes, nous avons construit, répandu, exporté et inculqué au monde entier des mythes et des concepts identitaires. Nous l’avons fait à partir de l’État-nation aux frontières rigides et insurpassables, de l’idéologie clairement identitaire qu’est le racisme, et pour terminer de la racialisation de la culture qui exalte les traditions locales ou nationales comme substances intouchables, dont la pureté est invoquée et qu’on entend défendre de toutes les manières contre les menaces extérieures. Passée au niveau du discours social et politique, l'identité révèle tôt toute la violence impliquée dans la coupure des liens et des connexions entre « nous » et les « autres ». Comme le disait Lévi-Strauss (et aussi Hegel avant Lévi-Strauss), à l'identité « ne correspond en réalité aucune expérience » (in Benoist et Lévi-Strauss 1977 : 332). Mais les effets pratiques de cette représentation n'appartiennent pas au monde des idées : ils sont réels, souvent insupportablement réels.

Background: In India, as per the “National Policy on Older People” a senior citizen is dened as a person who is 60 years old or above. The World Health Organization (WHO) in 1998 dened Quality of Life as: “The individual's perception of his or her position in life, with in the cultural context and value system he or she lives in, and in relation to his or her goals, expectations parameters and social relations”. As per the WHO report (2013), there are more than 600 million elderlies at a global level. The elderly population will be doubled by 2025 and rise to two billion by 2050. According to the 2001 census, India was home to more than 77 million people aged 60 years and over. One of the greatest tasks of public health is to improve the Quality of Life (QOL) of geriatric population through which we can increase the life expectancy of the elderly by every year. Aim and Objectives: To know the quality of life of the elderly and its inuencing socio-demographic factors living in urban eld practice area, Jaipur city with objectives like assess and compare the quality of life and sociodemographic factors affecting quality of life of elderly Materials and Methods: Urban eld practice area is divided into 4 areas namely Katputli Nagar, Bais godown, Susheel Pura and Bhojpura covers a population of 15190. Of these, 25 elderlies from each area were systemic randomly selected and interviewed to complete the sample of 100 people. A pretested semi-structured questionnaire having two sections was used to collect the information where the rst part included information regarding sociodemographic prole and the second part comprised of a 26-point WHOQOL -BREF questionnaire. Results: A maximum proportion of the study subjects was male (65%) with age group of 60-69 years is 69% and ≥70 years is 31%. In regards to educational status 38% were illiterates, literacy is high in urban area with 62% participants were literate. Most of subjects belonged to middle class (45%), upper middle class (35%) of socioeconomic status (SES-III) and least in lower middle (4%) (Modied BG Prasad's classication). Perceived Quality of Life (QOL) were 46% good for elderly living in urban area. While in area subject only 13% perceive poor QOL and 33% perceived neither poor nor good QOL while only 52% has satised QOL. In urban area highest mean score present in psychological domain (66.18 ± 8.274) and lowest in environmental domain (60.65 ± 9.691) of QOL. Conclusions: Quality of life is a multidimensional concept. Education and nancial dependency were found to be the possible determinants of QOL. More extensive studies are recommended to identify other factors affecting QOL.

Postmodernism is supposed to identify the conditions of contemporary cultural production when human affairs in general, and the dissemination of prevailing ideas in particular, have become fully enmeshed in relations of commodity exchange. (Martin 2002, p. 30) The accumulation of capital within industrial economies keyed on the surplus value derived from the production of raw materials into mass manufactured products, and their subsequent exchange in the capitalist marketplace. Within what Poster (1990) described as the contemporary mode of information , surplus capital is generated from the manufacturing of product’s symbolic values, which in turn substantiate their use and ultimately exchange values within the consumer market. This, in essence, is the centrifugal process undermining the brand (Klein 1999), promotional (Wernick 1991), or commodity sign (Goldman and Papson 1996), culture that characterizes contemporary capitalism: Through the creative outpourings of “cultural intermediaries” (Bourdieu 1984) working within the advertising, marketing, public relations, and media industries, commodities—routinely produced within low wage industrializing economies—are symbolically constituted to global consuming publics. This postmodern regime of cultural production is graphically illustrated within the sporting goods industry (Miles 1998) where, in regard to their use value, highly non-differentiated material products such as sport shoes are differentiated in symbolic terms through innovative advertising and marketing initiatives. In this way, oftentimes gaudy concoctions of leather, nylon, and rubber become transformed into prized cultural commodities possessing an inflated economic value within today’s informational-symbolic order (Castells 1996). Arguably, the globally ubiquitous Nike Inc. is the sporting brand that has most aggressively and effectively capitalized upon what Rowe described as the “culturalization of economics” in the latter twentieth century (1999, p. 70). Indeed, as Nike Chairman and CEO Phil Knight enthusiastically declared: For years, we thought of ourselves as a production-oriented company, meaning we put all our emphasis on designing and manufacturing the product. But now we understand that the most important thing we do is market the product. We’ve come around to saying that Nike is a marketing-oriented company, and the product is our most important marketing tool. What I mean is that marketing knits the whole organization together. The design elements and functional characteristics of the product itself are just part of the overall marketing process. (Quoted in (Willigan 1992, p. 92) This commercial culturalization of Nike has certainly sparked considerable academic interest, as evidenced by the voluminous literature pertaining to the various dimensions of its practices of cultural production (Donaghu and Barff 1990; Ind 1993; Korzeniewicz 1994; Cole and Hribar 1995; Boje 1998; Goldman and Papson 1998; Lafrance 1998; Armstrong 1999; Denzin 1999; Penaloza 1999; Sage 1999; Lucas 2000; Stabile 2000). Rather than contribute to this body of work, our aim is to engage a sporting shoe company attempting to establish itself within the brand universe defined and dominated by Nike. For this reason we turn to German-based Puma AG: a dynamic brand-in-process, seeking to differentiate itself within the cluttered sporting landscape, through the assertion of a consciously fractured brand identity designed to address a diverse range of clearly-defined consumer subjectivities. Puma’s history can be traced to post-war Germany when, in 1948, a fraternal dispute compelled Rudolf Dassler to leave Adidas (the company he founded with his brother Adi) and set up a rival sports shoe business on the opposite bank of the Moselle river in Herzogenaurach. Over the next three decades the two companies vied for the leadership in the global sports shoe industry. However, the emergence of Nike and Reebok in the 1980s, and particularly their adoption of aggressive marketing strategies, saw both Adidas and Puma succumbing to what was a new world sneaker order (Strasser and Becklund 1991). Of the two, Puma’s plight was the more chronic, with expenditures regularly exceeding moribund revenues. For instance, in 1993, Puma lost US$32 million on sales of just US$190 million (Saddleton 2002, p. 2). At this time, Puma’s brand presence and identity was negligible quite simply because it failed to operate according to the rhythms and regimes of the commodity sign economy that the sport shoe industry had become (Goldman and Papson 1994; 1996; 1998). Remarkably, from this position of seemingly terminal decline, in recent years, Puma has “successfully turned its image around” (Saddleton 2002, p. 2) through the adoption of a branding strategy perhaps even more radical than that of Nike’s. Led by the company’s global director of brand management, Antonio Bertone, Puma positioned itself as “the brand that mixes the influence of sport, lifestyle and fashion” (quoted in (Davis 2002, p. 41). Hence, Puma eschewed the sport performance mantra which defined the company (and indeed its rivals) for so long, in favour of a strategy centered on the aestheticization of the sport shoe as an important component of the commodity based lifestyle assemblages, through which individuals are encouraged to constitute their very being (Featherstone 1991; Lury 1996). According to Bertone, Puma is now “targeting the sneaker enthusiast, not the guy who buys shoes for running” (quoted in (Davis 2002, p. 41). While its efforts to “blur the lines between sport and lifestyle” (Anon 2002, p. 30) may explain part of Puma’s recent success, at the core of the company’s turnaround was its move to diversify the brand into a plethora of lifestyle and fashion options. Puma has essentially splintered into a range of seemingly disparate sub-brands each directed at a very definite target consumer (or perceptions thereof). Amongst other options, Puma can presently be consumed in, and through: the upscale pseudo-Prada Platinum range; collections by fashion designers such as Jil Sander and Yasuhiro Mihara; Pumaville, a range clearly directed at the “alternative sport” market, and endorsed by athletes such as motocross rider Travis Pastrana; and, the H Street range designed to capture “the carefree spirit of athletics” (http://www.puma.com). However, Puma’s attempts to interpellate (Althusser 1971) a diverse array of sporting subjectivies is perhaps best illustrated in the “Nuala” collection, a yoga-inspired “lifestyle” collection resulting from a collaboration with supermodel Christy Turlington, the inspiration for which is expressed in suitably flowery terms: What is Nuala? NUALA is an acronym representing: Natural-Universal-Altruistic-Limitless-Authentic. Often defined as "meditation in motion", Nuala is the product of an organic partnership that reflects Christy Turlington's passion for the ancient discipline of Yoga and PUMA's commitment to create a superior mix of sport and lifestyle products. Having studied comparative religion and philosophy at New York University, model turned entrepreneur Christy Turlington sought to merge her interest in eastern practices with her real-life experience in the fashion industry and create an elegant, concise, fashion collection to complement her busy work, travel, and exercise schedule. The goal of Nuala is to create a symbiosis between the outer and inner being, the individual and collective experience, using yoga as a metaphor to make this balance possible. At Nuala, we believe that everything in life should serve more than one purpose. Nuala is more than a line of yoga-inspired activewear; it is a building block for limitless living aimed at providing fashion-conscious, independant women comfort for everyday life. The line allows flexibility and transition, from technical yoga pieces to fashionable apparel one can live in. Celebrating women for their intuition, intelligence, and individuality, Nuala bridges the spacious gap between one's public and private life. Thus, Puma seeks to hail the female subject of consumption (Andrews 1998), through design and marketing rhetorics (couched in a spurious Eastern mysticism) which contemporary manifestations of what are traditionally feminine experiences and sensibilities. In seeking to engage, at one at the same time, a variety of class, ethnic, and gender based constituencies through the symbolic advancement of a range of lifestyle niches (hi-fashion, sports, casual, organic, retro etc.) Puma evokes Toffler’s prophetic vision regarding the rise of a “de-massified society” and “a profusion of life-styles and more highly individualized personalities” (Toffler 1980, pp. 231, 255-256). In this manner, Puma identified how the nurturing of an ever-expanding array of consumer subjectivities has become perhaps the most pertinent feature of present-day market relations. Such an approach to sub-branding is, of course, hardly anything new (Gartman 1998). Indeed, even the sports shoe giants have long-since diversified into a range of product lines. Yet it is our contention that even in the process of sub-branding, companies such as Nike nonetheless retain a tangible sense of a core brand identity. So, for instance, Nike imbues a sentiment of performative authenticity, cultural irreverence and personal empowerment throughout all its sub-brands, from its running shoes to its outdoor wear (arguably, Nike commercials have a distinctive “look” or “feel”) (Cole and Hribar 1995). By contrast, Puma’s sub-branding suggests a greater polyvalence: the brand engages divergent consumer subjectivities in much more definite and explicit ways. As Davis (2002, p. 41) emphasis added) suggested, Puma “has done a good job of effectively meeting the demands of disparate groups of consumers.” Perhaps more accurately, it could be asserted that Puma has been effective in constituting the market as an aggregate of disparate consumer groups (Solomon and Englis 1997). Goldman and Papson have suggested the decline of Reebok in the early 1990s owed much to the “inconsistency in the image they projected” (1996, p. 38). Following the logic of this assertion, the Puma brand’s lack of coherence or consistency would seem to foretell and impending decline. Yet, recent evidence suggests such a prediction as being wholly erroneous: Puma is a company, and (sub)brand system, on the rise. Recent market performance would certainly suggest so. For instance, in the first quarter of 2003 (a period in which many of its competitors experienced meager growth rates), Puma’s consolidated sales increased 47% resulting in a share price jump from ?1.43 to ?3.08 (Puma.com 2003). Moreover, as one trade magazine suggested: “Puma is one brand that has successfully turned its image around in recent years…and if analysts predictions are accurate, Puma’s sales will almost double by 2005” (Saddleton 2002, p. 2). 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Мета. Стаття присвячена дослідженню психологічних детермінант, що впливають на успішність вивчення іноземної мови підлітками в умовах дистанційного навчання. Основна увага приділяється когнітивним здібностям, а саме пам’яті та мисленню, а також індивідуальним психологічним характеристикам, таким як мотивація, імпульсивність та мовна тривожність. Методи дослідження. Теоретичні: синтез, порівняння, моделювання, узагальнення. Емпіричні: Шкала мотивації вивчення англійської мови (ELLMS), Шкала дитячої імпульсивності Барратта (BIS-11c) та Шкала тривожності перед публічними виступами (PSCAS) були використані для вимірювання індивідуально-психологічних факторів. Для оцінки когнітивних здібностей було використано тест на запам’ятовування слів Лурії та Шкала інтелекту для дітей Векслера, п’яте видання (WISC-V). Для аналізу та інтерпретації даних використовувалися методи математичної статистики: описова статистика, кореляційний аналіз та множинна регресія. Результати. Результати дослідження підкреслюють багатовимірність процесу оволодіння іноземною мовою в умовах дистанційного навчання. Зокрема, когнітивні здібності (мислення) та індивідуальні психологічні фактори (мовна тривожність) виявилися важливими предикторами успішності вивчення мови в умовах дистанційного навчання. Було виявлено, що мовна тривожність має негативну кореляцію з результатами вивчення мови, тоді як мислення показало позитивну кореляцію в даному контексті. Висновки. На основі отриманих результатів встановлено, що хоча когнітивні здібності та індивідуальні психологічні особливості є ключовими факторами у процесі вивчення іноземної мови, лише навички мислення та мовна тривожність виявилися значущими предикторами в моделі успішного вивчення мови в середовищі дистанційного навчання. Цікаво, що, незважаючи на те, що їхня роль у процесі навчання є доведеною, пам’ять, мотивація та імпульсивність не мали значного впливу в моделі. Це підкреслює важливість належного врахування психологічних труднощів, пов’язаних з викладанням та вивченням іноземних мов онлайн. Література Бондар, С.І. (2003). Психологічні особливості читання тексту іноземною мовою студентами з різним когнітивним стилем. (Автореф. дис. канд. психол. наук). Київ. Волошина, В.В., & Жовнірук, А.І. (2021). Психотехніки розвитку когнітивно-вербальних умінь майбутніх психологів у процесі вивчення англійської мови. Перспективи та інновації науки, 3(3), 179–194 . https://doi.org/10.52058/2786-4952-2021-3(3)-179-194. Лозова, О.М. (2010). Психологічні аспекти засвоєння іноземної мови. (Навчально-методичний посібник). Київ : КУБГ. Altay, B., & Saracaloglu, A.S. (2017). Investigation on the Relationship among Language Learning Strategies, Critical Thinking and Self-Regulation Skills in Learning English. Novitas-ROYAL. Research on Youth and Language, 11(1), 1–26. Режим доступу: https://eric.ed.gov/?id=EJ1167232 Ardasheva, Y., Tong, S.S., & Tretter, T.R. (2012). Validating the English Language Learner Motivation Scale (ELLMS): Pre-college to measure language learning motivational orientations among young ELLs. Learning and individual differences, 22(4), 473–483. https://doi.org/10.1016/j.lindif.2012.03.001 Bao, W. (2020). COVID‐19 and online teaching in higher education: A case study of Peking University. Human Behavior and Emerging Technologies, 2(2), 113–115. https://doi.org/10.1002/hbe2.191 Blakemore, S.J., & Choudhury, S. (2006). Development of the adolescent brain: implications for executive function and social cognition. Journal of child psychology and psychiatry, 47(3‐4), 296–312. https://doi.org/10.1111/j.1469-7610.2006.01611.x Cosi, S., Canals, J., & Vigil-Colet, A. (2008). Development of an improved version of the BIS-11c questionnaire: relationships with aggression and scholastic performance. Poster presented at the Xth meeting of the Spanish Society for the Study of Individual Differences. Salamanca. Dörnyei, Z. (1998). Motivation in second and foreign language learning. Language teaching, 31(3), 117–135. Horwitz, E.K. (2001). Language anxiety and achievement. Annual review of applied linguistics, 21, 112–126. https://doi.org/10.1017/S0267190501000071 Linck, J.A., Osthus, P., Koeth, J.T., & Bunting, M.F. (2014). Working memory and second language comprehension and production: A meta-analysis. Psychonomic bulletin & review, 21, 861–883. https://doi.org/10.3758/s13423-013-0565-2 Luria, A.R. (1969). The mind of a mnemonist: A little book about a vast memory. Harvard University Press. Rothbart, M.K., & Bates, J.E. (2006). Temperament. Handbook of child psychology. (Vol. 3, pp. 99–166). Steinberg, L. (2005). Cognitive and affective development in adolescence. Trends in cognitive sciences, 9(2), 69–74. https://doi.org/10.1016/j.tics.2004.12.005 Wechsler, D. (2014). WISC-V: Weschler Intelligence Scale for Children (5th ed.). Bloomington, MN : Pearson. Wenden, A. (1994). 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The Harry Potter (HP) Fan Fiction (FF) phenomenon offers an opportunity to explore the nature of fame and the work of fans (including the second author, a participant observer) in creating and circulating cultural products within fan communities. Matt Hills comments (xi) that “fandom is not simply a ‘thing’ that can be picked over analytically. It is also always performative; by which I mean that it is an identity which is (dis-)claimed, and which performs cultural work”. This paper explores the cultural work of fandom in relation to FF and fame. The global HP phenomenon – in which FF lists are a small part – has made creator J K Rowling richer than the Queen of England, according to the 2003 ‘Sunday Times Rich List’. The books (five so far) and the films (three) continue to accelerate the growth in Rowling’s fortune, which quadrupled from 2001-3: an incredible success for an author unknown before the publication of Harry Potter and the Philosopher’s Stone in 1997. Even the on-screen HP lead actor, Daniel Radcliffe, is now Britain’s second wealthiest teenager (after England’s Prince Harry). There are other globally successful books, such as the Lord of the Rings trilogy, and the Narnia collection, but neither of these series has experienced the momentum of the HP rise to fame. (See Endnote for an indication of the scale of fan involvement with HP FF, compared with Lord of the Rings.) Contemporary ‘Fame’ has been critically defined in relation to the western mass media’s requirement for ‘entertaining’ content, and the production and circulation of celebrity as opposed to ‘hard news’(Turner, Bonner and Marshall). The current perception is that an army of publicists and spin doctors are usually necessary, but not sufficient, to create and nurture global fame. Yet the HP phenomenon started out with no greater publicity investment than that garnered by any other promising first novelist: and given the status of HP as children’s publishing, it was probably less hyped than equivalent adult-audience publications. So are there particular characteristics of HP and his creator that predisposed the series and its author to become famous? And how does the fame status relate to fans’ incorporation of these cultural materials into their lives? Accepting that it is no more possible to predict the future fame of an author or (fictional) character than it is to predict the future financial success of a book, film or album, there is a range of features of the HP phenomenon that, in hindsight, helped accelerate the fame momentum, creating what has become in hindsight an unparalleled global media property. J K Rowling’s personal story – in the hands of her publicity machine – itself constituted a magical myth: the struggling single mother writing away (in longhand) in a Scottish café, snatching odd moments to construct the first book while her infant daughter slept. (Comparatively little attention was paid by the marketers to the author’s professional training and status as a teacher, or to Rowling’s own admission that the first book, and the outline for the series, took five years to write.) Rowling’s name itself, with no self-evident gender attribution, was also indicative of ambiguity and mystery. The back-story to HP, therefore, became one of a quintessentially romantic endeavour – the struggle to write against the odds. Publicity relating to the ‘starving in a garret’ background is not sufficient to explain the HP/Rowling grip on the popular imagination, however. Instead it is arguable that the growth of HP fame and fandom is directly related to the growth of the Internet and to the middle class readers’ Internet access. If the production of celebrity is a major project of the conventional mass media, the HP phenomenon is a harbinger of the hyper-fame that can be generated through the combined efforts of the mass media and online fan communities. The implication of this – evident in new online viral marketing techniques (Kirby), is that publicists need to pique cyber-interest as well as work with the mass media in the construction of celebrity. As the cheer-leaders for online viral marketing make the argument, the technique “provides the missing link between the [bottom-up] word-of-mouth approach and the top-down, advertainment approach”. Which is not to say that the initial HP success was a function of online viral marketing: rather, the marketers learned their trade by analysing the magnifier impact that the online fan communities had upon the exponential growth of the HP phenomenon. This cyber-impact is based both on enhanced connectivity – the bottom-up, word-of-mouth dynamic, and on the individual’s need to assume an identity (albeit fluid) to participate effectively in online community. Critiquing the notion that the computer is an identity machine, Streeter focuses upon (649) “identities that people have brought to computers from the culture at large”. He does not deal in any depth with FF, but suggests (651) that “what the Internet is and will come to be, then, is partly a matter of who we expect to be when we sit down to use it”. What happens when fans sit down to use the Internet, and is there a particular reason why the Internet should be of importance to the rise and rise of HP fame? From the point of view of one of us, HP was born at more or less the same time as she was. Eleven years old in the first book, published in 1997, Potter’s putative birth year might be set in 1986 – in line with many of the original HP readership, and the publisher’s target market. At the point that this cohort was first spellbound by Potter, 1998-9, they were also on the brink of discovering the Internet. In Australia and many western nations, over half of (two-parent) families with school-aged children were online by the end of 2000 (ABS). Potter would notionally have been 14: his fans a little younger but well primed for the ‘teeny-bopper’ years. Arguably, the only thing more famous than HP for that age-group, at that time, was the Internet itself. As knowledge of the Internet grew stories about it constituted both news and entertainment and circulated widely in the mass media: the uncertainty concerning new media, and their impact upon existing social structures, has – over time – precipitated a succession of moral panics … Established commercial media are not noted for their generosity to competitors, and it is unsurprising that many of the moral panics circulating about pornography on the Net, Internet stalking, Web addiction, hate sites etc are promulgated in the older media. (Green xxvii) Although the mass media may have successfully scared the impressionable, the Internet was not solely constructed as a site of moral panic. Prior to the general pervasiveness of the Internet in domestic space, P. David Marshall discusses multiple constructions of the computer – seen by parents as an educational tool which could help future-proof their children; but which their children were more like to conceptualise as a games machine, or (this was the greater fear) use for hacking. As the computer was to become a site for the battle ground between education, entertainment and power, so too the Internet was poised to be colonised by teenagers for a variety of purposes their parents would have preferred to prevent: chat, pornography, game-playing (among others). Fan communities thrive on the power of the individual fan to project themselves and their fan identity as part of an ongoing conversation. Further, in constructing the reasons behind what has happened in the HP narrative, and in speculating what is to come, fans are presenting themselves as identities with whom others might agree (positive affirmation) or disagree (offering the chance for engagement through exchange). The genuinely insightful fans, who apparently predict the plots before they’re published, may even be credited in their communities with inspiring J K Rowling’s muse. (The FF mythology is that J K Rowling dare not look at the FF sites in case she finds herself influenced.) Nancy Baym, commenting on a soap opera fan Usenet group (Usenet was an early 1990s precursor to discussion groups) notes that: The viewers’ relationship with characters, the viewers’ understanding of socioemotional experience, and soap opera’s narrative structure, in which moments of maximal suspense are always followed by temporal gaps, work together to ensure that fans will use the gaps during and between shows to discuss with one another possible outcomes and possible interpretations of what has been seen. (143) In HP terms the The Philosopher’s Stone constructed a fan knowledge that J K Rowling’s project entailed at least seven books (one for each year at Hogwarts School) and this offered plentiful opportunities to speculate upon the future direction and evolution of the HP characters. With each speculation, each posting, the individual fan can refine and extend their identity as a member of the FF community. The temporal gaps between the books and the films – coupled with the expanding possibilities of Internet communication – mean that fans can feel both creative and connected while circulating the cultural materials derived from their engagement with the HP ‘canon’. Canon is used to describe the HP oeuvre as approved by Rowling, her publishers, and her copyright assignees (for example, Warner Bros). In contrast, ‘fanon’ is the name used by fans to refer the body of work that results from their creative/subversive interactions with the core texts, such as “slash” (homo-erotic/romance) fiction. Differentiation between the two terms acknowledges the likelihood that J K Rowling or her assignees might not approve of fanon. The constructed identities of fans who deal solely with canon differ significantly from those who are engaged in fanon. The implicit (romantic) or explicit (full-action descriptions) sexualisation of HP FF is part of a complex identity play on behalf of both the writers and readers of FF. Further, given that the online communities are often nurtured and enriched by offline face to face exchanges with other participants, what an individual is prepared to read or not to read, or write or not write, says as much about that person’s public persona as does another’s overt consumption of pornography; or diet of art house films, in contrast to someone else’s enthusiasm for Friends. Hearn, Mandeville and Anthony argue that a “central assertion of postmodern views of consumption is that social identity can be interpreted as a function of consumption” (106), and few would disagree with them: herein lies the power of the brand. Noting that consumer culture centrally focuses upon harnessing ‘the desire to desire’, Streeter’s work (654, on the opening up of Internet connectivity) suggests a continuum from ‘desire provoked’; through anticipation, ‘excitement based on what people imagined would happen’; to a sense of ‘possibility’. All this was made more tantalising in terms of the ‘unpredictability’ of how cyberspace would eventually resolve itself (657). Thus a progression is posited from desire through to the thrill of comparing future possibilities with eventual outcomes. These forces clearly influence the HP FF phenomenon, where a section of HP fans have become impatient with the pace of the ‘official’/canon HP text. J K Rowling’s writing has slowed down to the point that Harry’s initial readership has overtaken him by several years. He’s about to enter his sixth year (of seven) at secondary school – his erstwhile-contemporaries have already left school or are about to graduate to University. HP is yet to have ‘a relationship’: his fans are engaged in some well-informed speculation as to a range of sexual possibilities which would likely take J K Rowling some light years from her marketers’ core readership. So the story is progressing more slowly than many fans would choose and with less spice than many would like (from the evidence of the web, at least). As indicated in the Endnote, the productivity of the fans, as they ‘fill in the gaps’ while waiting for the official narrative to resume, is prodigious. It may be that as the fans outstrip HP in their own social and emotional development they find his reactions in later books increasingly unbelievable, and/or out of character with the HP they felt they knew. Thus they develop an alternative ‘Harry’ in fanon. Some FF authors identify in advance which books they accept as canon, and which they have decided to ignore. For example, popular FF author Midnight Blue gives the setting of her evolving FF The Mirror of Maybe as “after Harry Potter and the Goblet of Fire and as an alternative to the events detailed in Harry Potter and the Order of the Phoenix, [this] is a Slash story involving Harry Potter and Severus Snape”. Some fans, tired of waiting for Rowling to get Harry grown up, ‘are doin’ it for themselves’. Alternatively, it may be that as they get older the first groups of HP fans are unwilling to relinquish their investment in the HP phenomenon, but are equally unwilling to align themselves uncritically with the anodyne story of the canon. Harry Potter, as Warner Bros licensed him, may be OK for pre-teens, but less cool for the older adolescent. The range of identities that can be constructed using the many online HP FF genres, however, permits wide scope for FF members to identify with dissident constructions of the HP narrative and helps to add to the momentum with which his fame increases. Latterly there is evidence that custodians of canon may be making subtle overtures to creators of fanon. Here, the viral marketers have a particular challenge – to embrace the huge market represented by fanon, while not disturbing those whose HP fandom is based upon the purity of canon. Some elements of fanon feel their discourses have been recognised within the evolving approved narrative . This sense within the fan community – that the holders of the canon have complimented them through an intertextual reference – is much prized and builds the momentum of the fame engagement (as has been demonstrated by Watson, with respect to the band ‘phish’). Specifically, Harry/Draco slash fans have delighted in the hint of a blown kiss from Draco Malfoy to Harry (as Draco sends Harry an origami bird/graffiti message in a Defence against the Dark Arts Class in Harry Potter and the Prisoner of Azkaban) as an acknowledgement of their cultural contribution to the development of the HP phenomenon. Streeter credits Raymond’s essay ‘The Cathedral and the Bazaar’ as offering a model for the incorporation of voluntary labour into the marketplace. Although Streeter’s example concerns the Open Source movement, derived from hacker culture, it has parallels with the prodigious creativity (and productivity) of the HP FF communities. Discussing the decision by Netscape to throw open the source code of its software in 1998, allowing those who use it to modify and improve it, Streeter comments that (659) “the core trope is to portray Linux-style software development like a bazaar, a real-life competitive marketplace”. The bazaar features a world of competing, yet complementary, small traders each displaying their skills and their wares for evaluation in terms of the product on offer. In contrast, “Microsoft-style software production is portrayed as hierarchical and centralised – and thus inefficient – like a cathedral”. Raymond identifies “ego satisfaction and reputation among other [peers]” as a specific socio-emotional benefit for volunteer participants (in Open Source development), going on to note: “Voluntary cultures that work this way are not actually uncommon [… for example] science fiction fandom, which unlike hackerdom has long explicitly recognized ‘egoboo’ (ego-boosting, or the enhancement of one’s reputation among other fans) as the basic drive behind volunteer activity”. This may also be a prime mover for FF engagement. Where fans have outgrown the anodyne canon they get added value through using the raw materials of the HP stories to construct fanon: establishing and building individual identities and communities through HP consumption practices in parallel with, but different from, those deemed acceptable for younger, more innocent, fans. The fame implicit in HP fandom is not only that of HP, the HP lead actor Daniel Radcliffe and HP’s creator J K Rowling; for some fans the famed ‘state or quality of being widely honoured and acclaimed’ can be realised through their participation in online fan culture – fans become famous and recognised within their own community for the quality of their work and the generosity of their sharing with others. The cultural capital circulated on the FF sites is both canon and fanon, a matter of some anxiety for the corporations that typically buy into and foster these mega-media products. As Jim Ward, Vice-President of Marketing for Lucasfilm comments about Star Wars fans (cited in Murray 11): “We love our fans. We want them to have fun. But if in fact someone is using our characters to create a story unto itself, that’s not in the spirit of what we think fandom is about. Fandom is about celebrating the story the way it is.” Slash fans would beg to differ, and for many FF readers and writers, the joy of engagement, and a significant engine for the growth of HP fame, is partly located in the creativity offered for readers and writers to fill in the gaps. Endnote HP FF ranges from posts on general FF sites (such as fanfiction.net >> books, where HP has 147,067 stories [on 4,490 pages of hotlinks] posted, compared with its nearest ‘rival’ Lord of the rings: with 33,189 FF stories). General FF sites exclude adult content, much of which is corralled into 18+ FF sites, such as Restrictedsection.org, set up when core material was expelled from general sites. As an example of one adult site, the Potter Slash Archive is selective (unlike fanfiction.net, for example) which means that only stories liked by the site team are displayed. Authors submitting work are asked to abide by a list of ‘compulsory parameters’, but ‘warnings’ fall under the category of ‘optional parameters’: “Please put a warning if your story contains content that may be offensive to some authors [sic], such as m/m sex, graphic sex or violence, violent sex, character death, major angst, BDSM, non-con (rape) etc”. Adult-content FF readers/writers embrace a range of unexpected genres – such as Twincest (incest within either of the two sets of twin characters in HP) and Weasleycest (incest within the Weasley clan) – in addition to mainstream romance/homo-erotica pairings, such as that between Harry Potter and Draco Malfoy. (NB: within the time frame 16 August – 4 October, Harry Potter FF writers had posted an additional 9,196 stories on the fanfiction.net site alone.) 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Watson, Nessim. “Why We Argue about Virtual Community: A Case Study of the Phish.net Fan Community.” Virtual Culture: Identity and Communication in Cybersociety. Ed. Steven G. Jones. London: Sage, 1997. 102-32. Citation reference for this article MLA Style Green, Lelia, and Carmen Guinery. "Harry Potter and the Fan Fiction Phenomenon." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/14-green.php>. APA Style Green, L., and C. Guinery. (Nov. 2004) "Harry Potter and the Fan Fiction Phenomenon," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/14-green.php>.

IntroductionCulinary education in Ireland has long been influenced by culinary education being delivered in catering colleges in the United Kingdom (UK). Institutionalised culinary education started in Britain through the sponsorship of guild conglomerates (Lawson and Silver). The City & Guilds of London Institute for the Advancement of Technical Education opened its central institution in 1884. Culinary education in Ireland began in Kevin Street Technical School in the late 1880s. This consisted of evening courses in plain cookery. Dublin’s leading chefs and waiters of the time participated in developing courses in French culinary classics and these courses ran in Parnell Square Vocational School from 1926 (Mac Con Iomaire “The Changing”). St Mary’s College of Domestic Science was purpose built and opened in 1941 in Cathal Brugha Street. This was renamed the Dublin College of Catering in the 1950s. The Council for Education, Recruitment and Training for the Hotel Industry (CERT) was set up in 1963 and ran cookery courses using the City & Guilds of London examinations as its benchmark. In 1982, when the National Craft Curriculum Certification Board (NCCCB) was established, CERT began carrying out their own examinations. This allowed Irish catering education to set its own standards, establish its own criteria and award its own certificates, roles which were previously carried out by City & Guilds of London (Corr). CERT awarded its first certificates in professional cookery in 1989. The training role of CERT was taken over by Fáilte Ireland, the State tourism board, in 2003. Changing Trends in Cookery and Culinary Textbooks at DIT The Dublin College of Catering which became part of the Dublin Institute of Technology (DIT) is the flagship of catering education in Ireland (Mac Con Iomaire “The Changing”). The first DIT culinary award, was introduced in 1984 Certificate in Diet Cookery, later renamed Higher Certificate in Health and Nutrition for the Culinary Arts. On the 19th of July 1992 the Dublin Institute of Technology Act was enacted into law. This Act enabled DIT to provide vocational and technical education and training for the economic, technological, scientific, commercial, industrial, social and cultural development of the State (Ireland 1992). In 1998, DIT was granted degree awarding powers by the Irish state, enabling it to make major awards at Higher Certificate, Ordinary Bachelor Degree, Honors Bachelor Degree, Masters and PhD levels (Levels six to ten in the National Framework of Qualifications), as well as a range of minor, special purpose and supplemental awards (National NQAI). It was not until 1999, when a primary degree in Culinary Arts was sanctioned by the Department of Education in Ireland (Duff, The Story), that a more diverse range of textbooks was recommended based on a new liberal/vocational educational philosophy. DITs School of Culinary Arts currently offers: Higher Certificates Health and Nutrition for the Culinary Arts; Higher Certificate in Culinary Arts (Professional Culinary Practice); BSc (Ord) in Baking and Pastry Arts Management; BA (Hons) in Culinary Arts; BSc (Hons) Bar Management and Entrepreneurship; BSc (Hons) in Culinary Entrepreneurship; and, MSc in Culinary Innovation and Food Product Development. From 1942 to 1970, haute cuisine, or classical French cuisine was the most influential cooking trend in Irish cuisine and this is reflected in the culinary textbooks of that era. Haute cuisine has been influenced by many influential writers/chefs such as Francois La Varenne, Antoine Carême, Auguste Escoffier, Ferand Point, Paul Bocuse, Anton Mosiman, Albert and Michel Roux to name but a few. The period from 1947 to 1974 can be viewed as a “golden age” of haute cuisine in Ireland, as more award-winning world-class restaurants traded in Dublin during this period than at any other time in history (Mac Con Iomaire “The Changing”). Hotels and restaurants were run in the Escoffier partie system style which is a system of hierarchy among kitchen staff and areas of the kitchens specialising in cooking particular parts of the menu i.e sauces (saucier), fish (poissonnier), larder (garde manger), vegetable (legumier) and pastry (patissier). In the late 1960s, Escoffier-styled restaurants were considered overstaffed and were no longer financially viable. Restaurants began to be run by chef-proprietors, using plate rather than silver service. Nouvelle cuisine began in the 1970s and this became a modern form of haute cuisine (Gillespie). The rise in chef-proprietor run restaurants in Ireland reflected the same characteristics of the nouvelle cuisine movement. Culinary textbooks such as Practical Professional Cookery, La Technique, The Complete Guide to Modern Cooking, The Art of the Garde Mange and Patisserie interpreted nouvelle cuisine techniques and plated dishes. In 1977, the DIT began delivering courses in City & Guilds Advanced Kitchen & Larder 706/3 and Pastry 706/3, the only college in Ireland to do so at the time. Many graduates from these courses became the future Irish culinary lecturers, chef-proprietors, and culinary leaders. The next two decades saw a rise in fusion cooking, nouvelle cuisine, and a return to French classical cooking. Numerous Irish chefs were returning to Ireland having worked with Michelin starred chefs and opening new restaurants in the vein of classical French cooking, such as Kevin Thornton (Wine Epergne & Thorntons). These chefs were, in turn, influencing culinary training in DIT with a return to classical French cooking. New Classical French culinary textbooks such as New Classical Cuisine, The Modern Patisserie, The French Professional Pastry Series and Advanced Practical Cookery were being used in DIT In the last 15 years, science in cooking has become the current trend in culinary education in DIT. This is acknowledged by the increased number of culinary science textbooks and modules in molecular gastronomy offered in DIT. This also coincided with the launch of the BA (Hons) in Culinary Arts in DIT moving culinary education from a technical to a liberal education. Books such as The Science of Cooking, On Food and Cooking, The Fat Duck Cookbook and Modern Gastronomy now appear on recommended textbooks for culinary students.For the purpose of this article, practical classes held at DIT will be broken down as follows: hot kitchen class, larder classes, and pastry classes. These classes had recommended textbooks for each area. These can be broken down into three sections: hot kitche, larder, and pastry. This table identifies that the textbooks used in culinary education at DIT reflected the trends in cookery at the time they were being used. Hot Kitchen Larder Pastry Le Guide Culinaire. 1921. Le Guide Culinaire. 1921. The International Confectioner. 1968. Le Repertoire De La Cuisine. 1914. The Larder Chef, Classical Food Preparation and Presentation. 1969. Patisserie. 1971. All in the Cooking, Books 1&2. 1943 The Art of the Garde Manger. 1973. The Modern Patissier. 1986 Larousse Gastronomique. 1961. New Classic Cuisine. 1989. Professional French Pastry Series. 1987. Practical Cookery. 1962. The Curious Cook. 1990. Complete Pastrywork Techniques. 1991. Practical Professional Cookery. 1972. On Food and Cooking. The Science and Lore of the Kitchen. 1991. On Food and Cooking: The Science and Lore of the Kitchen. 1991 La Technique. 1976. Advanced Practical Cookery. 1995. Desserts: A Lifelong Passion. 1994. Escoffier: The Complete Guide to the Art of Modern Cookery. 1979. The Science of Cooking. 2000. Culinary Artistry. Dornenburg, 1996. Professional Cookery: The Process Approach. 1985. Garde Manger, The Art and Craft of the Cold Kitchen. 2004. Grande Finales: The Art of the Plated Dessert. 1997. On Food and Cooking: The Science and Lore of the Kitchen. 1991. The Science of Cooking. 2000. Fat Duck Cookbook. 2009. Modern Gastronomy. 2010. Tab.1. DIT Culinary Textbooks.1942–1960 During the first half of the 20th century, senior staff working in Dublin hotels, restaurants and clubs were predominately foreign born and trained. The two decades following World War II could be viewed as the “golden age” of haute cuisine in Dublin as many award-wining restaurants traded in the city at this time (Mac Con Iomaire “The Emergence”). Culinary education in DIT in 1942 saw the use of Escoffier’s Le Guide Culinaire as the defining textbook (Bowe). This was first published in 1903 and translated into English in 1907. In 1979 Cracknell and Kaufmann published a more comprehensive and update edited version under the title The Complete Guide to the Art of Modern Cookery by Escoffier for use in culinary colleges. This demonstrated that Escoffier’s work had withstood the test of the decades and was still relevant. Le Repertoire de La Cuisine by Louis Saulnier, a student of Escoffier, presented the fundamentals of French classical cookery. Le Repertoire was inspired by the work of Escoffier and contains thousands of classical recipes presented in a brief format that can be clearly understood by chefs and cooks. Le Repertoire remains an important part of any DIT culinary student’s textbook list. All in the Cooking by Josephine Marnell, Nora Breathnach, Ann Mairtin and Mor Murnaghan (1946) was one of the first cookbooks to be published in Ireland (Cashmann). This book was a domestic science cooking book written by lecturers in the Cathal Brugha Street College. There is a combination of classical French recipes and Irish recipes throughout the book. 1960s It was not until the 1960s that reference book Larousse Gastronomique and new textbooks such as Practical Cookery, The Larder Chef and International Confectionary made their way into DIT culinary education. These books still focused on classical French cooking but used lighter sauces and reflected more modern cooking equipment and techniques. Also, this period was the first time that specific books for larder and pastry work were introduced into the DIT culinary education system (Bowe). Larousse Gastronomique, which used Le Guide Culinaire as a basis (James), was first published in 1938 and translated into English in 1961. Practical Cookery, which is still used in DIT culinary education, is now in its 12th edition. Each edition has built on the previous, however, there is now criticism that some of the content is dated (Richards). Practical Cookery has established itself as a key textbook in culinary education both in Ireland and England. Practical Cookery recipes were laid out in easy to follow steps and food commodities were discussed briefly. The Larder Chef was first published in 1969 and is currently in its 4th edition. This book focuses on classical French larder techniques, butchery and fishmongery but recognises current trends and fashions in food presentation. The International Confectioner is no longer in print but is still used as a reference for basic recipes in pastry classes (Campbell). The Modern Patissier demonstrated more updated techniques and methods than were used in The International Confectioner. The Modern Patissier is still used as a reference book in DIT. 1970s The 1970s saw the decline in haute cuisine in Ireland, as it was in the process of being replaced by nouvelle cuisine. Irish chefs were being influenced by the works of chefs such as Paul Boucuse, Roger Verge, Michel Guerard, Raymond Olivier, Jean & Pierre Troisgros, Alain Senderens, Jacques Maniere, Jean Delaveine and Michel Guerard who advanced the uncomplicated natural presentation in food. Henri Gault claims that it was his manifesto published in October 1973 in Gault-Millau magazine which unleashed the movement called La Nouvelle Cuisine Française (Gault). In nouvelle cuisine, dishes in Carème and Escoffier’s style were rejected as over-rich and complicated. The principles underpinning this new movement focused on the freshness of ingredients, and lightness and harmony in all components and accompaniments, as well as basic and simple cooking methods and types of presentation. This was not, however, a complete overthrowing of the past, but a moving forward in the long-term process of cuisine development, utilising the very best from each evolution (Cousins). Books such as Practical Professional Cookery, The Art of the Garde Manger and Patisserie reflected this new lighter approach to cookery. Patisserie was first published in 1971, is now in its second edition, and continues to be used in DIT culinary education. This book became an essential textbook in pastrywork, and covers the entire syllabus of City & Guilds and CERT (now Fáilte Ireland). Patisserie covered all basic pastry recipes and techniques, while the second edition (in 1993) included new modern recipes, modern pastry equipment, commodities, and food hygiene regulations reflecting the changing catering environment. The Art of the Garde Manger is an American book highlighting the artistry, creativity, and cooking sensitivity need to be a successful Garde Manger (the larder chef who prepares cold preparation in a partie system kitchen). It reflected the dynamic changes occurring in the culinary world but recognised the importance of understanding basic French culinary principles. It is no longer used in DIT culinary education. La Technique is a guide to classical French preparation (Escoffier’s methods and techniques) using detailed pictures and notes. This book remains a very useful guide and reference for culinary students. Practical Professional Cookery also became an important textbook as it was written with the student and chef/lecturer in mind, as it provides a wider range of recipes and detailed information to assist in understanding the tasks at hand. It is based on classical French cooking and compliments Practical Cookery as a textbook, however, its recipes are for ten portions as opposed to four portions in Practical Cookery. Again this book was written with the City & Guilds examinations in mind. 1980s During the mid-1980s, many young Irish chefs and waiters emigrated. They returned in the late-1980s and early-1990s having gained vast experience of nouvelle and fusion cuisine in London, Paris, New York, California and elsewhere (Mac Con Iomaire, “The Changing”). These energetic, well-trained professionals began opening chef-proprietor restaurants around Dublin, providing invaluable training and positions for up-and-coming young chefs, waiters and culinary college graduates. The 1980s saw a return to French classical cookery textbook such as Professional Cookery: The Process Approach, New Classic Cuisine and the Professional French Pastry series, because educators saw the need for students to learn the basics of French cookery. Professional Cookery: The Process Approach was written by Daniel Stevenson who was, at the time, a senior lecturer in Food and Beverage Operations at Oxford Polytechnic in England. Again, this book was written for students with an emphasis on the cookery techniques and the practices of professional cookery. The Complete Guide to Modern Cooking by Escoffier continued to be used. This book is used by cooks and chefs as a reference for ingredients in dishes rather than a recipe book, as it does not go into detail in the methods as it is assumed the cook/chef would have the required experience to know the method of production. Le Guide Culinaire was only used on advanced City & Guilds courses in DIT during this decade (Bowe). New Classic Cuisine by the classically French trained chefs, Albert and Michel Roux (Gayot), is a classical French cuisine cookbook used as a reference by DIT culinary educators at the time because of the influence the Roux brothers were having over the English fine dining scene. The Professional French Pastry Series is a range of four volumes of pastry books: Vol. 1 Doughs, Batters and Meringues; Vol. 2 Creams, Confections and Finished Desserts; Vol. 3 Petit Four, Chocolate, Frozen Desserts and Sugar Work; and Vol. 4 Decorations, Borders and Letters, Marzipan, Modern Desserts. These books about classical French pastry making were used on the advanced pastry courses at DIT as learners needed a basic knowledge of pastry making to use them. 1990s Ireland in the late 1990s became a very prosperous and thriving European nation; the phenomena that became known as the “celtic tiger” was in full swing (Mac Con Iomaire “The Changing”). The Irish dining public were being treated to a resurgence of traditional Irish cuisine using fresh wholesome food (Hughes). The Irish population was considered more well-educated and well travelled than previous generations and culinary students were now becoming interested in the science of cooking. In 1996, the BA (Hons) in Culinary Arts program at DIT was first mooted (Hegarty). Finally, in 1999, a primary degree in Culinary Arts was sanctioned by the Department of Education underpinned by a new liberal/vocational philosophy in education (Duff). Teaching culinary arts in the past had been through a vocational education focus whereby students were taught skills for industry which were narrow, restrictive, and constraining, without the necessary knowledge to articulate the acquired skill. The reading list for culinary students reflected this new liberal education in culinary arts as Harold McGee’s books The Curious Cook and On Food and Cooking: The Science and Lore of the Kitchen explored and explained the science of cooking. On Food and Cooking: The Science and Lore of the Kitchen proposed that “science can make cooking more interesting by connecting it with the basic workings of the natural world” (Vega 373). Advanced Practical Cookery was written for City & Guilds students. In DIT this book was used by advanced culinary students sitting Fáilte Ireland examinations, and the second year of the new BA (Hons) in Culinary Arts. Culinary Artistry encouraged chefs to explore the creative process of culinary composition as it explored the intersection of food, imagination, and taste (Dornenburg). This book encouraged chefs to develop their own style of cuisine using fresh seasonal ingredients, and was used for advanced students but is no longer a set text. Chefs were being encouraged to show their artistic traits, and none more so than pastry chefs. Grande Finale: The Art of Plated Desserts encouraged advanced students to identify different “schools” of pastry in relation to the world of art and design. The concept of the recipes used in this book were built on the original spectacular pieces montées created by Antoine Carême. 2000–2013 After nouvelle cuisine, recent developments have included interest in various fusion cuisines, such as Asia-Pacific, and in molecular gastronomy. Molecular gastronomists strive to find perfect recipes using scientific methods of investigation (Blanck). Hervè This experimentation with recipes and his introduction to Nicholos Kurti led them to create a food discipline they called “molecular gastronomy”. In 1998, a number of creative chefs began experimenting with the incorporation of ingredients and techniques normally used in mass food production in order to arrive at previously unattainable culinary creations. This “new cooking” (Vega 373) required a knowledge of chemical reactions and physico-chemical phenomena in relation to food, as well as specialist tools, which were created by these early explorers. It has been suggested that molecular gastronomy is “science-based cooking” (Vega 375) and that this concept refers to conscious application of the principles and tools from food science and other disciplines for the development of new dishes particularly in the context of classical cuisine (Vega). The Science of Cooking assists students in understanding the chemistry and physics of cooking. This book takes traditional French techniques and recipes and refutes some of the claims and methods used in traditional recipes. Garde Manger: The Art and Craft of the Cold Kitchen is used for the advanced larder modules at DIT. This book builds on basic skills in the Larder Chef book. Molecular gastronomy as a subject area was developed in 2009 in DIT, the first of its kind in Ireland. The Fat Duck Cookbook and Modern Gastronomy underpin the theoretical aspects of the module. This module is taught to 4th year BA (Hons) in Culinary Arts students who already have three years experience in culinary education and the culinary industry, and also to MSc Culinary Innovation and Food Product Development students. Conclusion Escoffier, the master of French classical cuisine, still influences culinary textbooks to this day. His basic approach to cooking is considered essential to teaching culinary students, allowing them to embrace the core skills and competencies required to work in the professional environment. Teaching of culinary arts at DIT has moved vocational education to a more liberal basis, and it is imperative that the chosen textbooks reflect this development. This liberal education gives the students a broader understanding of cooking, hospitality management, food science, gastronomy, health and safety, oenology, and food product development. To date there is no practical culinary textbook written specifically for Irish culinary education, particularly within this new liberal/vocational paradigm. There is clearly a need for a new textbook which combines the best of Escoffier’s classical French techniques with the more modern molecular gastronomy techniques popularised by Ferran Adria. References Adria, Ferran. Modern Gastronomy A to Z: A Scientific and Gastronomic Lexicon. London: CRC P, 2010. Barker, William. The Modern Patissier. London: Hutchinson, 1974. Barham, Peter. The Science of Cooking. Berlin: Springer-Verlag, 2000. Bilheux, Roland, Alain Escoffier, Daniel Herve, and Jean-Maire Pouradier. Special and Decorative Breads. New York: Van Nostrand Reinhold, 1987. Blanck, J. "Molecular Gastronomy: Overview of a Controversial Food Science Discipline." Journal of Agricultural and Food Information 8.3 (2007): 77-85. Blumenthal, Heston. The Fat Duck Cookbook. London: Bloomsbury, 2001. Bode, Willi, and M.J. Leto. The Larder Chef. Oxford: Butter-Heinemann, 1969. Bowe, James. Personal Communication with Author. Dublin. 7 Apr. 2013. Boyle, Tish, and Timothy Moriarty. Grand Finales, The Art of the Plated Dessert. New York: John Wiley, 1997. Campbell, Anthony. Personal Communication with Author. Dublin, 10 Apr. 2013. Cashman, Dorothy. "An Exploratory Study of Irish Cookbooks." Unpublished M.Sc Thesis. Dublin: Dublin Institute of Technology, 2009. Ceserani, Victor, Ronald Kinton, and David Foskett. Practical Cookery. London: Hodder & Stoughton Educational, 1962. Ceserani, Victor, and David Foskett. Advanced Practical Cookery. London: Hodder & Stoughton Educational, 1995. Corr, Frank. Hotels in Ireland. Dublin: Jemma, 1987. Cousins, John, Kevin Gorman, and Marc Stierand. "Molecular Gastronomy: Cuisine Innovation or Modern Day Alchemy?" International Journal of Hospitality Management 22.3 (2009): 399–415. Cracknell, Harry Louis, and Ronald Kaufmann. Practical Professional Cookery. London: MacMillan, 1972. Cracknell, Harry Louis, and Ronald Kaufmann. Escoffier: The Complete Guide to the Art of Modern Cookery. New York: John Wiley, 1979. Dornenburg, Andrew, and Karen Page. Culinary Artistry. New York: John Wiley, 1996. Duff, Tom, Joseph Hegarty, and Matt Hussey. The Story of the Dublin Institute of Technology. Dublin: Blackhall, 2000. Escoffier, Auguste. Le Guide Culinaire. France: Flammarion, 1921. Escoffier, Auguste. The Complete Guide to the Art of Modern Cookery. Ed. Crachnell, Harry, and Ronald Kaufmann. New York: John Wiley, 1986. Gault, Henri. Nouvelle Cuisine, Cooks and Other People: Proceedings of the Oxford Symposium on Food and Cookery 1995. Devon: Prospect, 1996. 123-7. Gayot, Andre, and Mary, Evans. "The Best of London." Gault Millau (1996): 379. Gillespie, Cailein. "Gastrosophy and Nouvelle Cuisine: Entrepreneurial Fashion and Fiction." British Food Journal 96.10 (1994): 19-23. Gisslen, Wayne. Professional Cooking. Hoboken: John Wiley, 2011. Hanneman, Leonard. Patisserie. Oxford: Butterworth-Heinemann, 1971. Hegarty, Joseph. Standing the Heat. New York: Haworth P, 2004. Hsu, Kathy. "Global Tourism Higher Education Past, Present and Future." Journal of Teaching in Travel and Tourism 5.1/2/3 (2006): 251-267 Hughes, Mairtin. Ireland. Victoria: Lonely Planet, 2000. Ireland. Irish Statute Book: Dublin Institute of Technology Act 1992. Dublin: Stationery Office, 1992. James, Ken. Escoffier: The King of Chefs. Hambledon: Cambridge UP, 2002. Lawson, John, and Harold, Silver. Social History of Education in England. London: Methuen, 1973. Lehmann, Gilly. "English Cookery Books in the 18th Century." The Oxford Companion to Food. Oxford: Oxford UP, 1999. 227-9. Marnell, Josephine, Nora Breathnach, Ann Martin, and Mor Murnaghan. All in the Cooking Book 1 & 2. Dublin: Educational Company of Ireland, 1946. Mac Con Iomaire, Máirtín. "The Changing Geography and Fortunes of Dublin's Haute Cuisine Restaurants, 1958-2008." Food, Culture and Society: An International Journal of Multidisiplinary Research 14.4 (2011): 525-45. ---. "Chef Liam Kavanagh (1926-2011)." Gastronomica: The Journal of Food and Culture 12.2 (2012): 4-6. ---. "The Emergence, Development and Influence of French Haute Cuisine on Public Dining in Dublin Restaurants 1900-2000: An Oral History". PhD. Thesis. Dublin: Dublin Institute of Technology, 2009. McGee, Harold. The Curious Cook: More Kitchen Science and Lore. New York: Hungry Minds, 1990. ---. On Food and Cooking the Science and Lore of the Kitchen. London: Harper Collins, 1991. Montague, Prosper. Larousse Gastronomique. New York: Crown, 1961. National Qualification Authority of Ireland. "Review by the National Qualifications Authority of Ireland (NQAI) of the Effectiveness of the Quality Assurance Procedures of the Dublin Institute of Technology." 2010. 18 Feb. 2012 ‹http://www.dit.ie/media/documents/services/qualityassurance/terms_of_ref.doc› Nicolello, Ildo. Complete Pastrywork Techniques. London: Hodder & Stoughton, 1991. Pepin, Jacques. La Technique. New York: Black Dog & Leventhal, 1976. Richards, Peter. "Practical Cookery." 9th Ed. Caterer and Hotelkeeper (2001). 18 Feb. 2012 ‹http://www.catererandhotelkeeper.co.uk/Articles/30/7/2001/31923/practical-cookery-ninth-edition-victor-ceserani-ronald-kinton-and-david-foskett.htm›. Roux, Albert, and Michel Roux. New Classic Cuisine. New York: Little, Brown, 1989. Roux, Michel. Desserts: A Lifelong Passion. London: Conran Octopus, 1994. Saulnier, Louis. Le Repertoire De La Cuisine. London: Leon Jaeggi, 1914. Sonnenschmidt, Fredric, and John Nicholas. The Art of the Garde Manger. New York: Van Nostrand Reinhold, 1973. Spang, Rebecca. The Invention of the Restaurant: Paris and Modern Gastronomic Culture. Cambridge: Harvard UP, 2000. Stevenson, Daniel. Professional Cookery the Process Approach. London: Hutchinson, 1985. The Culinary Institute of America. Garde Manger: The Art and Craft of the Cold Kitchen. Hoboken: New Jersey, 2004. Vega, Cesar, and Job, Ubbink. "Molecular Gastronomy: A Food Fad or Science Supporting Innovation Cuisine?". Trends in Food Science & Technology 19 (2008): 372-82. Wilfred, Fance, and Michael Small. The New International Confectioner: Confectionary, Cakes, Pastries, Desserts, Ices and Savouries. 1968.

Until the mid 1980s, Bordo writes, anorexia was considered only in pathological terms (45-69). Since then, many theorists such as Malson and Orbach have described how the anorexic individual is formed in and out of culture, and how, according to this line of argument, eating disorders exist in a spectrum of “dis-order” that primarily affects women. This theoretical approach, however, has been criticised for leaving open the possibility of a more general pathologising of female media consumers (Bray 421). There has been some argument, too, about how to read the agency of the anorexic individual: about whether she or he is protesting against or operating “as if in collusion with,” as Bordo puts it (177), the system of power relations that orients us, as she writes, to the external gaze (27). Ferreday argues that what results from this “spectacular regime of looking” (148) is that western discourse has abjected not only the condition of anorexia but also the anorectic, which in practical terms means that, among other measures, the websites and blogs of anorectics are constantly being removed from the Internet (Dias 36). How, then, might anorexia operate in relation to itself?In the clinical fields the subjectivity of the anorectic has become an important area of study. Norwegian eating disorder specialist Skårderud has discussed what he calls an anorectic’s “impaired mentalisation,” which describes a difficulty, as a result of transgenerationally transmitted attachment patterns, in regulating the self in terms of “understanding other people’s mind, one’s own mind and also minding one’s own body” (86). He explains: “Not being able to feel themselves from within, the patients are forced to experience the self from without” (86). While a Foucauldian approach to eating disorders like Bordo’s might be considered a useful tool for analysing this externalised aspect of the anorexic predicament, anorectics’ difficulty with feeling “themselves from within” remains unexamined in this model. Ferreday has described the efforts, in more recent discourse, to engage with the subjective experience of “anorexic embodiment” (140). She is conscious, however, that an enduring preoccupation with “the relation between bodies and images” has made the relations between embodied selves “almost entirely under-theorized”, and an understanding of the lived experience of eating disorders too often reduced to the totalising representations of “abject spectacle” or “heroic myth” (153). In this context Ferreday has welcomed the publication of Warin’s ethnographic study Abject Relations: Everyday Worlds of Anorexia for providing a point of access to the subjective experience of anorectics. One important aspect of Warin’s findings, though, remains unremarked upon in Ferreday’s review: this is Warin’s astonishing conclusion from her investigations that anorexic practices successfully “removed the threat of abjection” for her participants (127). It is exactly at this point in the current debate about eating disorders and subjectivity, and the role of abjection in that subjectivity, that I wish to draw upon the Gothic. As Hogle maintains, abjection has a significant role to play in the Gothic. Like Warin, he refers to Kristeva’s notion of the abject when he describes the “throwing off” whereby we might achieve, in Hogle’s paraphrasing of Kristeva, “a oneness with ourselves instead of an otherness from ourselves in ourselves” (“Ghost” 498-499). He describes how the Gothic becomes a “site of ‘abjection’” (“Cristabel” 22), where it “depicts and enacts these very processes of abjection, where fundamental interactions of contrary states and categories are cast off into antiquated and ‘othered’ beings” (“Ghost” 499). This plays out, he writes, in a process of what he calls a “re-faking of fakery” that serves “both to conceal and confront some of the more basic conflicts in Western culture” (“Ghost” 500). Here, Hogle might be describing how the abject anorexic body functions in the “spectacular regime of looking” that comprises western discourse, as Ferreday has portrayed it. Skårderud, however, as noted above, has suggested that the difficulty experienced by those with eating disorders is a difficulty that involves a regulation of the self that is understood to occur prior to the more organised possibility of casting off contrary states onto “othered” beings. In short, the eating disordered individual seems to be already an embodied site of abjection, which suggests, in light of Hogle’s work on abjection in the Gothic, that eating disordered experience might be understood as in some way analogous to an experience of the Gothic. Following Budgeon, who has stressed the importance of engaging with individual “accounts of embodiment” as means of moving beyond the current representation-bound impasses in our thinking about eating disorders (51), in this paper I will be touching briefly on “pro-ana” or pro-anorexic Internet material before proceeding to a more detailed analysis of Marya Hornbacher's Wasted: A Memoir of Anorexia and Bulimia. Punter, drawing on trauma theorists Abraham and Torok through Derrida, writes that “Gothic tests what it might be like to be a shell […] a shell which has been filled to the brim with something that looks like ourselves but is irremediably other, to the point that we are driven out, exiled from our home, removed from the body” (Pathologies16). In response, I will be suggesting that the eating disordered voice enacts the Gothic by dramatising “what it might be like to be a shell” since that embodied voice finds itself to be the site of abjection: the site where behind its distractingly visible “shell”, the ego, using anorexic idealisation, is compelled to use anorexic practices that “throw off” in an effort to achieve an ever-elusive sense of oneness. Due to Punter's long familiarity and shared vocabulary with a wide range of post-Freudian psychoanalytic theory, I will be particularly referring to his evocations of the Gothic, which he has characterised as a “kind of cultural threshold” (Introduction 9), to demonstrate how an examination of eating disordered experience alongside the Gothic might promise a more nuanced access to eating disordered subjectivity than has been available hitherto. Marya Hornbacher maintains in her memoir Wasted that anorectics, far from hating food, are in fact thinking about it constantly (151). If anorectics always think about food, the visual content of their Internet sites might seem to suggest otherwise: that their thoughts are mostly occupied by bodies—particularly thin, emaciated bodies—which form the material that these sites call “thinspiration” for the “pro-ana” writer and reader. Thinspiration, although not yet recognised by the Oxford English Dictionary, is understood to designate inspiring words or images of thinness that, further to Hornbacher's observations, might be understood as helping the food-obsessed anorectic to manage that obsession. Many pro-ana sites have their own thinspiration pages which, aside from the disturbing frame of the pro-ana verbal content that can include specifying dangerous techniques for abstaining, vomiting and purging, might be little more distressing to a viewer than any readily accessible fashion imagery. On the pro-ana site, however, whether mixed among the seemingly ordinary images or in a section all on its own,the spectre of the walking dead will often intrude. A “pro ana thinspiration” Google image search might yield, similarly, a small cadaverous corner to the purportedly inspiring imagery. It might also yield a tweeted response, from a pro-ana tweeter, to what might have been similar images of thinspiration which, far from affording inspiration, seem to have prompted intense anxiety: “I see the pictures I put up, then I see the morning thinspo everyone tweets, and I just feel gross ..[sic]”. This admission of despair sends a fearful, anxious affect loose among the otherwise serene uniformity of the “thinspo” imagery from which it had ricocheted, apparently, in the first place. Thinspiration, it seems, might threaten just as often as it assists the eating disordered subject to achieve self-regulation through their anorexic practices and, as this screen shot suggests, the voice can offer the researcher a small but potent insight into the drama of the eating disordered struggle.Psychologists Goldsmith and Widseth have stated that Hornbacher’s Wasted “gives the reader a feel for what it is like to live in an anorexic client’s head” (32). Although the book was a bestseller, newspaper reviews, on the whole, were ambivalent. There was a sense of danger inherent in the turbulent, “lurid” details (Zitin), and unresolved nature of the narrative (MacDonald). Goldsmith and Widseth even refer to Hornbacher's reported relapse and rehospitalisation that followed a “re-immersing” in “the narrative” of her own book (32). Kilgour has observed that the Gothic is a space where effects come into being without agents and creations prosper without their creators (221). While Radcliffe's novels might tend to contradict this claim, it is important to note that it is at the borders between explication and a seeming impossibility of explication that the Gothic imaginary draws its power. Miles, for example, has argued that Radcliffe is concerned not so much with dispelling the supernatural per se but with “‘equivocal phenomena of the mind’” (99-102). In Wasted, Hornbacher writes of her fear of “unsafe” foods whose uncanny abilities include the way they “will not travel through my body in the usual biological fashion but will magically make me grow” (20). Clearly, Hornbacher is not referring here to reasoned premises. Her sense, however, of the ambiguous nature of foodstuffs bears an important relation to Radcliffe's “equivocal phenomena”, and indeed the border-defying aspects of Kristevan abjection. In Abject Relations, Warin discovered that her anorexic participants shared what seemed to be magical beliefs in the ability of foodstuffs to penetrate the body through skin or through the nose via smells (106-127). The specific irrationality of these beliefs were not at issue except that they prompted the means, such as the washing of hands after touching food or shoving towels under doors to impede the intrusion of smells that, along with the anorexic practices of starving, purging and vomiting, served to protect these participants from abjection. When Hornbacher describes her experience of bulimia, the force, textures and sheer weight of the food that she eats in unimaginable, enormous quantities so that it bursts the sewer and floods the basement as vomit (223) become all the more disconcerting when the disgusting effects, whose course through the sewer system cannot be ignored, are preceded by evocations of occasions when she anxiously searches for, buys, consumes and vomits or purges food: “one day you find yourself walking along, and you impulsively stop in a restaurant, order an enormous dinner, and puke in the woods” (120-1). Hornbacher’s eating disorder in fact is figured as an insidious double: “It and I live in an uncomfortable state of mutual antagonism. That is, to me, a far cry better than once upon a time, when it and I shared a bed, a brain, a body” (4). This sense of the diabolical double is most evident when the narrative is traversed by the desperation of an agitated protagonist who seems to be continually moving between the constricted upper spaces of dormitories, rooms and bathrooms, and gaping, sewerage filled basements, and whose identity as either the original or the double to that original is difficult to determine. For Hornbacher, even at the end of her memoir when she is presented as almost recovered from her eating disorders, the protagonist not only continues to be doubled, but also exists in fragments: she speaks to herself "as if [she] were a horse", speaking "severely to [her] heart" who will pull her down "by the hair" into a nightmarish sleep (288-289). Punter has elaborated on the way dream landscapes in the Gothic open space into paradoxically constricted but labyrinthine infinities that serve to complicate what he has referred to as the two dimensions of our quotidian experience (Pathologies 123). In Wasted, beds give way to icy depths of watery sleeps, and numerous mirrors either fragment the body into parts or alienated other selves, or yield so that the narrator might step, suddenly, into “the neverworld” (10). Out of the two in the doubling, it is not so much the eating disorder—the “It”—but the “I” that becomes most monstrous as occasionally this “I” escapes onto the empty streets where, glimpsed crouching, anxious and confused in a beam of headlights, she reminds us of Frankenstein’s creature on the mountainsides or in the wastes since, as her capacity to articulate is lost in that moment, she becomes an “othered” object in the landscape (173). When, one winter, Hornbacher develops an obsession with running up and down the hall at her school at five am, she sprouts fine fur all over her translucent white skin and begins “to look a bit haunted” (109); later, in a moment of horrifying self-awareness, she realises that she “looked like a monster, most of [her] hair gone, [her] skin the gray color of rotten meat” (266). Punter writes that it is in the “dizzying heights and depths” of the Gothic that such agitation can become frantic: “in vertigo, the sense that there is indeed nowhere to go, not up, not down, and also that staying where you are has its own imponderable but terrible dangers” (Pathologies 10). Hornbacher states that the “worst night of [her] entire life” was spent with “the old familiar adrenaline rush pumping through [her] [….] running through the town, stopping here and there and eating and throwing up in alleyways and eating and blacking out” (273). This ceaseless, anxious, movement, where it is not clear who or what is doing the pursuing, but clear that it is a flight from the condition of abjection, is echoed in the very structure of Hornbacher’s memoir, which moves back and forth in time, seemingly at random, always searching for the decisive event that might, at last, explain or give a definitive beginning point to her disorders. Not only is the “beginning” of the disorders—an ultimate explanation or initiating event—sought but never found, but the narrative also concludes with an Afterword in which the narrator is, demonstrably, yet to recover, and even as she lies in bed next to her husband, is unable to rest (289). As Punter writes: “In Gothic, we do not directly ask, What happened? We ask, Where are we, where have we come from—not in the sense of a birth question, but as a question of how it is that we have ‘come adrift’” (Pathologies 209)—a question which, as Hornbacher finds, she is unable to answer, but nonetheless is obsessed with pursuing—to the point where the entire narrative seems to participate in the very pursuit that comprises the agitated perambulations of her eating disordered body. Although the narrator in Hornbacher’s Wasted, is strikingly alone—even at the end of the memoir, when she is represented as married, her husband is little more than a comforting body—throughout the text she is haunted by the a/effects of others. Hornbacher’s family is shown to be a community where the principle of nurturing is turned on its head. The narrator’s earliest evocation of herself presents a monstrous inversion of the expected maternal relationship: “My mother was unable to breast-feed me because it made her feel as if she were being devoured” (12). The mother’s drive to restrict her own eating is implicated in the narrator’s earliest difficulties with food, and the mother’s denials and evasions make it all the harder for the narrator to make any sense of her own experience (156). A fear of becoming fat haunts all of the family on her mother’s side (137, 240-1); the father, conversely, is figured in terms of excess (22). When the two grandmothers care for the narrator, behind their contradictory attentions towards the young Hornbacher—one to put her on a diet, the other to feed her up (24)—lies a dearth of biographical material. The narrator’s attempts to make sense of her predicament, where her assertion, “there were no events in my life that were overly traumatic” (195), sounds the edges of this void and only serves to signal that this discomforting contested empty space is traversed, as Punter might suggest, by “the hidden narrative of abuse” (Pathologies 15). Certainly the vague awareness of a great-grandmother who, “a hefty person, was mocked” (98) hints at the kind of emotional trauma that might be considered too abject to be remembered. Punter observes that in the Gothic we are in the wake of the effects of events that we cannot know have even happened (Pathologies 208), and the remains of history that assault us “are not to be obviously or readily learned from; for they are the remains of the body, they are the imaginary products of vulnerability and fragility, they are the ‘remains’ of that which still ‘remains to us’; or not” (Pathologies 12). Hornbacher’s sense of disassociation from her self as a body, and the specificity of her own feelings, which she is only ever able to describe as “pissed or fine” (203), evokes an over-smooth shell, like the idealised images of thinspiration that both belie and reveal their anxious nether sides. Even at the conclusion of the memoir, the narrator still does not “yet” know what it might mean for her to be “well” or “normal” (283). Hornbacher writes: “I always had this mental image of me, spilling out of the shell of my skin, flooding the room with tears” (25). In eating disorders, the self, which has never been whole and entire, or self-regulated in Skårderud’s terms, struggles to self-regulate against the ever threatening encroachment of the abject in a way that suggests essentially Gothic scenarios; in eating disordered self-narratives like Hornbacher’s Wasted, this struggle is evident in the very Gothic dynamics of the text. Without the Gothic, which affords us a means of perceiving eating disordered subjectivity in all of its detailed and dramatic dimensions—a subjectivity that theorists to date have found difficult to grasp—neither the abjection inherent in the “spilling” nor the anxious idealisation of the very somatic sense of the ego in the “shell” in Hornbacher's statement can be, I would suggest, sufficiently understood. ReferencesAbraham, Nicolas, Maria Torok, and Nicholas T. Rand. The Shell and the Kernel: Renewals of Psychoanalysis. Tr. Nicholas T. Rand. Vol. 1, Chicago: U of Chicago P, 1994. Bordo, Susan. Unbearable Weight: Feminism, Western Culture, and the Body. Berkeley: U of California P, 1993. Bray, Abigail. “The Anorexic Body: Reading Disorders.” Cultural Studies 10.3 (1996): 413-29. Budgeon, Shelley. “Identity as an Embodied Event.” Body and Society 9.1 (2003): 35-55. Dias, Karen. “The Ana Sanctuary: Women's Pro-Anorexia Narratives in Cyberspace.” Journal of International Women's Studies 4.2 (2003): 31-45. Ferreday, Debra. “Anorexia and Abjection: A Review Essay.” Body and Society 18.2 (2012): 139-55. Goldsmith, Barbara L., and Jane C. Widseth. “Digesting Wasted.” Journal of College Student Psychotherapy 15.1 (2000): 31-34. Hogle, Jerrold E. “‘Cristabel’ as Gothic: The Abjection of Instability.” Gothic Studies 7.1 (2005): 18-28. Hogle, Jerrold E. “The Gothic Ghost of the Counterfeit and the Progress of Abjection.” A New Companion to the Gothic. Ed. David Punter. Chichester: Wiley-Blackwell, 2012: 496-509. Hornbacher, Marya. Wasted: A Memoir of Anorexia and Bulimia, New York: HarperCollins Publishers, 1998. Kilgour, Maggie. The Rise of the Gothic Novel. London: Routledge, 1995. MacDonald, Marianne. “Her Parents Always Argued at Meal Times. So, Perched in Her High Chair, She Decided Not to Eat. At all. Marianne MacDonald reviews Wasted: Coming Back from an Addiction to Starvation.” The Observer: Books, 22 Mar. 1998: 016. Malson, Helen. “Womæn under Erasure: Anorexic Bodies in Postmodern Context.” Journal of Community & Applied Social Psychology 9.2 (1999): 137-53. Orbach, Susie. Bodies. London: Profile Books, 2009. Orbach, Susie. Hunger Strike: The Anorectic’s Struggle as a Metaphor for Our Age. New York: Norton, 1986. Punter, David. Gothic Pathologies: The Text, the Body and the Law. Houndsmill: MacMillan P, 1998. Punter, David. Introduction. A New Companion to the Gothic. Ed. David Punter. Chichester: Wiley- Blackwell, 2012: 1-9. Shelley, Mary. Frankenstein; or, The Modern Prometheus (the 1818 Text). Ed. James Rieger. Indianapolis: Bobbs-Merrill, 1974. Skårderud, Finn. “Bruch Revisited and Revised.” European Eating Disorders Review 17.2 (2009): 83-88. Warin, Megan. Abject Relations: Everyday Worlds of Anorexia. New Brunswick: Rutgers U P, 2010. Zitin, Abigail. “The Hungry Mind.” The Village Voice: Books, 3 Feb. 1998: 135.

This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of these images operates to arouse the collective memory of terrorism and violence. It promotes photography’s spectacular power. To begin it is worthwhile considering the ways in which the spectacle of terrorism is mediated. For example, the bombs activated on the London Underground and at Tavistock Square on the 7th of July 2005 marked the day that London became a victim of ‘global’ terrorism, re-instilling the fear projected by the media to be alarmed and to be suspicious. In the shadow of the terrorist events of September 11, as well as the Madrid Bombings in 2004, the incidents once again drew attention to the point that in the Western world ‘we’ again can be under attack. Furthermore, the news media plays a vital role in mediating the reality and the spectacle of terrorist attacks in the display of visual ‘proof’. After the London bombings of 7 July 2005, the BBC Website encouraged photo submissions of the incidents, under the heading “London Explosions: Your Photos”, thus promoting citizen journalism. Within six hours the BBC site received more that 1000 photographs. According to Richard Sambrook, director of the BBC’s World Service and Global News division, “people were participating in our coverage in way we had never seen before” (13). Other news Websites, such as Reuters and MSNBC also set up a similar call and display of the incidents. The images taken by everyday people and survivors‚ suggest a visceral response to the trauma of terrorism in which they became active participants in the reportage. Leading British newspapers further evoked the sensational terror of the incidents through the captioning of horrific images of destruction. It contextualised them within the realm of fascination and fear with headlines such as “London’s Day of Terror” from the Guardian, “Terror Comes to London” from the Independent and “Al-Qa’eda Brings Terror to the Heart of London” from the Daily Telegraph (“What the Papers Say”). Roland Barthes notes that “even from the perspective of a purely immanent analysis, the structure of the photograph is not an isolated structure; it is in communication with at least one other structure, namely the text – title, caption or article – accompanying every press photograph” (16). He suggested that, with the rise to prominence of ‘the press photograph’ as a mode of visual communication, the traditional relationship between image and text was inverted: “it is not the image which comes to elucidate or ‘realize’ the text, but the latter which comes to sublimate, patheticize or rationalize the image” (25). Frederic Jameson raises a very important point in regards to the role the media plays in terror. He suggests that the Western media is not only affected by a permanent condition of amnesia, but that this has become its primary ‘informational function’ (20). Hence, terror images are constantly repeated for their affect. “When combined with the media, terrorism’s reality-making power is astounding: its capacity to blend the media’s sensational stories, old mythical stereotypes, and a burning sense of moral wrath” (Zulaika and Douglass ix). Susan Sontag, in her 2003 book Regarding the Pain of Others, also discusses the assault of images (116). She argues that “the iconography of suffering has a long pedigree. The sufferings most often deemed worthy of representation are those understood to be the product of wrath, divine or human” (40). Furthermore, globalisation has profoundly changed the rhetoric of terrorism in which the uses of photographs for political means are ubiquitous. Sontag argues that “it seems as if there is a greater quantity of such news than before” (116). Nevertheless, she stresses, “it seems normal to turn away from images that simply make us feel bad” (116). Rather, than the focus on images of despair, the “We’re Not Afraid” Website provides a reaction against visual assaults. The images suggest a turning away from the iconography of terror and suffering to a focus on everyday western middle-class modalities. The images on the site consist of domestic ritual photographic practices, such as family snapshots. The images were disseminated following what has been referred to as the ‘incidents’ by the British press of the attacks on 7 July on the London transport system. Significantly, rather than being described as an event, such as the September 11 terrorist assaults were, the term ‘incidents’ suggests that everyday modalities, the everyday ways of being, may not be affected despite the terror of the attacks. It is, perhaps, a very British approach to the idea of ‘moving on’ despite adversity, which the Website advocates. The Website invites the general public to upload personal photographs captioned with the phrase “We’re not afraid” to “show that terrorists would not change the way people lived their lives” (Clarke).The Website began on 7 July 2005 and during the first week the site received, at times, up to 15 images a minute from across the world (Nikkah). Notably, within days of the Website’s launch it received over 3500 images and 11 million hits (Clarke).The images taken by everyday people and survivors‚ suggest a visceral response to the incidents. These images seem to support Susan Sontag’s argument from On Photography, in which she argues that photography is mainly a social rite, a defence against anxiety, and a tool of power (8). The images present a social activism for the predominantly white middle-class online participants and, as such, is subversive in its move away from the contextualised sensational images of violence that abound in the mainstream press. According to the site’s creator, London Web designer, Alfie Dennen “the idea for this site came from a picture of one of the bombed trains sent from a mobile phone to Dennen’s own weblog. Someone else added the words ‘We’re Not Afraid’ alongside the image” (“‘Not Afraid’ Website Overwhelmed”). Hence, in Dennen’s Weblog the terror and trauma of the train images of the London underground, that were circulated in the main stream press, have been recontextualised by the caption to present defiance and survival. The images uploaded onto the Website range from personal snapshots to manipulated photographs which all bear the declaration: ‘We are not afraid’. Currently, there are 770 galleries with 24 images per gallery amounting to around 18500 images that have been sent to the site. The photographs provide a crack in the projected reality of terrorism and the iconography of suffering as espoused by the mainstream media. The Website claims: We’re not afraid is an outlet for the global community to speak out against the acts of terror that have struck London, Madrid, New York, Baghdad, Basra, Tikrit, Gaza, Tel-Aviv, Afghanistan, Bali, and against the atrocities occurring in cities around the world each and every day. It is a worldwide action for people not willing to be cowed by terrorism and fear mongering. It suggests that: The historical response to these types of attacks has been a show of deadly force; we believe that there is a better way. We refuse to respond to aggression and hatred in kind. Instead, we who are not afraid will continue to live our lives the best way we know how. We will work, we will play, we will laugh, we will live. We will not waste one moment, nor sacrifice one bit of our freedom, because of fear. We are not afraid. (“we’re not afraid.com: Citizens for a secure world, united against terror.”) The images evoke the social memory of our era of global terrorism. Arguably, the events since September 11 have placed the individual in a protection mode. The photographs represent, as Sontag espouses, a tool against the anxiety of our time. This is a turn away from the visual iconography of despair. As such, rather than images of suffering they are images of survival, or life carrying on as usual. Or, more precisely, the images represent depictions of everyday western middle-class existence. The images range from family snaps, touristic photographs, pictures of the London underground and some manipulated images all containing the words ‘We’re Not Afraid’. Dennen “said the site had become a symbol for people to show solidarity with London and say they will not be cowed by the bombings” (“‘Not Afraid’ Website Overwhelmed”). The photographs also serve as a form of protection of western middle-class values and lifestyle that may be threatened by terrorist acts. Of consideration is that “personal photographs not only bind us to our own pasts – they bind us to the pasts of the social groups to which we belong” (Gye 280). The images on the site may be described as a “revocation of social power through visibility” and as such photography is considered a “performance of power” (Frosh 46). Barthes asserts that “formerly, the image illustrated the text (made it clearer); today, the text loads the image, burdening it with a culture, a moral, an imagination” (25). The images loaded onto the Website “We’re Not Afraid’ assumes notions of resilience and defiance which can be closely linked to Anglo-American cultural memory and imagination. Significantly, efforts to influence ‘heart and minds’ through support of touring exhibitions were common in the earlier days of the Cold War. Sontag argues that “photographic collections can be used to substitute a world” (162). The images exalted a universal humanism, similarly to the images on the “We’re Not Afraid” site. Many exhibits were supported throughout the 1950s, often under the auspices of the USIA (United States Information Agency). A famous example is the photography exhibit ‘The Family of Man’ which travelled to 28 countries between 1955-59 and was seen by 9 million people (Kennedy 316). It contained 503 images, 273 photographers from 68 nations “it posited humanity as a universal ideal and human empathy as a compensatory response to the threat of nuclear annihilation” (Kennedy 322). Significantly, Liam Kennedy asserts that, the Cold War rhetoric surrounding the exhibition blurred the boundaries between art, information and propaganda. The exhibition has been critiqued ideologically as an imperialist project, most notably by Allan Sekula in which he states “the worldliness of photography is the outcome, not of any immanent universality of meaning, but of a project of global domination” (96). In more recent times an exhibition, backed by the US State Department titled ‘After September 11: Images from Ground Zero’, by photojournalist/art photographer Joel Meyorowitz travelled to more than 60 countries and assisted in shaping and maintaining a public memory of the attacks of the World Trade Centre and its aftermath (Kennedy 315). Similar, to ‘The Family of Man’, it adds an epic quality to the images. As Kennedy points out that: To be sure this latter exhibit has been more overtly designed as propaganda, yet it also carries the cachet of ‘culture’ (most obviously, via the signature of a renowned photographer) and is intended to transmit a universal message that transcends the politics of difference. (Kennedy 323) The Website “We’re Not Afraid’ maintains the public memory of terrorism, without the horror of suffering. With a ‘universal message’ similar to the aforementioned exhibitions, it attempts to transcends the politics of difference by addressing the ‘we’ as the ‘everyday’ citizen. It serves as a gallery space and similarly evokes western romantic universal ideals conveyed in the exhibition ‘The Family of Man’, whilst its aesthetic forms avoid the stylististically captured scenes of ‘After September 11’. As stated earlier, the site had over 11 million hits in the first few weeks; as such the sheer number of viewers exceeds that of any formal photographic exhibition. Moreover, unlike these highly constructed art exhibitions from leading professional photographers, the Website significantly presents a democratic form of participation in which the ‘personal is political’. It is the citizen journalist. It is the ‘everyday’ person, as evidenced in the predominant snapshot aesthetics and the ordinariness in the images that are employed. Kris Cohen, in his analysis of photoblogging suggests that this aesthetic emphasises the importance in “photoblogging of not thinking too much, of the role that instinct plays in the making of photographs and the photoblog” (890). As discussed, previously, the overwhelming response and contributions to the Website within days of its launch seems to suggest this. The submission of photographs suggests a visceral response to the incidents from the ‘people’ in the celebration of the ‘everyday’ and the mundane. It also should be noted that “there are now well over a million documented blogs and photoblogs in the world”, with most appearing since 2003 (Cohen 886). As Cohen suggests “their newfound popularity has provoked a gentle storm of press, along with a significant number of utopic scenarios in which blogs feature as the next emancipatory mass media product”(886). The world-wide press coverage for the “We’re Not Afraid’ site is one key example that promotes this “utopian vision of transfigured citizens and in Benedict Anderson’s well used term an ‘imagined community” (Goggin xx). Nevertheless, the defiant captioning of the images also returns us historically to the social memory of the London Blitz 1940-41 in which the theme of a transfigured community was employed and in which the London underground and shelters became a signifier for the momentum of “We’re Not Afraid’. Barthes explained in Mythologies about the “the sight of the ‘naturalness’ with which newspapers, art and common sense constantly dress up a reality which, even though it is the one we live in, is undoubtedly determined by history” (11). What I want to argue is that the mythology surrounding the London bombings articulated in the Website “We’re Not Afraid’ is determined by 20th Century history of the media and the cultural imaginary surrounding predominantly British values*.** *The British Prime Minister at the time, Tony Blair, asserted that “qualities of creativity built on tolerance, openness and adaptability, work and self improvement, strong communities and families and fair play, rights and responsibilities and an outward looking approach to the world that all flow from our unique island geography and history.” (“Blair Defines British Values”). These values are suggested in the types of photographs uploaded onto the activist Website, as such notions of the British Empire are evoked. Moreover, in his address following the incident, “Blair harkened back to the ‘Blitz spirit’ that saw Londoners through the dark days of Nazi bombing during World War II — and, by association, to Winston Churchill, the wartime leader whose determined, moving speeches helped steel the national resolve” (“Blair Delivers”). In his Churchillian cadence he paid “tribute to the stoicism and resilience of the people of London who have responded in a way typical of them”. He said Britain would show “by our spirit and dignity” that “our values will long outlast” the terrorists. He further declared that “the purpose of terrorism is just that. It is to terrorize people and we will not be terrorized” (“Blair Delivers”). The mythology of the Blitz and “the interpretive context at the time (and for some years thereafter) can be summarized by the phrase ‘the People’s War’—a populist patriotism that combined criticism of the past with expectations of social change and inclusive messages of shared heritage and values” (Field 31). The image conveyed is of a renewed sense of community. The language of triumph against adversity and the endurance of ordinary citizens are also evoked in the popular press of the London incidents. The Times announced: Revulsion and resolve: Despite the shock, horror and outrage, the calm shown in London was exemplary. Ordinary life may be inconvenienced by the spectre of terror, yet terrorism will not force free societies to abandon their fundamental features. An attack was inevitable. The casualties were dreadful. The terrorists have only strengthened the resolve of Britain and its people. (“What the Papers Say”) Similarly the Daily Express headline was “We Britons Will Never Be Defeated” (“What the Papers Say”). The declaration of “We’re not afraid” alongside images on the Website follows on from this trajectory. The BBC reported that the Website “‘We’re not afraid’ gives Londoners a voice” (“Not Afraid Website Overwhelmed”). The BBC has also made a documentary concerning the mission and the somewhat utopian principles presented. Similarly discussion of the site has been evoked in other Weblogs that overwhelmingly praise it and very rarely question its role. One example is from a discussion of “We’re Not Afraid” on another activist site titled “World Changing: Change Your Thinking”. The contributor states: Well, I live in the UK and I am afraid. I’m also scared that sites like We’re Not Afraid encourage an unhealthy solidarity of superiority, nationalism and xenophobia – perpetuating a “we’re good” and “they’re evil” mentality that avoids the big picture questions of how we got here. Posted by: John Norris at July 8, 2005 03:45 AM Notably, this statement also reiterates the previous argument on cultural diplomacy presented by theorists in regards to the exhibitions of ‘The Family of Man’ and ‘After September 11’ in which the images are viewed as propaganda, promoting western cultural values. This is also supported by the mood of commentary in the British press since the London bombings, in which it is argued that “Britain and the British way of life are under threat, the implication being that the threat is so serious that it may ultimately destroy the nation and its values” (King). The significance of the Website is that it represents a somewhat democratic medium in its call for engagement and self-expression. Furthermore, the emancipatory photography of self and space, presented in the “We’re Not Afraid” site, echoes Blair’s declaration of “we will not be terrorized”. However, it follows similar politically conservative themes that were evoked in the Blitz, such as community, family and social stability, with tacit reference to social fragmentation and multi-ethnicity (Field 41-42). In general, as befitted the theme of “a People’s War,” the Blitz imagery was positive and sympathetic in the way it promoted the endurance of the ordinary citizen. Geoffrey Field suggests “it offered an implicit rejoinder to the earlier furor—focusing especially on brave, caring mothers who made efforts to retain some semblance of family under the most difficult circumstances and fathers who turned up for work no matter how heavy the bombing had been the night before” (24). Images on the Website consist of snapshots of babies, families, pets, sporting groups, people on holiday and at celebrations. It represents a, somewhat, global perspective of middle-class values. The snapshot aesthetic presents, what Liz Kotz refers to as, the “aesthetics of intimacy”. It is a certain kind of photographic work which is quasi-documentary and consists of “colour images of individuals, families, or groupings, presented in an apparently intimate, unposed manner, shot in an off-kilter, snapshot style, often a bit grainy, unfocused, off-colour” (204). These are the types of images that provide the visual gratification of solidarity amongst its contributors and viewers, as it seemingly appears more ‘real’. Yet, Kotz asserts that these type of photographs also involve a structure of power relations “that cannot be easily evaded by the spontaneous performance before the lens” (210). For example, Sarah Boxer importantly points out that “We’re Not Afraid”, set up to show solidarity with London, seems to be turning into a place where the haves of the world can show that they’re not afraid of the have-nots” (1). She argues that “there’s a brutish flaunting of wealth and leisure” (1). The iconography in the images of “We’re not Afraid” certainly promotes a ‘memorialisation’ of the middle-class sphere. The site draws attention to the values of the global neoliberal order in which capital accumulation is paramount. It, nevertheless, also attempts to challenge “the true victory of terrorism”, which Jean Baudrillard circumspectly remarks is in “the regression of the value system, of all the ideology of freedom and free movement etc… that the Western world is so proud of, and that legitimates in its eyes its power over the rest of the world”. Self-confidence is conveyed in the images. Moreover, with the subjects welcoming gaze to the camera there may be a sense of narcissism in publicising what could be considered mundane. However, visibility is power. For example, one of the contributors, Maryland USA resident Darcy Nair, said “she felt a sense of helplessness in the days after 9/11. Posting on the We’re Not Afraid may be a small act, but it does give people like her a sense that they’re doing something” (cited in Weir). Nair states that: It seems that it is the only good answer from someone like me who’s not in the government or military…There are so many other people who are joining in. When bunches of individuals get together – it does make me feel hopeful – there are so many other people who feel the same way. (cited in Weir) Participation in the Website conveys a power which consists of defiantly celebrating western middle-class aesthetics in the form of personal photography. As such, the personal becomes political and the private becomes public. The site offers an opportunity for a shared experience and a sense of community that perhaps is needed in the era of global terrorism. It could be seen as a celebration of survival (Weir). The Website seems inspirational with its defiant message. Moreover, it also has postings from various parts of the world that convey a message of triumph in the ‘everyday’. The site also presents the ubiquitous use of photography in a western cultural tradition in which idealised constructions are manifested in ‘Kodak’ moments and in which the domestic space and leisure times are immortalised and become, significantly, the arena of activism. As previously discussed Sontag argues that photography is mainly a social rite, a defence against anxiety, and a tool of power (8). The Website offers the sense of a global connection. It promotes itself as “citizens for a secure world, united against terror”. It attempts to provide a universal solidarity, which appears uplifting. It is a defence against anxiety in which, in the act of using personal photographs, it becomes part of the collective memory and assists in easing the frustration of not being able to do anything. As Sontag argues “often something looks, or is felt to look ‘better’ in a photograph. Indeed, it is one of the functions of photography to improve the normal appearance of things” (81). Rather than focus on the tragic victim of traditional photojournalism, in which the camera is directed towards the other, the site promotes the sharing and triumph of personal moments. In the spotlight are ‘everyday’ modalities from ‘everyday people’ attempting to confront the rhetoric of terrorism. In their welcoming gaze to the camera the photographic subjects challenge the notion of the sensational image, the spectacle that is on show is that of middle-class modalities and a performance of collective power. Note Themes from this article have been presented at the 2005 Cultural Studies Association of Australasia Conference in Sydney, Australia and at the 2006 Association for Cultural Studies Crossroads Conference in Istanbul, Turkey. References Barthes, Roland. “The Photographic Message.” Image-Music-Text. Trans. Stephen Heath. New York: Noonday Press, 1977 [1961]. 15-31. Barthes, Roland. Mythologies. Trans. Annette Lavers. London: Vintage, 1993 [1972]. Baudrillard, Jean. “The Spirit of Terrorism.” Trans. Rachel Bloul. La Monde 2 (2001). < http://www.egs.edu/faculty/baudrillard/baudrillard-the-spirit-of-terrorism.html >. “Blair Defines British Values.” BBC News 28 Mar. 2000. < http://news.bbc.co.uk/1/hi/uk_politics/693591.stm >. “Blair Delivers a Classically British Rallying Cry.” Associated Press 7 July 2005. < http://www.msnbc.msn.com/id/8502984/ >. Boxter, Sarah. “On the Web, Fearlessness Meets Frivolousness.” The York Times 12 July 2005. < http://www.nytimes.com/2005/07/12/arts/design/12boxe.html?ex= 1278820800&en=e3b207245991aea8&ei=5088&partner=rssnyt&emc=rss >. Clarke, R. “Web Site Shows Defiance to Bombers: Thousands Send Images to Say ‘We Are Not Afraid.’” CNN International 12 July 2005. < http://edition.cnn.com/2005/WORLD/europe/07/11/london.website/ >. “CJ Bombings in London.” MSNBC TV Citizen Journalist. < http://www.msnbc.msn.com/id/8499792/ >. Cohen, Kris R. “What Does the Photoblog Want?” Media, Culture & Society 27.6 (2005): 883-901. Dennen, Alfie. “We’renotafraid.com: Citizens for a Secure World, United Against Terror.” < http://www.werenotafraid.com/ >. Field, Geoffrey. “Nights Underground in Darkest London: The Blitz, 1940–1941.” International Labor and Working-Class History 62 (2002): 11-49. Frosh, Paul. “The Public Eye and the Citizen-Voyeur: Photography as a Performance of Power.” Social Semiotics 11.1 (2001): 43-59. Gye, Lisa. “Picture This: The Impact of Mobile Camera Phones on Personal Photographic Practices.” Continuum: Journal of Media and Cultural Studies 22.2 (2007): 279-288. Jameson, Fredric. “Postmodernism and Consumer Society.” The Cultural Turn: Selected Writings on the Postmodern. New York: Verso, 1998. 1-20. Kennedy, Liam. “Remembering September 11: Photography as Cultural Diplomacy.” International Affairs 79.2 (2003): 315-326. King, Anthony. “What Does It Mean to Be British?” Telegraph 27 May 2005. < http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2005/07/27/ nbrit27.xml >. Kotz, Liz. “The Aesthetics of Intimacy.” In D. Bright (ed.), The Passionate Camera: Photography and Bodies of Desire. London: Routledge, 1998. 204-215. “London Explosions: Your Photos.” BBC News 8 July 2005 < http://news.bbc.co.uk/1/hi/in_pictures/4660563.stm >. Nikkhah, Roya. “We’restillnotafraid.com.” Telegraph co.uk 23 July 2005. < http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2005/07/24/ nseven224.xml >. “‘Not Afraid’ Website Overwhelmed.” BBC News 12 July 2005. < http://news.bbc.co.uk/go/pr/fr/-/1/hi/england/london/4674425.stm >. Norris, John. “We’re Not Afraid”. World Changing: Change Your Thinking. < http://www.worldchanging.com/archives/003069.html >. “Reuters: You Witness News.” < http://www.reuters.com/youwitness >. Sambrook, Richard. “Citizen Journalism and the BBC.” Nieman Reports (Winter 2005): 13-16. Sekula, Allan. “The Traffic in Photographs.” In Photography against the Grain: Essays and Photoworks 1973-1983. Halifax Nova Scotia: Nova Scotia College Press, 1984. Sontag, Susan. Regarding the Pain of Others. New York: Farrar, Strauss & Giroux, 2003. Sontag. Susan. On Photography. New York: Farrar, Strauss & Giroux, 1977. Weir, William. “The Global Community Support and Sends a Defiant Message to Terrorists.” Hartford Courant 14 July 2005. < http://www.uchc.edu/ocomm/newsarchive/news05/jul05/notafraid.html >. We’renot afraid.com: Citizens for a Secure World, United against Terror. < http://www.werenotafraid.com >. “What the Papers Say.” Media Guardian 8 July 2005. < http://www.guardian.co.uk/media/2005/jul/08/pressandpublishing.terrorism1 >. Zulaika, Joseba, and William A. Douglass. Terror and Taboo: The Follies, Fables, and Faces of Terrorism. New York: Routledge, 1996.

This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of these images operates to arouse the collective memory of terrorism and violence. It promotes photography’s spectacular power. To begin it is worthwhile considering the ways in which the spectacle of terrorism is mediated. For example, the bombs activated on the London Underground and at Tavistock Square on the 7th of July 2005 marked the day that London became a victim of ‘global’ terrorism, re-instilling the fear projected by the media to be alarmed and to be suspicious. In the shadow of the terrorist events of September 11, as well as the Madrid Bombings in 2004, the incidents once again drew attention to the point that in the Western world ‘we’ again can be under attack. Furthermore, the news media plays a vital role in mediating the reality and the spectacle of terrorist attacks in the display of visual ‘proof’. After the London bombings of 7 July 2005, the BBC Website encouraged photo submissions of the incidents, under the heading “London Explosions: Your Photos”, thus promoting citizen journalism. Within six hours the BBC site received more that 1000 photographs. According to Richard Sambrook, director of the BBC’s World Service and Global News division, “people were participating in our coverage in way we had never seen before” (13). Other news Websites, such as Reuters and MSNBC also set up a similar call and display of the incidents. The images taken by everyday people and survivors‚ suggest a visceral response to the trauma of terrorism in which they became active participants in the reportage. Leading British newspapers further evoked the sensational terror of the incidents through the captioning of horrific images of destruction. It contextualised them within the realm of fascination and fear with headlines such as “London’s Day of Terror” from the Guardian, “Terror Comes to London” from the Independent and “Al-Qa’eda Brings Terror to the Heart of London” from the Daily Telegraph (“What the Papers Say”). Roland Barthes notes that “even from the perspective of a purely immanent analysis, the structure of the photograph is not an isolated structure; it is in communication with at least one other structure, namely the text – title, caption or article – accompanying every press photograph” (16). He suggested that, with the rise to prominence of ‘the press photograph’ as a mode of visual communication, the traditional relationship between image and text was inverted: “it is not the image which comes to elucidate or ‘realize’ the text, but the latter which comes to sublimate, patheticize or rationalize the image” (25). Frederic Jameson raises a very important point in regards to the role the media plays in terror. He suggests that the Western media is not only affected by a permanent condition of amnesia, but that this has become its primary ‘informational function’ (20). Hence, terror images are constantly repeated for their affect. “When combined with the media, terrorism’s reality-making power is astounding: its capacity to blend the media’s sensational stories, old mythical stereotypes, and a burning sense of moral wrath” (Zulaika and Douglass ix). Susan Sontag, in her 2003 book Regarding the Pain of Others, also discusses the assault of images (116). She argues that “the iconography of suffering has a long pedigree. The sufferings most often deemed worthy of representation are those understood to be the product of wrath, divine or human” (40). Furthermore, globalisation has profoundly changed the rhetoric of terrorism in which the uses of photographs for political means are ubiquitous. Sontag argues that “it seems as if there is a greater quantity of such news than before” (116). Nevertheless, she stresses, “it seems normal to turn away from images that simply make us feel bad” (116). Rather, than the focus on images of despair, the “We’re Not Afraid” Website provides a reaction against visual assaults. The images suggest a turning away from the iconography of terror and suffering to a focus on everyday western middle-class modalities. The images on the site consist of domestic ritual photographic practices, such as family snapshots. The images were disseminated following what has been referred to as the ‘incidents’ by the British press of the attacks on 7 July on the London transport system. Significantly, rather than being described as an event, such as the September 11 terrorist assaults were, the term ‘incidents’ suggests that everyday modalities, the everyday ways of being, may not be affected despite the terror of the attacks. It is, perhaps, a very British approach to the idea of ‘moving on’ despite adversity, which the Website advocates. The Website invites the general public to upload personal photographs captioned with the phrase “We’re not afraid” to “show that terrorists would not change the way people lived their lives” (Clarke).The Website began on 7 July 2005 and during the first week the site received, at times, up to 15 images a minute from across the world (Nikkah). Notably, within days of the Website’s launch it received over 3500 images and 11 million hits (Clarke).The images taken by everyday people and survivors‚ suggest a visceral response to the incidents. These images seem to support Susan Sontag’s argument from On Photography, in which she argues that photography is mainly a social rite, a defence against anxiety, and a tool of power (8). The images present a social activism for the predominantly white middle-class online participants and, as such, is subversive in its move away from the contextualised sensational images of violence that abound in the mainstream press. According to the site’s creator, London Web designer, Alfie Dennen “the idea for this site came from a picture of one of the bombed trains sent from a mobile phone to Dennen’s own weblog. Someone else added the words ‘We’re Not Afraid’ alongside the image” (“‘Not Afraid’ Website Overwhelmed”). Hence, in Dennen’s Weblog the terror and trauma of the train images of the London underground, that were circulated in the main stream press, have been recontextualised by the caption to present defiance and survival. The images uploaded onto the Website range from personal snapshots to manipulated photographs which all bear the declaration: ‘We are not afraid’. Currently, there are 770 galleries with 24 images per gallery amounting to around 18500 images that have been sent to the site. The photographs provide a crack in the projected reality of terrorism and the iconography of suffering as espoused by the mainstream media. The Website claims: We’re not afraid is an outlet for the global community to speak out against the acts of terror that have struck London, Madrid, New York, Baghdad, Basra, Tikrit, Gaza, Tel-Aviv, Afghanistan, Bali, and against the atrocities occurring in cities around the world each and every day. It is a worldwide action for people not willing to be cowed by terrorism and fear mongering. It suggests that: The historical response to these types of attacks has been a show of deadly force; we believe that there is a better way. We refuse to respond to aggression and hatred in kind. Instead, we who are not afraid will continue to live our lives the best way we know how. We will work, we will play, we will laugh, we will live. We will not waste one moment, nor sacrifice one bit of our freedom, because of fear. We are not afraid. (“we’re not afraid.com: Citizens for a secure world, united against terror.”) The images evoke the social memory of our era of global terrorism. Arguably, the events since September 11 have placed the individual in a protection mode. The photographs represent, as Sontag espouses, a tool against the anxiety of our time. This is a turn away from the visual iconography of despair. As such, rather than images of suffering they are images of survival, or life carrying on as usual. Or, more precisely, the images represent depictions of everyday western middle-class existence. The images range from family snaps, touristic photographs, pictures of the London underground and some manipulated images all containing the words ‘We’re Not Afraid’. Dennen “said the site had become a symbol for people to show solidarity with London and say they will not be cowed by the bombings” (“‘Not Afraid’ Website Overwhelmed”). The photographs also serve as a form of protection of western middle-class values and lifestyle that may be threatened by terrorist acts. Of consideration is that “personal photographs not only bind us to our own pasts – they bind us to the pasts of the social groups to which we belong” (Gye 280). The images on the site may be described as a “revocation of social power through visibility” and as such photography is considered a “performance of power” (Frosh 46). Barthes asserts that “formerly, the image illustrated the text (made it clearer); today, the text loads the image, burdening it with a culture, a moral, an imagination” (25). The images loaded onto the Website “We’re Not Afraid’ assumes notions of resilience and defiance which can be closely linked to Anglo-American cultural memory and imagination. Significantly, efforts to influence ‘heart and minds’ through support of touring exhibitions were common in the earlier days of the Cold War. Sontag argues that “photographic collections can be used to substitute a world” (162). The images exalted a universal humanism, similarly to the images on the “We’re Not Afraid” site. Many exhibits were supported throughout the 1950s, often under the auspices of the USIA (United States Information Agency). A famous example is the photography exhibit ‘The Family of Man’ which travelled to 28 countries between 1955-59 and was seen by 9 million people (Kennedy 316). It contained 503 images, 273 photographers from 68 nations “it posited humanity as a universal ideal and human empathy as a compensatory response to the threat of nuclear annihilation” (Kennedy 322). Significantly, Liam Kennedy asserts that, the Cold War rhetoric surrounding the exhibition blurred the boundaries between art, information and propaganda. The exhibition has been critiqued ideologically as an imperialist project, most notably by Allan Sekula in which he states “the worldliness of photography is the outcome, not of any immanent universality of meaning, but of a project of global domination” (96). In more recent times an exhibition, backed by the US State Department titled ‘After September 11: Images from Ground Zero’, by photojournalist/art photographer Joel Meyorowitz travelled to more than 60 countries and assisted in shaping and maintaining a public memory of the attacks of the World Trade Centre and its aftermath (Kennedy 315). Similar, to ‘The Family of Man’, it adds an epic quality to the images. As Kennedy points out that: To be sure this latter exhibit has been more overtly designed as propaganda, yet it also carries the cachet of ‘culture’ (most obviously, via the signature of a renowned photographer) and is intended to transmit a universal message that transcends the politics of difference. (Kennedy 323) The Website “We’re Not Afraid’ maintains the public memory of terrorism, without the horror of suffering. With a ‘universal message’ similar to the aforementioned exhibitions, it attempts to transcends the politics of difference by addressing the ‘we’ as the ‘everyday’ citizen. It serves as a gallery space and similarly evokes western romantic universal ideals conveyed in the exhibition ‘The Family of Man’, whilst its aesthetic forms avoid the stylististically captured scenes of ‘After September 11’. As stated earlier, the site had over 11 million hits in the first few weeks; as such the sheer number of viewers exceeds that of any formal photographic exhibition. Moreover, unlike these highly constructed art exhibitions from leading professional photographers, the Website significantly presents a democratic form of participation in which the ‘personal is political’. It is the citizen journalist. It is the ‘everyday’ person, as evidenced in the predominant snapshot aesthetics and the ordinariness in the images that are employed. Kris Cohen, in his analysis of photoblogging suggests that this aesthetic emphasises the importance in “photoblogging of not thinking too much, of the role that instinct plays in the making of photographs and the photoblog” (890). As discussed, previously, the overwhelming response and contributions to the Website within days of its launch seems to suggest this. The submission of photographs suggests a visceral response to the incidents from the ‘people’ in the celebration of the ‘everyday’ and the mundane. It also should be noted that “there are now well over a million documented blogs and photoblogs in the world”, with most appearing since 2003 (Cohen 886). As Cohen suggests “their newfound popularity has provoked a gentle storm of press, along with a significant number of utopic scenarios in which blogs feature as the next emancipatory mass media product”(886). The world-wide press coverage for the “We’re Not Afraid’ site is one key example that promotes this “utopian vision of transfigured citizens and in Benedict Anderson’s well used term an ‘imagined community” (Goggin xx). Nevertheless, the defiant captioning of the images also returns us historically to the social memory of the London Blitz 1940-41 in which the theme of a transfigured community was employed and in which the London underground and shelters became a signifier for the momentum of “We’re Not Afraid’. Barthes explained in Mythologies about the “the sight of the ‘naturalness’ with which newspapers, art and common sense constantly dress up a reality which, even though it is the one we live in, is undoubtedly determined by history” (11). What I want to argue is that the mythology surrounding the London bombings articulated in the Website “We’re Not Afraid’ is determined by 20th Century history of the media and the cultural imaginary surrounding predominantly British values*.** *The British Prime Minister at the time, Tony Blair, asserted that “qualities of creativity built on tolerance, openness and adaptability, work and self improvement, strong communities and families and fair play, rights and responsibilities and an outward looking approach to the world that all flow from our unique island geography and history.” (“Blair Defines British Values”). These values are suggested in the types of photographs uploaded onto the activist Website, as such notions of the British Empire are evoked. Moreover, in his address following the incident, “Blair harkened back to the ‘Blitz spirit’ that saw Londoners through the dark days of Nazi bombing during World War II — and, by association, to Winston Churchill, the wartime leader whose determined, moving speeches helped steel the national resolve” (“Blair Delivers”). In his Churchillian cadence he paid “tribute to the stoicism and resilience of the people of London who have responded in a way typical of them”. He said Britain would show “by our spirit and dignity” that “our values will long outlast” the terrorists. He further declared that “the purpose of terrorism is just that. It is to terrorize people and we will not be terrorized” (“Blair Delivers”). The mythology of the Blitz and “the interpretive context at the time (and for some years thereafter) can be summarized by the phrase ‘the People’s War’—a populist patriotism that combined criticism of the past with expectations of social change and inclusive messages of shared heritage and values” (Field 31). The image conveyed is of a renewed sense of community. The language of triumph against adversity and the endurance of ordinary citizens are also evoked in the popular press of the London incidents. The Times announced: Revulsion and resolve: Despite the shock, horror and outrage, the calm shown in London was exemplary. Ordinary life may be inconvenienced by the spectre of terror, yet terrorism will not force free societies to abandon their fundamental features. An attack was inevitable. The casualties were dreadful. The terrorists have only strengthened the resolve of Britain and its people. (“What the Papers Say”) Similarly the Daily Express headline was “We Britons Will Never Be Defeated” (“What the Papers Say”). The declaration of “We’re not afraid” alongside images on the Website follows on from this trajectory. The BBC reported that the Website “‘We’re not afraid’ gives Londoners a voice” (“Not Afraid Website Overwhelmed”). The BBC has also made a documentary concerning the mission and the somewhat utopian principles presented. Similarly discussion of the site has been evoked in other Weblogs that overwhelmingly praise it and very rarely question its role. One example is from a discussion of “We’re Not Afraid” on another activist site titled “World Changing: Change Your Thinking”. The contributor states: Well, I live in the UK and I am afraid. I’m also scared that sites like We’re Not Afraid encourage an unhealthy solidarity of superiority, nationalism and xenophobia – perpetuating a “we’re good” and “they’re evil” mentality that avoids the big picture questions of how we got here. Posted by: John Norris at July 8, 2005 03:45 AM Notably, this statement also reiterates the previous argument on cultural diplomacy presented by theorists in regards to the exhibitions of ‘The Family of Man’ and ‘After September 11’ in which the images are viewed as propaganda, promoting western cultural values. This is also supported by the mood of commentary in the British press since the London bombings, in which it is argued that “Britain and the British way of life are under threat, the implication being that the threat is so serious that it may ultimately destroy the nation and its values” (King). The significance of the Website is that it represents a somewhat democratic medium in its call for engagement and self-expression. Furthermore, the emancipatory photography of self and space, presented in the “We’re Not Afraid” site, echoes Blair’s declaration of “we will not be terrorized”. However, it follows similar politically conservative themes that were evoked in the Blitz, such as community, family and social stability, with tacit reference to social fragmentation and multi-ethnicity (Field 41-42). In general, as befitted the theme of “a People’s War,” the Blitz imagery was positive and sympathetic in the way it promoted the endurance of the ordinary citizen. Geoffrey Field suggests “it offered an implicit rejoinder to the earlier furor—focusing especially on brave, caring mothers who made efforts to retain some semblance of family under the most difficult circumstances and fathers who turned up for work no matter how heavy the bombing had been the night before” (24). Images on the Website consist of snapshots of babies, families, pets, sporting groups, people on holiday and at celebrations. It represents a, somewhat, global perspective of middle-class values. The snapshot aesthetic presents, what Liz Kotz refers to as, the “aesthetics of intimacy”. It is a certain kind of photographic work which is quasi-documentary and consists of “colour images of individuals, families, or groupings, presented in an apparently intimate, unposed manner, shot in an off-kilter, snapshot style, often a bit grainy, unfocused, off-colour” (204). These are the types of images that provide the visual gratification of solidarity amongst its contributors and viewers, as it seemingly appears more ‘real’. Yet, Kotz asserts that these type of photographs also involve a structure of power relations “that cannot be easily evaded by the spontaneous performance before the lens” (210). For example, Sarah Boxer importantly points out that “We’re Not Afraid”, set up to show solidarity with London, seems to be turning into a place where the haves of the world can show that they’re not afraid of the have-nots” (1). She argues that “there’s a brutish flaunting of wealth and leisure” (1). The iconography in the images of “We’re not Afraid” certainly promotes a ‘memorialisation’ of the middle-class sphere. The site draws attention to the values of the global neoliberal order in which capital accumulation is paramount. It, nevertheless, also attempts to challenge “the true victory of terrorism”, which Jean Baudrillard circumspectly remarks is in “the regression of the value system, of all the ideology of freedom and free movement etc… that the Western world is so proud of, and that legitimates in its eyes its power over the rest of the world”. Self-confidence is conveyed in the images. Moreover, with the subjects welcoming gaze to the camera there may be a sense of narcissism in publicising what could be considered mundane. However, visibility is power. For example, one of the contributors, Maryland USA resident Darcy Nair, said “she felt a sense of helplessness in the days after 9/11. Posting on the We’re Not Afraid may be a small act, but it does give people like her a sense that they’re doing something” (cited in Weir). Nair states that: It seems that it is the only good answer from someone like me who’s not in the government or military…There are so many other people who are joining in. When bunches of individuals get together – it does make me feel hopeful – there are so many other people who feel the same way. (cited in Weir) Participation in the Website conveys a power which consists of defiantly celebrating western middle-class aesthetics in the form of personal photography. As such, the personal becomes political and the private becomes public. The site offers an opportunity for a shared experience and a sense of community that perhaps is needed in the era of global terrorism. It could be seen as a celebration of survival (Weir). The Website seems inspirational with its defiant message. Moreover, it also has postings from various parts of the world that convey a message of triumph in the ‘everyday’. The site also presents the ubiquitous use of photography in a western cultural tradition in which idealised constructions are manifested in ‘Kodak’ moments and in which the domestic space and leisure times are immortalised and become, significantly, the arena of activism. As previously discussed Sontag argues that photography is mainly a social rite, a defence against anxiety, and a tool of power (8). The Website offers the sense of a global connection. It promotes itself as “citizens for a secure world, united against terror”. It attempts to provide a universal solidarity, which appears uplifting. It is a defence against anxiety in which, in the act of using personal photographs, it becomes part of the collective memory and assists in easing the frustration of not being able to do anything. As Sontag argues “often something looks, or is felt to look ‘better’ in a photograph. Indeed, it is one of the functions of photography to improve the normal appearance of things” (81). Rather than focus on the tragic victim of traditional photojournalism, in which the camera is directed towards the other, the site promotes the sharing and triumph of personal moments. In the spotlight are ‘everyday’ modalities from ‘everyday people’ attempting to confront the rhetoric of terrorism. In their welcoming gaze to the camera the photographic subjects challenge the notion of the sensational image, the spectacle that is on show is that of middle-class modalities and a performance of collective power. Note Themes from this article have been presented at the 2005 Cultural Studies Association of Australasia Conference in Sydney, Australia and at the 2006 Association for Cultural Studies Crossroads Conference in Istanbul, Turkey. References Barthes, Roland. “The Photographic Message.” Image-Music-Text. Trans. Stephen Heath. New York: Noonday Press, 1977 [1961]. 15-31. Barthes, Roland. Mythologies. Trans. Annette Lavers. London: Vintage, 1993 [1972]. Baudrillard, Jean. “The Spirit of Terrorism.” Trans. Rachel Bloul. La Monde 2 (2001). http://www.egs.edu/faculty/baudrillard/baudrillard-the-spirit-of-terrorism.html>. “Blair Defines British Values.” BBC News 28 Mar. 2000. http://news.bbc.co.uk/1/hi/uk_politics/693591.stm>. “Blair Delivers a Classically British Rallying Cry.” Associated Press 7 July 2005. http://www.msnbc.msn.com/id/8502984/>. Boxter, Sarah. “On the Web, Fearlessness Meets Frivolousness.” The York Times 12 July 2005. http://www.nytimes.com/2005/07/12/arts/design/12boxe.html?ex= 1278820800&en=e3b207245991aea8&ei=5088&partner=rssnyt&emc=rss>. Clarke, R. “Web Site Shows Defiance to Bombers: Thousands Send Images to Say ‘We Are Not Afraid.’” CNN International 12 July 2005. http://edition.cnn.com/2005/WORLD/europe/07/11/london.website/>. “CJ Bombings in London.” MSNBC TV Citizen Journalist. http://www.msnbc.msn.com/id/8499792/>. Cohen, Kris R. “What Does the Photoblog Want?” Media, Culture & Society 27.6 (2005): 883-901. Dennen, Alfie. “We’renotafraid.com: Citizens for a Secure World, United Against Terror.” http://www.werenotafraid.com/>. Field, Geoffrey. “Nights Underground in Darkest London: The Blitz, 1940–1941.” International Labor and Working-Class History 62 (2002): 11-49. Frosh, Paul. “The Public Eye and the Citizen-Voyeur: Photography as a Performance of Power.” Social Semiotics 11.1 (2001): 43-59. Gye, Lisa. “Picture This: The Impact of Mobile Camera Phones on Personal Photographic Practices.” Continuum: Journal of Media and Cultural Studies 22.2 (2007): 279-288. Jameson, Fredric. “Postmodernism and Consumer Society.” The Cultural Turn: Selected Writings on the Postmodern. New York: Verso, 1998. 1-20. Kennedy, Liam. “Remembering September 11: Photography as Cultural Diplomacy.” International Affairs 79.2 (2003): 315-326. King, Anthony. “What Does It Mean to Be British?” Telegraph 27 May 2005. http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2005/07/27/ nbrit27.xml>. Kotz, Liz. “The Aesthetics of Intimacy.” In D. Bright (ed.), The Passionate Camera: Photography and Bodies of Desire. London: Routledge, 1998. 204-215. “London Explosions: Your Photos.” BBC News 8 July 2005 http://news.bbc.co.uk/1/hi/in_pictures/4660563.stm>. Nikkhah, Roya. “We’restillnotafraid.com.” Telegraph co.uk 23 July 2005. http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2005/07/24/ nseven224.xml>. “‘Not Afraid’ Website Overwhelmed.” BBC News 12 July 2005. http://news.bbc.co.uk/go/pr/fr/-/1/hi/england/london/4674425.stm>. Norris, John. “We’re Not Afraid”. World Changing: Change Your Thinking. http://www.worldchanging.com/archives/003069.html>. “Reuters: You Witness News.” http://www.reuters.com/youwitness>. Sambrook, Richard. “Citizen Journalism and the BBC.” Nieman Reports (Winter 2005): 13-16. Sekula, Allan. “The Traffic in Photographs.” In Photography against the Grain: Essays and Photoworks 1973-1983. Halifax Nova Scotia: Nova Scotia College Press, 1984. Sontag, Susan. Regarding the Pain of Others. New York: Farrar, Strauss & Giroux, 2003. Sontag. Susan. On Photography. New York: Farrar, Strauss & Giroux, 1977. Weir, William. “The Global Community Support and Sends a Defiant Message to Terrorists.” Hartford Courant 14 July 2005. http://www.uchc.edu/ocomm/newsarchive/news05/jul05/notafraid.html>. We’renot afraid.com: Citizens for a Secure World, United against Terror. http://www.werenotafraid.com>. “What the Papers Say.” Media Guardian 8 July 2005. http://www.guardian.co.uk/media/2005/jul/08/pressandpublishing.terrorism1>. Zulaika, Joseba, and William A. Douglass. Terror and Taboo: The Follies, Fables, and Faces of Terrorism. New York: Routledge, 1996. Citation reference for this article MLA Style Allmark, Panizza. "Photography after the Incidents: We’re Not Afraid!." M/C Journal 10.6/11.1 (2008). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0804/06-allmark.php>. APA Style Allmark, P. (Apr. 2008) "Photography after the Incidents: We’re Not Afraid!," M/C Journal, 10(6)/11(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0804/06-allmark.php>.