Journal articles on the topic 'Authentic short play'

Short stories are believed to be a powerful educational tool and play critical roles in EFL classrooms as they provide advantageous authentic learning material, facilitate language development, offer cultural enrichment, and boost personal involvement. This study aimed at describing students' perception of using short stories to develop vocabulary. Employing a cross-sectional survey design, the study was conducted at SMP Regina Caeli Bogor in April 2020 and involved 59 eighth graders Data was collected using an online questionnaire. The findings showed that the participants had a positive perception of using short stories to develop vocabulary. Thus, the majority of students at SMP Regina Caeli Cileungsi viewed the use of a short story as interesting, useful, and easy to develop English vocabulary.

In the past, it had been a common practice to utilize a grammar book to learn about language rules, for it was more practical to use. However, language rules are the components of a language that learners have been trying to avoid learning inside and out due to its complexity. Many learners regard grammar insignificant as they believe that vocabulary plays a substantial role in communication. For such reason, lecturers have been endeavoring to make an appropriate instrument to make grammar teaching and learning more effective and fun. Nowadays, when it comes to language teaching and learning, lecturers make use of authentic materials to capture the interest and to stimulate students to get motivated to learn. Nunan (1988) & Martinez (2002) defines authentic materials e.g., newspaper, magazine as the material, which have been produced for purposes other than to teach languages. Cook (1981) claimed that students can get more benefits from authentic materials, from which students can get closer to the target language. This research is conducted to find an answer to the question of the potency of authentic materials in learning grammar rules, specifically Gerund and Infinitive. The participants of this study were the second semester students of the English Department, who were then categorized into two dissimilar groups: control and experimental. The control group had a grammar book in the grammar teaching and learning, while the experimental group utilized an authentic material, such as a snippet taken from a short video. The media used to assess learners’ grammar competence were pre-test and post-test, which were then analyzed and compared to see the effectiveness of each instrument in developing learners’ competence in the specific grammar rules. The results of this study displayed that both instruments, such as the grammar book and the authentic material were of little significance to the improvement of students’ grammar knowledge. In other words, despite the fact those instruments play their role in developing students’ proficiency, the rise was just utterly trivial.

Abstract Hemodynamic forces are important effectors of endothelial cell phenotype and function. Because CD40-CD154 interactions between endothelial cells and mononuclear leukocytes or activated platelets play an important role in vascular dysfunction, we investigated the effects of cyclic stretch on CD40 expression in human cultured endothelial cells. Short-term stretch transiently up-regulated CD40 expression while long-term stretch resulted in a distinct decline in CD40 protein which was prevented by inhibition of the 20S proteasome or scavenging of peroxynitrite. Tyrosine nitration of CD40 also occurred under static conditions on addition of authentic peroxynitrite, and according to mass spectrometry analysis Tyr-82 but not Tyr-31 was its target in the native protein. Immunofluorescence analysis of endothelial cells transduced with a control or Tyr-82 to Ala mutated AAV9-CD40-eGFP expression construct confirmed a peroxynitrite-dependent redistribution of the protein from the cell membrane to the cytoplasm, which was prevented by methyl-β-cyclodextrin. Moreover, CD154-stimulated IL-12p40 and E-selectin expression markedly decreased after exposure to authentic peroxynitrite or cyclic stretch, respectively. Coimmunoprecipitation demonstrated a decreased binding of TRAF2 and TRAF6 to the CD40 protein after tyrosine nitration. Through this posttranslational oxidative modification of an important costimulatory molecule, endothelial cells are able to quickly adapt to unfavorable hemodynamics and maintain their anti-inflammatory phenotype.

Mobile Assisted Language Learning (MALL) is now common in extra-curricular language learning, but, more recently, teachers have increasingly sought ways to utilise MALL as a communicative classroom tool. Research into the extent that MALL can transform a whole communicative language course, and learners’ impressions of such courses, is scarce. This study, therefore, sought the opinions of five undergraduate learners on a short communicative English language course based on communicative principles, with materials entirely sourced from learner’s own devices. Learner reflections elicited in interviews suggested that MALL had aided the facilitation of an environment that was interactive, motivating, differentiated, authentic and autonomous, at times potentially more so than on a course using traditional material sources. The novel aspect of allowing freedom in choosing materials caused some complications, though none were considered insurmountable with minor adjustments to the course plan. In summary, student reactions implied that a communicative course could be taught exclusively through mobile-sourced materials, but further research is required to identify exactly how this would best be achieved. Nevertheless, findings here give reasons for practitioners to explore methods of classroom teaching inclusive of MALL that encourage self-directed learning, the creation of a platform for interaction, personalization, differentiation, a shared experience for learners and elements of game-play.

This study investigates the current practices and challenges of alternative assessment for the teachers. While oral competence remains a productive skill in learning language process, the concept of alternative assessment or teacher-made assessment (classroom assessment) is another more authentic method of assessments which is different from the traditional ones. This study involved two EFL teachers who had more than five years teaching experience and used to give alternative assessment practice in the same Islamic Boarding School (IBS). An in-depth semi-structured interview and class observation was conducted with these two key aims: (1) to describe how English teachers are currently using alternative assessment practices on EFL students’ oral competence; and (2) to describe the difficulties faced by English teachers in implementing alternative assessment on EFL students’ oral competence. The results revealed that English Teacher in IBS has widely employed several methods such as peer assessment in collaborative work, and class students’ observation. In applying alternative assessment strategies, the teachers focused on oral skills which used many group activities and gave authentic materials as topic. The teachers increased the students’ involvement by giving activities such as role-play, assigning them to memorize short dialogue, drama, conversation, and presentation. The teachers also collected students’ notebooks as additional scores, raised students’ cases or problems to solve, and shared the components that would be assessed. The teachers gave some recommendations in order to use oral presentation to stimulate students’ oral competencies in their class and evaluate or control students to practice English outside of the classrooms as well. English teachers also faced several difficulties in implementing alternative assessment on EFL students’ oral competence, such as students’ lack of vocabulary, students’ weak of pronunciation and grammar which makes the students less confidence and motivation, and some slow-learners. In addition, teachers also had limited time to assess all student competencies.

The genomic variability of local Italian chicken breeds, which were monitored under a conservation plan, was studied using single nucleotide polymorphisms (SNPs) to understand their genetic diversity and population structure. A total of 582 samples from 23 local breeds and four commercial stocks were genotyped using the Affymetrix 600 K Chicken SNP Array. In general, the levels of genetic diversity, investigated through different approaches, were lowest in the local chicken breeds compared to those in the commercial stocks. The level of genomic inbreeding, based on runs of homozygosity (FROH), was markedly different among the breeds and ranged from 0.121 (Valdarnese) to 0.607 (Siciliana). In all breeds, short runs of homozygosity (ROH) (<4 Mb in length) were more frequent than long segments. The patterns of genetic differentiation, model-based clustering, and neighbor networks showed that most breeds formed non-overlapping clusters and were clearly separate populations, which indicated the presence of gene flow, especially among breeds that originated from the same geographical area. Four genomic regions were identified as hotspots of autozygosity (islands) among the breeds, where the candidate genes are involved in morphological traits, such as body weight and feed conversion ratio. We conclude that the investigated breeds have conserved authentic genetic patterns, and these results can improve conservation strategies; moreover, the conservation of local breeds may play an important role in the local economy as a source of high-quality products for consumers.

This study explores realities, problems and their solutions of teaching listening in English in secondary level education in Nepal. As it is a narrative inquiry, I chose three English teachers and six students from three different secondary level community schools of Kamalamai Municipality of Sindhuli district, Nepal as the participants of the study using purposive sampling procedure. The findings demonstrated that the listening skill is the neglected skill in our school education. The teachers do not pay much more attention to teach this skill in our community school by thinking teaching listening is not important for examination purpose. There is scarcity of audio-visual devices, the classroom is not techno-friendly, teachers are not dedicated and trained, monitoring strategies of concerned authority is not effective for teaching listening. Recommended solutions include - the students should be proactive and the school administration has to be responsible for making availability of listening equipment and materials. Similarly, the teachers should use various interactive and cooperative activities such as role-play, pair work, group work and communication games using authentic materials such as English films, favourite songs, funny short stories, some exciting programmes on radio, TV or the internet for the effectual teaching of listening.

AbstractReviewing and rating are important features of many social media websites, but they are found on many e-commerce sites too. The combination of social interaction and e-commerce is sometimes referred to as social commerce to indicate that people are supporting each other in the process of buying goods and services. Rgeviews of other consumers have a significant effect on consumer choice because they are usually considered authentic and more trustworthy than information presented by a vendor. The collaborative effort of consumers helps to make the right purchase decision (or prevent from a wrong one). The effect of reviews has often been researched in terms of helpfulness as indicated by their readers. Images are an important factor of helpfulness in reviews of experience goods where personal tastes and use play an important role. We extend this research to search goods where objective characteristics seem to prevail. In addition, we analyze potential interaction with other variables. The empirical study is performed with regression analyses on 3,483 search good reviews from Amazon.com followed by a matched pair analysis of 186 review pairs. We find that images have a significant positive effect on helpfulness of reviews of search goods too. This is especially true in case of short and ambiguous reviews.

For the 1st fifteen years or so there has been an intensive talk about the Irish "economic miracle". Since Irish economy has experienced a highest degree of sustained growth among the EU states in this very period, this observation is an accurate one. The average GDP in this period has constantly been above five percent. The national income per capita rose dramatically to 2700 Euro and is the highest in the EU. The rate of employment is permanently on the increase while (qualified) working force is becoming imported as well. In a very short period of time Ireland has achieved not only an impressive level of economic development, but has also experienced a radical social transformation. From predominantly agrarian and traditionally emigrant country, Ireland had rapidly become a highly developed (post)industrial immigrant society. There is no doubt that the adequate strategy and the politics of rural development had an important role to play in achieving these remarkable results. Regardless of how much this development is conditioned and influenced by the rural development policies of the EU, Irish model still has many authentic features. This paper explores the possibilities of using some of these experiences from the Irish developmental strategies in the context of an integral rural development of Serbia in the period of transition.

This study attempts to elaborate on the importance of cultural understanding of English foreign learners’ communicative competence. In the English language teaching in Indonesia, the role of culture is a crucial thing which needs to be combined with the teaching material to assist teachers and students for reaching the learning objective. Based on the findings of some studies, English learners in Indonesia face several obstacles when they find some terms which are unable to get its point in the literal meaning. Understanding the background culture in learning English is expected to minimize students' misunderstanding and lead them to use proper English in real communication. Integrated teaching material which contains cultural contents and its backgrounds is one way to introduce English to the learners, not only as a language but as a culture as well. Providing topics of learning based on authentic sources from native English speaking countries such as fable, short story, conversation role-play, songs, and movie. Arranging integrated teaching material that covers listening, speaking, reading, and writing with included cultural or arts contents of English native speakers. The teacher should not only teach students in linguistic competence but should teach them communicative competence as well because mastering linguistic competence is insufficient to use English in natural discourse. The appropriateness of English in use toward communication context is the objective of understanding the culture and language.

For the last fifteen years or so there has been an intensive discussion about the Irish "economic miracle". Since Irish economy has experienced a highest degree of sustained growth among the EU states in this very period this perception is an accurate one. The average GDP growth rate in this period has constantly been above five percent. The national income per capita rose dramatically to 27000 Euro and is the highest in the EU. The rate of employment is permanently on the increase while (qualified) workforce is becoming imported as well. In a very short period of time Ireland has achieved not only an impressive level of economic development but has also experienced a radical social transformation. From predominantly agrarian and traditionally emigrant country, Ireland has rapidly become a highly developed (post)industrial immigrant society. There is no doubt that the adequate strategy and the politics of rural development had an important role to play in achieving these enviable results. Regardless of how much this development is conditioned and influenced by the rural development policies of the EU, Irish model still has many authentic features. This paper explores the possibilities of using some of these experiences from the Irish developmental strategies in the context of an integral rural development of Serbia in the period of transition.

The gene encoding the Mn-containing superoxide dismutase (SOD) from Halobacterium cutirubrum has been cloned and sequenced. The deduced amino acid sequence is homologous to the sequences of Fe and Mn SODs from eubacteria. The high degree of amino acid identity between the archaebacterial and eubacterial proteins suggests that a SOD gene may have been laterally transferred between eubacteria and archaebacteria sometime after the accumulation of atmospheric oxygen. Consensus elements of halobacterial promoters are found upstream of the coding region, however, the spacing between them and the transcription start site is greater than in other genes. Termination of transcription occurs in five consecutive T residues that are preceded by a GC-rich sequence that has short inverted repeats. In addition to the authentic SOD gene, H. cutirubrum also contains a putative pseudogene. The SOD levels and growth rates of H. cutirubrum and Halobacterium volcanii were tested in response to treatment by paraquat, an intracellular generator of superoxide. In H. volcanii the growth rate slowed, and SOD was strongly induced throughout prolonged treatment with paraquat. In H. cutirubrum the same effects were noticed initially, but after 48 h exposure to the drug, the growth rate increased and the SOD level decreased. Production of paraquat resistant mutants of H. cutirubrum may play a part in this process, however, some type of physiological adaptation is also probably required.Key words: archaebacteria, oxygen radicals, paraquat.

The paper focuses on complex research and description of creative reception theory and typology. There are provided definitions of such terms as reception, creative reception, creative reception strategies, and others. The author builds the typology of creative reception on the basis of works by E. V. Abramovskikh, S. Ye. Trunin, M. V. Zagidullina, V. I. Tyupa, and M. Naumann. This typology includes two types (or levels) of creative reception, defined as classic and postmodernist. Each of the types is characterized by a number of strategies, i. e. ways of representing an artistically received text in one’s own work. The classic type strategies (formal, authentic, neutral and antithetical) focus primarily on plot transformation. As for the postmodernist level, the author singles out two strategies: congenial and play. The theory and typology of creative reception is substantiated with some examples of reminiscences and allusions to English and world poetry. The examples under analysis are taken from the following prose works by the outstanding English postmodernist writer John Robert Fowles (1926–2005): the novel The French Lieutenant’s Woman (1969), the collection of long short stories The Ebony Tower (1974), the philosophic book The Aristos (1964), and also the lyric collection Selected Poems, published posthumously in 2012. The collection has not been translated into Russian yet. Therefore, the poem under analysis (Islanders) has been translated into Russian by the author of the present paper. The paper also deals with indirect Biblical reception which is found in the allusion to the ivory tower. The allusion gave the title The Ebony Tower both to Fowles’ long short story and collection as a whole. The author of the paper draws a conclusion about the dominant creative reception strategies in the literary works under analysis and also about the possible use of the presented creative reception typology in analyzing works by other writers.

Theatrical-era short animation has often acquired a complex, even contradictory, textual identity: most cartoons were originally produced for a general audience, but were then marketed almost exclusively towards children as repeats on television. The rise of DVD has further complicated the status of these films. On the one hand, the format has facilitated the release of a lot of rare animated material, most notably within a series of multi-volume special editions entitled the Walt Disney Treasures, explicitly aimed at the previously marginalized adult viewer. However, Disney has also produced lower priced, ‘family friendly’ discs featuring many of the same cartoons. Unlike the Treasures volumes, the latter sets tend to censor problematic content and generally lack contextualizing bonus features. The choice to watch one of these collections over the other can thus have a significant impact upon one’s interpretation of the collected films. Thomas Elasasser argues that film culture – embodied most fervently by the devoted cinephile (and, for the purposes of this study, the equivalent figure of the animatophile) – has often failed to recognize itself as a product of generational memory. It is frequently implied by such groups that DVD special editions are the most ‘authentic’ because they privilege the original cinematic experience, without acknowledging the degree to which the format itself serves to remediate its contents. For instance, while the Treasures discs generally present the films uncut – sometimes ‘restoring’ footage unseen since the 1930s and 40s – these are often prefaced with mandatory disclaimers providing historical context for contentious elements such as racism. The sheer volume of material that these collections provide, including opportunities for binge-watching with ‘play all’ functions, similarly alters the portioned availability of these texts in the theatrical sphere. This article will suggest that both the special edition and ‘family friendly’ DVD options ultimately reflect a nostalgic struggle to appropriate and define the present and future reception of the films, rather than to truly reclaim the past.

It is shown, that change of a phenological phase of development of the tree, connected with loss of frost resistance and coming of the period of vegetation, it is accompanied by considerable changes of structure of free amino acids in meristematic tissues of buds Picea obovata L. and Pinus sylvestris L. In the winter at both species in comparison with spring level nonproteingeneous amino acids is doubled. During too time, Picea obovata L. And Pinus sylvestris L. show authentic specific distinctions under the total content nonproteingeneous amino acids. Thus at Pinus sylvestris L. their share as a part of free amino acids reaches 40%, that twice above, than at Picea obovata L. As a part of free amino acids at Picea obovata L. and Pinus sylvestris L. the nitrogen deposit is mainly in a glycine – 13 and 9%, arginine – 12 and 8% and ornithine – 12 and 15% accordingly. Besides it, at Pinus sylvestris L. significant role in nitrogen deposition play γ-aminobutyric acid – about 19% and valine – about 6%; at Picea obovata L. – lysine and glutamic acid – on 10%. During too time, the content proline – amino acids with which presence, as a rule, co-ordinated low temperature stability of plants, at the investigated cold-resistant coniferous species is low – 0.04–0.34%. In the spring at swelling of buds at both species as a part of free amino acids the share arginine and proline increases and sharply decreases – ornithine and γ-aminobutyric acids. Besides the pointed out amino acids at Picea obovata L. the content lysine twice decreases. For Pinus sylvestris L. the high content of the sum aspartic acids and asparagine – 19% in the spring is characteristic; at Picea obovata L. the content of the sum of amino acids with a short carbon chain – serine and glycine – 22% is raised. As reliable stressful metabolite at both species it is possible to consider ornithine, which content during the winter period in buds meristems of 3–5 times above, than in the spring in the swelling buds meristems.

The speech of the language pathologist may serve as a linguistic model in terms of application of language norms, unambiguous use of lexis and register for the achievement of effective professional communication. The aim of the present survey was to integrate the lexical and the corpus-based approach and to compile a collection of terminological units for the purposes of teaching English as a specialized language in the domain of Logopedics.The ESP syllabus brings together a broad range of subjects such as linguistics, phonetics, and medical sciences anatomy and physiology, psychology, neurology, and speech and language pathology. To introduce the core vocabulary and the main issues in several fields and to compensate for the lack of bilingual reference materials available to students in Logopedics, the creation of a bilingual glossary is naturally justified.On the one hand are the key components of speech production such as phonation; resonance; fluency; intonation, voice, and the components of language (phonology, morphology, syntax, semantics, and pragmatics). On the other hand, the focus on doctor-patient communication, history taking, voice, mechanics of breathing, syndromes of communicative disorders, should be introduced in accordance with the academic style conventions. For the achievement of such complex the teaching and learning goals a series of ESP language practice materials were developed, incorporating the listening, reading and speaking skills. Terminological units were extracted from authentic publications, grouped thematically in bilingual glossaries and published as an educational resource on the university platform. Key lexical items were incorporated into learning tasks and specially designed exercises for practicing pronunciation, vocabulary, and extensive oral practice through audio visuals, discussions, simulation and role-play activities, students’ Power point presentations by topics and other communication-based activities that transform the classroom into an interactive place. Further to the development of foreign language fluency, the researcher/lecturer believes that writing summaries and translating short professional texts should be part of the language seminars for logopedics.The bilingual glossaries provide clear and concise definitions, sample sentences that illustrate usage, and translation equivalents in Bulgarian, while the language practice resources reinforce the relevant terms in the field.

The paper presents a discussion of three selected short stories written by Leo Tolstoy namely: “God Sees the Truth but Wait, Three Questions, and What Men Live By”. Thus, the aim of this paper is to reveal the social consciousness as appeared in such literary kind because awareness plays an important role in people's lives and all our lives are built on the awareness of things. However, it has been noticed that this work of Leo Tolstoy mirrors awareness of traditional and modern values and have thematic varieties, deep insight into human realities and characters. The stories of Leo Tolstoy represent an authentic and real picture of human life which considered being a convincing story.

The metal laces made using the bobbin lace techniques on Estonian national costumes have received unreasonably modest attention. Unlike other types of lace that have been studied in the 20th and 21st centuries, there is no information regarding the use of metal laces in Estonia.In order to better understand the background of national costumes decorated with metal laces, one needs to be familiar with the political, economic and educational life of the time. The research questions set in this article concern the spread of metal lace used on Estonian national costumes, the technology used and the contemporary materials for making metal bobbin lace. I discuss the spread of laces and the purpose of use thereof; also, I provide an overview of the technological aspects that the makers of national costumes can rely on to create authentic national costumes.The items decorated with metal bobbin lace preserved in the Estonian National Museum date back to a period from 1714 (Kadrina pot-shaped cap ERM 16362) to around 1900. Hence our ancestors held the beauty of metal lace in high esteem and used it to decorate their clothing for almost 200 years. During this period, present-day Estonia was divided in two – Estonia and Livonia – and the country had been under Russian rule since 1710. Metal bobbin lace is widespread primarily in northern and western Estonia and on the islands. The use of bobbin lace decreased after 1860 when crochet lace pushed it into the background, as the former required more time and more resources.This article examines the period from the early 18th century to the late 19th century. Based on the collections of the Estonian National Museum, I created a database of 223 items decorated with metal bobbin lace. Metal bobbin lace was used to decorate midriff blouses, head covers and aprons – in short, the technique was used to decorate items which play a central role in clothing. Items of clothing decorated with metal bobbin lace were considered fancy. The use of linen lace in Estonia has been documented, but there is no data on the making of metal lace locally. In the course of my research, I was not able to find any reference to metal bobbin lace being made locally. The few explanations that can be found in the object legends in the museum refer to metal lace as a purchased good. The need of the peasantry for beautiful items should be highly appreciated and the desire to decorate one’s clothes with remarkable details even more so – using expensive purchased goods like gold or silver lace.Trade connections between Tallinn and Russia were tight; therefore, we can claim for certain that goods produced in Russia, including metal lace, could have found their way into sales outlets in Tallinn. We find a series of references to gold and silver laces in the trilogy of source publications of the property lists of German merchants in Tallinn in the 18th century. Unfortunately, most of the laces do not include references to their origins, and the information given is limited to the amount and material. Thanks to trade connections with foreign countries, even the peasantry had the possibility to purchase lace. In addition to town stores, they were also able to buy lace at fairs or from peddlers.As metal laces with slight variations in patterns were produced from the 17th-19th centuries in several European lace centres, it is difficult to name the specific place from which the laces found in Estonia might originate. It is probable that the metal laces found here were imported from Europe.Many of the laces are similar. Wide laces consist of a wavy band whose waves are separated with a fan motif. Many of the laces have small teeth joined by a net. The edges of the lace can be wavy or straight, but with one exception they are all attached to textile, and not used as lace between the textile or on the end of the textile.In the article, I give an overview of different materials that have been used to make historic metal lace and which are accessible to contemporary masters. The availability of suitable material enabled me to make new metal lace based on the examples. However, I do not dare to claim that the material used was authentic. In the future, the chemical composition and the origins of metal laces used on national costumes deserve further research.

The metal laces made using the bobbin lace techniques on Estonian national costumes have received unreasonably modest attention. Unlike other types of lace that have been studied in the 20th and 21st centuries, there is no information regarding the use of metal laces in Estonia.In order to better understand the background of national costumes decorated with metal laces, one needs to be familiar with the political, economic and educational life of the time. The research questions set in this article concern the spread of metal lace used on Estonian national costumes, the technology used and the contemporary materials for making metal bobbin lace. I discuss the spread of laces and the purpose of use thereof; also, I provide an overview of the technological aspects that the makers of national costumes can rely on to create authentic national costumes.The items decorated with metal bobbin lace preserved in the Estonian National Museum date back to a period from 1714 (Kadrina pot-shaped cap ERM 16362) to around 1900. Hence our ancestors held the beauty of metal lace in high esteem and used it to decorate their clothing for almost 200 years. During this period, present-day Estonia was divided in two – Estonia and Livonia – and the country had been under Russian rule since 1710. Metal bobbin lace is widespread primarily in northern and western Estonia and on the islands. The use of bobbin lace decreased after 1860 when crochet lace pushed it into the background, as the former required more time and more resources.This article examines the period from the early 18th century to the late 19th century. Based on the collections of the Estonian National Museum, I created a database of 223 items decorated with metal bobbin lace. Metal bobbin lace was used to decorate midriff blouses, head covers and aprons – in short, the technique was used to decorate items which play a central role in clothing. Items of clothing decorated with metal bobbin lace were considered fancy. The use of linen lace in Estonia has been documented, but there is no data on the making of metal lace locally. In the course of my research, I was not able to find any reference to metal bobbin lace being made locally. The few explanations that can be found in the object legends in the museum refer to metal lace as a purchased good. The need of the peasantry for beautiful items should be highly appreciated and the desire to decorate one’s clothes with remarkable details even more so – using expensive purchased goods like gold or silver lace.Trade connections between Tallinn and Russia were tight; therefore, we can claim for certain that goods produced in Russia, including metal lace, could have found their way into sales outlets in Tallinn. We find a series of references to gold and silver laces in the trilogy of source publications of the property lists of German merchants in Tallinn in the 18th century. Unfortunately, most of the laces do not include references to their origins, and the information given is limited to the amount and material. Thanks to trade connections with foreign countries, even the peasantry had the possibility to purchase lace. In addition to town stores, they were also able to buy lace at fairs or from peddlers.As metal laces with slight variations in patterns were produced from the 17th-19th centuries in several European lace centres, it is difficult to name the specific place from which the laces found in Estonia might originate. It is probable that the metal laces found here were imported from Europe.Many of the laces are similar. Wide laces consist of a wavy band whose waves are separated with a fan motif. Many of the laces have small teeth joined by a net. The edges of the lace can be wavy or straight, but with one exception they are all attached to textile, and not used as lace between the textile or on the end of the textile.In the article, I give an overview of different materials that have been used to make historic metal lace and which are accessible to contemporary masters. The availability of suitable material enabled me to make new metal lace based on the examples. However, I do not dare to claim that the material used was authentic. In the future, the chemical composition and the origins of metal laces used on national costumes deserve further research.

The University of Utah is a publicly funded, R1 university located in the United States, with a mission statement that includes recognition of its global role, asserting that “. . . we engage local and global communities to promote education, health, and quality of life.” As part of that engagement, the University of Utah has offered learning abroad opportunities since 1967. Approximately 1 in 10 students participates in a global learning experience, and 80% of programs are short term (defined as 10 weeks or less). The pedagogical theories that guide these short-term programs are experiential learning, authentic learning, and intentional targeted intervention. We describe three short-term learning abroad programs in public health and social work—for students at the high school, undergraduate, and graduate level—connecting the reported benefits to the pedagogical model and theories used to develop the specific curriculum for these short-term programs. Faculty use a variety of reflective tools to help students learn to function in their new setting (experiential learning); explore and meaningfully construct concepts and relationships as they address real-world problems (authentic learning); and facilitate intercultural growth (intentional targeted learning). The University of Utah has adapted a three-stage model for learning abroad that incorporates principles from these theories to drive program activities: Plan (predeparture), Learn (program participation), and Integrate (postprogram). Immediate benefits to students of participating in a global-learning experience include intercultural learning, personal, and career development. Benefits to faculty include scholarly products in the domains of education and service learning, community-engaged participation, and research.

The Internet of Things (IoT) ushers in a new era of communication that depends on a broad range of things and many types of communication technologies to share information. This new age of communication will be characterised by the following characteristics: Because all of the IoT’s objects are connected to one another and because they function in environments that are not protected, it poses a significantly greater number of issues, constraints, and challenges than do traditional computing systems. This is due to the fact that traditional computing systems do not have as many interconnected components. Because of this, it is imperative that security be prioritised in a new approach, which is not something that is currently present in conventional computer systems. The Wireless Sensor Network, often known as WSN, and the Mobile Ad hoc Network are two technologies that play significant roles in the process of building an Internet of Things system. These technologies are used in a wide variety of activities, including sensing, environmental monitoring, data collecting, heterogeneous communication techniques, and data processing, amongst others. Because it incorporates characteristics of both MANET and WSN, IoT is susceptible to the same kinds of security issues that affect those other networks. An assault known as a Delegate Entity Attack (DEA) is a subclass of an attack known as a Denial of Service (DoS). The attacker sends an unacceptable number of control packets that have the appearance of being authentic. DoS assaults may take many different forms, and one of those kinds is an SD attack. Because of this, it is far more difficult to recognise this form of attack than a simple one that depletes the battery’s capacity. One of the other key challenges that arise in a network during an SD attack is that there is the need to enhance energy management and prolong the lifespan of IoT nodes. This is one of the other significant issues that arise in a network when an SD attack is occurs. It is recommended that you make use of a Random Number Generator with Hierarchical Intrusion Detection System, abbreviated as RNGHID for short. The ecosystem of the Internet of Things is likely to be segmented into a great number of separate sectors and clusters. The HIPS system has been partitioned into two entities, which are referred to as the Delegate Entity (DE) and the Pivotal Entity, in order to identify any nodes in the network that are behaving in an abnormal manner. These entities are known, respectively, as the Delegate Entity and the Pivotal Entity (PE). Once the anomalies have been identified, it will be possible to pinpoint the area of the SD attack torture and the damaging activities that have been taken place. A warning message, generated by the Malicious Node Alert System (MNAS), is broadcast across the network in order to inform the other nodes that the network is under attack. This message classifies the various sorts of attacks based on the results of an algorithm that employs machine learning. The proposed protocol displays various desired properties, such as the capacity to conduct indivisible authentication, rapid authentication, and minimum overhead in both transmission and storage. These are only a few of the desirable attributes.

Teachers are an significant element in the development of assessment instruments. Assessing is, therefore, one of the competencies that must be possessed by teachers . The teacher's understanding of the assessment can be reflected in the assessment presentation on the Lesson Plans (RPP). This study examines the preparation of authentic assessment of the even semester Lesson Plan in the Indonesian language curriculum at five high schools in Bogor. The applied method in this research is qualitatively descriptive research. The purpose of this study is to describe 1) the accuracy of the formulation of the problem with the basic competence and indicator, 2) the completeness of the assessment instrument, and 3) the selection of assessment type. The results showed that 90.9% BC or indicator evaluation instrument is made while 9.1% is not made. This causes the teacher unable to know the level of students' understanding of the BC. Ninety percents (90%) of instrument evaluation is less precise; while 10 % of the evaluation instrument is less precise, less appropriate. Forty ( 40 %) of evaluation instruments are complete and 60% are incomplete (no scoring guidelines and answer keys). There are seven development forms of authentic assessment, namely performance appraisal, project appraisal, portfolio assessment, written assessment, attitude assessment, self-assessment, and product assessment. Here is an overview of the authentic assessment form used by teachers. 20% of all indicators are studied, in the form of performance appraisals, the type is the oral practice . Meanwhile, 80% is a written assessment, in the form of multiple choice test and description (short field and essay). This shows that most teachers do not take advantage of other forms of authentic assessment. Keywords: authentic assessment, basic competencies, indicators.

Free DNA in nature or the environmental DNA (eDNA) contains unique information about the diversity not only of unicellular but also of multicellular organisms – fungi, plants, invertebrates and vertebrates in the past and contemporary nature. eDNA of a soil surface and of an aquatic environment may indicate a presence of contemporary living organisms and deposits, sediments and glaciers – wildlife diversity in the geological past. Fungi are reducers, symbions and parasites and play an important ecological role in nature, and so it is important to know their taxonomic and functional characteristics. Analysis eDNA in samples of forest soil showed that ascomycetes and basidiomycetes are represented most of all. They were identified as mycorrhizal types, plant pathogens and saprotrophes. In soils of different climatic zones DNA of numerous taxons of plant (herbs, shrubs, trees), unicellular and multicellular animals (protozoans, earthworms, birds, mammals) was discovered. In spite of this unknown species of fungi and earthworms were discovered. It was ascertained that eDNA of soil surface layer do not move practically and it is able to display a complete taxonomic filling of vertebrates and relative biomass of individual species. Researches of eDNA of freshwater ecosystems is focused to identify and control spreading of invasive species of crustaceans, mollusks, fishes, amphibians and reptiles with the goal of conservation of biological diversity and ecological balance. It is shown that eDNA may be a better tool to identify these species in comparison with traditional methods of audio and visual observation. At the same time a population size and an ontogenetic stage are not important. Another research direction of eDNA in a fresh water aims to identify species of aquatic animals (crustaceans, insects, fish, amphibians and mammals) at risk of extinction. A short time of eDNA existence in freshwater ecosystems is very useful for a nature protecting, because it can indicate a presence, status and disappearance of species. Thus eDNA of previous population, which is rapidly destroyed, will not interfere with the analysis. However, it is necessary to remember that in river ecosystems eDNA moves with the stream at a great distance. Further researches of eDNA in seawater samples are necessary, because in this aquatic environment the ability to move and storage time of free genetic material is insignificant. In land deposits, water sediments and glaciers free DNA do not move and may be preserved for long periods – till hundreds of thousands of years, that gives a possibility to obtain valuable information about the wildlife of paleoenvironments. In samples of permafrost deposits was found eDNA of numerous taxons of fungi, plants, three species of beetles, two species of fossil bird moa, mammoth, bison, horse. Water sediments is rich in eDNA also. In sea sediments extracellular DNA is much more than in sea water. Moreover, the anoxic conditions slow down destructive processes that ensures its long-term preservation. Sea sediments, especially estuary sediments are used to determine influence of human activities on the biological communities of ecosystems. Sediments of freshwater lake also contain eDNA, which represent degrading consequences of human interaction with the environment. Results of eDNA study of lake sediments as well as a study of soil deposits complement results of a study of pollen and fossil plant residues. It confirms a feasibility to combine traditional and molecular genetic methods in ecological researches to obtain most authentic data about past plant diversity. eDNA of many organisms is contained in glaciers. The analysis of this DNA permitted to identify 57 taxons of fungi, 8 orders of higher plants, taxons of protozoans and insects.

Assessment is an ongoing process of evaluating learners’ ability or skill after process of teaching and learning. In English class, assessment also plays an important role. According to the facts found, assessment mostly used in English class is traditional assessment. English class needs more alternative assessments to set the goals of learning English. Curriculum 2013, which is used in Indonesia right now, emphasizes the use of authentic assessment, and performance – based assessment is to be a subset of authentic assessment. This article is trying to discuss the students’ responsess on the use of performance-based assessment applied by the English teachers. This study applied descriptive qualitative research design. The subjects of this research were 30 Senior High School students. To collect the data needed, this study used observation and interview as the instrument. The observation was used to discover performance-based assessments which had already been applied by the English teachers in school. The result of the interview was interpreted to clarify the students’ responsess on the use of performance-based assessment applied by the English teachers. Performance-based assessments which had already been applied were role-plays, writing sample, and retelling. From 6 classes, 3 classes (50%) applied role-plays. Moreover, 2 (33,3%) classes applied writing sample, and the rest applied retelling (16,66%). It means that role-plays was performance-based assessment which was mostly applied by the English teachers. Furthermore, the students’ responsess on the use of performance-based assessment was good. Almost of the 30 students considered that performance-based assessment can improve their English skills and confidence instead of traditional assessment. 24 of the 30 students also claimed that traditional assessment is still inadequate to activate their English skill. In short, 80% of 30 students gave a positive responsess on the use of performance-based assessment.

The purpose of this multimedia research is to provide a blueprint for change that is centered on an alternative disciplinary approach referred to as restorative justice or restorative practices. First, we provide a short overview of the problem of racially based discipline practices in American schools. Then, we share the philosophical underpinnings of restorative justice, describe key components essential to its implementation, and provide links to videos that illustrate the successful implementation of restorative practices in authentic school settings. Thereafter, we offer what we believe is vital for institutional change: understanding the role Whiteness plays in disparate treatment and engaging in anti-racist school leadership. In the final section of the paper, we share specific strategies educators can use to navigate the change processes necessary to work toward racial equity in school discipline.

John Galsworthy, as it is quite widely known, was strongly influenced by Russian literature. What is much less known, or even realized, is that this influence had at least two major lines: (1) a literary line, connected with a vivid perception of style, plot, other aesthetic and ideological discoveries of Russian novelists, and (2) a cultural line that carried Galsworthy to philosophizing on such problems as national character, national culture, and the historical development of the European civilization. In this second respect, Chekhov can be considered the central figure for the English writer. This supposition is based on some Galsworthy’s essays in which Chekhov’s name is directly connected with the idea of “Russianness”, with such typical, according to the English writer’s point of view, Russian traits as “a passionate search for truth”, emotionality, self-knowledge, and self-declaration. Thus, these were, primarily, Chekhov’s works that served for Galsworthy as the basis for his very special—both aesthetic and ideological—experiment. Galsworthy conducted this experiment in his short story under a “Russian”, if not “Chekhovian”, title “Conscience” (cf., Chekhov’s short story “Bezzakonie” [Iniquity, Lawlessness]). Conscience is a very significant motif in Chekhov’s works, and it obviously plays an important role in works by many other Russian authors, including Dostoevsky, which is not something inexplicable. Unlike English culture, which, during the 17th–19th centuries, shifted from reliance on the inner moral voice in a human being to faith in outer moral rules, Russian culture, on the eve of the 20th century, still preserved the authentic Christian belief that conscience is the voice of truth in man. Since, in his essays, Galsworthy declared Chekhov the most authentic Russian writer of all he had known, it is natural to assume that whenever we speak about the English writer’s experiment dealing with the Russian concept, we should bear in mind Chekhov (as the key point to understand the experiment). The essence of the experiment can be described in terms of transplanting the Russian model of “life according to the voice of conscience” to the everyday English reality contemporary with the author within the aesthetic texture of his short story. As a result, the hero, who starts—rather unexpectedly both for himself and everybody around him— living according to his conscience, loses his social status, money, job, home, as well as trust of all those who know him. He excludes himself (and is excluded) from social life and from all possible connections with the human world: the only “world”, the only environment open for him is nature. The experiment Galsworthy made in his short story “Conscience” proves that the Russian model of “life according to the voice of conscience” is not viable in the circumstances of English reality (contemporary with the author).

Mass media plays an important role in our lives and society to a greater degree. As a primary source of information that people tend to go for, the kind of information mass media provides matters. The problem is that every message we see in the media is constructed and that even texts like news reports are not entirely authentic. Previous studies have shown that news media do have their own tendency in writing their news reports, through which the minority communities are usually the ones to receive the short end of the stick. On that account, this study, through conducting critical discourse analysis, attempts to see the media framing in Mauree Turner’s 2020 Oklahoma state legislative election news reports and find an underlying motive behind such framing. The finding shows that in general, the media framed Turner positively in their reports and that this positive frame implies an inherent gender bias and religious discrimination within American society.

The importance of accessing and sharing children’s literature took on new meaning as educators pivoted to remote and online learning models over the course of the past school year. In light of the pandemic, College of Education pre-service educators enrolled in a Fall 2020 Language and Literacy Development course (which is usually scheduled to meet face-to-face twice a week) was re-structured as hybrid, where a group of students was scheduled to meet partially face-to-face and partially online weekly. I planned to adapt my family literacy project collaboration with a local community center, an academic service learning assignment that I incorporate each semester as part of the course. A second community literacy project embedded in the course involved reading and discussing Look both ways: A tale told in ten blocks (Reynolds, 2019), short stories that detail experiences of middle school characters on their walk home from school. My original plan was for both middle school students and pre-service educators to draft personal place-based writing short stories- inspired by the mentor text- and participate in writing conferences. Instead, Zoom sessions were conducted in which both sets of students virtually conferenced about their writing pieces when schedules allowed. In this manner, authentic conversations about writing were being cultivated through a virtual approach.

This paper aims to present folk art as one of the genuine art forms and also to give depth to the beliefs of the primitive traditions. The native Indian art has maintained its continuity till the present day. Folk art plays an important role in the society. The domestic art works like Rangoli, Mandana, the pictorial scroll paintings, the paintings of Hindu deities at Puri, the Pattchitra etc. are the traditional arts of India. These are quiet ancient arts which are done on festivals and celebrations especially marriages. The art produced by the folk artist or tribal people have been very largely short lived, but it still has authentic historical background as found in the archaeological searches of Indus Valley Civilization or Harappan culture. The absorption of tradition and the historical past is helpful for the present and it brings with it the experience to shape up the future. Indian art has been a priceless witness to artistic talents going through the phases of cultural developments and achievements of human creativity.

Analysis of human adenosine deaminase (ADA) gene transcription in four different cell lines indicated that a high density of RNA polymerase II complexes is present at the 5' end of the gene and that the extent of transcription elongation beyond the promoter-proximal region governs gene expression. To determine the sequence requirements for a potential transcription arrest site in the promoter-proximal region, genomic clones containing the ADA promoter, exon 1, and various lengths of intron 1 were injected into Xenopus laevis oocyte germinal vesicles. Transcription analysis indicated that nascent ADA transcripts were highly represented at the promoter-proximal region of the injected templates, suggesting that transcription arrest occurred in the oocyte transcription system. Analysis of the transcription products indicated that ADA transcription initiated at the authentic start site and that the most prominent, short ADA transcripts were 105 nucleotides in length. The 3' end of these transcripts mapped within exon 1, 10 nucleotides downstream of the translation initiation codon. Deletion analysis demonstrated that sequences within exon 1 were sufficient to specify the synthesis of the 105-nucleotide transcripts. Taken together, these data suggest that a transcription arrest mechanism operates in the promoter-proximal region of the human ADA gene and that regulation of elongation beyond this point plays a major role in regulating ADA gene expression.

Analysis of human adenosine deaminase (ADA) gene transcription in four different cell lines indicated that a high density of RNA polymerase II complexes is present at the 5' end of the gene and that the extent of transcription elongation beyond the promoter-proximal region governs gene expression. To determine the sequence requirements for a potential transcription arrest site in the promoter-proximal region, genomic clones containing the ADA promoter, exon 1, and various lengths of intron 1 were injected into Xenopus laevis oocyte germinal vesicles. Transcription analysis indicated that nascent ADA transcripts were highly represented at the promoter-proximal region of the injected templates, suggesting that transcription arrest occurred in the oocyte transcription system. Analysis of the transcription products indicated that ADA transcription initiated at the authentic start site and that the most prominent, short ADA transcripts were 105 nucleotides in length. The 3' end of these transcripts mapped within exon 1, 10 nucleotides downstream of the translation initiation codon. Deletion analysis demonstrated that sequences within exon 1 were sufficient to specify the synthesis of the 105-nucleotide transcripts. Taken together, these data suggest that a transcription arrest mechanism operates in the promoter-proximal region of the human ADA gene and that regulation of elongation beyond this point plays a major role in regulating ADA gene expression.

Diagnostic testing to identify individuals infected with severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) plays a key role in selecting appropriate treatments, saving people’s lives and preventing the global pandemic of COVID-19. By testing on a massive scale, some countries could successfully contain the disease spread. Since early viral detection may provide the best approach to curb the disease outbreak, the rapid and reliable detection of coronavirus (CoV) is therefore becoming increasingly important. Nucleic acid detection methods, especially real-time reverse transcription polymerase chain reaction (RT-PCR)-based assays are considered the gold standard for COVID-19 diagnostics. Some non-PCR-based molecular methods without thermocycler operation, such as isothermal nucleic acid amplification have been proved promising. Serologic immunoassays are also available. A variety of novel and improved methods based on biosensors, Clustered-Regularly Interspaced Short Palindromic Repeats (CRISPR) technology, lateral flow assay (LFA), microarray, aptamer etc. have also been developed. Several integrated, random-access, point-of-care (POC) molecular devices are rapidly emerging for quick and accurate detection of SARS-CoV-2 that can be used in the local hospitals and clinics. This review intends to summarize the currently available detection approaches of SARS-CoV-2, highlight gaps in existing diagnostic capacity, and propose potential solutions and thus may assist clinicians and researchers develop better technologies for rapid and authentic diagnosis of CoV infection.

A large body of evidence has linked unhealthy eating patterns with an alarming increase in obesity and chronic disease worldwide. However, existing methods of assessing dietary intake in nutritional epidemiology rely on food frequency questionnaires or dietary records that are prone to bias and selective reporting. Herein, metabolic phenotyping was performed on 42 healthy participants from the Diet and Gene Intervention (DIGEST) pilot study, a parallel two-arm randomized clinical trial that provided complete diets to all participants. Matching single-spot urine and fasting plasma specimens were collected at baseline, and then following two weeks of either a Prudent or Western diet with a weight-maintaining menu plan designed by a dietician. Targeted and nontargeted metabolite profiling was conducted using three complementary analytical platforms, where 80 plasma metabolites and 84 creatinine-normalized urinary metabolites were reliably measured (CV < 30%) in the majority of participants (>75%) after implementing a rigorous data workflow for metabolite authentication with stringent quality control. We classified a panel of metabolites with distinctive trajectories following two weeks of food provisions when using complementary univariate and multivariate statistical models. Unknown metabolites associated with contrasting dietary patterns were identified with high-resolution MS/MS, as well as co-elution after spiking with authentic standards if available. Overall, 3-methylhistidine and proline betaine concentrations increased in both plasma and urine samples after participants were assigned a Prudent diet (q < 0.05) with a corresponding decrease in the Western diet group. Similarly, creatinine-normalized urinary imidazole propionate, hydroxypipecolic acid, dihydroxybenzoic acid, and enterolactone glucuronide, as well as plasma ketoleucine and ketovaline increased with a Prudent diet (p < 0.05) after adjustments for age, sex, and BMI. In contrast, plasma myristic acid, linoelaidic acid, linoleic acid, α-linoleic acid, pentadecanoic acid, alanine, proline, carnitine, and deoxycarnitine, as well as urinary acesulfame K increased among participants following a Western diet. Most metabolites were also correlated (r > ± 0.30, p < 0.05) to changes in the average intake of specific nutrients from self-reported diet records reflecting good adherence to assigned food provisions. Our study revealed robust biomarkers sensitive to short-term changes in habitual diet, which is needed for accurate monitoring of healthy eating patterns in free-living populations, and evidence-based public health policies for chronic disease prevention.

Experiential learning links knowledge to real practice through seasoned mentor support, professional reflection, and hands-on experience in authentic work environments. While academic public health programs seek to train the future workforce, the current workforce has a critical need for training as well. The Region IV Public Health Training Center’s Pathways to Practice Scholar program gives public health students the opportunity to apply knowledge to competency-based experiences while fulfilling the current workforce’s short- and long-term human resource needs. Placements are offered in all eight states of the region to broaden opportunities for both agencies and student scholars. On completion of the program, scholars are required to submit an executive summary, reflection statement, photos of the experience, and a draft abstract suitable for submission to a professional conference. Since 2015, 36 scholars have been placed in positions across Region IV, 11 in states other than those of their home universities. Students were placed at state, local, and tribal health departments; area health education centers (AHECs); and other agencies (e.g., primary care settings), and the most common work plan domains selected by scholars were analytic/assessment, policy development/program planning, and leadership/systems thinking skills. Scholars’ perceived confidence increased across all domains with the highest increases in financial planning/management and cultural competency. Program implementation and evaluation findings are described, including types of projects, differences in confidence in performing competency domains, and confidence and interest in working with underserved populations. Evaluation findings indicate that the Region IV Public Health Training Center scholars increased their confidence in performing practice competencies while providing support for public health agencies serving underserved populations.

Purpose The purpose of this study, a case study, is to present the uniqueness of the only UNESCO-awarded tea consumption tradition worldwide and its implications on the tourism industry by analyzing and weighting initializing effects of tea on the regional economy, as well tea tourism-related cultural and social rootings. Design/methodology/approach Between 20 July 2020 and 20 August 2020, qualitative interviews have been conducted with regional experts, as well as relevant statistics have been evaluated, cultural and social effects have been analysed and weighted, following two main research questions: can “Tea”, along with its history and tradition, be used effectively for initializing tourism and destination brand management? What kind of instruments are useful for reinforcing authentic tea-oriented destination marketing? In addition, the European Tea Speciality Association (ESTA) supported this research project also with another qualitative interview. Furthermore, two workshops of the Working Group on International Tea Tourism have been used to discuss and reflect the impacts of tea museums and tea consuming traditions as well as the European Tea Research Circle (ETRC). Findings Tea and its culture is a strong motive for initializing tourism, as it is linked to cosy ceremonies and social gathering. The brand awareness of the destination “East Frisia” as the “tea destination” of Germany is powerful, and the “East Frisian Tea Ceremony” became a regional social anchor and element of loyalty for tourists and citizens. It is useful and profitable to develop more tea-related authentic evens and products to use this UNESCO award and the positive image of tea ceremonies to strengthen the regional economy. Research limitations/implications As the UNESCO award was awarded in 2016, any impacts could only be evaluated for a short period of time. Practical implications The specific tea culture in East Frisia has the potential for establishing this region as the most unique region for Tea Tourism in Central Europe. This should be evaluated and developed within additional measurements and programmes. The aim should be a plan for additional mapping and tea-related events and attractions to use this unique heritage for developing sustainable tourism and strengthening the regional hospitality infrastructure. Social implications The East Frisian tea culture is empowering people and functions as a harmonic link among the inhabitants of a structurally underdeveloped region. Thus, this habit is a key factor for the stability and pride of the inhabitants, involving citizens and keeping traditions alive. Originality/value The combination of a cultural heritage award and a habit for celebrating the consumption of a hot beverage is unique worldwide. Therefore, this analysis is a valuable support for the transfer of applicable knowledge from academia to the industry as well as the first research project about the link between tea consuming heritage and tourism in Europe.

Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.

Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.

ABSTRACT In any given organism, approximately one-third of all proteins have a yet-unknown function. A widely distributed domain of unknown function is DUF1127. Approximately 17,000 proteins with such an arginine-rich domain are found in 4,000 bacteria. Most of them are single-domain proteins, and a large fraction qualifies as small proteins with fewer than 50 amino acids. We systematically identified and characterized the seven DUF1127 members of the plant pathogen Agrobacterium tumefaciens. They all give rise to authentic proteins and are differentially expressed as shown at the RNA and protein levels. The seven proteins fall into two subclasses on the basis of their length, sequence, and reciprocal regulation by the LysR-type transcription factor LsrB. The absence of all three short DUF1127 proteins caused a striking phenotype in later growth phases and increased cell aggregation and biofilm formation. Protein profiling and transcriptome sequencing (RNA-seq) analysis of the wild type and triple mutant revealed a large number of differentially regulated genes in late exponential and stationary growth. The most affected genes are involved in phosphate uptake, glycine/serine homeostasis, and nitrate respiration. The results suggest a redundant function of the small DUF1127 paralogs in nutrient acquisition and central carbon metabolism of A. tumefaciens. They may be required for diauxic switching between carbon sources when sugar from the medium is depleted. We end by discussing how DUF1127 might confer such a global impact on cell physiology and gene expression. IMPORTANCE Despite being prevalent in numerous ecologically and clinically relevant bacterial species, the biological role of proteins with a domain of unknown function, DUF1127, is unclear. Experimental models are needed to approach their elusive function. We used the phytopathogen Agrobacterium tumefaciens, a natural genetic engineer that causes crown gall disease, and focused on its three small DUF1127 proteins. They have redundant and pervasive roles in nutrient acquisition, cellular metabolism, and biofilm formation. The study shows that small proteins have important previously missed biological functions. How small basic proteins can have such a broad impact is a fascinating prospect of future research.

ABSTRACTCollaborative student research takes place in educational settings where the teacher directs the laboratory (traditional class) or allows the students to research a topic (non-traditional class). This study examines the role of collaborative student research in two separate settings: in high school (grades 9-12) and in college undergraduate institutions. These experiences include college level Research Experiences for Undergraduates (REU) and high school level Authentic Science Research (ASR) programs. These programs promote collaboration among student peers, teachers, professors, graduate students, post-docs, community members, and industry experts. Benefits of these collaborative student research programs may include development of skills aligned with educational standards such as Common Core State Standards and the Next Generation Science Standards. This study examines the short and long-term outcome of student engagement in collaborative student research experiences, and offers new insight regarding the impact that these unique experiences have on 21st century skill development. Students in this study have participated in non-traditional, research-based experiences ranging from 8 weeks to 4 years. Pre-post and retrospective student survey data was examined qualitatively and quantitatively to better understand the role in which collaborative student research experiences play in the formation of 21st century skills. Results of the study support the notion that collaborative student research experiences offer students meaningful interdisciplinary benefits, and these experiences are more than just a means of recruiting students into science, technology, engineering and math (STEM) fields.

Introduction: At the Crossroad Well, I’ve been an important pawn [in regeneration], for instance, changing doors and windows, enlarging them, eliminating shutters and thus having big open windows, light […] Then came the florist, through a common friend, who was the second huge pawn who trusted in this […] then came the pastry shop. (Alberto, 54, shop owner). Alberto is the owner of Pleasure Factory, one of two upmarket restaurants in a gentrifying crossroads area in northern Milan. He started buying apartments and empty stores in the 1980s, later becoming property manager of the building where he still lives. He also opened two restaurants, and then set up a neighbourhood commercial organisation. Alberto’s activities, and those of people like him, have been able to reverse the image and the usage of this public crossroad. This is something of which all of the involved actors are well aware. They have “bet,” as they say, and somehow “won” by changing people’s common understanding of, and approach to, this zone. This paper argues for the necessity of a closer look at the ways that place is produced through the multiple activities of small entrepreneurs and social actors, such as Alberto. This is because these activities represent the softer side of gentrification, and can create zones of pleasure and authenticity. Whilst market forces and multiple public interventions of gentrification’s “hard” side can lead to the displacement of people and uneven development, these softer zones of authenticity and pleasure have the power to shape the general neighbourhood brand (Atkinson 1830). Speaking rhetorically, these zones act as synecdoche for the surrounding environment. Places are in part built through the “atmosphere” that consumers seek throughout their daily routines. Following Gernot Böhme’s approach to spatial aesthetics, atmosphere can be viewed as the “relation between environmental qualities and human states” (114) and this relation is worked out daily in gentrified neighbourhoods. Not only do the passer-bys, local entrepreneurs, and sociologists contribute to the local making of atmosphere, but so does the production of the environmental qualities. These are the private and public interventions aimed at refurbishing, and somehow sanitising, specific zones of central neighbourhoods in order to make them suitable for middle class tastes (Julier 875). Not all gentrification processes are similar however, because of the unique influence of each city’s scalar rearrangements. The following section therefore briefly describes the changes in Milan in recent times. The paper will then describe the making of a zone of authentic pleasure at the Isola crossroads. I will show that soft gentrification happens through the making of specific zones where supply and demand match in ways that make for pleasant living. Milan, from Global to Local and Back Milan has a peculiar role in both the Italian and European contexts. Its metropolitan area, of 7.4 million inhabitants on a 12 000 km² surface, makes it the largest in Italy and the fifth in Europe (following Ruhr, Moscow, Paris and London). The municipal power has been pushing for a long-term strategy of population growth that would make Milan the “downtown” of the overall metropolitan area (Bricocoli and Savoldi 19), and take advantage of scalar rearrangements, such as State reconfigurations and setbacks. The overall goal of the government of Milan has been to increase the tax base and the local government’s political power. Milan also demonstrates the entrepreneurial turn adopted by many global cities, evident in the amount of project-based interventions, the involvement of international architecture studios (“La città della Moda” by Cesar Pelli; “Santa Giulia” by Norman Foster; “City-Life” and “the Fair” by Zaha Hadid and David Libeskind), and the hosting of mega-events, such as the Expo 2015. The Milan growth machine works then at different scales (global, national, city-region, neighbourhood) with several organisational actors involved, enormous investments and heavy political struggles to decide which coalition of winning actors will ride the tiger of uneven development. However, when we look at those transformations through the lens of the neighbourhood what we see is the making of zones within the larger texture of its streets and squares. This zone-making is similar to leopard’s spots within a contained urban space, it works for some time in specific streets and crossroads, then moves throughout the neighbourhood, as the process of gentrification goes on. The neighbourhood, which the zone of authentic pleasure I’m describing occurs, is called Isola (Island) because of its clustered shape between a railroad on the southern border and three major roads on the others. Isola was, until the 1980s, a working-class residential space with a strong tradition of left-wing political activism, with some small manufacturing businesses and minor commercial activities. This area remained quite removed from the overall urban development that radically shifted Milan towards a service economy in the 1960s and 1970s. However, during the 1980s and 1990s, the land price impacts of private activities and public policies in surrounding neighbourhoods increasingly pushed people and activities in the direction of Isola. Alberto explains this drift through the example of his first apartment: Just look at the evolution of my apartment. I bought it [in the 1980s] for 57 million lira, I remember, then sold it in 1992 for 160, then it was sold again for 200 000 euros, then four years ago for 250 000 and you have to understand that we’re talking about 47 square metres. If you consider the last price, 250 000, I’ll tell you that when I first came to the neighbourhood you could easily buy an entire building with that money. The building at number five in this street was entirely sold for 550 millions lira—you understand now why Isola is a huge real estate investment, people like it, its central, well served by the underground—well it still has to grow from a commercial standpoint… This evolution in land prices is clear when translated into the price for square metre: 2.4 euros for square meter in 1985, 3.4 in 1992, 4.2 in 2000 and 5.3 in 2006. The ratio increase is 120% in 20 years, demonstrating both the general boost in the economy of the area and also what is at stake within uneven development. What this paper argues is that parallel to this political economy dimension, which may be called the “hard side” of gentrification, there is also a “soft side” that deserves a closer attention. Pastry shops, cafés, bars, restaurants are as strategic as real estate investments (Zukin, Landscapes 195). The spatial concept that best captures the rationale of these activities is the zone, meaning a small and localised cluster of activities. I chose to add the features of pleasure and authenticity because of the role they play in ordinary consumption practices. In order to illustrate the specific relevance of soft gentrification I will now turn to the description of the Isola crossroad, a place that has been re-created through the interventions of several actors, such as Alberto above, and also Franca and her pastry shop. A Zone of Authentic Pleasure: Franca’s Pleasure Corner We’re walking through a small residential street and arrive at a crossroad. We turn to look to the four corners, one is occupied by a public school building, the second and the third by upmarket restaurants, and the last by a “typical” Sicilian pastry shop and café. We decide to enter here, find a seat and order a coffee together with a small cassata, a cake made with sweet cheese, almonds, pistachios and candied fruit. While we are experiencing this southern Italian breakfast at some thousand miles of spatial distance from its original site, a short man enters. He’s a well renowned TV comedian, best known for his would-be-magician gags. Everybody in the café recognises him but pretends to ignore his presence, he buys some pastries and leaves. Other customers come and go. The shop owner, an Italian lady in her forties called Franca, approaches to me and declares: “as you can see for yourself, we see elegant people here.” In this kind of neighbourhood it is common to see and share space with such “elegant” and well-known people, and to feel that a pleasant atmosphere is created through this public display. Franca opened the pastry shop three years ago, a short time after the upmarket restaurants on the other corners. However, when we interviewed her she wasn’t yet satisfied with the atmosphere: “when I go downtown and come back, I feel depressed … it’s developing but still has not grown enough … Isn’t one of the classic rich places in Milan—it’s kind of a weird place.” Through these and other similar statements she expressed a feeling of delusion toward the neighbourhood—a feeling on which she’s building her tale—that emerged in contrast to the kind of environment Franca would consider more apt for her shop. Franca’s a newcomer, but knows that the neighbourhood has been “sanitised.” “It really was a criminal area” she states, using overtly derogatory terms just like they were neutral: “riffraff” for the customers of ordinary bars, “dull” for the northern part of the neighbourhood where “there even are kebab shops.” In contrast she lists her beloved customers: journalists, architects, two tenors, people working at the theatre nearby, and the local TV celebrity described earlier. When she refers to the crossroad she speaks of it as, “maybe the gem of the neighbourhood.” At some point she declares what makes her proud: A place like this regenerates the neighbourhood—to be sure, if I ever open a harbour bar I’d attract riffraff who would discredit the place. In short it’s not, to make an example, a club where you play cards, that bring in the underworld, noise, nuisance—here the customer is the typical middle class, all right people. The term “all right people” reoccurs in several of Franca’s statements. Her initial economic sacrifices, relative though if, as she says, she’s able to open another shop in a more central place (“we would like to become a chain-store”), are now compensated by the recognition she gets from her more polished clients. She also expresses a personal satisfaction in the role she has played in the changes in Isola: “until now it’s just a matter of personal satisfaction—of seeing, I’ve built this stuff.” Franca’s story demonstrates that the soft side of gentrification is also produced by individuals that have little in common with the huge capital investment that is at stake in real estate development, or the chain stores that are also opening in the neighbourhood. In one way, Franca is alone in her quest for regeneration, as most entrepreneurs are. In another way, though, she is not. Not only is she participating in the “upgrading” together with other small business owners and consumers who all agree on the direction to follow, thus building together a zone of authentic pleasure, but she can also rely on a “critical infrastructure” of architects, designers and consultants (Zukin, Landscapes 202) that knows perfectly how to do the job. With much pride in her interior design choices, Franca pointed out how her café mixes chic with classic and opposing them to a flashy and folk décor. She showed us the black-and-white pictures at the wall depicting Paris in the 1960s, the unique design coffee machine model she owns, and the flower vases conceived by a famous designer and filled by her neighbour florist. The colours chosen for the interior are orange, tied to oranges—a typical product of Sicily, whereas the brown colour relates to the land, and the gold is linked to elegance. The mixing of warm colours, Franca explained, makes the atmosphere cosy. Where did this owner get all these idea(l)s? Franca relied on an Italian interior design studio, which works at a global scale furnishing hotels, restaurants, bars, shops, bathing establishments, and airports in New York, Barcelona, Paris, and Milan. The architect with whom she dealt with let her “work together” in order to have an autonomous set of choices that match the brand’s offer. Authenticity thus becomes part of the décor in a systematic way, and the feeling of a pleasant atmosphere is constantly reproduced through the daily routines of consumption. Again, not alone in the regeneration process but feeling as if she is “on her own,” Franca struggles daily to protect the atmosphere she’s building: “My point is avoiding having kids or tramps as customers—I don’t want an indiscriminate presence, like people coming here for a glass of wine and maybe getting drunk. I mean, this is not the place to come and have a bianchino [cheap white wine]. People coming here have a spumante, and behave in a completely different fashion.” The opposition between a bianchino, the cheap white wine, and the spumante is one that clarifies the moral boundary between the targets of soft gentrification. In Italian popular culture, and especially in the past, it was a common male habit to have bianchino from late morning onwards. Bars therefore served as gendered public spaces where common people would rest from working activities and the family sphere. Franca, together with many new bars and cafes that construct zones of authentic pleasure in gentrifying neighbourhoods, is trying to update this cultural practice. The spumante adds a sparkling element to consumption and is branded as a trendy aperitif wine, which appeals to younger tastes and lifestyles. By utilising a global design studio, Franca connects to global patterns of urban development and the homogenising of local atmospheres. Furthermore, by preferencing different consumption behaviours she contributes to the social transformation of the neighbourhood by selecting customers. This tendency towards segregation, rather than mixing, is a relevant feature here, since the Franca’s favourite clientele are clearly “people like us” (Butler 2469). Zones like the one described above are thus places where uneven development shows its social, interactive and public façade. Pleasure and Authenticity in Soft Gentrification The production of “atmosphere” in a gentrifying neighbourhood goes together with customers’ taste and preferences. The supply-side of building the environmental landscape for a “pleasant” zone needs a demand-side, consumers buying, supporting, and appreciating the outcome of the activities of business people like Franca. The two are one, most of the time, because tastes and preferences are linked to class, gender, and ethnicity, which makes a sort of mutual redundancy. To put it abruptly: similar people, spending their time in the same places and in a similar way. As I have shown above, the pastry shop owner Franca went for mixing chic and classic in her interior design. That is distinctiveness and familiarity, individualisation and commonality in one unique environment. Seen from the consumer’s perspective, this leads to what has been depicted by Sharon Zukin in her account of the crisis of authenticity in New York. People, she says, are yearning for authenticity because this: reflects the separation between our experience of space and our sense of self that is so much a part of modern mentalities. Though we think authenticity refers to a neighbourhood’s innate qualities, it really expresses our own anxieties about how places change. The idea of authenticity is important because it connects our individual yearning to root ourselves in a singular time and place to a cosmic grasp or larger social forces that remake our world from many small and often invisible actions. (220) Among the “many small and invisible actions” are the ones made by Franca and the global interior design firm she hired, but also those done daily by her customers. For instance, Christian a young advertising executive who lives two blocks away from the pastry shop. He defines himself an “executive creative director” [in English, while the interview was in Italian]. Asked on cooking practices and the presentation he makes to his guests, he declares that the main effort is on: The mise en place—the mise en place with no doubt. The mise en place must be appropriate to what you’re doing. Sometimes you get the mise en place simply serving a plateau, when you correctly couple cheese and salami, even better when you couple fresh cheese with vegetables or you give a slightly creative touch with some fruit salad, like seitan with avocado, no? They become beautiful to see and the mise en place saves it, the aesthetics does its job …Do you feel there are foods, beverages or consumption occasions you consider not worth giving up at all? The only thing I wouldn’t give up is going out in the morning, and having a cappuccino down there in the tiny pastry shop and having some brioches while I’m at the bar. Those that are not frozen beforehand but cooked just in time and have a breakfast, for just two euros, two euros and ten […] cappuccino and fresh brioche, baked just then, otherwise I cannot even think—if I’m in Milan I hardly think correctly—I mean I can’t wake up really without a good cappuccino and a good brioche. Christian is one of the new residents that was attracted to this neighbourhood because of the benefits of its uneven development: relatively affordable rent prices, services, and atmosphere. Commonality is among them, but also distinctiveness. Each morning he can have his “good cappuccino and good brioche” freshly baked to suit his taste and that allows him to differentiate between other brioches, namely the industrialised ones, those “frozen beforehand.” More importantly, he can do this by simply crossing the street and entering one of the pleasure zones that are making Isola, there and now, the new gentrified Milanese neighbourhood. Zones of Authentic Pleasure In this paper I have argued that a closer attention to the softer side of gentrification can help to understand how taste and uneven development mesh together, to produce the common shape we find in gentrified neighbourhoods. These typical urban spaces are made of streets, sidewalks, squares, and walls, but also shop windows and signs, pavement cafés, planters, and the street-life that turns around all of this. Both built environment and interaction produces the atmosphere of authentic pleasure, which is offered by local entrepreneurs and sought by the people who go there. Pleasure is a central feature because of the increasing role of consumption activities in the city and the role of individual consumption practices. I f we observe closely the local scale where all of these practices take place, we can clearly distinguish one zone from another because of their localised effervescence. Neighbourhoods are not equally affected by gentrification. Internally specific zones emerge as those having the capacity to subsume the entire process. These are the ones I have described in this paper—zones of authentic pleasure, where the supply and demand for an authentic distinctive and communal atmosphere takes place. Ephemeral spaces; if one looks at the political economy of place through a macro lens. But if the aim is to understand why certain zones prove to be successful and others not, then exploring how soft gentrification is daily produced and consumed is fundamental.Acknowledgments This article draws on data produced by the research team for the CSS project ‘Middle Class and Consumption: Boundaries, Standards and Discourses’. The team comprised Marco Santoro, Roberta Sassatelli and Giovanni Semi (Coordinators), Davide Caselli, Federica Davolio, Paolo Magaudda, Chiara Marchetti, Federico Montanari and Francesca Pozzi (Research Fellows). The ethnographic data on Milan were mainly produced by Davide Caselli and by the Author. The author wishes to thank the anonymous referees for wise and kind remarks and Michelle Hall for editing and suggestions. References Atkinson, Rowland. “Domestication by Cappuccino or a Revenge on Urban Space? Control and Empowerment in the Management of Public Spaces.” Urban Studies 40.9 (2003): 1829–1843. Böhme, Gernot. “Atmosphere as the Fundamental Concept of a New Aesthetics.” Thesis Eleven 36 (1993): 113–126. Bricocoli, Massimo, and Savoldi Paola. Milano Downtown: Azione Pubblica e Luoghi dell’Abitare. Milano: et al./Edizioni, 2010. Butler, Tim. “Living in the Bubble: Gentrification and Its ‘Others’ in North London.” Urban Studies 40.12 (2003): 2469–2486. Julier, Guy. “Urban Designscapes and the Production of Aesthetic Consent.” Urban Studies 42.5/6 (2005): 869–887. Zukin, Sharon. Landscapes of Power. From Detroit to Disney World. Berkeley and Los Angeles: University of California Press, 1991. ———. Naked City. The Death and Life of Authentic Urban Places. New York: Oxford UP, 2010.

Coastal communities, including those surrounding the Gulf of Maine, are facing considerable challenges in adapting to increased flood resulting from sea-level rise, and these challenges will remain well past 2050. Over the longer term (decades to centuries), many coastal communities will have to retreat inland away from the coast and toward something new. To date, there appears to be little consideration of how arts and humanities could be leveraged to encourage learning and experimentation to help communities adapt to our changing climate. In this article, we describe an interactive theater model that seeks to address the challenge of bridging scientific knowledge and community conversations on managed retreat and serve as an innovative tool to encourage more productive community conversations about adapting to rising sea levels. The interactive theater workshop consists of two components. The first is a set of short intertwining monologues by three characters (a municipal leader, a climate scientist, and a coastal property owner) who share their thoughts regarding the prospect of managed retreat. Each character provides a glimpse into the attitudes, values, motivations, and fears related to distinct and authentic perspectives on managed retreat. The monologues are followed by a professionally facilitated interactive session during which audience-participants are invited to probe characters’ perspectives and even redirect and replay scenes in new ways to seek more constructive outcomes. The workshop is designed for all session participants to examine their own strengths and weaknesses when engaging others on this subject, to be more prepared to accommodate a range of emotional connections to the subject matter, and to anticipate social dynamics at play. The workshop has now been piloted at four different events. Initial feedback from post-workshop voluntary surveys suggest that the workshop is useful for improving the capacity of resilience professionals to encourage more productive conversations about difficult climate adaptation actions.

IntroductionFrom reality television and self-help literature to exhortations to be “true to yourself,” authenticity pervades contemporary culture. Despite their prevalence, cultures of self-improvement and authenticity are routinely linked to arguments about increasing narcissism and declining care for others. Self-improvement involves self-based practices geared to help realise the “improved” and “better you” while authenticity is focused on developing the unique, inner and “real” you. Critiques of both self-improvement and authenticity culture are particularly evident in a sociological tradition of “cultural pessimism” (Hookway, Moral). This group of thinkers argue that the dominance of a “therapeutic” culture where the “self improved is the ultimate concern of modern culture” has catastrophic social and moral consequences (Reiff; Bell; Lasch; Bellah; Bauman and Donskis). Drawing upon Charles Taylor, I take critical aim at such assessments, arguing that ideals and practices of authenticity can be morally productive. I then turn to an empirical investigation of how everyday Australians understand and practice morality based on a qualitative analysis of 44 Australian blogs combined with 25 follow-up online in-depth interviews. I suggest that while the data shows the prevalence and significance of “being true to yourself” as an orientating principle, the bloggers produce a version of authenticity that misses the relational and socially-shaped character of self and morality (Taylor; Vannini and Williams).Authenticity and NarcissismA key tenet of modern cultural diagnosis (Rieff, Bell; Lasch; Bellah; Bauman and Donskis) is that Westerners have become increasingly “narcissistic” as cultural authority weakens and the self becomes something to “be discovered” and “worked out” (Bauman). Rieff, a key proponent of this tradition, locates the problem specifically with the rise of therapeutic culture in the 1960s, which denied the proper prohibitive function of culture and transformed moral problems into analytic issues for the self-actualising and “authentic” self. Bell identifies growing consumerism and weakening religion as issuing a shift from a culture of restraint to a culture of release, resulting in an unparalleled permissiveness, hedonism and potential nihilism. More recently, Bauman and Donskis (13) argue that our consumerist pursuit of “authentic” or “peak” experiences tears apart the once solid social bonds of the past. For these theorists, a modern culture postulating the uniqueness and authenticity of the individual can only result in a diminishing care for others and a self-defeating culture of self-fulfilment.Lasch launches perhaps the most scathing critique of “authenticity” culture. Lasch asserts that the modern West has seen the emergence of a “culture of narcissism:” a culture pathologically preoccupied with the care and well-being of the self. He contends that meaning and morality comes to be increasingly defined through the lens of “psychic self-improvement” and “an intense preoccupation with the self” (Lasch 25). Lasch writes:Having no hope of improving their lives in any of the ways that matter, people have convinced themselves that what matters is psychic self-improvement: getting in touch with their feelings, eating health food, taking lessons in ballet or belly-dancing, immersing themselves in the wisdom of the East, jogging, learning how to relate’, overcoming the ‘fear of pleasure’ (Lasch 4).This search for self-fulfilment within the private realm of the self offers little hope of escape in Lasch’s analysis. It is a symptom of the disease rather than a treatment. Having sacrificed obedience to a higher authority for an intensive focus on the authentic and self-actualising self, the modern West is left with amoral, uncaring and “narcissistic” selves (Lasch). In the end, morality has little hope in a culture in which the individual is allowed to create their “own set of rules,” where “no” has disappeared from our moral vocabulary, and where foundational moral laws enforced by religious tradition and higher moral authorities have disappeared.Self-Improvement and Authenticity as Moral Ideals A central problem with cultural decline accounts is that they miss how the search for personal authenticity or self-discovery could be morally productive (Taylor). Practices of therapy and self-improvement do not always need to be one-dimensionally read as exemplars of narcissism (Wright). For example, it is important to recognise how contemporary therapeutic and confessional cultures, underpinned by a focus on self-authenticity, self-discovery and personal growth, can emphasise the “moral makeover” or becoming a “better” person (Elliott and Lemert 124). Talk-shows, self-help literature, reality TV and blogging are all cultural examples that underpin how the therapeutic search for authenticity does not have to read as a one-way road to shrinking moral concern.Lasch’s indices of moral decline—“the wisdom of the east” or “eating health food”—can also be read in a more positive moral light. Take yoga, meditation and vegetarianism as examples. These practices are growing rapidly in popularity in Australia (Penman; Hookway, Moral) and have a strong cultural focus on values of authenticity. While these self-practices emphasise personal growth, self-awareness and self-care, at the same time they promote ethical relations of responsibility between self, others, body, nature, animals and environment. As actor Gillian Anderson said: “the whole thing about meditation and yoga is about connecting to the higher part of yourself, and then seeing that every living thing is connected in some way” (Marati). Could these practices, therefore, not be re-interpreted as self-originating acts of ethics—as acts of personal authenticity that morally recognise the Other? (Taylor)?Taylor (1992) provides a useful approach to salvage values of authenticity from the despair of much cultural diagnosis. He (81) suggests that the ethical ideal of authenticity—wrapped in notions of self-discovery, self-fulfilment and personal improvement—now plays a central role in modern Western culture. Taylor (11) emphasises the moral possibilities of authenticity as an ethical ideal built on the principle of “being true to yourself” (Taylor 26). This is a moral mode that rests in the moral ideal of “being true to my own originality,” which is “something only I can articulate” (Taylor 29).Taylor (74) contends that “at its best” authenticity as a contemporary ideal “allows a richer model of existence.” Rather than destroying it point-blank for its weaknesses, Taylor sets as his task to raise the bar of the ideal. He suggests that authenticity in this higher form calls upon people to adopt a self-responsible form of life that engenders people to be “true to themselves” within relations of responsibility to others. The key to achieving this is a tempered version of authenticity that acknowledges its “constitutive tensions” (Taylor 71). This is a reconstructed ideal that balances the creative, original and non-conformist dimensions of authenticity—the artistic aspects—with external signifiers or points of reference outside the self.What Taylor is doing here is putting some checks and balances around authenticity as a notion of unfettered self-determining freedom. He does this by underlining the significance of the self in relation to what he calls “horizons of significance.” For Taylor, it is only through “horizons of significance”—for example, history, nature, charity, citizenship and God—that we come to know and recognise ourselves in meaningful ways (45–48; 68). Taylor highlights here the importance of a social self where the individual choosing/feeling self is absurd taken in isolation from others (36).Like the poet, the musician or the artist, moral creation is personal and intensely subjective but it is still connected to a social self. For example, vegetarianism or yoga may involve the development of an authentic relationship with the self through the cultivation of qualities of personal awareness, growth and self-care but they are also fundamentally about dialogical relations with others—with animals, with nature, with a sense of social and cosmic connectedness. As Taylor asserts, personal sensibility finds significance in the construction of a world independent of self-choice and feeling (89). The value of Taylor is that he recovers authenticity and practices of self-improvement from the straight out negativity of decline theory but does not trivialise morality to a sort of unfettered self-determining and disencumbered freedom. This theoretical discussion provides a conceptual framework in which to investigate how everyday moralities are constructed and practiced in contemporary Australia.Present Study How do Australians understand and experience morality in their everyday lives? What role does authenticity play? What are the implications of this and what it does it mean for authenticity as a contemporary ethical ideal? To help answer these questions I now report the findings of a qualitative study I conducted into everyday Australian moralities. A small qualitative sample of bloggers is in no way representative of the population but provides some illustrative examples of the shape and influence of authenticity culture on moral life. The aim of the everyday moralities project was to “thickly describe” (Geertz) how individuals “write” and “talk” their everyday moral worlds into existence from their own perspectives. The first part of the study involved a qualitative analysis of 44 Australian blogs. Blogs offered an original empirical lens through which to investigate the contemporary production of morality and selfhood in late-modernity. The blogs were selected as a form of personal life record (Thomas and Znaniecki 1833) that allowed access to spontaneous accounts of everyday life that reflected what was important to the blogger without the intervention of a researcher (Hookway, Entering). The blogs were sampled from the blog hosting Website LiveJournal (LJ). Blogs were selected that contained at least two incidents, moments, descriptions or experiences that shed light on the blogger’s everyday moral constructions and practices. The second part of the study inviting sampled bloggers to participate in an online interview to further develop themes expressed in their blog posts. This resulted in 25 online interviews, which were conducted via various instant-messaging programs.“Being True to Yourself”: Authenticity as Moral Value? Meet Queen_Extremist, a 26 year-old female university student from Melbourne and president of the university student association. While writing that her life is “all in a spin”, Queen_Extremist says she “likes who I am, I like the way I do things, I’m proud of what I’ve achieved. I stayed true to myself”. Although Queen_Extremist may position herself as someone who is “not sure what [her] beliefs are based on, or whether they are worthwhile”, she “knows who she is”. And while potentially conflicted about whether “the concept of staying true to one’s self is arrogant and selfish”, “being true to yourself” according to what “feels right” is positioned as a sort of royal road to the construction of everyday rightness. She writes:I know what I feel. I know when something feels wrong to me. I know when something feels right. And I know that it feels terrible when I do something that feels wrong. It’s not logical. It’s not rational. I don’t know if it’s the right thing to do or if it’s selfish or arrogant. But I don't like being something I’m not. I don't like being false or changing my personality for others. I’m really happy with who I am. If something contrary to that is required, I suggest that someone other than me is requested to do it.Queen_Extremist offers a clear articulation of the everyday guiding power of authenticity. This type of morality is rooted in an obligation to realise an authentic selfhood found in a feeling-based sense of right and wrong. One “looks within” to the subjective and authentic world of the feeling and true self to determine “right” and “wrong.” The source of “who I am” is found within the inner world of “true feelings”. So while Queen_Extremist may feel that she does not “know much about anything” she is confident in her knowledge of who she truly is and what she truly feels. This is an ethical knowledge that she can explicitly trust. The trick for Queen_Extremist’s practice of an “ethics of authenticity” is discovering who you are and sticking to it.Universal_cloak, Squash_pippa and Snifflethebouncer all advance a similar moral strategy that highlights the power of “being true to yourself”. 32-year-old Universal_cloak, an artistic designer from Melbourne, writes on her blog of the importance of “being true to yourself” and its helping role in “making moral choices about who I am and what I stand for”:Being true to yourself is one of the most important things you can nurture in life … I think it’s important to live your life in a way that reflects who you are. If you lead a false life you will sooner or later run into problems because you’re ignoring huge parts of yourself that require attention (interview).Universal_cloak believes that “it’s morally wrong to avoid, ignore or otherwise mistreat yourself”. Inverting “do unto others”, she writes, “if you wouldn’t do it to other people, don’t do it to yourself”. She reasons that to not be “who you are” is inherently self-destructive: “I have known people who have ignored who they are, and as a result have sort of ‘soured themselves’”. For Universal_cloak, a corollary of “souring” the self is “souring” relations to others: “in turn, they build up this sourness and it reflects in their life, making them sour toward other people”. For Universal_cloak, authenticity not only governs the relation of self upon self but also involves relations of care with others; the personal search for authenticity is connected to how one treats and relates to other people.Similarly, Snifflethebouncer, a 22-year old PhD student from Sydney, writes “one of the things that matters most to me, with morality, is that you feel genuine about what you’re doing”. Feeling emerges here as a strategy to validate a “genuine” or “authentic” morality:You feel in your heart that it’s the right thing. If you feel one thing and do something else, then you’re not being true to yourself. If I feel one thing is the right thing to do, but I do something else (to benefit myself, most probably), then I’ll feel bad about it, and I’ll feel I haven't followed my morals.Squash_pippa, a 32-year-old female community worker from Sydney, elaborates the significance of “being true to yourself” as a code of action by describing a story about someone who “invented themselves to be someone that they’re not” and how this had caused her to feel inferior, to even “hate” herself “for not being as good as what they were”. She explains, claiming to now see the “situation objectively”, that this person had actually lied about “who they were” by “making themselves out to be so good”. They had violated the ideal of being the “real” and “authentic” you. For Squash_pippa this meant they were actually a “lesser person” as they were not prepared to accept the reality of “who they really are”. This notion of being authentic to the self (Taylor) is something Squash_pippa says she has always committed to. She is “who I am” and “never compromises what ‘feels’ right”:I am who I am and people can either like me or hate me, either way I’m not too fussy just as long as I never have to go against the morals and values I have and never compromise what ‘feels’ right … We all have our faults and they're not always easy to accept but it takes a stronger person to accept who they really are than the one who lies and makes themselves to be someone who they’re not.Queen_Extremist, Universal_cloak, Squash_pippa and Snifflethebouncer evoke a type of “ethics of authenticity”, where the notion of “being true to yourself” is sourced from the “romantic solace” of moral feeling. In these accounts, there is only one true or authentic self—the rest are imposters that lead to falseness and the problems of inauthenticity, fakery and phoniness—the contemporary sins of an “age of authenticity”.Being true to self is developed in these accounts as a life-principle that suggests we all have a unique and original way of being moral within us that needs to be realised and fulfilled. For these bloggers, the primary moral task is to search and reveal the “authentic” self, the real and truthful self that lurks within. While “being true to yourself” operates as a powerful framework of belief in these blog accounts, it does not meet Taylor’s criteria of authenticity in its “higher form.” Authenticity is mobilised in its more “narcissistic” form, where moral talk is never linked to something external to the self. For example, Queen_Extremist knows who she is and does not want to be something she is not. Likewise, Universal_Cloak believes in living life “in a way that reflects who you are”. These are highly subjectivist accounts of morality which not only ignore the social basis of morality but also present morality as unilateral and deaf rather than something that is responsive to people’s suffering or flourishing (Sayer). Authenticity—using Taylor’s language—is presented in an impoverished form where ideals of action never reside outside the self and thus fail to invoke a better or higher form of life worth searching and striving for (Taylor 61). In many ways, we end up with evidence that support declinist accounts of authenticity discourses as self-centred, introverted and amoral.ConclusionIn this paper I have examined the importance of authenticity as a contemporary cultural and moral value. In the first part, I showed how authenticity and cultures of self-fulfilment have been negatively theorised by the “cultural pessimists.” Using the work of Taylor, I went on to argue that authenticity, particularly the ethical principle of “being true to yourself” can be retrieved from the pessimism of thinkers like Rieff, Lasch, Bell, Bauman and Donskis. I argue that Taylor is particularly important in how he recognises the value of authenticity in terms of it’s creative and artistic dimensions but also the external “horizons of significance” that give it substance, life and meaning. The second part of the paper moved to an empirical analysis of how authenticity was mobilized by a selection of Australian bloggers. For these individuals, to be authentic means not “being something I’m not” (Queen_Extremist); “not leading a false life” (Universal_cloak); and not “inventing” yourself “as someone else”. Like reality television contestants, their task is to sort the real from the fake, from those “playing the game” and those being themselves—to work out who’s being “real” and who’s not. Why authenticity is clearly a powerful guide for this group of bloggers, their accounts do seem to partly support the pessimists’ charge of narcissism. Ideas of authenticity are presented as coming purely from inside the self without reference to external “horizons of significance.” This leaves us with an anemic form of authenticity that ignores the social basis of self, authenticity and morality (Taylor).“Being true to yourself” is a moral strategy that invokes a modernist assumption of a stable and unitary model of self. It is a version of self that appears distinctly “non-liquid” (Bauman). There are, for example, no “multiple” or “fragmented” selves in the blog accounts of Queen_Extremist, Universal_cloak and Snifflethebouncer but only “true” and “false” “personalities”; “real”, “false” or “invented selves”. As Universal_cloak says, being “true to yourself” means “to live your life in a way that reflects who you are” (Universal_cloak). In this way the bloggers appear to not only miss the socially-shaped character of the moral self but also the aboutness of morality—how morality is about people’s well-being, suffering and flourishing rather than simply the authority of the subject (Sayer).Two key research agendas emerge from these findings. First, further research is needed to empirically investigate wider practices of authenticity and morality beyond internet populations and to examine the extent and shape of narcissism. Second, there are fruitful lines of inquiry in investigating the dynamics of “being true to yourself” in a “liquid” age supposedly defined by identity reinvention and instant transformation (Elliott and Lemert). Does the pursuit of an authentic ethical self represent a form of resistance to identity fluidity and reinvention or could it actually feed the short-termism of a “no strings attached” world, where the search for “true” or “authentic” selves promote a culture of “moving on” and weak social bonds (Bauman and Donskis 14)?ReferencesBauman, Zygmunt, and Donskis, Leonidas. Moral Blindness: The Loss of Sensitivity in Liquid Modernity. Cambridge: Polity, 2013. Bauman, Zygmunt. Liquid Modernity. Cambridge: Polity, 2000.Bell, Daniel. The Cultural Contradictions of Capitalism. New York: Basic Books, 1976.Bellah, Robert, Richard Madsen, William M. Sullivan, Ann Swidler, and Steve Tipton. Habits of the Heart: Individualism and Commitment in American Life. Berkeley: U of California P, 1996.Elliott, Anthony and Charles Lemert. The New Individualism: The Emotional Costs of Globalization. New York: Routledge, 2006.Geertz, Clifford. The Interpretation of Cultures. New York: Basic Books, 1973.Hookway, Nicholas. “Entering the Blogosphere: Some Strategies for Using Blogs in Social Research.” Qualitative Research 8.1 (2008): 91–113.Hookway, Nicholas. “Moral Decline Sociology: Critiquing the Legacy of Durkheim.” Journal of Sociology 20 Jan. 2014. DOI: 10.1177/1440783313514644.Lasch, Christopher. The Culture of Narcissism: American Life in an Age of Diminishing Expectations. New York: W.W. Norton, 1979. Marati, Jessica. 50 Quotes about Meditation and Yoga. 2012. 15 Jan. 2015 ‹http://ecosalon.com/50-quotes-on-meditation-amp-yoga/›.Penman, Stephen. Yoga in Australia: Sign of the Times. 2010. 15 Jan. 2015 ‹http://www.yogasurvey.com/SignoftheTimes.pdf›.Rieff, Phillip. The Triumph of the Therapeutic: Uses of Faith after Freud. New York: Harper and Row, [1966] 1987.Sayer, Andrew. Why Things Matter to People. New York: Cambridge UP, 2011.Taylor, Charles. The Ethics of Authenticity. Cambridge: Harvard UP, 1992.Thomas, William I. and Florian Znaniecki. The Polish Peasant in Europe and America. New York: Dover,[1918] 1958.Vannini, Phillip and J. Patrick Williams. Authenticity in Culture, Self and Society. Surrey: Ashgate, 2009. Wright, Katie. “Theorizing Therapeutic Culture: Past Influences, Future Directions.” Journal of Sociology 44.1 (2008): 321–336.

Abstract Classroom management is cited as a frequent concern by many teachers. These concerns with classroom management are commonly rooted in a struggle to effectively engage students and a failure to form authentic relationships with students. Centering Culturally Relevant Pedagogy is crucial when effectively engaging and building authentic relationships with students – especially for Culturally and Linguistically Diverse students identified with Emotional Behavior Disorder (EBD). Mainly, teachers should hold a high self-efficacy of themselves and high expectations for their students, build and maintain authentic classroom communities, and demonstrate a passion for their work. Unfortunately, many teachers do not prioritize the need to be culturally responsive to their students’ families or the need to investigate their own cultural self-awareness. Additionally, these teachers often feel uninformed and ill-prepared to prioritize the aforementioned elements to successfully engage students in the classroom, as educator preparation programs often provide too little information, training, and reinforcement regarding the basics, as well as more specific strategies, of effective classroom management. Schools persistently fall short in providing an educational experience for students with EBD that leads to appropriate and desired educational outcomes due to a lack of teacher training in understanding the foundation and function of behavior, as well as how to appropriately address problematic behaviors. These shortcomings become particularly complex in classrooms with students with EBD, given the students’ multifaceted academic and social behavioral needs. Moreover, given the overrepresentation of African American males in the EBD disability category, the importance of specific cultural components cannot be ignored. Thus, when teachers do not structure their classroom culture in a manner that is Culturally Relevant, many students, especially African American male students with EBD, experience challenges meeting their goals to function properly in various environments—both in and out of the classroom. One strategy that teachers can use to improve their teaching of students with EBD is Classroom Management On-boarding (CMO-b). This paper identifies specific techniques that could guide the development of a plan for CMO-b that emphasizes the importance of the teacher-student relationship as the foundation for building a positive and effective classroom for teachers of students identified with EBD, and especially for African American male students.

The purpose of this study is to investigate the relationship between authentic leadership, organizational Virtuousness, and departmental effectiveness at private universities in Jakarta. Two-stage sampling was undertaken in this study. In the first stage, a sample of 17 private universities was selected using a simple random sampling technique. In the second stage, faculty members were randomly contacted from the selected departments from sampled private universities to fill out the questionnaire for this study. Data was collected from the experienced faculty members of various departments of private universities and processed through the Structural Equation Modelling - PLS technique. This study finds that Authentic leadership plays a significant role in cultivating a virtuous environment in a private university department and enhances organizational effectiveness within the department of private universities. Furthermore, the findings propose that organizations must reinforce significant internal powers such as authentic leadership and organizational Virtuousness to improve their efficiency and effectiveness. Authentic leadership, as an upbeat leadership style, can nurture positive qualities in the company. The amplifying and buffering roles of organizational Virtuousness will contribute to the organization’s effectiveness. Limitations of the study were primarily because the focus was on relatively contemporary topics like authentic leadership and organizational Virtuousness, which are part of the evolving research areas. There is little information available, particularly in the context of Indonesian organizations. Secondly, the number of items in the original survey instrument was too large to be efficiently answered in one questionnaire; therefore, it was cut short to a more appropriate scale with experts’ assistance.

Australia’s demographics are going through structural and cultural impediments, and massive changes are starting to occur in the following five years. The baby boomers’ generation is in the process of retiring. The major task which consumes most of the time was to extract knowledge from the baby boomers. Moreover, it involves identifying and evaluating knowledge from critical employees and will leave the establishment sooner. Succession planning mostly involves employees, which are about to depart the organization in the short term, and new skilled employees will engage in the function. Effective succession planning requires affirmative responses regarding the department’s organizational culture, functionality, goals and objectives, and relationship with the stakeholders and vision. To deliver high-quality succession planning, it is indispensable to deliver a robust Successor-Incumbent relationship, mutual reliance, open and sincere communication. Therefore, this paper emphasizes the strategic plan for succession planning and explains how critical it is to have clear, trustable, and authentic communication between the successor and the Incumbent.

Abstract This study aims to analyze the phonological consonant sequence clusters errors in the process of learning English as a second language among 9th-grade students in Jerash District. The participants' speech was recorded using a high-quality recorder before it was transcribed. The study sample consisted of ten students; five of them were males and five of them were females. It was found that most of the phonological sequence clusters errors committed by the 9th-grade students were represented by inserting a short vowel between the last two consonants of the morphological words and geminating the fricative consonant sound. As a remedial plan for those errors, the participants were exposed to an American language pronunciation by watching native speakers pronouncing the same words to improve their consonant sequence clusters errors. It was concluded that the phonological sequence clusters errors committed by the students were significantly reduced after they were exposed to the authentic language pronunciation. Keywords: multimedia videos, phonology, consonant sequence clusters, Jerash district

This paper will use the popular television character, Dexter Morgan, to interrogate the relationship between self and persona, and unsettle the distinction between the two terms. This operation will enable me to raise a series of questions about the critical vocabulary and scholarly agenda of the nascent discipline of persona studies, which, I argue, needs to develop a critical genealogy of the term “persona.” This paper makes a modest contribution to such a project by drawing attention to some key questions regarding the discourse of authenticity in persona studies. For those not familiar with the show, Dexter portrays the life of a serial killer who only kills other serial killers. This is because Dexter, under the tutelage of his deceased father, develops a code that enables him to find a “socially useful” purpose for his homicidal impulses—by exclusively targeting other killers he rationalises his own deadly acts. Dexter necessarily leads a double life, which entails performing a series of normative social roles that conceal his true identity, and the murderous activities of his “dark passenger.” This apparent split between “true” self and “false” persona says a lot about popular conceptions of the performative nature of the self in contemporary culture, and provides a useful framework for unpacking some of the aporias generated by the concept of persona.My aim in the present context is to substantiate the argument that persona studies needs to engage with the philosophical discourse of “self” and “authenticity” if it is to provide a convincing account of the status and function of persona today. The term “persona” derives from the classical Latin word for mask, and has its roots in the theatre of ancient Greece. The Oxford English Dictionary defines the term thus:1. An Assumed character or role, especially one adopted by an author in his or her writing, or by a performer.2.a. as the aspect of a person’s character that is displayed to or perceived by others.b. Psychol. In Jungian psychology: the outer or assumed aspect of character; a set of attitudes adopted by an individual to fit his or her perceived social role. Contrasted with anima.For Jung the persona is “a complicated system of relations between individual consciousness and society, fittingly enough a kind of mask, designed on the one hand to make a definite impression upon others, and, on the other, to conceal the true nature of the individual” (305). We can see that all these usages share a theatrical or actorly dimension. Persona is something we adopt, display, or assume. Further, it is an external quality, which masks, presumably, that which is not assumed or displayed—the private self. Thus, persona is predicated on an opposition between inside and outside. Moreover, it is not a value neutral concept, but one, I will argue, that connotes a sense of “inauthenticity” through suggesting a division between self and role. The “self” is a complicated word with a wide range of usages and connotations. The OED notes that when used with reference to a person the word refers to an essential entity.3. Chiefly Philos. That which in a person is really and intrinsically he (in contradistinction to what is adventitious); the ego (often identified with the soul or mind as opposed to the body); a permanent subject of successive and varying states of consciousness.Of course both terms are further complicated by the way they function within specific specialised discourses. Jung’s use of the term “persona” is part of a complex psychological theory of personality, and the term “self” appears in a multitude of forms in a plethora of scholarly disciplines. The “self” is obviously a key concept in psychology and philosophy, where it is sometimes conflated with something called the subject, or discussed with reference to questions of personal identity. Michel Foucault’s project to track “the constitution of the subject across history which has led us up to the modern concept of the self” (202) is perhaps the most complex and rich body of work with which persona studies must reckon if it is to produce a distinctive account of the relationship between persona and self. In broad terms, this paper advocates a loosely Foucauldian approach to understanding the relationship between self and persona, but defers a detailed encounter with Foucault’s work on the subject (which requires a much larger canvas).For the moment I want to focus on the status of authenticity in the self/persona relationship with specific reference to world of Dexter, which provides an accessible forum for examining a contemporary manifestation of the self/persona relationship with specific reference to the question of authenticity. Dexter conveys the division between authentic inner self and persona through the use of a first person narrative voice that provides a running commentary on the character’s thoughts, and exposes the gap between Dexter’s various social roles and his real sociopathic self. Dexter Morgan is, of course, an unreliable narrator, yet he is acutely aware of how others perceive him, and his narrative voice-over functions as a device to bind the viewer to the character’s first-person perspective. This is important because Dexter is devoid of empathy—he lacks the ability to feel genuine emotion, and conform to the social conventions that govern everyday activities, yet he is focus of audience identification. This means the voice-over must perform the work of making Dexter sympathetic.The voice-over narration in Dexter is characterised by an obsession with the presentation of self, and the disparity between self and persona. In an early episode, Dexter’s narrative voice proclaims a love of Halloween because it is “the one time of year when everyone wears a mask—not just me. People think it's fun to pretend you're a monster. Me, I spend my life pretending I'm not. Brother, friend, boyfriend—all part of my costume collection” (Dexter “Let’s Give the Boy a Hand”).Dexter develops a series of social masks and routines to disguise his “real” self. He is compelled to develop a series of elaborate ruses to appear like a regular guy—a “normal” person who needs to perform a series of social roles. He thus becomes a studious observer of everyday life, and much of the show’s appeal lies in the way he dissects the minutiae of human behavior in order to learn how be normal. Indeed, because he does not comprehend emotion he must learn how to read the external signs that convey care, love, interest, concern and so on—“I just don't understand all that emotion, which makes it tough to fake,” he declares (Dexter, “Popping Cherry”). Each social role requires a considerable degree of actorly preparation, and Dexter demonstrates what we might call, with Erving Goffman, a dramaturgical approach to everyday life (2).For example, Dexter enters into a relationship with Rita, an ostensibly naïve, doe-eyed single mother of two children and a victim of domestic violence—he chooses her because he believes that she is as damaged as he is, and unlikely to challenge him too strongly—“Rita's ex-hubby, the crack addict, repeatedly raped her, knocked her around. Ever since then she's been completely uninterested in sex. That works for me!” (Dexter “Dexter”). Rita provides the perfect cover because she facilitates Dexter’s construction of himself as a normal, heterosexual family man. However, in order to play this most paradigmatic normative role, he must learn how to play with children, and feign affection and intimacy. J. M. Tyree observes that Dexter “employs a fake-it-till-you-make-it strategy for imitating normal life” (82). Of course, he cannot maintain the role too long before Rita becomes suspicious, and aware of Dexter’s repeated lies and evasions.In short, Dexter dramatises what Goffman calls impression management—the character of Dexter Morgan must consistently “give off” signs of normativity (80). Goffman argues that we are all compelled to perform social roles in the manner of Dexter, and this perhaps accounts for why the show appealed to such a wide audience. In many ways, Dexter exposes normative behavior as an “act” that nobody can sustain no matter how hard they try. Dexter’s struggle to decode the conventions that govern everyday life make him a sympathetic character despite his obviously sociopathic tendencies. In other words we are all a little bit like Dexter insofar we must all perform social roles we may not find comfortable. Of course, the whole question of impression management in Dexter becomes even more complex if one considers Michael C. Hall’s celebrity persona and his performance as the titular character, but I do not have the space to pursue this line of inquiry in the present context.So, Dexter is a consummate actor within his “everyday” world, and neatly, perhaps too neatly, confirms Goffman’s “dramaturgical” theory of the “self.” In his essay, “Letter to a Poor Actor” David E. R. George provides a fascinating critique of Goffman from the perspective of a theatre studies scholar. George provocatively claims that Goffman was attracted to theatrical metaphors because of the “anti-theatrical prejudice” embedded within the western tradition. George cites Jonash Barish’s authoritative tome on this topic, which argues “that with infrequent exceptions, terms borrowed from the theatre—theatrical, operatic, melodramatic, stagey, etc.—tend to be hostile or belittling” (1).Barish cites instances of this prejudice from Plato through to St Augustine and beyond, and George situates Goffman within this powerful tradition. He writes,the theatrum mundi metaphor has always been a recipe for paranoia, and in this respect Goffman appears merely to be continuing a long philosophical tradition: the actor-as-paranoiac puts on the maximum number of masks to protect a threatened and fragile self against the daily threat of intimacy, disrespect, deception. (353)It is hardly surprising, then, that Dexter, a paranoid sociopath, stands as an exemplary instance of Goffman’s dramaturgical conception of the self, for Dexter is a show that consistently presents narratives about the relationship between the need to protect the “fragile” self through the construction of various personae. George also argues, with Lyman and Scott, that a “dramatistic” approach to understanding the world produces a cynical perspective because drama is predicated on the split between appearance and reality, nothing is what it appears to be, and nobody is what they appear to be (7). The actor, traditionally, has always worn a mask in some form or another. From the literal masks worn by the actors in ancient Greece to the sophisticated make-up and prosthetic devices worn by today’s thespians, actors, even when they are supposedly playing themselves, expose the gap between self and persona. Arguably, the most challenging and provocative aspect of George’s theory of the actor for persona studies lies in his thesis about how the reviled art of the theatre, which has been pilloried for so many centuries, can function as a paradigm for authenticity. He cites Artaud and Grotowski as examples of two iconic figures that view the theatre as a sacred space that facilitates ‘close encounters of the authentic kind (George 361).George attempts to rescue an authentic core identity, which he perceives to be under siege from the likes of Goffman, who proffers an “onion” model of the self. In George’s reading, Goffman produces a self without an essential, authentic core. This is hardly surprising given Goffman’s background. As an advocate of symbolic interactionism, a school of sociology that proposes that the self is produced as a result of various acts of socialisation, Goffman’s dramaturgical account of the self reinforces George Herbert Mead’s belief that “when a self does appear it always involves an experience of another; there could not be an experience of the self simply by itself” (195).Dexter not only dramatises this self/other dynamic, but also underscores the extent to which we, to use the terminology of Benita Luckmann, inhabit a series of “small life-worlds.” In other words, we lead a series of part-time lives in part-time worlds—modern life, for Luckmann writing in 1970, unfolds on multiple stages that are not necessarily connected or operate according to the same regulatory principles. She writes,The multi-world existence of modern man requires frequent ‘gear-shifting.’ As he moves from one small world into the next, he is faced with at least marginally different expectations, requiring different role performances in concert with different sets of people. (590)Dexter must negotiate a variety of different social roles, each with different requirements and demands. He must, therefore, cultivate a professional persona as a blood-splatter analyst, and perform the personal roles of brother, lover, husband, and so on. Each of these roles occurs in a different “life world” and requires a different presentation of self. Luckmann’s analysis of modern life remains compelling despite being written more than 40 years ago, and she raises one of the most crucial questions for persona studies: what “self,” if any, functions as the executive “gear-shifter?” In Dexter, the narrative voice, the voice behind the masks implies such an essential entity—the true, authentic self, which is consistent with Jung’s account of the relationship between self and persona.Despite a welter of critical theory that debunks the possibility of an essential, self-identical, authentic self (from Adorno’s anti-Heideggerean argument in The Jargon of Authenticity to various post-structuralist theories of subjectivity, especially Judith Butler’s conception of performativity) the idea of sovereign self stubbornly persists in everyday discourse. One of the tasks of persona studies must be to examine these common notions of self and authenticity. On one level, most people experience the “self” as something that refers to what we might call a singular sense of being, and speak about when the feel “most like themselves.” For some, the self emerges within the private realm, the “backstage” areas to use Goffman’s terminology (3). Others speak of feeling most like themselves in executing a social role or some kind of professional occupation. For example, take this extract from a contemporary self-growth web site:Are you feeling like you don’t know who you are anymore? Or maybe you feel like you never really knew yourself. Perhaps you’ve gone through most of your life living by other people’s agendas or ideas of who you should be, and are just now realizing that you really don’t know yourself, your dreams, or your purpose. (Ewing 2013)From the Platonic exhortation to “know thyself” through to the advice dispensed by self-help gurus, the self emerges as a persistent, if elusive, trope in scholarly and everyday discourse. Persona studies needs to reckon with the scope and breadth of the deployment of the self. Indeed it is the very ubiquity of terms like self, authenticity, and persona that require genealogical analysis in the Foucauldian sense of the term. This task entails looking for and uncovering the conditions of possibility for talking about the self across a wide range of contexts.In summary, then, I contend that persona studies needs to carefully examine the relationship between various theories of self and the discourse of authenticity, and establish the extent to which Goffman’s apparently cynical account for the self challenges the assumed authenticity of the self in the Jungian paradigm. Of course, there are many other approaches one could take to this question. For example, Sartrean existentialism problematises any simple opposition between self and persona in its insistence that the self is the product of the others’ perceptions of the subject. This position is captured in his famous maxim that “hell is other people.” This is not because other people are inherently antagonistic or hostile, but that one’s sense of self is in the hands of others. Sartre dramatises this conundrum elegantly in his 1944 play, No Exit.Sartre’s philosophy also engages with the discourse of authenticity, which it borrows from Heidegger’s Being and Time. Existentialism, in its many guises, dominated continental philosophy up until the 1960s and popularised the idea of “authenticity” as an ideal, which enables one to avoid the tyranny of the “They” and avoid the pitfalls of living in bad faith. There is a possibility that the nascent discipline of Persona Studies, as articulated by P. David Marshall and others, risks ignoring the crucial relationship between the discourse of authenticity and the presentation of self by concentrating on the “presentational self” as a set of pragmatic, tactical techniques designed to maximise the impact of impression management within a variety of social and professional contexts (Marshall “Persona”; Barbour and Marshall “Academic”). A more detailed and direct engagement with Foucault’s account of the emergence and constitution of the modern subject, as well as with theories of performativity and authenticity that challenge the arguments and verities of Goffman, and Jung, can provide a richer account of how the concept of persona operates today with reference to, say, “the networked self” (Papacharissi; Barbour and Marshall).So, I would like to conclude by returning to Dexter and the question of authenticity. Dexter can never really manage to identify his authentic self—his “gear-changing” core.It’s there always, this Dark Passenger. And when he’s driving, I feel alive, half sick with the thrill of complete wrongness [...] lately there are these moments when I feel connected to something else... someone. It’s like the mask is slipping and things... people... who never mattered before are suddenly starting to matter. (Dexter, “An Inconvenient Lie”)In this speech, he paradoxically identifies his “dark passenger” as the driver (Luckmann’s “gear-changer”) but then feels “the mask” slipping. There is something beyond what he assumed to be his dark core—the innermost aspect of being that makes executive decisions. Moreover, the status of Dexter’s “dark passenger” is unclear in this speech—is he ‘”he self” or some external agent impelling Dexter to commit murder. Either way Dexter questions the motives and authenticity of this “dark passenger” and those of us with a stake in the nascent discipline of persona studies would do well to be equally skeptical about the status of our key terms.References Adorno, Theodor. The Jargon of Authenticity. Trans. Tarnowski, Knut and Will, Fredric. London and New York: Routledge, 2009.“An Inconvenient Lie.” Dexter. Season 2, Episode 3. DVD Showtime, 2007.Barbour K and Marshall P. D. “The Academic Online: Constructing Persona through the World Wide Web.” First Monday 17.9 (2012). 16 May 2014 http://firstmonday.org/ojs/index.php/fm/article/view/3969/3292.Barish, Jonas. The Anti-Theatrical Prejudice. University of California Press, 1981.Butler, Judith. Gender Trouble. London and New York: Routledge, 1990.“Dexter.” Dexter. Season 1, Episode 1. DVD Showtime, 2006.Ewing, Catherine. ‘Do You Feel Like a Stranger to Yourself?’ 17 April 2014 ‹ http://reawakenyourdreamer.com/2013/09/feel-like-stranger/ ›.Foucault, Michel. “About the Beginnings of the Hermeneutics of the Self: Two Lectures at Dartmouth.” Political Theory (1993): 198-227.George, David E.R. “Letter to a Poor Actor.” New Theatre Quarterly 2.8 (1986): 352-362.Goffman, Erving. The Presentation of Self in Everyday Life. New York: Doubleday, 1959.Heidegger, Martin. Being and Time. Trans. John Macquarie and Edward Robinson. London: Blackwell, 2006.Jung, Carl. Collected Works 7: Two Essays on Analytical Psychology. Princeton: Princeton University Press, 1972.“Let’s Give the Boy a Hand.” Dexter. Season 1, Episode 4. DVD Showtime, 2006.Luckmann, Benita. “The Small Life-Worlds of Modern Man.” Social Research 37.4 (1970): 580-596.Lyman, S. M., and Scott, M. B. The Drama of Social Reality. Oxford: Oxford University Presss, 1975.Marshall, P. David. “Persona Studies: Mapping the Proliferation of the Public Self.” Journalism 15 (2014): 153-170.Mead, George Herbert. Mind, Self and Society. Chicago: University of Chicago Press, 1934.Papacharissi, Zizi (ed.). A Networked Self: Identity, Community, and Culture on Social Network Sites. London and New York: Routledge, 2011.“persona, n.” OED Online. Oxford University Press, March 2014. 12 April 2014.“Popping Cherry.” Dexter. Season 1, Episode 3. DVD Showtime, 2006.Sartre, Jean-Paul. No Exit and Three Other Plays. Trans. Stuart Gilbert. New York: Vintage, 1989.“self, pron., adj., and n.” OED Online. Oxford University Press, March 2014. 13 April 2014.Tyree, J.M. “Spatter Pattern.” Film Quarterly 62.1 (2008): 82-85.

Introduction Indonesian cultural productions use the Indonesian War of Independence (1945-1949) as inspiration for the war’s remembrance in popular culture such as in films (Arps; Irawanto), music, and mobile games, while a special emphasis on wearing historical costumes is made during the anniversary of Indonesia’s declaration of independence. Nowhere is this clearer than in Indonesian historical re-enactment. Although Indonesia has seen a rise in historical re-enactment groups for the last couple of years, the absence of scholarly research on the topic reflects how Indonesian historical re-enactment is still an understudied mode of cultural remembering in the nation. Yet in their uses of costume and media, these groups construct a complex form of remembering where local interests and national aspirations play a key role. Based on principal fieldwork carried out over a period of seven months in 2017 and 2018, the central case study here is the remembrance of the Serangan Umum 1 Maret 1949 (“General Offensive of 1 March 1949”, hereafter: Serangan Umum) by the Yogyakarta-based re-enactor group Komunitas Djokjakarta 1945. On the basis of participant observation, semi-structured in-depth interviews, and discourse analysis, this article critically analyses the re-enactors, their performances in public spaces, and the representations of their performances on social media. The one-hour interviews were conducted in Indonesian or English, whichever the respondents preferred. The re-enactors (six male, five female) were between eighteen and thirty-four years old. Most recently completed levels of education ranged from a high school diploma to a university’s Master’s degree. Amongst them were university students, a high school student, an elementary school teacher, an entrepreneur, an artist, a photographer, and a manager. With a special emphasis on claimed authentic clothing and attributes, they present their ‘image’ through two main media: teatrikals (public street performances) and the use of the social medium Instagram. The performance of memory, or “doing memory”, is related to agency (Plate and Smelik 2-3; 15). Even though such doing-acts are at times habitual, cultural memory can be understood as the product of collective agency (Bal vii). This is indeed prevalent in historical re-enactment communities where the collective constructs a version of the past. More important still are the role of narratives herein as “narrative memories, even of unimportant events, differ from routine or habitual memories in that they are affectively colored, surrounded by an emotional aura that, precisely, makes them memorable” (Bal viii). The collective act of Indonesian historical re-enactment becomes a memorable form of cultural recall that is consciously performed and constructed as a narrative memory. The body in historical re-enactment functions as a vehicle for meaning-making (Agnew, Lamb, and Tomann 7). As the body becomes the medium upon and through which memory is performed, the individual historical re-enactor becomes a producer and consumer of cultural memory. Subsequently, historical re-enactment communities can be seen as user communities that actively participate in content creation. As such, the role of the consumer, user, producer, and creator is inextricably interwoven through the performance (Bruns). This is performatively demonstrated by Indonesian re-enactment groups through both costume and media. This article answers how teatrikals and Instagram, as different forms of mediation, shape performative memories of the Indonesian War of Independence. Drawing from media, re-enactment, and cultural memory studies the article lays bare how embodied and mediated memories are created by combining local and national identity formation through a drive for authenticity in clothing and story. I argue that there is no clear divide between embodiment and mediation of the past, as both are folded into each other for the re-enactors. Komunitas Djokjakarta 1945 Komunitas Djokjakarta 1945 (hereafter: Komunitas D45) is a historical re-enactment community, comprised of approximately sixty-five core members of whom practically all are male, although its composition varies. They re-enact the history of Indonesia and in particular the Javanese city of Yogyakarta, focussing on the violent era from 1943 until 1949. The community is modelled after the Brigade X, which was once led by lieutenant colonel Suharto, later the second president of Indonesia. In their re-enactments, they try to be as authentic as possible towards their clothing and attributes of that specific period in time. The combination of Yogyakarta as décor of significant historical events during the war; the subsequent widely circulating representations of these events in popular culture; the city’s role as cultural node for the performing arts within the country; and the commemorations in the city itself (Ahimsa-Putra 165) add to the significance of Komunitas D45’s representations of the past. This significance also lies in a paradox: although the reasons above give Yogyakarta gravitas when it comes to representing the war, community members are adamant that the city is undervalued in national commemorations of it. Komunitas D45’s main annual re-enactment is that of the Serangan Umum, which was partly re-enacted during the re-enactments I studied in 2017 and 2018. This specific battle is significant as it is seen as a crucial moment during the Indonesian War of Independence. The Serangan Umum was an offensive in the early morning of the first of March 1949 in which Indonesian fighters attacked Dutch-occupied Yogyakarta. The Indonesian fighters were able to take hold of Yogyakarta for six hours, before retreating and with that returning control back to the Dutch. With their practices, Komunitas D45 is a memory community which is based on the establishment of an experiential site during their performances. A historical re-enactment consisting of re-enactors, fireworks, sound effects, and an engaged audience can be considered an experiential site where prosthetic memory emerges, meaning artificial memories (as opposed to memories based on lived experiences) that are sensuous and based on the experience of mass-mediated representations (Landsberg 20). Costume is a means to mediate the past and it is one of the key elements for the re-enactors of Komunitas D45. The teatrikal of the Serangan Umum 1 Maret 1949 “That, that’s an A1 gun. From England,” one re-enactor explained as he showed me a gun. “This is a Sten Gun, Mk. II,” he continued, “that one is usually used by regular soldiers. This one is usually used by someone that portrays lieutenant colonel Suharto.” The relationship between re-enactors and their possessions are “deeply contextualized in the knowledge and use of these objects, embedded in the sense of themselves as creative individuals.” (Hall in Gapps 397). This is on the one hand demonstrated by the re-enactors' historical knowledge of the costumes worn and weapons used, and on the other hand by their ability to build lifelike imitations of these attributes. To make sure that the battles look as authentic as possible, the re-enactors of Komunitas D45 make use of various props and attributes. Some of the actors use sachets of fake blood, made by mixing honey and food colouring or condensed milk, to recreate being shot. During the re-enactments, they bite the sachets and let the fake-blood run down their faces and clothes, imitating being wounded. The military costumes they wear are based on historical books and photos. Some weapons are bought, others are self-made imitations from wood and metal, which cost about a month or two to create. Just like other re-enactors they “go to extraordinary lengths to acquire and animate the look and feel of history” (Gapps 397). Stephen Gapps addresses this need for authenticity as ‘the Holy Grail’ for re-enactors although he mentions that they “understand that it [authenticity] is elusive – worth striving for, but never really attainable” (397). While authenticity indeed seems to be the ‘holy grail’ for Indonesian re-enactors, what authenticity looks like and how it is performed differs. In the case of Komunitas D45, authenticity is firstly constructed in terms of costume and attributes, although the desire to be authentic also resonates in the construction of historical veracity of the narrative and in costumes as a pedagogical tool to create embodied memories. This interplay between narrative and costume is needed at the risk of objects remaining inanimate (Samuel 384). Objects, Raphael Samuel writes, must be “restored to their original habitat, or some lifelike replica of it, if they are to be intelligible in their period setting” (Samuel 384). This is precisely what re-enactors do with costume and props, resulting in the re-enactment of events “in such a way as to convey the lived experience of the past.” (Samuel 384). Yet these re-enactors have not lived experiences of the war, and hence prosthetically embody memories of the past. The desire for authenticity structurally returned in the interviews I conducted with the community members. Thus, the whole performance is produced with the community’s underlying desire to be as authentic as possible with the main focus on their costumes and attributes. This is common for historical re-enactors as they are able to “describe their clothing and equipment in great detail, for the authentic object is deeply bound up with the way history might feel” (Gapps 398). Stephen Gapps goes even further by suggesting that “like historians, reenactors not only tell stories but also cite evidence: the footnote to the historian is the authentic (recreated) costume to the reenactor” (398). The costume is a means to construct a memory narrative, to perform a memory, for re-enactors. Costume is thus a mnemonic device and the central argument has to do with ‘the image’. An analysis of the community presents conflicting statements on the exact role of authenticity. There is not a clear course for it as it reveals a jumping nature. There are multiple authenticities and veracity is only one of its intentions. During the re-enactments, costume and prop are the things that enable claims about authenticity. In the photographs on social media, the affordances show something different. What appears to be more important than historiography or studying an authentic past, for instance, is the so-called ‘image’ of historical re-enactment. This has an equivocal and concomitant meaning in that it means image as a resemblance of the past; image as an impression to others; and image as visual reproduction. Image, thus, crosses boundaries between re-enactment and photographic representation. It is through conventions of authenticity that re-enactors comprehend, translate, and appreciate one another’s creativity. Through a desire for authenticity, the past is made concrete and perceptible. Yet, interestingly this ‘authenticity’ does not only refer to the re-enactment itself, but extends to the photographs they publish and circulate via their Instagram account, or what the re-enactor Mas Nicholas (M, 18, high school student) called “the image later”. When I interviewed Mas Nicholas, I asked him whether a uniform or gun could be part of the teatrikal when it does not resemble those from that historical period. “Don’t do it. Don’t do it.”, he answered, “It will merusak citra nanti (“ruin the image later”)”. Authenticity and Authority over the Past The drive for authenticity also plays a role in selecting “one or more best pictures” for their personal social media. During the teatrikal, many photographs are taken and they present a careful selection publicly via their Instagram account. When modern items such as mobile phones are spotted, the re-enactors deem the photographs as “foto bocor” (“leaky photos”), because the present seeps in. Similarly, in previous teatrikals, smiling passerby and pens forgotten in pockets of costumes have made the photo “bocor” (“leak”) or “mengurangi nilai keindahan foto” (“reduce the value of the beauty of the photo)”. Besides the importance of re-enactment and costume in their photos, their Instagram page also constructs a discourse of authenticity by using Instagram’s affordances and through the content of the photographs. Social media affordances can be seen as the perceived range of possible actions linked to the features of a social media platform (Bucher and Helmond 3). On the basis of such an understanding, three patterns can be discerned with which a discourse of historical accuracy is constructed, which invokes historical veracity. The first pattern is constructed through the use of a filter, making photos black and white. This is a common technique in popular culture to simulate the look of historical photographs. It is also used in the second pattern that evokes authenticity: the re-enactment of historical photographs. Again, the Instagram filter is used to create a sense of authenticity, but memory is also actively embodied by positioning themselves similarly to the people on the original photo as well as copying the dress of the original photographed people. The last pattern that can be recognised is the portrayal of the community’s ostensible secondary activities. These range from visiting independence museums to clean weapons in the collections and taking detailed pictures of them; cleaning of monuments dedicated to the Indonesian War of Independence in fear of neglect; performing teatrikals at schools to educate the public; and conversing with the Chief of Staff of the Indonesian Air Force signifying military approval. All whilst dressed in historical costume. This shows that there is no clear distinction between how the teatrikals are staged in costume and the activities beyond it. The images of these activities function as an additional argument for a claim to truth. It displays a further engagement with history and shows their relation with authoritative persons and institutions, constructing them too as authoritative. The image constructed on Instagram is one of diligent volunteers, thorough researchers, and good patriots. In all, this validates the re-enactors and their re-enactments. Costumes are thus continuously used in the discursive image of historical re-enactment. In their use of Instagram’s affordances and the careful selection of photos, media is used to perform a specific memory that combines local and national identity formation. A key aspect of this mediated culture of remembrance is how it is grounded in the concrete location that is Yogyakarta. The Indonesian historical re-enactments by Komunitas D45 are an example of such regional remembrance, producing local memory from the region of Yogyakarta. The secondary activities in particular underscore the politics of remembrance. It is a feeling, explicitly communicated by several community members, that the role of Yogyakarta in national history is underplayed when it comes to the Indonesian War of Independence. In particular, the idea that the Serangan Umum was not only an important battle for the city of Yogyakarta, but for the whole nation, as Indonesia put itself on the world map due to the battle. Authenticity and authority over the past is combined here into one event. The ‘Image’ of Indonesian Historical Re-Enactment I have tried to illustrate how Indonesian historical re-enactment forms performative memories through costume and media. Komunitas D45 constructs an idea of authenticity through the look and feel of their costumes. Moreover, in the way in which they position themselves through media, authenticity is constructed by black and white imagery, re-enactments of historical photographs, and their secondary activities. With this authenticity, Komunitas D45 creates a discourse of historical accuracy. But how do embodied memories and mediated memories come together? There is no clear divide between embodiment and mediated memories as they are folded into each other for the re-enactors. Embodiment and mediated memory are two parts of the same coin. That coin being a mnemonic image-event. Re-enactment (costume) together with how it is subsequently presented (media) can be considered as what Karin Strassler has called an “image-event”, that is, “a political process set in motion when a specific image or set of images erupts onto and intervenes in a social field, becoming a focal point of discursive and affective engagement across diverse publics” (9-10). The circulating depictions of the Serangan Umum, both through costume and media, constitute an unfolding mnemonic image-event that negotiates with democratic ideals from Indonesia’s Reformasi movement such as “openness, accountability, authenticity, the free circulation of information, and popular participation” (9). In short, Komunitas D45 deals with the complex question of how to remember the Indonesian War of Independence. Strassler’s emphasis on the political in image-events, “in which images become the material ground of generative struggles to bring a collectivity into view and give shape to its future”, not only relates to the past, but also the present (10). Both the local Yogyakartan and national Indonesian past during the Indonesian War of Independence are remembered simultaneously through the historical re-enactments. Authenticity in clothing and in the constructed online narrative is used as a tool for authority over the image of historical re-enactment in its threefold meaning: the likeness of the past they re-enact; how others perceive their re-enactment; and how they circulate the re-enactment to others. Thus, while Indonesian historical re-enactment searches authenticity in the past, it performs prosthetic memories for the future. Acknowledgements The research for this article was funded by a ‘PhD in the Humanities’ grant from the Dutch Research Council (NWO). References Agnew, Vanessa, Jonathan Lamb, and Juliane Tomann (eds.). The Routledge Handbook of Reenactment Studies: Key Terms in the Field. London: Routledge, 2019. Ahimsa-Putra, Heddy Shri. “Remembering, Misremembering and Forgetting: The Struggle over Serangan Oemoem 1 Maret 1949 in Yogyakarta, Indonesia.” Contestations of Memory in Southeast Asia. Eds. Roxana Waterson and Kwok Kian-Woon. Singapore: NUS P, 2012. 156-182. Arps, Arnoud. “An Animated Revolution: The Remembrance of the 1945 Battle of Surabaya in Indonesian Animated Film.” Southeast Asian Media Studies 2.1 (2020): 101-117. Bal, Mieke. “Introduction.” Acts of Memory: Cultural Recall in the Present. Eds. Mieke Bal, Jonathan Crewe, and Leo Spitzer. Hanover: University Press of New England, 1999. viii-xvii. Bruns, Axel. Blogs, Wikipedia, Second Life and Beyond: From Production to Produsage. New York: Peter Lang, 2008. Bucher, Taina, and Anne Helmond. “The Affordances of Social Media Platforms.” The SAGE Handbook of Social Media. Eds. Jean Burgess, Thomas Poell, and Alice Marwick. London: SAGE, 2018. 1-41. Gapps, Stephen. “Mobile Monuments: A View of Historical Reenactment and Authenticity from Inside the Costume Cupboard of History.” Rethinking History 13.3 (2009): 395-409. Irawanto, Budi. “Spectacularity of Nationalism: War, Propaganda and Military in Indonesian Cinema during the New Order Era.” Southeast Asia on Screen: From Independence to Financial Crisis (1945-1998). Eds. Gaik Cheng Khoo, Thomas Barker, and Mary J. Ainslie. Amsterdam: Amsterdam UP, 2020. 111-130. Landsberg, Alison. Prosthetic Memory. The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia UP, 2004. Plate, Liedeke, and Anneke Smelik (eds.). Performing Memory in Art and Popular Culture. New York: Routledge, 2013. Samuel, Raphael. Theatres of Memory: Past and Present in Contemporary Culture. London: Verso, 1994. Strassler, Karen. Demanding Images: Democracy, Mediation, and the Image-Event in Indonesia. Durham: Duke UP, 2020. Zurbuchen, Mary. “Historical Memory in Contemporary Indonesia.” Beginning to Remember: The Past in the Indonesian Present. Singapore: NUS P, 2005. 3-37.

The colonization of Aboriginal peoples in North America involved systematic efforts to control and eradicate Indigenous knowledges and cultures. However, Aboriginal peoples have resisted colonization through creative expression; creating space for the exploration and critique of the myriad identities informed by this relationship. This study focuses on work by prominent American and Canadian authors Louise Erdrich, Tomson Highway, and Daniel David Moses. Erdrich, who self-identifies as Chippewa with mixed European ancestry, is best known for the interconnections of short narratives between and within her novels. Tomson Highway, a Cree novelist and playwright, is most famous for his cycles of “rez” plays detailing life on a fictional Ontario reserve. Daniel David Moses, member of the Delaware First Nation in Brantford, Ontario and acclaimed Canadian playwright, is best known for his parody of non-Aboriginal constructions of the “authentic Indian” in his work. These authors use political destruction of normative categories, particularly gender transgression, but also past and present, here and there, material reality and the spirit realm to create space for the playful exploration of Indigenous identities. I explore the ways in which gender transgression is nested in larger themes of playful category destruction and creative reconstruction to open up issues of political importance to these authors. By exploring these themes in conjunction with author biographies and interviews, I identify the political motives and implications of category transgression.

Schultz Nicholson, Lorna. Puckster’s First Hockey Sweater and Puckster’s First Hockey Game. Toronto: Fenn/Tundra, 2011. Print. These two volumes are the first in the new Puckster series, a collaboration between Fenn/Tundra of Tundra Books and Hockey Canada. The stories are about an after-school team of hockey-playing animals. The team is inclusive in terms of gender, ability, colour and species, being comprised of a raccoon, a squirrel, a brown bear, a moose who plays on a sledge, a pink fox who is female, and of course, Puckster, who is a polar bear. The dressing room also appears to be unisex. Each book tells a story that also teaches values. In Puckster’s First Hockey Sweater, the animals want team sweaters, so they work as a team to make enough money by shoveling snow. In Puckster’s First Hockey Game, they play a see-saw game which ends in a tie. Throughout they console and encourage each other as they score and are scored upon. Each player is shown making an important contribution to the team. On the last page of each book is a definition or a hockey tip. Lorna Schultz Nicholson includes lots of hockey detail and authentic “hockey talk”. For example, Francois “blasted a shot right into the five-hole, between the goalie’s pads”. Puckster wonders “…what should he do. Deke or shoot?” Parents who are fans will find the text comfortable and familiar. Kelly Findley’s cartoon illustrations are bright and her characters are expressive. She has worked as a graphic designer with Hockey Canada, which probably accounts for the fact that the team wears current Team Canada sweaters. Both the use of the current Team Canada images and references to players such as Hayley Wickenheiser and Roberto Luongo will date these books in time. However, they are fun books for today’s young hockey fans and players and the values they teach are laudable. Highly recommended for elementary school and public libraries. Highly recommended: 4 stars out of 4 Reviewer: Sandy Campbell Sandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.