Journal articles on the topic 'Constance Caroline'

Book Review EssaysSustaining the Past into the Future: Some Reflections on Mechanisms to Keep Heritage Meaningful and SustainableTheory and Practice in Heritage and Sustainability: Between Past and Future. Elizabeth Auclair and Graham Fairclough, eds. London: Routledge, 2015.Crowdsourcing our Cultural Heritage, Mia Ridge, ed. Farnham, UK: Ashgate, 2014.Museums, Power, Knowledge: Selected Essays. Tony Bennett. London: Routledge, 2018.Book ReviewsCollecting, Ordering, Governing: Anthropology, Museums, and Liberal Government. Tony Bennett, Fiona Cameron, Nélia Dias, Ben Dibley, Rodney Harrison, Ira Jacknis, and Conal McCarthy. Durham, NC: Duke University Press, 2017.The Museum of the Senses. Constance Classen. New York: Bloomsbury Academic, 2017.New Museum Practice in Asia. John Reeve and Caroline Lang, eds. London: Lund Humphries, 2018.

Abstract Background: Epidermal growth factor receptor (EGFR) inhibitors, including monoclonal antibodies and tyrosine kinase inhibitors, have limited efficacy in head and neck squamous cell carcinoma (HNSCC) patients. In the randomized phase II PREDICTOR trial, we aimed at identifying predictive and pharmacodynamics biomarkers of 2-4 weeks afatinib (an irreversible pan-HER inhibitor) versus no treatment in the pre-operative setting (NCT01415674). We previously reported a 59% metabolic response rate on PET imaging in the afatinib arm. We report here the evaluation of predictive genomic and transcriptomic biomarkers of afatinib efficacy. Patients and Methods: All patients (41 in the afatinib arm and 20 in the no treatment arm) underwent a pre-treatment biopsy. We performed targeted DNA sequencing using an in-house NGS panel of 571 genes on baseline biopsies from 56 patients, and RNA-sequencing (RNAseq) in 54 patients. In the afatinib arm, 26 patients had paired pre- and post-treatment tumor samples. DNA and RNA alterations were correlated with metabolic response to afatinib using PET imaging, as well as overall survival (OS). Results: Most frequent molecular alterations, including known activating mutations and/or focal amplifications for oncogenes or homozygous deletions and inactivating mutations for tumor suppressor genes, involved genome integrity (TP53 [70%]), cell cycle (CCND1 [38%], CDKN2A [32%], CDKN2B [14%]), senescence (TERT [23%]), Wnt signaling (NOTCH1 [16%]), and the PI3K pathway (PIK3CA [14%]). In the afatinib arm, metabolic response was observed in 1 out of 7 patients (14%) and in 19 out of 28 patients (68%) in the Wnt altered and unaltered groups (p = 0.03, fisher exact test), respectively. In the whole cohort of patients, homozygous deletions of both CDKN2A and CDKN2B correlated with shorter OS, with 6-year survival of 22% in the CDKN2A/B altered group and 70% in the CDKN2A/B wild-type group (p = 0.004; log-rank test). In the afatinib treated patients, using a generalized linear mixed model with a patient as random effect and a quasi-binomial family, the ratio of B cells expression levels in the post-treated versus pre-treated samples was significantly higher in responder as compared to non-responder patients (p = 0.001). Conclusions: Wnt signaling pathway alterations and treatment-related dynamic changes in B cells proportions were identified as predictive and pharmacodynamics biomarkers of afatinib efficacy. CDKN2A/B homozygous deletions were associated with a poor prognosis in HNSCC patients treated with upfront surgery. Citation Format: Grégoire Marret, Maud Kamal, Jocelyn Gal, Stéphane Temam, Jerzy Klijianenko, Jean-Pierre Delord, Caroline Hoffmann, Gilles Dolivet, Olivier Malard, Jerôme Fayette, Olivier Capitain, Caroline Even, Sébastien Vergez, Lionel Geoffrois, Frédéric Rolland, Philippe Zrounba, Laurent Laccourreye, Joël Guigay, Nicolas Aide, Valérie Bénavent, Constance Lamy, Elodie Girard, Marta Jimenez, Ivan Bièche, Christophe Le Tourneau. Randomized phase II trial of pre-operative afatinib in non-metastatic head and neck squamous cell carcinoma patients: Identification of predictive biomarkers of response [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 1237.

When henry nash smith defined American Studies in 1957 as “the study of American culture past and present, as a whole,” he summarized more than two decades of a wide-ranging and self-conscious critical analysis of culture in the United States and, at the same time, initiated the search for the unified or holistic “method” through which American Studies would, finally, achieve maturity as an (interdisciplinary) discipline. The 1930s were the decade when, as Warren Susman pointed out years ago, the complexity of American culture as well as the culture concept were discovered and discussed in the wider public. We think of the work of cultural anthropology, of the studies in cultural relativism by Margaret Mead or of patterns of culture by Ruth Benedict that emphasized the unity of cultures and often were written with a self-critical look at American culture in mind. What was, however, even more important was the fact that during the 1930s American culture manifested itself as a multiculture, as a culture that was characterized even more by variety, heterogeneity, tensions, and alternative traditions than by the strong drive toward national identity and consensus. Cultural anthropologists, critics, and (“documentary”) writers such as “native anthropologist” Zora Neale Hurston, Constance Rourke, or James Agee (with photographer Walker Evans, in Let Us Now Praise Famous Men) worked out radical new methods and strategies of cultural critique and ethnographic writing in the study of American cultures, in the plural. Thus, historian Caroline F. Ware, writing for the American Historical Association in The Cultural Approach to History, could argue in 1940 that the “total cultural approach” does by no means imply that American culture is something like an organic unity, but that “American culture” is exactly the multiplicity of regional, ethnic, and class cultures and the interactions of these cultures in terms of rhetoric as well as of power, not some “common patterns” or the Anglo-Saxon tradition the “other” groups have to “contribute” to.

O direito cibernético ainda é algo muito novo, entretanto é muito importante ser estudado e analisado de uma forma mais efetiva. Este artigo tem como estudo o Direito cibernético e o Impacto gerado pela Lei Carolina Dieckmann no combate aos crimes virtuais realizados contra as crianças e adolescentes. Sendo realizada através de revisão de literatura e pesquisa exploratória. Com a popularização da internet no Brasil o meio digital tornou-se um ambiente muito frágil e inseguro, a exemplo disso está a violação de e-mail realizada por Crackers contra a atriz Carolina Dieckmann. Como consequência destes cibercrimes e desta constante evolução foi necessário a criação de uma ramificação do direito para regulamentar tais intercorrências, então nasce o Direito Cibernético. Existem pessoas que são mais vulneráveis durante o acesso a internet e dentre elas estão as crianças, adolescentes e também os idosos e estas pessoas acabam sendo as vítimas em potencial para a ação desses criminosos. O que mais entristece é que estas vitimas podem estar mais próximas do que se imagina, pode ser um filho(a), irmão(ã), pai, mãe ou até mesmo avós. Em síntese, durante a realização desta pesquisa foi possível identificar uma fragilidade no acesso e cumprimento da legislação vigente. Esta pesquisa tem como objetivo alertar as pessoas de que esses crimes existem e são reais, além de demostrar para as possíveis vítimas que elas podem e devem buscar os seus diretos para que estes crimes não fiquem impunes.

<p class="p1">A construção de Usinas Hidrelétricas (UHE) tem sido constante e em grande escala para atender a demanda por energia elétrica no Brasil. Mas, após a implementação desses empreendimentos, as características ambientais são alteradas, o que interfere negativamente na biodiversidade local. O meio ambiente é agredido bruscamente, causando inúmeros transtornos. Além disso, as comunidades ribeirinhas são impactadas diretamente pela construção de uma UHE. Nesse contexto, o presente trabalho visa investigar os impactos ambientais e sociais causados pela construção da UHE Estreito na cidade de Carolina, Maranhão. Para isto, em novembro de 2018, foram aplicados questionários junto a 20 famílias residentes neste município. O resultado desta pesquisa revelou que houve uma considerável elevação do lençol freático ali existente, causando transtornos à população, tais como: i) a saturação das fossas sépticas; ii) inundações, principalmente em áreas próximas ao lago ou a córregos e iii) rios que também tiveram seus cursos bloqueados pela formação do lago do rio Tocantins, causando rachaduras e/ou desmoronamentos nas edificações residenciais. Além disso, a pesquisa realizada apontou bastante insatisfação dos ribeirinhos atingidos pela construção da UHE.</p>

Three new aryl alkaloids named suberitamides A–C (1–3), were isolated from an extract of the marine sponge Pseudosuberites sp. collected along the coast of North Carolina. Their planar structures were established by extensive nuclear magnetic resonance (NMR) and mass spectrometry (MS) analysis. To assign the challenging relative configuration of the saturated five-membered ring in suberitamide A (1), a simple and efficient NMR protocol was applied that is based on the analysis of 2- and 3-bond 1H-13C spin-spin coupling constants using a PIP (pure in-phase) HSQMBC (heteronuclear single quantum multiple bond correlation) IPAP (in-phase and anti-phase) experiment. Suberitamides A (1) and B (2) inhibited Cbl-b, an E3 ubiquitin ligase that is an important modulator of immune cell function, with IC50 values of approximately 11 μM.

Abstract This paper is concerned with the numerical solution to a three-dimensional coefficient inverse problem for buried objects with multi-frequency experimental data. The measured data, which are associated with a single direction of an incident plane wave, are backscatter data for targets buried in a sandbox. These raw scattering data were collected using a microwave scattering facility at the University of North Carolina at Charlotte. We develop a data preprocessing procedure and exploit a newly developed globally convergent inversion method for solving the inverse problem with these preprocessed data. It is shown that dielectric constants of the buried targets as well as their locations are reconstructed with a very good accuracy. We also prove a new analytical result which rigorously justifies an important step of the so-called “data propagation” procedure.

O objetivo principal deste artigo, centra-se na socialização do relato de experiência em que buscamos transdisciplinar o Ensino de História da Cultura Africana e Afro-brasileira, nas aulas de História ministradas no Ensino Médio a partir da reflexão e do diálogo estabelecido entre o conteúdo em questão e a obra literária Diário de Bitita. Cujo foco principal, refere-se à articulação das Leis 10.639/03 e 11.645/08, estabelecidas por meio de políticas afirmativas conquistadas pelas constantes lutas empreendidas pelos Movimentos Negros em favor da descolonização dos Currículos e reconhecimento da relevância dos negros e de sua cultura na construção histórica do Brasil. Deste modo, mantivemos o diálogo entre a História, a Literatura e a Memória, buscando evidenciar fatos do cotidiano da autora Maria Carolina de Jesus, uma mulher, negra e pobre, que desenvolveu sua trajetória de vida conseguindo superar os infortúnios impostos aos negros pelos discursos e ações eurocêntricas da sociedade elitista do Brasil Colonial até os primórdios do século XXI.

The effect of soil water content on the dissolution of reactive North Carolina phosphate rock (PR) in a lateritic soil was investigated in a laboratory incubation study. Soil-PR and soil-KH2PO4 mixtures were incubated at different water contents for different periods and dissolution of PR was followed by measuring the increases in exchangeable Ca (�Ca) in the soil. The phosphorus released (�P) was calculated from the composition of the PR. Increases in bicarbonate-soluble P (�Bic P) resulting from PR dissolution were also determined. Changes in both �P and �Bic P can be described by exponential functions of the form �P or �BicP = � - Bexp (-CW), where W is the gravimetric water content of the soil and A, B and C are constants. Little additional dissolution occurred for W > 13% which was about the water content at free-draining field capacity. For an incubation period of 280 days, PR dissolution increased from 4% for air-dry soil to 13% for W = 12.5%, increasing to about 17% for W = 100%. The �Bic P/�P ratio for KH2PO4-fertilized soil was initially much higher than that for PR, but decreased for both sources with period of incubation and values almost converged at 0.20 after 50 days. The effect of wet-dry treatments on AP was also investigated for soil amended to pH values of 3.76 and 5.09. After a 33 day contact period including three 2-day drying periods, there was 40% and 38% of PR dissolved for continuously wet and wet-dry treatments, respectively, at pH 3.76. The corresponding values for pH 5.09 were 22% and 21%. Therefore, these data indicate that a short drying period does not substantially affect PR dissolution (�P) and bicarbonate-soluble P (�Bic P) levels.

Mass losses were estimated for coarse (>5 cm) and fine (≤5 cm) woody debris (CWD and FWD, respectively) during the first 7 years following clear-cutting of a mixed hardwood forest at the Coweeta Hydrologie Laboratory in the Southern Appalachians of North Carolina. Estimates were based on (i) precut forest biomass, (ii) volume and density of CWD and mass of FWD at year 1, and (iii) wood density changes of CWD by year 6 and mass changes of FWD by year 7. Mass estimates of CWD at years 0, 1, and 6 were 91.2, 74.8, and 53.0 Mg/ha, respectively. Mass estimates of FWD at years 0, 1, and 7 were 30.3, 21.3, and 7.8 Mg/ha, respectively. Decay constants (k) for mass losses were relatively high compared with other studies of wood decomposition, 0.083 and 0.185 year−1 for CWD and FWD, respectively, and 0.108 year−1 for total (CWD + FWD) debris. Mass loss of CWD occurred largely through wood density decreases and bark fragmentation. CO2−efflux estimates accounted for over 90% of the CWD density loss and for two-thirds (40.4 Mg/ha) of the total debris mass loss. The remaining mass loss of total debris (20.3 Mg/ha) is a source of large, organic matter inputs to the forest floor via solution fluxes and fragmentation of CWD bark and FWD. The large variation in wood-density loss among logs was examined statistically as a function of various decay factors. Density loss varied by more than 10-fold among tree species. Density loss rates were 40% higher in logs on the ground versus those off the ground, 100% higher in logs with observable fungi versus those without fungi, and 40% higher in logs that occurred in plots with south and east aspects versus those in plots with west aspects.

-Virginia R. Dominguez, Louis A. Pérez, Jr., On becoming Cuban: Identity, nationality, and culture. Chapel Hill: University of North Carolina Press, 1999. xiv + 579 pp.-Solimar Otero, Kali Argyriadis, La religión à la Havane: Actualités des représentations et des pratiques culturelles havanaises. Paris: Éditions des Archives Contemporaines,1999. 373 pp.-Jane Desmond, Jane Blocker, Where is Ana Mendieta?: Identity, performativity, and exile. Durham NC: Duke University Press, 1999. xvi + 166 pp.-Richard Handler, Amílcar A. Barreto, Language, elites, and the state: Nationalism in Puerto Rico and Quebec. Westport CT: Praeger, 1998. x + 165 pp.-Juan Flores, Lillian Guerra, Popular expression and national identity in Puerto Rico: The struggle for self, community, and nation. Gainesville: University Press of Florida, 1998. xi + 332 pp.-Eileen J. Findlay, Rafael L. Ramírez, What it means to be a man: Reflections on Puerto Rican masculinity. New Brunswick NJ: Rutgers University Press, 1999. xv + 139 pp.-Arlene Torres, Eileen J. Suárez Findlay, Imposing decency: The politics of sexuality and race in Puerto Rico, 1870-1920. Durham NC: Duke University Press, 1999. xii + 316 pp.-Rita Giacalone, Humberto García Muñiz ,Fronteras en conflicto: Guerra contra las drogas, militarización y democracia en el Caribe, Puerto Rico y Vieques. San Juan: Red Caribeña de Geopolítica, Seguridad Regional y Relaciones Internacionales, afiliada al Proyecto AT-LANTEA, 1999. 211 pp., Jorge Rodríguez Beruff (eds)-Bonham C. Richardson, q , Polly Pattullo, Fire from the mountain: The tragedy of Monserrat and the betrayal of its people. London: Constable, 2000. xvii + 217 pp.-Aisha Khan, Gillon Aitken, Between father and son: Family letters. V.S. Naipaul. New York: Alfred A. Knopf, 2000. xi + 297 pp.-J. Michael Dash, Marie-Hélène Laforest, Diasporic encounters: Remapping the Caribbean. Naples Liguori, 2000. 271 pp.-Jeanne Garane, Renée Larrier, Francophone women writers of Africa and the Caribbean. Gainesville: University Press of Florida, 2000. ix + 156 pp.-Julian Gerstin, Brenda F. Berrian, Awakening spaces: French Caribbean popular songs, music, and culture. Chicago: University of Chicago Press, 2000. xvi + 287 pp.-Halbert Barton, Steven Loza, Tito Puente and the making of Latin music. Urbana: University of Illinois Press, 1999. xvi + 258 pp.-Mark Moberg, Anne Sutherland, The making of Belize: Globalization in the margins. Westport CT: Bergin & Garvey, 1998. x + 203 pp.-Daniel A. Segal, Kevin K. Birth, 'Any time is Trinidad time' : Social meanings and temporal consciousness. Gainesville: University Press of Florida, 1999. xiv + 190 pp.-Samuel Martínez, Michele Wucker, Why the cocks fight: Dominicans, Haitians, and the struggle for Hispaniola. New York: Hill and Wang, 1999. xxi + 281 pp.-Paul E. Brodwin, Terry Rey, Our lady of class struggle: The cult of the virgin Mary in Haiti. Trenton NJ: Africa World Press, 1999. x + 362 pp.-Robert Fatton, Jr., Elizabeth D. Gibbons, Sanctions in Haiti: Human rights and democracy under assault. Westport CT: Praeger, with the Center for Strategic and International Studies, Washington DC, 1999. xviii + 138 pp.-Robert Fatton, Jr., David M. Malone, Decision-making in the UN security council: The case of Haiti, 1990-1997. Oxford: Clarendon, 1998. xxi + 322 pp.-James Sanders, César J. Ayala, American sugar kingdom: The plantation economy of the Spanish Caribbean, 1898-1934. Chapel Hill: University of North Carolina Press, 1999. xii + 321 pp.-James Sanders, Alan Dye, Cuban sugar in the age of mass production: Technology and the economics of the sugar central, 1899-1929. Stanford CA: Stanford University Press, 1998. xiii + 343 pp.-Linden Lewis, Richard Hart, Towards decolonisation: Political, labour and economic developments in Jamaica 1938-1945. Kingston: Canoe Press, 1999. xxii + 329 pp.-John Smolenski, John W. Pulis, Moving on: Black loyalists in the Afro-Atlantic world. New York: Garland, 1999. xxiv + 224 pp.-Rosemarijn Hoefte, Clem Seecharan, Bechu: 'Bound coolie' Radical in British Guiana 1894-1901. Kingston: University of the West Indies Press, 1999. x + 315 pp.-Bonno Thoden van Velzen, C.N. Dubelaar ,Het Afakaschrift van de Tapanahoni Rivier in Suriname. Utrecht: Thela Thesis, 1999. 183 pp., André R.M. Pakosie (eds)-Bonno Thoden van Velzen, André R.M. Pakosie, Gazon Matodja: Surinaams stamhoofd aan het einde van een tijdperk. Utrecht: Stichting Sabanapeti, 1999. 172 pp.-Geneviève Escure, Peter L. Patrick, Urban Jamaican Creole: Variation in the Mesolect. Amsterdam: John Benjamins, 1999. xx + 331 pp.

Abstract The family of human Cyclin dependent kinases (CDKs) comprises 20 different CDKs that play critical roles in the regulation of cell cycle progression, gene transcription and neuronal function. Deregulation of different CDKs is frequently observed in human cancer. Enzymatic kinase activity of CDKs is dependent on the binding of a member of the Cyclin protein family. So far more than 15 Cyclins have been described most of them can bind and activate different CDKs. Current data suggest the physiological relevance of at least 50 different CDK/Cyclin complexes. Since the 20 CDKs share significant structural homology and regulate different function in cell growth and development, selectivity of compounds within the CDK family is of critical importance. Approval of a first CDK inhibitor (Palbociclib) targeting CDK4/6 for the treatment of ER+/HER+- breast cancer served as a clinical proof that targeting specific members of the CDK protein kinase family is a versatile approach to treat cancer. The approval of the first CDK inhibitor sparked the research and development of other inhibitors targeting different members of the CDK-family. Currently, four additional CDK4/6 inhibitors have been approved and more than 15 CDK inhibitors with limited selectivity are in different preclinical or clinical development phases. However, the critical importance of selectivity within the CDK family is underlined by the fact that the clinical development of four CDK9 inhibitors has been stopped due to the lack of selectivity and high toxicity. Different approaches (including inhibition by covalent binding) have resulted in more selective inhibitors, especially against CDKs like CDK7, CDK9 and CDK12. Although several biochemical activity assays for different CDKs have been set up and used for selectivity testing, so far no panel covering all 20 human CDKs using one assay technology has been described. We report here the setup of a biochemical in-vitro activity assay panel of 32 CDK/Cyclins complexes generated recombinantly in insect cells covering the complete set of all 20 human CDKs. For all 32 complexes a radiometric biochemical activity assay has successfully been established allowing to characterize inhibitors with respect to their biochemical selectivity applying the same assay technology. Using the comprehensive CDK panel we determined the IC50 values of more than 15 CDK inhibitors that have been either approved or are in different preclinical and clinical development phases. Results will be presented showing the selectivity of these inhibitors not only for all 20 CDKs but also for specific CDKs forming active complexes with two or more different cyclins. This CDK screening panel allows the generation of comparative data on compound selectivity early in development, thereby helping to reduce the risk of designing compounds with suboptimal target selectivity. Citation Format: Daniel Müller, Frank Totzke, Thomas Weber, Andreas Gericke, Diane Krämer, Carolin Heidemann-Dinger, Constance Ketterer, Michael H. Kubbutat. Comprehensive characterization of CDK inhibitors using a complete panel of all 20 human cyclin-dependent kinases [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 2304.

Neste artigo estudamos, a partir da Análise de Conteúdo, os anais dos quatro principais eventos de comunicação brasileiros. Buscamos conhecer o perfil das produções sobre recepção, audiência, metodologia de pesquisa, pesquisa aplicada e pesquisa experimental e, a partir desta sistematização, traçamos uma memória dos estudos realizados, tentando estalebecer causalidades e relações entre os perfis de produção dos quinquênios 2000-2004; 2005-2009 e 2010-2014. Entre os resultados principais destacamos a complexificação do olhar sobre a audiência nos estudos de recepção e busca constante pela apresentação da relevância dos estudos que trabalham com pesquisa aplicada e experimental.PALAVRAS-CHAVE: Jornalismo; Pesquisa experimental; Pesquisa aplicada; Metodologia de pesquisa; Análise de conteúdo. ABSTRACTIn this paper we study, through the content analysis, the annals of the four major Brazilian communication events. We seek to know the profile of the productions on the topics: reception, audience, research methodology, applied research and experimental research, and from this systematization, draw a memory of the studies, trying to stablish causalities and relations between the production profiles of the following five-year periods 2000-2004; 2005-2009 and 2010-2014. Among the main findings we highlight the complexity of the looking over the audience in the studies of reception and the constant search for presentation of the relevance of studies that work with applied and experimental research.KEYWORDS: Journalism; Experimental research; Applied research; Research Methodology; Content analysis RESUMENEn ese artículo estudiamos a través del análisis de contenido, a las memorias de los cuatro principales eventos de comunicación brasileños. Buscamos conocer el perfil de las producciones acerca de la recepción, audiencia, metodología de la investigación, investigación aplicada y la investigación experimental . A partir de esta sistematización, dibujamos una memoria de los estudios, intentando establecer causalidades y relaciones entre los perfiles de producción de los quinquenios 2000-2004 ; 2005-2009 y 2010-2014. Entre los principales resultados destacamos la complejidad de la mirada sobre la audiencia en los estudios de recepción y la búsqueda constante de presentación de la relevancia de los estudios que trabajan con la investigación aplicada y experimental.PALABRAS CLAVE: Periodismo; Investigación experimental; Investigación Aplicada; Metodología de investigación; Analisis de Contenido. ReferênciasARAÚJO, Elyenay. Etnografia da Recepção: que contribuição esse recurso metodológico pode dar aos estudos sobre a recepção? XXXII Congresso Brasileiro de Ciências da Comunicação. Curitiba, 2009.BARDIN, Laurence. Análise de conteúdo. São Paulo: Edições 70, 1979.BRAGA, Adriana; GASTALDO, Édison. O Legado de Chicago e os estudos de recepção, usos e consumos midiáticos. Encontro da Associação Nacional dos Programas de Pós-Graduação em Comunicação. Anais... 2009.CABRERA GONZÁLEZ, Maria Angeles. La metodología experimental en el estudio del tratamiento visual del la información periodística. Encontro Nacional de Pesquisadores em Jornalismo. São Bernardo do Campo, 2008.CASTRO, Paulo César. Jornalismo participativo e midiatização da recepção: A domesticação dos leitores na seção "Eu-repórter" do Globo Online. Encontro Nacional de Pesquisadores em Jornalismo. Rio de Janeiro, 2011.ESCOSTEGUY, Ana Carolina. Notas para um estado da arte sobre os estudos brasileiros de recepção dos anos 90. Encontro da Associação Nacional dos Programas de Pós-Graduação em Comunicação. Anais... 2003.FIGARO, Roseli. O desafio metodológico nas pesquisas de recepção. XXVII Congresso Brasileiro de Ciências da Comunicação. Porto Alegre, 2004.FRANCISCATO, Carlos. Considerações metodológicas sobre a pesquisa aplicada em jornalismo. Encontro Nacional de Pesquisadores em Jornalismo. Porto Alegre, 2006._____. Jornalismo e inovação: aproximações conceituais entre academia e setor produtivo. Encontro Nacional de Pesquisadores em Jornalismo. São Bernardo do Campo, 2008._____. O modelo de desenvolvimento tecnológico no UOL Bolsa Pesquisa e seu potencial para pensar a pesquisa aplicada em jornalismo. 9º. Encontro Nacional de Pesquisadores em Jornalismo. Rio de Janeiro, 2011.FREIRE, Marcelo. Análise de Recepção em reportagens webjornalísticas: abordagens metodológicas. Encontro Nacional de Pesquisadores em Jornalismo. Aracaju, 2007.GUERRA, Josenildo. Monitoramento de Cobertura e Produção Experimental Monitorada: pesquisa aplicada voltada para a qualificação de produtos e processos jornalísticos. Encontro Nacional de Pesquisadores em Jornalismo. Aracaju, 2007.HERSCOVITZ, Heloisa G. Análise de conteúdo em jornalismo. In: LAGO, Cláudia; BENETTI, Márcia. (Orgs.). Metodologia da pesquisa em jornalismo. Petrópolis: Vozes, 2007. p. 123-142.LAMBLE, Stephen. Documenting the methodology of journalism. Australian Journalism Review. Vol 26, Num 01, 2004. p. 85-106.LOPES, Maria Immacolata V. Uma agenda metodológica para a recepção transmidiática da ficção televisiva. Encontro da Associação Nacional dos Programas de Pós-Graduação em Comunicação. Anais... 2011.MACHADO, Elias. Metodologias de Pesquisa em Jornalismo: uma revisão histórica e perspectivas para a produção de manuais de orientação. Brazilian Journalism Research. Vol 06, Num 01, 2010._____. Pesquisa aplicada ao desenvolvimento. Observatório da imprensa. Edição 324, 11 de abril de 2005._____; SANT'ANA, Jéssica. Limitações metodológicas na pesquisa em Jornalismo: Um estudo dos trabalhos apresentados no GT de Jornalismo da COMPÓS (2000-2010). Revista Pauta Geral: Estudos de Jornalismo. Vol 1, num 01, 2014. p. 29-45._____; _____. Limitações metodológicas na pesquisa em Jornalismo: Um estudo dos trabalhos apresentados no GT de Jornalismo da (COMPÓS, 2000-2005). 10º Encontro Nacional de Pesquisadores em Jornalismo. Curitiba, 2012._____; ROSA, Tainara Silva. Metodologias de Pesquisa Aplicadas ao Jornalismo: Um estudo dos manuais de referência (1970-2007). XXXVII Congresso Brasileiro de Ciências da Comunicação. Foz do Iguaçu, 2014.MARCONI, Marina; LAKATOS, Eva. Técnicas de pesquisa: planejamento e execução de pesquisas, amostragens e técnicas de pesquisas, elaboração, análise e interpretação de dados. São Paulo: Atlas, 2002.MEDITSCH, Eduardo. A Compreensão da mensagem no radiojornalismo : uma abordagem cognitiva. XXVI Congresso Brasileiro de Ciências da Comunicação. Belo Horizonte, 2003._____. Pedagogia e Pesquisa para o Jornalismo que está por vir. Florianópolis : Insular, 2012.PAULINO, Roseli Figaro. Estudo de Recepção e Ergologia: novos desafios teórico-metodológicos. XXIX Congresso Brasileiro de Ciências da Comunicação. Brasília, 2006.QUADROS, Mirian. R. de ; ASSMANN, Gabriela; LOPEZ, Debora. C. A análise de conteúdo nas pesquisas em comunicação: aplicações e derivações. In BARICHELLO, Eugenia; RUBLESCKI, Anelise (Orgs). Pesquisa em comunicação: olhares e abordagens. Facos/UFSM: Santa Maria, 2014.SCHRAMM, Luanda. Comunidades interpretativas e estudos de recepção: Das utilidades e inconveniências de um conceito. Encontro da Associação Nacional dos Programas de Pós-Graduação em Comunicação. Anais... 2005. TEIXEIRA, Tattiana. Metodologias de Pesquisa sobre Infografia no Jornalismo Digital - uma análise preliminar. Encontro Nacional de Pesquisadores em Jornalismo. Aracaju, 2007. Disponível em:Url: http://opendepot.org/2698/ Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

<p>Hace exactamente cuatro meses se publicaba el último número correspondiente al año 2018. Esto es significativo ya que con ello podemos observar que hemos acortado el plazo de publicación en dos meses por número permitiéndonos alcanzar el objetivo planteado durante el año 2018 que era poder cambiar la periodicidad de la revista a tres número al año. Esto implica un mayor volumen de trabajos que permitan diseminar investigaciones originales en el campo de la antropología, expresada en todas sus ramas y vertientes. Por otro lado también muestra un compromiso ante la tarea editorial con el fin de poder brindar un servicio de calidad a los autores y la posibilidad de un acceso abierto a las publicaciones desde el momento en que son publicadas. Esto implica el esfuerzo constante de instituciones y personas que en conjunto permiten el crecimiento de esta revista.</p><p>En este número presentamos diez artículos originales, una traducción y un comentario de libro que se suman a una cada vez más extensa colección de trabajos antropológicos. Ocho corresponden a la Sección Arqueología; uno a la Sección Museología; y tres a Antropología Social.</p><p>En el primer trabajo de la Sección Arqueología los autores Mónica Alejandra Berón y Manuel Pedro Carrera Aizpitarte discuten la posibilidad de considerar al chert silíceo como un indicador de movilidad e interacciones a larga distancia para la región occidental pampeana. Jimena Doval y Alicia Haydé Tapia presentan los resultados del análisis efectuado a fragmentos de cuero recuperados en contextos arqueológicos de fines del siglo XIX en la actual provincia de La Pampa. María Victoria Fernández, Pablo Rodrigo Leal, Claudia Della Negra, Catherine Klesner, Brandi Lee MacDonald, Michael Glascock y Ramiro Barberena dan a conocer los muestreos realizados en el valle del río Varvarco, su contexto geológico y geomorfológico, la presencia de obsidiana, la caracterización del tipo de yacimiento, la forma de presentación, distribución y abundancia de la misma con el fin de caracterizar esta nueva fuente de importancia arqueológica. Paula Elisabet Galligani, Gustavo Barrientos y María Rosario Feuillet Terzaghi tienen como objetivo de su trabajo estimar, a partir de la medición de la concentración de fósforo extraíble (Pe) y del modelado espacial con técnicas de interpolación, la extensión probable del área de entierro detectada en el sitio Río Salado-Coronda II (RSCII), localizado en la ciudad de Santo Tomé, en el centro-este de la provincia de Santa Fe. María Gabriela Musaubach y María del Pilar Babot analizan el estado del arte del conocimiento sobre los usos pasados y presentes de las gramíneas en el desierto de altura puneño a través del estudio de microfósiles. Por otro lado, Anahí Re y Juan Bautista Belardi abordan el análisis de las representaciones rupestres de los sitios Bloque 1 del Campo de Bloques 1 y Alero con Manos del Río Chalía, relevados en los sectores bajos asociados a la cuenca de los lagos Tar y San Martín (sudoeste de la provincia de Santa Cruz). El autor Federico Restifo presenta el análisis de atributos cualitativos y cuantitativos de un conjunto de artefactos Saladillo recuperado en el sector Norte del valle Calchaquí, el cual se encuentra disponible en el Museo Arqueológico de Cachi, provincia de Salta (Argentina). Cerrando la sección, Miguel Ángel Zubimendi, Alicia Castro, Pablo Ambrústolo y Carolina Contreras presentan la descripción de un diente fósil de tiburón, así como los estudios que sustentan la identificación de las modificaciones antrópicas que confirman su caracterización como objeto adorno-colgante para contextos arqueológicos de la costa norte de la provincia de Santa Cruz.</p><p>En la Sección de Museología, Luis Adrián Galindo analiza el Museo de Quai Branly-Jean Chirac a través de un “discurso normativo de la museología eurocentrista”…” [que] ... ”logra imponerse a partir de la concepción de su estructura narrativa, la selección de sus objetos de exhibición y la puesta en escena, fortaleciendo así el pensamiento neoliberal que promulga la diversidad cultural como la sumatoria de culturas que comparten un mismo territorio, sin contradicciones, sin asimetrías, sin tensiones sociales, en una “paz social” aparente y en una relación natural con el entorno”</p><p>Cerrando este número presentamos un trabajo, una traducción y una Reseña bibliográfica incluida en la Sección Antropología Social. En el primer trabajo, Gastón Julián Gil propone un abordaje del fenómeno del running en la Argentina a partir del análisis de las carreras urbanas organizadas en las principales ciudades del país. Continúa una traducción realizada por Diego Roldán (CONICET) y Paul Hathazy (CIECS CONICET/UNC) del trabajo de Loic Wacquant “Por una Sociología de carne y sangre”, siendo ésta la primera versión publicada en español de este texto. Por último, Mariano Bussi presenta una reseña bibliográfica del trabajo de Renzo Taddei llamado Meteorologistas e profetas da chuva. Conhecimentos, práticas e políticas da atmosfera.</p><p>Con esto cerramos esta editorial invitando, como es usual, a disfrutar de la lectura crítica de este material que ponemos a disposición de los interesados.</p><p>Córdoba, 30 de Abril de 2019</p>

Dando sequência ao quarto volume da Motricidades: Revista da SPQMH, publicamos no segundo número de 2020: 7 artigos de pesquisa, 1 artigo de revisão e 2 ensaios.Abrindo a seção de artigos de pesquisa, Luis Rodríguez de Vera Mouliaá (Universidade Pedagógica de Maputo, UPM, Maputo, Moçambique), Ângelo José Muria (Universidade Pedagógica de Maputo, UPM, Maputo, Moçambique) e Ana Belén López Martínez (Universidad Católica San Antonio de Murcia, UCAM, Murcia, Espanha), em “Multidimensional Attitudes Scale Toward Persons With Disabilities (MAS): tradução e adaptação à língua portuguesa (MAS-PT)”, apresentam a trajetória da pesquisa que objetivou traduzir a escala MAS à língua portuguesa, fazendo a sua adaptação transcultural ao contexto moçambicano.No artigo “A África pra gente”, Suzi Dornelas e Silva Rocha (Secretaria da Educação do Estado de São Paulo, SEE-SP, Bauru-SP, Brasil) e Andresa de Souza Ugaya (Universidade Estadual Paulista “Júlio de Mesquita Filho”, UNESP, Bauru-SP, Brasil) trazem reflexões acerca de um processo pedagógico fundamentado na perspectiva da Educação para as Relações Étnico-Raciais e Educação Intercultural.Na pesquisa “Corporeidade e yoga na educação infantil: experiências e descobertas”, a partir de uma proposta de vivências em Yoga realizada com crianças de quatro e cinco anos de idade, Fernanda Rossi (Universidade Estadual Paulista “Júlio de Mesquita Filho”, UNESP, Bauru-SP, Brasil) estabelece aproximações entre a Corporeidade, a Educação Infantil e a vivência do Yoga na infância.Fabiano Schulz Lopes (Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Unijuí, Ijuí-RS, Brasil) e Paulo Carlan (Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Unijuí, Ijuí-RS, Brasil) analisam o desenvolvimento de uma unidade didática de Futsal na Educação Física Escolar, desenvolvida com os pressupostos do Sport Education Model, no artigo “O ensino do futsal escolar a partir do Sport Education Model”.O artigo “Cultura corporal: influências das redes sociais virtuais sobre as compreensões de estudantes”, de Fábio Souza de Oliveira (Secretaria de Educação do Estado da Bahia, SEE-BA, Feira de Santana-BA, Brasil) e Cláudio Márcio Oliveira (Universidade Federal de Minas Gerais, UFMG, Belo Horizonte-MG, Brasil), teve como objetivo analisar as possíveis influências das redes sociais sobre as compreensões de estudantes a respeito dos elementos da Cultura Corporal.Flora Silva Alves (Universidade Estadual Paulista “Júlio de Mesquita Filho”, UNESP, Presidente Prudente-SP, Brasil) e Hugo Paula Almeida Da Rocha (Universidade Estadual Paulista “Júlio de Mesquita Filho”, UNESP, Presidente Prudente-SP, Brasil) analisam as práticas avaliativas utilizadas por docentes de Educação Física de uma escola do Ensino Fundamental, no artigo “Avaliação nas aulas de educação física: anos iniciais do ensino fundamental”.Encerrando a seção artigos de pesquisa, em “Processos educativos desvelados no conviver: curso equidade”, Alessandra Guerra da Silva Oliveira (Universidade Federal de São Carlos, UFSCar, São Carlos-SP, Brasil), Ana Carolina Aparecida Marques Soarez (Academia da Força Aérea, AFA, Pirassununga-SP, Brasil), Gilmar Araújo de Oliveira (Universidade Federal de São Carlos, UFSCar, São Carlos-SP, Brasil), Natália Lopes dos Santos (Universidade Estadual de Campinas, UNICAMP, Campinas-SP, Brasil) e Luciene Aparecida da Silva (Secretaria da Educação do Estado de São Paulo, SEE-SP, Sumaré-SP, Brasil) apresentam os processos educativos desvelados no conviver de um curso de Ação Afirmativa.No artigo de revisão “O avaliar na educação física escolar”, Rogério Alves Antunes Júnior (Universidade Federal de Minas Gerais, UFMG, Belo Horizonte-MG, Brasil) e Admir Soares de Almeida Junior (Universidade Federal de Minas Gerais, UFMG, Belo Horizonte-MG, Brasil) discorrem sobre o desenvolvimento e a transformação da avaliação nas aulas de Educação Física.Ester Buffa (Universidade Federal de São Carlos, UFSCar, São Carlos-SP, Brasil), abre a seção de ensaios apresentando reflexões sobre o corpo, a dança e seus prazeres, em “Tango: atração e relutância”.No ensaio “Futebol e política se misturam: na trincheira das lutas contra o autoritarismo”, Osmar Moreira de Souza Junior (Universidade Federal de São Carlos, UFSCar, São Carlos-SP, Brasil) problematiza o mito: “futebol e política não se misturam”.Finalizando este editorial, em meio às imensas perdas que estamos a vivenciar dia a dia, manifestamos nosso profundo pesar. Muita paz!Desejando que todas e todos permaneçamos bem, em exercício constante de solidariedade, empatia, sororidade, fraternidade..., a Motricidades segue adiante, expandindo a divulgação científica na área de Educação, em suas interfaces com Artes, Educação Física, Lazer, Meio Ambiente e Saúde!Boas leituras, reflexões, debates e, principalmente... engajadas ações!São Carlos-SP, agosto de 2020MOTRICIDADESRev. SPQMHEditorProf. Dr. Fábio Ricardo Mizuno Lemos(Instituto Federal de São Paulo, Brasil)Editores AssociadosProfa. Dra. Denise Aparecida Corrêa(Universidade Estadual Paulista, Brasil)Prof. Dr. Luiz Gonçalves Junior(Universidade Federal de São Carlos, Brasil)Prof. Dr. Paulo César Antonini de Souza(Universidade Federal do Mato Grosso do Sul, Brasil)Prof. Dr. Victor Lage(Universidade de Brasília, Brasil)Conselho EditorialProf. Dr. Cae Rodrigues(Universidade Federal de Sergipe, Brasil)Profa. Dra. Claudia Foganholi(Universidade Federal Fluminense, Brasil)Profa. Dra. Denise Andrade de Freitas Martins(Universidade do Estado de Minas Gerais, Brasil)Prof. Dr. Elenor Kunz(Universidade Federal de Santa Maria, Brasil)Profa. Dra. Fabiana Rodrigues de Sousa(Centro Universitário Salesiano, Brasil)Prof. Dr. Gilberto Tadeu Reis da Silva(Universidade Federal da Bahia, Brasil)Prof. Dr. Glauco Nunes Souto Ramos(Universidade Federal de São Carlos, Brasil)Profa. Dra. Lílian Aparecida Ferreira(Universidade Estadual Paulista, Brasil)Profa. Dra. Luciane Ribeiro Dias Gonçalves(Universidade Federal de Uberlândia, Brasil)Prof. Dr. Manuel Sérgio Vieira e Cunha(Universidade Técnica de Lisboa, Portugal)Prof. Dr. Marcos Garcia Neira(Universidade de São Paulo, Brasil)Profa. Dra. Petronilha Beatriz Gonçalves e Silva(Universidade Federal de São Carlos, Brasil)Profa. Dra. Regina Maria Rovigati Simões(Universidade Federal do Triângulo Mineiro, Brasil)Prof. Dr. Sergio Alejandro Toro Arévalo(Universidad Austral de Chile, Chile)Profa. Dra. Valéria de Oliveira Vasconcelos(Centro Universitário Salesiano, Brasil)Profa. Dra. Vitória Helena Cunha Espósito(Pontifícia Universid/ade Católica de São Paulo, Brasil)Prof. Dr. Wagner Wey Moreira(Universidade Federal do Triângulo Mineiro, Brasil)

Nos dias 25 e 26 de abril de 2019, o Grupo de Pesquisa Consumo e Sociabilidades (ESPM Rio/CNPq) promoveu a II Jornada de Pesquisa sobre Consumo e Sociabilidades. O evento aconteceu no auditório da ESPM/Rio e contou com a participação de pesquisadores de diferentes áreas e instituições que estudam a temática. Em sua segunda edição, a Jornada recebeu propostas de trabalhos de pesquisadores de oito instituições de ensino do Rio de Janeiro, fato que sinaliza para a pertinência do estabelecimento de novos espaços para a discussão de temas ligados ao consumo. O aumento no número de submissões exigiu esforço da comissão organizadora no sentido de ampliar a quantidade de sessões, mas mantendo o espaço qualificado para o debate e a troca de ideias e experiências entre professores, pesquisadores e estudantes, que é o objetivo maior da Jornada.As pesquisas apresentadas na II Jornada demonstram a importância de estudos sobre o fenômeno do consumo e sua relevância para compreender aspectos da sociedade contemporânea. A expansão da literatura de consumo é observada nas últimas décadas em um largo escopo de disciplinas (FEATHERSTONE, 1995; DOUGLAS e ISHERWOOD, 1996; FIRAT e VENKATESH, 1995; SLATER, 1997, 2002; MILLER, 1995; ARNOULD e THOMPSON, 2005; HOROWITZ, 2004; SCHUDSON, 1991), ultrapassando uma visão ingênua sobre o tema, como apontam Gomes e Barbosa (2004). Assim, o consumo se mostra um fenômeno ativo e constante no cotidiano dos indivíduos, que desempenha um “papel central como estruturador de valores que constroem identidades, regulam relações sociais, definem mapas culturais” (ROCHA, 2004, p. 8). Outro aspecto relevante dos estudos sobre consumo é a percepção da amplitude do conceito para além da aquisição de bens ou reprodução física ou biológica, sendo visto como mediador de relações sociais, que é capaz de conferir status, distinguir-nos, fazer-nos sentir pertencendo a um grupo, estabelecer fronteiras, construir e fortalecer identidades e subjetividades etc. (DOUGLAS; ISHERWOOD, 2004).Tais processos demonstram a visão a respeito da vida social a partir (também) das atividades de consumo, não somente da produção, como apontam Firat e Dholakia (1998), Schor (2007) e Gabriel e Lang (1995). Em tal reorganização, o consumo também deve ser compreendido de forma mais ampla, não apenas a partir das interpretações e significados atribuídos por consumidores mas também a partir das relações e influências que se estabelecem entre consumidores e os demais agentes de mercado, como empresas, entes reguladores, formuladores de políticas públicas, governos, legisladores, ativistas... Os trabalhos apresentados na II Jornada possuem diversidade não apenas de temática, mas também de abordagens utilizadas e foram agrupados em cinco sessões – Moda, Consumo e Sustentabilidade; Identidade e Estilo de Vida; Consumo em Múltiplas Perspectivas; Consumo, Saúde e Alimentação; Consumo, Sociabilidades e Mercados. Este dossiê reúne alguns desses trabalhos. Os artigos “Uma análise sobre a experiência do consumo e produção em dois empreendimentos criativos da moda”, de autoria de Luiza Silva Calado e Elaine Perdigão, e “Santa Clara 33: consumindo moda praia no bairro de Copacabana”, de Alessandra de Figueredo Porto, trazem reflexões sobre o mundo da moda sob as perspectivas da produção e do consumo. No caso do primeiro, trata-se de discutir na moda a partir de casos de empreendimentos criativos em São Paulo. No segundo artigo, a autora analisa um prédio destinado ao comércio de moda praia no coração do bairro de Copacabana, no Rio de Janeiro, destacando a relação entre moda e estilo de vida. As feiras, espaços de consumo historicamente importantes no desenvolvimento da vida urbana e que vêm sendo ressignificadas na contemporaneidade, são analisadas nos artigos “A Feira Agroecológica da Serra da Misericórdia: história, sociabilidade e consumo na Zona Norte do Rio de Janeiro”, de Rodrigo Rossi Morelato; “Consumo e sociabilidade numa feira de brechós no coração do subúrbio carioca”, de Jorgiana Melo de Aguiar Brennand; “Consumo, sociabilidade e memória no processo de ressignificação identitária: o caso da Feira de Refugiados Chega Junto”, de Conceição Souza; e “Sociabilidade e consumo da Feira das Yabás: uma observação entre práticas culturais, memória e tradição”, de Adelaide Chao. Esses trabalhos, que tratam de feiras nas quais há comercialização de produtos específicos - dos produtos agrícolas aos objetos de segunda mão, mostram resultados de pesquisas que reafirmam a relevância das feiras não só como espaços de trocas, mas também de sociabilidade e de construção e reconstrução identitária e de memória. Além do dossiê Consumo e Sociabilidades, este número da revista Diálogo da Economia Criativa apresenta mais cinco artigos livres, dos quais quatro também tratam do tema consumo em suas múltiplas perspectivas. Esses quatro trabalhos foram apresentados no IX ENEC - Encontro Nacional de estudos do Consumo, realizado no mês de novembro de 2018 na ESPM Rio. São eles: “Modas, calos e cetins: os sapatos como símbolos distintivos no Rio de Janeiro do século XIX”, de Cecília Elisabeth Barbosa Soares e Olga Carolina Pontes Bon Velozo; “Luxos verdes na publicidade imobiliária de João Pessoa/PB”, de Ceres Grehs Beck; “A construção identitária da marca Rio sob a perspectiva cultural: narrativas sobre o espaço convertido em mercadoria nos últimos 10 anos”, de autoria de Brenda Stefanny Batista Neves, Wandeline De Araujo Cumarú e Hannah Miranda Morais Miranda Morais, “A construção identitária da marca Rio sob a perspectiva cultural: narrativas sobre o espaço convertido em mercadoria”, de Flávia Barroso de Mello, Luís Alexandre Grubits de Paula Pessôa e Vitor Moura Lima; e “O vinho como bem de consumo que vem ‘de fora’: representações e práticas culturais de consumidores cariocas”, de Luciana Freire Murgel. Fechando esta edição, o artigo “Cidades criativas: uma análise dos indicadores na literatura acadêmica”, de autoria de Brenda Stefanny Batista Neves.Desejamos uma proveitosa e prazerosa leitura.

e4139111This article features schools and school districts with successful induction programs, all easily replicable. Increasingly, research confirms that teacher and teaching quality are the most powerful predictors of student success. In short, principals ensure higher student achievement by assuring better teaching. To do this, effective administrators have a new teacher induction program available for all newly hired teachers, which then seamlessly becomes part of the lifelong, sustained professional development program for the district or school. What keeps a good teacher are structured, sustained, intensive professional development programs that allow new teachers to observe others, to be observed by others, and to be part of networks or study groups where all teachers share together, grow together, and learn to respect each other’s work.ResumoEste artigo apresenta escolas e distritos escolares com programas bem sucedidos de indução, todos facilmente replicáveis. Cada vez mais, a pesquisa confirma que o professor e a qualidade do ensino são os mais poderosos preditores do sucesso do aluno. Em suma, os diretores garantem maior desempenho dos alunos, garantindo melhor ensino. Para fazer isso, os administradores eficazes têm um novo programa de indução de professores disponível para todos os professores recém-contratados, que então se torna parte do programa de desenvolvimento profissional sustentado ao longo da vida para o distrito ou escola. O que mantém um bom professor são programas estruturados, constantes e intensivos de desenvolvimento profissional que permitem que os novos professores observem outros, sejam observados por outros e façam parte de redes ou grupos de estudo onde todos os professores compartilham juntos, crescem juntos e aprendem a respeitar o trabalho um do outro.Tradução do original WONG, Harry K. “Induction Programs That Keep New Teachers Teaching and Improving”. NASSP Bulletin – Vol. 88 No 638 March 2004. © Harry K. Wong Publications, Inc. por Adriana Teixeira Reis.Palavras-chave: Programas de indução, Professor iniciante, Desenvolvimento profissional docente.Keywords: Induction programs, Beginner teacher, Teacher professional development.ReferencesALLINGTON, R. (2003). The six ts of effective elementary literacy instruction. Retrieved from www.readingrockets.org / article.php?ID=413.BREAUX, A., & WONG, H. (2003). New teacher induction: How to train, support, and retain new teachers. Mountain View, CA: Harry K. Wong Publications.BRITTON, E., PAINE, L., PIMM, D., & RAIZEN, S. (Eds.). (2003). Comprehensive teacher induction: Systems for early career learning. State: Kluwer Academic Publishers and WestEd.CROSS, C. T., & RIGDEN, D. W. (2002, April). Improving teacher quality [Electronic version]. American School Board Journal, 189(4), 24–27.DARLING-HAMMOND, L., & SYKES, G. (2003). Wanted: A national teacher sup- ply policy for education: The right way to meet the “highly qualified teacher” challenge. Education Policy Analysis Archives, 11(33). Retrieved from http: // epaa.asu.edu / epaa / v11n33 /DARLING-HAMMOND, L., & YOUNGS, P. (2002). Defining “highly qualified teachers”: What does scientifically-based research actually tell us? Educational Researcher, 31(9), 13–25.DEPAUL, A. (2000). Survival guide for new teachers: How new teachers can work effec- tively with veteran teachers, parents, principals, and teacher educators. Jessup, MD: U.S. Department of Education, Office of Educational Research and Improvement.DRUMMOND, S. (2002, April 18). What will it take to hold onto the next gen- eration of teachers? Harvard Graduate School of Education News. Retrieved from www.gse.harvard.edu / news / features / ngt04182002.htmlELMORE, R. (2002, January/ February). The limits of “change.” Harvard Education Letter. Retrieved from www.edletter.org / past / issues / 2002-jf / limitsofchange.shtmlFEIMAN-NEMSER, S. (1996). Teacher mentoring: A critical review. Washington, DC: ERIC Clearinghouse on Teaching and Teacher Education. (ERIC Document Reproduction Service No. ED397060)FULLAN, M. (2001). The new meaning of educational change (3rd ed.). New York: Teachers College Press.FULLAN, M. (2003). Change forces with a vengeance. London: Routledge Falmer.GARET, M., Porter, A., DESMOINE, L., BIRMAn, B., & KWANG, S. K. (2001). What makes professional development effective? American Educational Research Journal, 38(4), 915–946.GREENWALD, R., HEDGES, L., & LAINE, R. (1996). The effect of school resources on student achievement. Review of Educational Research, 66(3), 361–396.HANUSHEK, E. A., KAIN, J. F., & RIVKIN, S. G. (2001). Why public schools lose teachers (NBER Working Paper No. 8599). Cambridge, MA: National Bureau of Economic Research.HARE, D., & HEAP, J. (2001). Effective teacher recruitment and retention strategies in the Midwest. Naperville, IL: North Central Regional Laboratory. 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(2003, April). New teachers’ experiences of hiring: Preliminary findings from a 4-state study. Paper presented at the annual meeting of the American Educational Research Association, Chicago, IL.MARTIN, S. (2003, March). From the ground up: Building your own university. Paper presented at the annual meeting of the Association of Supervision and Curriculum Development, San Francisco, CA.NORTH CAROLINA TEACHING FELLOWS COMMISSION. (1995). Keeping talented teach- ers. Raleigh, NC: Public School Forum of North Carolina.PALOMBO, M. (2003). A network that puts the net to work. Journal of Staff Development, 24(1), 24–28.ROTHMAN, R. (2002 / 2003). Transforming high schools into small learning communities. Challenge Journal, 6(2), 1–8.SANDERS, W. (1996). Cumulative and residual effects of teachers on future student academic achievement. Knoxville, TN: University of Tennessee Value-Added Research & Assessment Center.SAPHIER, J., FREEDMAN, S., & ASCHHEIM, B. (2001). 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<p>A presente edição é composta por um conjunto de dez artigos. Embora, aparentemente, os textos tratam de temáticas diversas, há um forte elo comum entre os mesmos. São temáticas de cunho paradigmático ou operacional que visam explicitar e compreender, com base em pesquisas bibliográficas ou quantitativas, questões centrais que tematizam e dizem respeito ao processo e aos fundamentos da educação escolar, No primeiro texto <em>D</em><em>ireito à educação e o processo de ampliação do ensino fundamental,</em><strong> </strong>Simone Fátima Flach explicita as principais ações políticas e os dados da oferta da educação municipal do ensino fundamental de 9 anos no município de Ponta Grossa/PR, no período de 2001 a 2008. Fundamentada numa abordagem qualitativa, analisa os impactos sociais da ampliação do ensino fundamental e conclui que as ações e seus efeitos foram parciais e fragilizados, tendo em vista que o entendimento sobre o direito à educação para o ingresso nessa etapa da escolaridade ocorreu de forma diferenciada. No estudo, <em>Os diferentes sentidos atribuídos à compreensão da relação da Educação Profissional e Ensino Médio,</em> as autoras Janice R. Cardoso Griebeler e Ireni Marilene Zago Figueiredo buscam identificar a polissemia dos termos que tratam sobre a relação da Educação Profissional com o Ensino Médio. A leitura de uma ampla literatura sobre a temática permitiu buscar a explicitação dos diferentes sentidos atribuídos à compreensão de duas expressões muito frequentes na relação Educação Profissional e Ensino Médio: a) articulação e integração e; b) Educação Profissional integrada ao Ensino Médio. Iael de Souza, no artigo <em>Da antropologia aos fundamentos antropológicos da educação – considerações iniciais,</em><strong> </strong>buscou compreender o<strong> </strong>homem como problema, em si e para si, sua humanização, formação e autoconstrução. Com enfoque no paradigma do materialismo histórico-dialético, analisa as possibilidades e potencialidades da realização humana quando o homem se coloca como problema de si mesmo. A partir dessa questão crucial, o texto procura qual pode ser a natureza essencial da educação, o seu sentido amplo e seu fundamento antropológico no contexto do modo de produção e vida capitalista. Em seu estudo bibliográfico, Josiane Peres Gonçalves<strong> </strong>analisou o processo de desenvolvimento humano, destacando as diferentes fases da vida, bem como a idade e as principais características de cada fase. Com o título <em>Ciclo vital: início, desenvolvimento e fim da vida humana, possíveis contribuições para educadores,</em><strong> </strong>a autora aponta a dificuldade de estabelecer padrões para a vida humana tendo em vista que fatores culturais e sociais exercem muitas influências em cada pessoa além de outros aspectos que ocorrem em populações de sociedades ocidentais industrializadas. A autora analisa desde a questão do desenvolvimento, passando pela concepção e período pré-natal, as fases correspondentes à infância, adolescência e idade adulta, incluindo o idoso, para finalmente refletir sobre a morte que marca o fim do ciclo vital. No texto <em>As práticas pedagógicas dos professores da Educação Básica na interação com os livros didáticos digitais,</em><strong> </strong>a autora Eliane Mimesse Prado analisa a interação das práticas pedagógicas dos professores da educação básica com os livros didáticos digitais. Com base numa pesquisa de campo entre professores que lecionam em escolas de grande porte, na rede privada da cidade de Curitiba/PR, o objetivo da autora foi verificar quais os usos cotidianos dos livros didáticos digitais nas salas de aula. O resultado da pesquisa indica que o livro didático digital ainda não atingiu plenamente as práticas pedagógicas dos professores. No texto, <em>Habilidades de professores e estudantes da educação básica no uso das TIC como ferramentas de ensino e aprendizagem: notas para uma prática pedagógica educomunicativa. Caso Florianópolis 2013/2014,</em> Ademilde Silveira Sartori, Elias Said Hung e Patrícia Justo Moreira<strong> </strong>apresentam reflexões baseadas em análise de dados parciais referentes ao município de Florianópolis/SC, coletados junto a estudantes de sexto ano e professores dos anos finais do ensino fundamental das escolas vinculadas ou à Rede estadual ou a municipal pública de ensino, situadas na cidade de Florianópolis/SC, entre 2013 e 2014. A pesquisa buscou identificar as habilidades pedagógicas no uso das TIC por parte de professores e estudantes e conclui sobre a necessidade de planejar políticas públicas que auxiliem no aprofundamento do uso pedagógico das TIC na educação pública a partir das habilidades necessárias para este segmento. No artigo <em>Projeto Pedagógico, Abordagem Pedagógica e Cenários de Prática: Avaliação de tendências de mudanças em cursos da área da saúde</em><em>,</em> Kênia Alessandra de Araújo Celestino, Nilce Maria da Silva Campos Costa, Ida Helena Carvalho Francescantônio Menezes e Lucilene Maria de Sousa expõem as tendências de mudança em cursos de graduação da área da saúde da Universidade Federal de Goiás, tendo como base os aspectos preconizados pelas Diretrizes Curriculares Nacionais. Trata-se de um estudo descritivo cuja coleta de dados foi realizada em reunião com docentes, discentes e servidores técnico-administrativos dos cursos de Enfermagem, Farmácia, Medicina e Nutrição, no período de 2013 e 2014. A pesquisa observa que todos os cursos estão em processo de mudança dos projetos pedagógicos, das abordagens pedagógicas e dos cenários de prática, conforme previsto pelas Diretrizes Curriculares Nacionais. As autoras Indman Ruana Lima Queiroz e Elisa Prestes Massena, no artigo<strong> </strong><em>Reflexões acerca de compreensões de currículo de professores em exercício,</em> apresentam compreensões de currículo de professores em exercício de escolas públicas da região Nordeste do país. O universo da pesquisa foram dez professores de duas cidades nordestinas. Os resultados mostraram que as compreensões de currículo de muitos professores ainda estão ancoradas nos conteúdos propostos pelo livro didático e também pelo que é exigido nos exames de acesso ao ensino superior. Segundo as autoras, isso pode ser consequência de como as discussões de currículo ocorrem nos cursos de formação inicial e indicam a necessidade da formação continuada desses sujeitos. No artigo<strong> </strong><em>Trabalho e educação na modernidade líquida: reflexões sobre práticas pedagógicas contemporâneas,</em><strong> </strong>os autores João Paulo Baliscei, Geiva Carolina Calsa e Vinícius Vinícius Stein indicam que, na contemporaneidade, as relações e exigências de trabalho são distintas daquelas de outrora. Apresentam o resultado de uma pesquisa bibliográfica fundamentada nos Estudos Culturais e tecem considerações a respeito do trabalho e da educação no século XXI. Segundo os autores, os aparatos tecnológicos e suas constantes inovações e aperfeiçoamentos demandam que os trabalhadores e trabalhadoras sejam flexíveis e que aprendam com rapidez. Concluem que, enquanto o mercado de trabalho tem acompanhado o ritmo das inovações, a escola e as práticas pedagógicas apresentam poucas modificações em sua organização e currículo. Segundo os autores, a escola pode atender às demandas do trabalho desde que considere também as necessidades de uma formação estética, ética e política. Os autores Roque Strieder e Clenio Lago, no texto<strong> </strong><em>Dispositivos de captura: profanação possível via formação de professores</em>,<strong> </strong>analisam o contexto político contemporâneo. Para os autores o atual contexto é fortemente marcado pela presença de dispositivos de captura de subjetividades e por um viés biopolítico que reduz a vida a objeto de cálculos, objeto de técnicas de vigilância e controle. A partir deste cenário a reflexão tem como propósito tensionar de que modo e com quais estratégias, processos formativos podem fazer frente a essa subserviência aos dispositivos de captura das subjetividades. Apresentam como suporte da investigação e pano de fundo epistemológico a teoria da complexidade. A partir deste conjunto de publicações esperamos contribuir com as reflexões e discussões acerca de temáticas tão relevantes para a compreensão do currículo escolar, do processo educacional e da constituição do sujeito no mundo contemporâneo. </p>

La mina Calenturitas está ubicada en el corredor carbonífero del departamento del Cesar, esta es dividida en varios sectores particularmente en el sector “A” hay una falla geológica llamada Falla Carolina sin seguimiento y descripción detallada, la Falla genera problemas durante el minado de los mantos de carbón, ocasionando inestabilidad en las paredes y rampas. Los levantamientos estructurales en campo y las correlaciones de secciones transversales en el sector determinaron que La Falla Carolina es una falla inversa con un rumbo N76W y buzamiento 57°NE, la Falla genera saltos verticales en los mantos de carbón desde 3.5mts hasta 9mts, los saltos verticales no son constantes si no que varían a medida que la minería avanza hacia el sur de la mina. La Falla Carolina no posee un componente de rumbo así su desplazamiento horizontal es igual a 0 y por lo tanto su desplazamiento neto será igual al salto vertical de la Falla. La interpretación de pozos exploratorios y correlación de secciones, determinaron que en los futuros nivel de minería la Falla Carolina no tendría efecto sobre la secuencia estratigráfica.

Trata-se de um artigo em formato de relato de experiência sobre o uso do livro Quarto de despejo de Carolina Maria de Jesus e sobre as discussões voltadas às mulheres negras que compõem a História, invisibilizadas nos currículos da educação básica e do ensino superior. Explicita-se que as histórias das mulheres negras estudadas em sala de aula foram reinterpretadas através de manifestações artísticas. Objetiva-se apresentar aos discentes em formação, caminhos que permitam novos olhares para o currículo e para a prática docente. Compreende-se que as vivências de formação precisam questionar o modelo educativo atual, uma vez que este não mais atende às demandas de uma sociedade que vive em constante transformação, permeada por conflitos diversos.

A cultura contemporânea recuperou a figura do passageiro, do caminheiro, do passeador, do errante, reinventando a ideia de localização e deslocamento. Para Paul Ricoeur (2007), entre as alternâncias de repouso e movimento está instituído o ato de habitar, o fato de um corpo estar compreendido entre um aqui e um acolá. Diante dessa compreensão, acredito que a construção do universo narrado da escritora mineira Carolina Maria de Jesus concretiza-se por essa procura incessante pelo ato de habitar, que se manifesta por meio dos constantes agenciamentos que a narradora irá empreender pelos caminhos por onde circula. No discurso de Carolina Maria de Jesus, existe uma inquietante busca por fazer parte de um lugar que não foi reservado a ela, sendo que, nessa busca por sobrevivência, em uma sociedade excludente, verifico outro ângulo de visada de onde se sobressai um novo tipo de escritura. Nessa trajetória, encontram-se indivíduos considerados à margem, estando reservado a eles apenas um sentimento assombroso de busca por agenciamento, prevalecendo, ou estando imposto a ele, o reinado do vazio. Ser errante, nômade, caminheiro, transeunte serão possíveis nomenclaturas para designar esse percurso insólito de quem ousa narrar as adversidades de um mundo contemporâneo hostil, não acostumado a lidar com outras identidades.

Background:Recently, we discovered a new glucogenic and centrally acting orexigenic hormone – asprosin. Asprosin is elevated in metabolic syndrome (MS) patients, and its genetic loss results in reduced appetite, leanness, and blood glucose burden, leading to protection from MS.Methods:We generated three independent monoclonal antibodies (mAbs) that recognize unique asprosin epitopes and investigated their preclinical efficacy and tolerability in the treatment of MS.Results:Anti-asprosin mAbs from three distinct species lowered appetite and body weight, and reduced blood glucose in a dose-dependent and epitope-agnostic fashion in three independent MS mouse models, with an IC50 of ~1.5 mg/kg. The mAbs displayed a half-life of over 3days in vivo, with equilibrium dissociation-constants in picomolar to low nanomolar range.Conclusions:We demonstrate that anti-asprosin mAbs are dual-effect pharmacologic therapy that targets two key pillars of MS – over-nutrition and hyperglycemia. This evidence paves the way for further development towards an investigational new drug application and subsequent human trials for treatment of MS, a defining physical ailment of our time.Funding:DK118290 and DK125403 (R01; National Institute of Diabetes and Digestive and Kidney Diseases), DK102529 (K08; National Institute of Diabetes and Digestive and Kidney Diseases), Caroline Wiess Law Scholarship (Baylor College of Medicine, Harrington Investigatorship Harrington Discovery Institute at University Hospitals, Cleveland); Chao Physician Scientist Award (Baylor College of Medicine); RP150551 and RP190561 (Cancer Prevention and Research Institute of Texas [CPRIT]).

ABSTRACT Anoxic subsurface sediments contain communities of heterotrophic microorganisms that metabolize organic carbon at extraordinarily low rates. In order to assess the mechanisms by which subsurface microorganisms access detrital sedimentary organic matter, we measured kinetics of a range of extracellular peptidases in anoxic sediments of the White Oak River Estuary, NC. Nine distinct peptidase substrates were enzymatically hydrolyzed at all depths. Potential peptidase activities (Vmax) decreased with increasing sediment depth, although Vmax expressed on a per-cell basis was approximately the same at all depths. Half-saturation constants (Km) decreased with depth, indicating peptidases that functioned more efficiently at low substrate concentrations. Potential activities of extracellular peptidases acting on molecules that are enriched in degraded organic matter (d-phenylalanine and l-ornithine) increased relative to enzymes that act on l-phenylalanine, further suggesting microbial community adaptation to access degraded organic matter. Nineteen classes of predicted, exported peptidases were identified in genomic data from the same site, of which genes for class C25 (gingipain-like) peptidases represented more than 40% at each depth. Methionine aminopeptidases, zinc carboxypeptidases, and class S24-like peptidases, which are involved in single-stranded-DNA repair, were also abundant. These results suggest a subsurface heterotrophic microbial community that primarily accesses low-quality detrital organic matter via a diverse suite of well-adapted extracellular enzymes. IMPORTANCE Burial of organic carbon in marine and estuarine sediments represents a long-term sink for atmospheric carbon dioxide. Globally, ∼40% of organic carbon burial occurs in anoxic estuaries and deltaic systems. However, the ultimate controls on the amount of organic matter that is buried in sediments, versus oxidized into CO2, are poorly constrained. In this study, we used a combination of enzyme assays and metagenomic analysis to identify how subsurface microbial communities catalyze the first step of proteinaceous organic carbon degradation. Our results show that microbial communities in deeper sediments are adapted to access molecules characteristic of degraded organic matter, suggesting that those heterotrophs are adapted to life in the subsurface.

"These days information is so readily available and so instant in transferral that people start to feel that they have a more active role in the process of history." -- William B. Davis, M.A. ("Cigarette Smoking Man" from The X-Files) Space is, as its history shows, an experiential phenomenon open for interpretation. The methods by which this phenomenon comes to be known are equally arbitrary and tend to vary through time (to which space is intimately related), from culture to culture, and are always specifically related to what is known about the world within these circumstances. For example, Caroline McLeod presents a story recorded by Colin Turnball about a tribe of pygmies living deep in the rainforests of Africa. Some of them once journeyed to Lake Victoria for the first time, but were unable to perceive the people on the boats in the distance. Because they had never been in an environment with large expanses of space, the pygmies had never seen an object recede into the distance. They were unable to perceive what psychologists call size constancy. After several weeks of observing the boats, however, they were able to shift their understanding of reality to include this new mode of perceptual experience, a shift producing considerable ontological change for their culture. Postmodern society represents a similar attempt to deal with a new perceptual realm made accessible through new media forms such as the Internet, and the implications of developments in quantum physics, demonstrating a subtle renegotiation of space that challenges the hegemonic ontological paradigm of the scientific establishment. That is, it represents a pull away from a model which insists that movement necessarily involves a crossing of literal, measurable space between two points. Electronic communications such as the Internet have, as the Cigarette Smoking Man notes, led to an increased sense of public responsibility in the process of history and, by their very nature, demonstrated the ethereal quality of space itself. To isolate the origin of the negotiation of space in western culture requires a short journey back to the sixth century B.C. Zeno, Parmenides's most famous pupil, was already powerfully demonstrating that the common conceptualisation of space -- although it appeared 'natural' and 'obvious' -- was actually fundamentally flawed. Suppose you want to move your cursor from this word to this one. There is about a three centimetre gap between the two. As part of the trip, you must travel half the distance between the two points -- 1.5 centimetres. To travel 1.5 centimetres, you must travel half of this distance -- 75 millimetres......and so on. Every distance can be halved, so there is always a space between you and your destination. Logically, not only can you not move the cursor from word to word, you cannot move yourself from one side of the room to the other, or move at all for that matter. The implication is that the perception that reality changes is an illusion, since distance and movement are themselves both illusory: you do step into the same river twice. What are some cultural markers of the growing acceptance of a more ethereal conceptualisation of space? The first, and perhaps most noticeable, is a marked reduction in the linear representation of time, which manifests as an unprecedentedly heterogeneous set of trends that essentially collapses the past, the future, and past representations of the future. Andrew Niccol's 1998 film, Gattaca, thus presents a fifties-style nineties version of the future. Fashion and music are clearer sites of this nonlinear trend, the influence of the forties, fifties, sixties, seventies and eighties all being observable in contemporary popular culture. And already, the nineties are beginning to take on a nostalgia all their own as the millennium draws us closer to the 'future' that 2,000 signifies and away from the 'pre-future' tension of the nineties. Another, more complex cultural effect of this renegotiation of space, apart from its implications for time, is the decline in usefulness of literalised spatial metaphor. This situation has developed in part from the ability of electronic communications, particularly the Internet, to allow active participation in nonliteral space -- cyberspace, an experience which until recently did not exist outside the fiction of writers such as William Gibson. Cyberspace is unique in its ability to electronically replicate the mystical notion of transcendence: in cyberspace, you are a figure of your own creation, existing nowhere and everywhere. Unrestrained by the physical body, 'movement' becomes both unnecessary and undesirable for participation and interaction. Cyberspace is not even genuinely 'meta-space', since space is a concept which only becomes useful as an unstable metaphor to describe an experience which exists so vividly outside of its possible parameters. The nonlocalised experience of cyberspace itself reflects the findings of recent work on sub-atomic phenomena, explored most famously by quantum physicist David Bohm. When scientists observed that, under certain conditions, subatomic particulars ('quanta') communicate with each other over vast distances instantaneously (faster than light), like twins who feel each other's pain, Bohm realised that they were observing the 'principle of nonlocality': the information was not travelling through time and space from one location to another, the subatomic particles simply existed in a dimension that rendered time and space irrelevant, and where information existed in all places at the same time (Lewels 69). Since quanta are the building blocks of matter, Bohm concluded that all matter is connected at the subatomic level. This seemed to explain, for example, why quanta only appear as solid objects, as opposed to particles or waves, when they are observed; there seems to be a profound relationship between the observer and the observed. Scientists eventually stopped trying to distinguish between one subatomic particle and another because they are all identical and encoded with the same information. When grouped in great quantities, they cease to behave as individuals (that is, independently unpredictable), and begin to demonstrate a 'group consciousness', similar to a man'o'war, which is actually a conglomerate of individual creatures operating as one. Bohm eventually concluded that a holographic model of the universe was the most useful for explaining the unpredictable behaviour of quanta, postulating that every subatomic particle may be encoded with the information necessary to replicate the entire universe (Lewels 70). Like a regular holograph, each part contains the whole. In postmodern society, too, each artefact, each act, contains the meanings of the whole, becoming inevitable signs of accumulation. In an ironic, spatial sort of way then, postmodern physics and culture have come full circle to meet up with Zeno, who, like us, apparently never actually went anywhere (indeed, the idea that he could would be contrary to his philosophy). Apart from the scientific and philosophical compulsions to renegotiate conceptualisations of space is the possibility that the traditional model is simply unuseful for articulating the wide, varying range of contemporary human experience which western culture increasingly rushes to acknowledge, from cybersex to alien abduction. So even if there is room for space in postmodern society, we may not have time for it. References Clifton, Paul. "Interview with William B. Davis." Fortean Times Sep. 1998: 66. Harvey, David. The Condition of Postmodernity. Cambridge, MA: Blackwell, 1989. Lewels, Joe. The God Hypothesis: Extraterrestrial Life and Its Implications for Science and Religion. Mild Spring, NC: Wild Flower, 1997. Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Trans. Geoff Bennington and Brian Massumi. Minneapolis: U of Minneapolis P, 1988. McLeod, Caroline. "Extraordinary Experience and Research at PEER." PEER. 23 Sep. 1998. 24 Nov. 1998 <http://www.peer-mack.org/mcleod.php>. Citation reference for this article MLA style: Adam Dodd. "'The Truth Is Over There': Is There Room for Space in Postmodernity?" M/C: A Journal of Media and Culture 1.4 (1998). [your date of access] <http://www.uq.edu.au/mc/9811/truth.php>. Chicago style: Adam Dodd, "'The Truth Is Over There': Is There Room for Space in Postmodernity?," M/C: A Journal of Media and Culture 1, no. 4 (1998), <http://www.uq.edu.au/mc/9811/truth.php> ([your date of access]). APA style: Adam Dodd. (1998) 'The truth is over there": is there room for space in postmodernity? M/C: A Journal of Media and Culture 1(4). <http://www.uq.edu.au/mc/9811/truth.php> ([your date of access]).

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(Instituto Superior de Educação e Ciências, Portugal), Developing teachers' knowledge and skills as researchers: A conceptual framework. Asia-Pacific Journal of Teacher Education (Routledge/Taylor & Francis) 33.3 (2005), 303–319.06–767Richardson, Paul W. & Helen M. G. Watt (Monash U, Australia), Who chooses teaching and why? Profiling characteristics and motivations across three Australian universities. Asia-Pacific Journal of Teacher Education (Routledge/Taylor & Francis) 34.1 (2006), 27–56.06–768Romano, Molly (U Arizona, USA), Assessing and meeting the needs of pre-service teachers: A programmatic perspective. Action in Teacher Education (Association of Teacher Educators) 27.3 (2005), 40–54.06–769Ruan, Jiening & Sara Ann Beach (U Oklahoma, USA), Using online peer dialogue journaling to promote reflection in elementary pre-service teachers. 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Luis Pérez Valero es doctorando en música por la Pontificia Universidad Católica Argentina “Santa María de los Buenos Aires”; Máster universitario en música española e hispanoamericana (Universidad Complutense de Madrid, 2012); Magister en música (Universidad Simón Bolívar, 2009); Licenciado en música mención composición (Instituto Universitario de Estudios Musicales-UNEARTE, 2005). Sus investigaciones giran en torno al análisis de la música popular, la producción musical, estética de la grabación, entre otros. Ha publicado en diversas revistas académicas artículos de investigación en musicología para la producción musical y en artes. Ha publicado los libros El discurso tropical. Producción musical e industrias culturales (2018) y coautor de Producción musical. Pedagogía e investigación en artes (2020). Es compositor asociado a Cayambis Music Press. Actualmente se desempeña como docente, investigador y coordinador de la Unidad de Titulación en la Escuela de Artes Sonoras de la Universidad de las Artes, Carrera de Producción Musical. Juan Diego Parra Valencia tiene un PhD en Filosofía, especialista en literatura y músico. Docente-Investigador de la Facultad de Artes y Humanidades del Instituto Tecnológico Metropolitano de Medellín. Ensayista y escritor con diversos artículos en áreas de filosofía, estética, arte, filosofía de la técnica, semiótica, cine y música. Ganador del Premio Nacional de Periodismo Simón Bolívar por el trabajo investigativo en el reportaje documental Cuando el chucu-chucu se vistió de frac (2014). Director y coguionista del documental Paparí. El pionero del rock tropical (2018). Publicaciones sobre música: El libro de la Cumbia. Resonancias, transferencias y transplantes de las cumbias latinoamericanas (2019-autor/compilador); Deconstruyendo el chucu-chucu. Auges, declives y resurrecciones de la música tropical colombiana (2017); Arqueología del chucu-chucu. La revolución sonora tropical urbana antioqueña. Medellín, años 60 y 70 (2014), Afrosound acústico para dúo de guitarras. Tramas y urdimbres de la interpretación clásica en el rock tropical colombiano (2020-coautor) Mónica Alexandra Herrera Colorado es Magíster en Artes Digitales del Instituto Tecnológico Metropolitano, Licenciada en Música de la Universidad de Antioquia. Músico y cantante desde hace más de 20 años en diferentes agrupaciones musicales, además tiene estudios técnicos en música, Tecnóloga en Informática Musical de Instituto Tecnológico Metropolitano de Medellín y Administradora de empresas Agropecuarias. Nacida en Caldas Antioquia, Colombia. Ha participado en diferentes seminarios y asociaciones como ponente de investigaciones en temas relacionados con el análisis expresivo de la voz de la mujer y el canto de la música tropical colombiana. Actualmente es docente en el área de música del Instituto Tecnológico Metropolitano. Juan Francisco Sans es Doctor en Humanidades, Magister Scientiarum en Musicología Latinoamericana y Licenciado en Artes de la Universidad Central de Venezuela, Profesor Ejecutante de Piano de la Escuela de Música Juan Manuel Olivares, y Maestro Compositor del Conservatorio Nacional de Música Juan José Landaeta en Caracas. Ha publicado cuatro libros, 60 artículos en revistas especializadas y capítulos en libros monográficos, 35 ediciones críticas de partituras, 13 discos compactos como productor, pianista y compositor. Ha ganado diversos premios y reconocimientos como compositor, ejecutante y musicólogo. Es profesor titular de la Universidad Central de Venezuela. Desde hace dos años y medio se desempeña como profesor-investigador en el Instituto Tecnológico Metropolitano de Medellín. Ana María Díaz-Pinto es doctoranda en Etnomusicología por la Universidad de California, Davis y Licenciada en Música mención Musicología por la Pontificia Universidad Católica de Chile. Ha sido merecedora de la Beca del Rector en Artes, Humanidades y Ciencias Sociales para estudios doctorales de su casa de estudios y ha presentado sus trabajos académicos en conferencias organizadas por sociedades como IASPM-AL, Sociedad Chilena de Musicología y Asociación Latinoamericana de Antropología, entre otras. Sus intereses de investigación se relacionan con la música popular latinoamericana, cultura juvenil, performance y movimiento. Macarena Robledo-Thompson cursa el Magíster en Artes mención Música por la Pontificia Universidad Católica de Chile y Licenciada en Música mención Musicología por la misma casa de estudios. Es becaria ANID para Magíster Nacional y se ha desempeñado como asistente de investigación en proyectos FONDECYT y como ayudante de cátedra en el Instituto de Música de la PUC, de forma paralela a su trabajo como anotadora de programas en instituciones culturales. Sus principales intereses de investigación tienen relación con la música en Chile y Latinoamérica, específicamente los ámbitos relativos a la música y género y los estudios sobre ópera y voz. Paula Cristina Vilas es cantora, trabajadora vocal e investigadora. Profesora de la Universidad Nacional de Avellaneda, Departamento de Humanidades y Artes, y Maestría en Estéticas Latinoamericanas Contemporáneas. Es docente de Canto Colectivo I y II Escuela de Música Popular de Avellaneda y Escuela de Arte de Florencio Varela, provincia de Buenos Aires. Es Doctora en Artes Escénicas por la Universidad Federal de Bahía, Brasil con tesis y realización escénica centradas en la voz entre la etnografía y el trabajo vocal en escena. Realizó estudios en el Departamento de Etnomusicología de la Escuela de Antropología e Historia, México DF. Ha sido profesora visitante del Instituto de Arte de la Universidad de Brasilia y ha dictado seminarios en la Maestría en Arte Latinoamericano de Universidad Nacional de Cuyo. Coordinó el grupo de investigación Voces y Vocalidades del Instituto de Investigación en Etnomusicología de la ciudad de Buenos Aires. Ha publicado artículos, capítulos de libros y libros en coautoría; realizó conciertos, registros fonográficos y algunas producciones audiovisuales. María Pía Latorre es musicoterapeuta egresada de la Universidad del Salvador, Buenos Aires, y docente en el Instituto Vocacional de Arte “José Manuel de Labardén”, dependiente del Ministerio de Cultura de la Ciudad de Buenos Aires. Coordina talleres de Canto y Técnica Vocal para estudiantes de música y teatro. Se ha desempeñado como adjunta en el grupo de Investigación Voces y Vocalidades del Instituto de Investigación en Etnomusicología, del Ministerio de Cultura de la Ciudad de Buenos Aires y en los en seminarios: Voces y Vocalidades, Voces y técnicas en perspectiva de la vocalidad (2011- 2016) y proyectos de Investigación (2013-2016) coordinados por la Dra. Paula Vilas, con quien también ha presentado ponencias y talleres en congresos (UNNE, EMPA). Como cantante ha realizado diversas presentaciones y grabaciones y actualmente es integrante de Comando Pampero, trío de estilos pampeanos y milongas. Gabriela Mariana Castelli es Directora del Centro Fonoaudiológico Fonoar de la ciudad de La Plata y docente de la Tecnicatura en Fonoaudiología ISFDyT9 Es Doctoranda de la Universidad del Museo Social Argentino, UMSA y licenciada en Fonoaudiología por la Universidad Nacional de La Plata, entrenada en Voz, con formación de postgrado en Análisis Acústico de la Voz. Es cantante y compositora de canciones. Maria Virginia Zangroniz es Licenciada en Fonoaudiología por la Universidad Nacional de La Plata, entrenada en Voz y actriz de la Escuela de Teatro de La Plata. Integró la comisión de Voz del Colegio de Fonoaudiólogos de Buenos Aires, La Plata, y fue profesora de su posgrado en Voz profesional. Fue profesora titular de Eufonía y Educación vocal en la Licenciatura en Fonoaudiología, UCALP. Es docente a cargo de materias de Voz y Trabajo vocal, profesora del curso Una voz libre, formación de posgrado para docentes universitarios de la UNAJ, Florencio Varela. Profesora invitada de la Facultad de Medicina y Ciencias de la Salud de la Universidad de Barcelona; la Facultad de Trabajo Social, Universidad Nacional de La Plata; la Diplomatura en Salud Sexual y Reproductiva, Universidad Nacional de San Martín; y del proyecto de extensión “Más y más voces trans”, Universidad Nacional de San Luis. Es concurrente ad honorem desde el 2013 al Hospital “Dr. Ricardo Gutiérrez” de La Plata, integra el Equipo de atención de la Salud Integral de la Diversidad Sexual. Trabaja en el acompañamiento en la transición vocal de personas trans. Marcelo Fabián Martínez es músico, compositor y artista sonoro. Licenciado en Composición con Medios Electroacústicos por la Universidad Nacional de Quilmes, UNQ, es también clarinetista por el Conservatorio Nacional de Música “Carlos López Buchardo” y técnico en electrónica. Desde el año 2001 se dedica a realizar música original, diseño sonoro y puesta sonora para espectáculos escénicos y audiovisuales en festivales de arte de diversos países: Chile, Uruguay, Brasil, Colombia, México, Cuba, Canadá, Polonia, Holanda, Francia, España, Bélgica, Alemania y Argentina.Como docente, se desarrolla en el Área Transdepartamental de Artes Multimediales, y en la Especialización en Teatro de Objetos de la Universidad Nacional de las Artes; en el Conservatorio Superior de Música de la Ciudad de Buenos Aires y en la Maestría en Arte Sonoro, (UNQ). Como docente investigador integra proyectos en la UNQ y en la UNA. Actualmente es director y profesor de la carrera “Producción Musical y Nuevas Tecnologías” de la UNQ. Liliana Toledo es doctoranda en Historia y Etnomusicología por la Universidad de Arizona, Maestra en Historia especializada en la historia cultural del México posrevolucionario y licenciada en Música. En sus tesis de maestría estudió el proyecto de educación musical rural de las Misiones Culturales. De 2010 a 2017 fue investigadora del CENIDIM, donde clasificó, describió y organizó el Archivo Histórico. Sus artículos han sido publicados en dos ocasiones en la Oxford Research Encyclopedia of Latin American History. Entre 2016-2020 fue parte del proyecto del CIESAS La razón cultural en el capitalismo contemporáneo. Un análisis comparativo sobre las representaciones y los estereotipos culturales en México y América Latina, auspiciado por el CONACYT. Los trabajos derivados de este proyecto fueron publicados en 2019 y 2020 en los volúmenes Cultura en venta 1 y 2, publicados por Random House. Se interesa en temas de género, migración y nacionalismo. Lorena Ardito Aldana es doctoranda en Estudios Latinoamericanos por la Universidad de Chile y Docente asociada de la Universidad Academia de Humanismo Cristiano. Es música y tiene un magíster en Estudios Latinoamericanos de la UNAM. Ha desarrollado investigaciones y proyectos culturales sobre música, carnavales, afrodescendencia, género y derechos colectivos, e integrado diversas agrupaciones musicales y carnavaleras, así como colectivos de investigación interdisciplinaria. Actualmente es parte de la Escuela de Artes Comunitarias y Carnavaleras “La Remolino”, la Colectiva Tiesos pero Cumbiancheros, la Cooperativa T´ikana Ediciones, el Núcleo Kuriche, la Red Chilena de Estudios Afrodescendientes y el Festival de Marimbas Tradicionales Chile. Coordina junto a Mauricio Fidel Camacho el proyecto web La Caracola, dedicado a compilar y divulgar el legado de la maestra, intelectual, activista y folclorista afrocolombiana Alicia Camacho Garcés, y produce el Programa radial comunitario online Cultoras, junto a la percusionista chilena Karen Gómez. César Puentes Arcos es sociólogo de la Universidad de Chile y Magíster en Educación en la Universidad Academia de Humanismo Cristiano. Desarrolló tareas de asesor para la Agencia de Calidad de la Educación y el Programa Interdisciplinario de Investigación en Educación. Desarrolla asesorías organizacionales con visión sistémica de integralidad. Además se desempeña como gestor cultural en el área del carnaval y la música popular. Actualmente trabaja como asesor educacional en innovación para la calidad y mediación de conflictos además de realizar gestión territorial desde una concepción participativa. Marisol García es periodista independiente, Premio Pulsar 2019 al Fomento de la Música y el Patrimonio. Cursa un magíster en Arte, Pensamiento y Cultura Latinoamericanos en el instituto IDEA-USACh. Mantiene desde 1995 un constante trabajo de colaboración en diarios, revistas y radios en escritura, entrevistas e investigación sobre canción popular, y ha desarrollado el mismo tema en encargos para documentales, libros y exposiciones en museos y bibliotecas. Consultora de bandas sonoras de cine chileno –Una mujer fantástica y Gloria, entre otras–. Es coeditora del sitio enciclopédico MusicaPopular.cl y parte del equipo que anualmente organiza el Festival IN-EDIT Chile, dedicado al cine y documental musical mundial. Es autora de los libros Canción valiente. 1960-1989. Tres décadas de canto social y político en Chile (Premio Municipal 2014 a la Mejor Investigación Periodística), Llora, corazón. El latido de la canción cebolla (Premio Pulsar 2018 a la Mejor Publicación Musical Literaria), Claudio Arrau (Finalista Premio Municipal 2020, en Género Referencial) y Lucho Gatica (2019). Además, ha editado libros sobre Violeta Parra, Los Jaivas, Osvaldo Gitano Rodríguez y Panteras Negras. Ricardo Salton ejerce la crítica y el periodismo musical en la ciudad de Buenos Aires; actualmente en la revista Noticias, el diario La Nación y Radio Nacional Clásica. Por décadas, fue el redactor sobre música popular del diario Ámbito Financiero. Además, trabaja en gestión cultural y, actualmente, en el Ministerio de Cultura nacional, como productor artístico y programador de elencos nacionales. Recibió los premios Konex y José Arverás por su labor periodística. Es Licenciado en Musicología por la Universidad Católica Argentina. Su área es la música popular y, en especial, el tango. Fue investigador del Instituto Nacional de Musicología Carlos Vega. Ejerció la docencia en distintas universidades del país. Publicó artículos en revistas académicas y presentó artículos en congresos y conferencias de musicología. Fue uno de los redactores sobre música popular argentina para el Diccionario de la Música Española e Hispanoamericana. Nelson Rodríguez Vega es doctorando en Artes mención Música –modalidad investigación– por la Pontificia Universidad Católica de Chile. Es Profesor de Música y Licenciado en Educación por la Universidad de Concepción de Chile. Es Magíster en Artes mención Musicología por la Universidad de Chile. Actualmente. Es Becario de la Agencia Nacional de Investigación y Desarrollo/Programa de Becas/Beca de Doctorado Nacional 21200805. También posee un diplomado en Estética y Filosofía por la Pontificia Universidad Católica de Chile. Se especializa en el estudio del rap/hip-hop chileno atendiendo problemáticas relativas a la identidad, práctica musical, influencia de la industria cultural y autenticidad. Su actual tesis de doctorado se centra en la emergencia del freestyle o batallas de gallos en Chile, una performance del hip-hop que basa en los duelos de improvisación. Ha publicado artículos y reseñas de libros, preferentemente sobre hip-hop, en revistas académicas chilenas y extranjeras. Este número fue arbitrado por Alejandro Gana, Carolina Santa María, Enrique Cámara, Fernanda Vera, Javier Silva, Jordi Tercero Bustamante, Juan Carlos Poveda, Julio Arce, Leonardo Díaz, Lizette Alegre, Natalia Bieletto, Nayive Ananías, Omar García Brunelli, Pablo Alabarces, Paloma Martin, Sebastián Muñoz, Silvia Martínez y Soledad Venegas.

Ways of Seeing"Images … define our experiences more precisely in areas where words are inadequate." (Berger 33)"Different skins, you know, different ways of seeing the world." (Morrison)The research question animating this article is: 'How does an individual creative worker re-present themselves as a contemporary - and evolving - brand?' Berger notes that the "principal aim has been to start a process of questioning" (5), and the raw material energising this exploration is the life's work of Richard Morrison, the creative director and artist who is the key moving force behind The Morrison Studio collective of designers, film makers and visual effects artists, working globally but based in London. The challenge of maintaining currency in this visually creative marketplace includes seeing what is unique about your potential contribution to a larger project, and communicating it in such a way that this forms an integral part of an evolving brand - on trend, bleeding edge, but reliably professional. One of the classic outputs of Morrison's oeuvre, for example, is the title sequence for Terry Gilliam's Brazil.Passion cannot be seen yet Morrison conceives it as the central engine that harnesses skills, information and innovative ways of working to deliver the unexpected and the unforgettable. Morrison's perception is that the design itself can come after the creative artist has really seen and understood the client's perspective. As he says: "What some clients are interested in is 'How can we make money from what we're doing?'" Seeing the client, and the client's motivating needs, is central to Morrison's presentation of self as a brand: "the broader your outlook as a creative, the more chance you have of getting it right". Jones and Warren draw attention to one aspect of this dynamic: "Wealthy and private actors, both private and state, historically saw creative practice as something that money was spent on - commissioning a painting or a sculpture, giving salaries to composers to produce new works and so forth. Today, creativity has been reimagined as something that should directly or indirectly make money" (293). As Berger notes, "We never look at just one thing; we are always looking at the relation between things and ourselves…The world-as-it-is is more than pure objective fact, it includes consciousness" (9, 11). What is our consciousness around the creative image?Individuality is central to Berger's vision of the image in the "specific vision of the image-maker…the result of an increasing consciousness of individuality, accompanying an increasing awareness of history" (10). Yet, as Berger argues "although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing" (10). Later, Berger links the meanings viewers attribute to images as indicating the "historical experience of our relation to the past…the experience of seeking to give meaning to our lives" (33). The seeing and the seeking go hand in hand, and constitute a key reason for Berger's assertion that "the entire art of the past has now become a political issue" (33). This partly reflects the ways in which it is seen, and in which it is presented for view, by whom, where and in which circumstances.The creation of stand-out images in the visually-saturated 21st century demands a nuanced understanding of ways in which an idea can be re-presented for consumption in a manner that makes it fresh and arresting. The focus on the individual also entails an understanding of the ways in which others are valuable, or vital, in completing a coherent package of skills to address the creative challenge to hand. It is self-evident that other people see things differently, and can thus enrich the broadened outlook identified as important for "getting it right". Morrison talks about "little core teams, there's four or five of you in a hub… [sometimes] spread all round the world, but because of the Internet and the way things work you can still all be connected". Team work and members' individual personalities are consequently combined, in Morrison's view, with the core requirement of passion. As Morrison argues, "personality will carry you a long way in the creative field".Morrison's key collaborator, senior designer and creative partner/art director Dean Wares lives in Valencia, Spain whereas Morrison is London-based and their clients are globally-dispersed. Although Morrison sees the Internet as a key technology for collaboratively visualising the ways in which to make a visual impact, Berger points to the role of the camera in relation to the quintessential pre-mechanical image: the painting. It is worth acknowledging here that Berger explicitly credits Walter Benjamin, including the use of his image (34), as the foundation for many of Berger's ideas, specifically referencing Benjamin's essay "The work of art in the age of mechanical reproduction". Noting that, prior to the invention of the camera, a painting could never be seen in more than one place at a time, Berger suggests that the camera foments a revolutionary transformation: "its meaning changes. Or, more exactly, its meaning multiplies and fragments into many meanings" (19). This disruption is further fractured once that camera-facilitated image is viewed on a screen, ubiquitous to Morrison's stock in trade, but in Berger's day (1972) particularly associated with the television:The painting enters each viewer's house. There it is surrounded by his wallpaper, his furniture, his mementoes. It enters the atmosphere of his family. It becomes their talking point. It lends its meaning to their meaning. At the same time it enters a million other houses and, in each of them, is seen in a different context. Because of the camera, the painting now travels to the spectator, rather than the spectator to the painting. In its travels, its meaning is diversified. (Berger, 19-20)Even so, that image, travelling through space and time is seen on the screen in a sequential and temporal context: "because a film unfolds in time and a painting does not. In a film the way one image follows another, their succession constructs an argument which becomes irreversible. In a painting all its elements are there to be seen simultaneously." Both these dynamics, the still and the sequence, are key to the work of a visual artist such as Morrison responsible for branding a film, television series or event. But the works also create an unfolding sequence which tells a different story to each recipient according to the perceptions of the viewer/reader. For example, instead of valorising Gilliam's Brazil, Morrison's studio could have been tagged with Annaud's Enemy at the Gates or, even, the contemporary Sky series, Niel Jordan's Riviera. Knowing this sequence, and that the back catalogue begins with The Who's Quadrophenia (1979), changes the way we see what the Morrison Studio is doing now.Ways of WorkingRichard Morrison harnesses an evolutionary metaphor to explain his continuing contribution to the industry: "I've adapted, and not been a dinosaur who's just sunk in the mud". He argues that there is a need to explore where "the next niche is and be prepared for change 'cause the only constant thing in life is change. So as a creative you need to have that known." Effectively, adaptation and embracing innovation has become a key part of the Morrison Studio's brand. It is trumpeted in the decision that Morrison and Ware made when they decided to continue their work together, even after Ware moved to Spain. This demonstrated, in an age of faxes and landlines, that the Morrison Studio could make cross country collaboration work: the multiple locations championed the fact that they were open for business "without boundaries".There was travel, too, and in those early pre-Internet days of remote location Morrison was a frequent visitor to the United States. "I'd be working in Los Angeles and he'd be wherever he was […] we'd use snail mail to actually get stuff across, literally post it by FedEx […]." The intercontinental (as opposed to inter-Europe) collaboration had the added value of offering interlocking working days: "I'd go to sleep, he wakes up […] We were actually doubling our capacity." If anything, these dynamics are more entrenched with better communications. Currah argues that Hollywood attempts to manage the disruptive potential of the internet by "seeking to create a 'closed' sphere of innovation on a global scale […] legitimated, enacted and performed within relational networks" (359). The Morrison Studio's own dispersed existence is one element of these relational networks.The specific challenge of technological vulnerability was always present, however, long before the Internet: "We'd have a case full of D1 tapes" - the professional standard video tape (1986-96) - "and we'd carefully make sure they'd go through the airport so they don't get rubbed […] what we were doing is we were fitting ourselves up for the new change". At the same time, although the communication technologies change, there are constants in the ways that people use them. Throughout Morrison's career, "when I'm working for Americans, which I'm doing a lot, they expect me to be on the telephone at midnight [because of time zones]. […] They think 'Oh I want to speak to Richard now. Oh it's midnight, so what?' They still phone up. That's constant, that never goes away." He argues that American clients are more complex to communicate with than his Scandinavian clients, giving the example that people assume a UK-US consistency because they share the English language. But "although you think they're talking in a tongue that's the same, their meaning and understanding can sometimes be quite a bit different." He uses the example of the A4 sheet of paper. It has different dimensions in the US than in the UK, illustrating those different ways of seeing.Morrison believes that there are four key constants in his company's continuing success: deadlines; the capacity to scope a job so that you know who and how many people to pull in to it to meet the deadline; librarian skills; and insecurity. The deadlines have always been imposed on creative organisations by their clients, but being able to deliver to deadlines involves networks and self-knowledge: "If you can't do it yourself find a friend, find somebody that's good at adding up, find somebody that's good at admin. You know, don't try and take on what you can't do. Put your hand up straight away, call in somebody that can help you". Chapain and Comunian's work on creative and cultural industries (CCIs) also highlights the importance of "a new centrality to the role of individuals and their social networks in understanding the practice of CCIs" (718).Franklin et al. suggest that this approach, adopted by The Morrison Studio, is a microcosm of the independent film sector as a whole. They argue that "the lifecycle of a film is segmented into sequential stages, moving through development, financing, production, sales, distribution and exhibition stages to final consumption. Different companies, each with specialized project tasks, take on responsibility and relative financial risk and reward at each stage" (323). The importance that Morrison places on social networks, however, highlights the importance of flexibility within relationships of trust - to the point where it might be as valid to engage someone on the basis of a history of working with that person as on the basis of that person's prior experience. As Cristopherson notes, "many creative workers are in vaguely defined and rapidly changing fields, seemingly making up their careers as they go along" (543).The skills underlying Morrison's approach to creative collaboration, however, include a clear understanding of one's own strength and weaknesses and a cool evaluation of others, "just quietly research people". This people-based research includes both the capabilities of potential colleagues, in order to deliver the required product in the specified time frame, along with research into creative people whose work is admired and who might provide a blueprint for how to arrive at an individual's dream role. Morrison gives the example of Quentin Tarantino's trajectory to directing: "he started in a video rental and all he did is watch lots and lots of films, particularly westerns and Japanese samurai films and decided 'I can do that'". One of his great pleasures now is to mentor young designers to help them find their way in the industry. That's a strategy that may pay dividends into the future, via Storper and Scott's "traded and untraded interdependencies" which are, according to Gornostaeva, "expressed as the multiple economic and social transactions that the participants ought to conduct if they wish to perpetuate their existence" (39).As for the library skills, he says that they are crucial but a bit comical:It's a bit like being a constant librarian in old-fashioned terms, you know, 'Where is that stuff stored?' Because it's not stored in a plan chest anymore where you open the drawer and there it is. It's now stored in, you know, big computers, in a cloud. 'Where did we put that file? Did we dump it down? Have we marked it up? […] Where's it gone? What did we do it on?'While juggling the demands of technology, people and product The Morrison brand involves both huge confidence and chronic insecurity. The confidence is evident in the low opinion Morrison has of the opportunities offered by professional disruptor sites such as 99designs: "I can't bear anything like that. I can see why it's happening but I think what you're doing is devaluing yourself even before you start […] it would destroy your self-belief in what you're doing". At the same time, Morrison says, his security is his own insecurity: "I'm always out hunting to see what could be next […] the job you finish could be your last job."Ways of BrandingChristopherson argues that there is "considerable variation in the occupational identities of new media workers among advanced economies. In some economies, new media work is evolving in a form that is closer to that of the professional [in contrast to economies where it is] an entrepreneurial activity in which new media workers sell skills and services in a market" (543). For The Morrison Studio, its breadth, history and experience supports their desire to be branded as professional, but their working patterns entirely resonate with, and are integrated within, the entrepreneurial. Seeing their activity in this way is a juxtaposition with the proposition advanced by Berger that:The existing social conditions make the individual feel powerless. He lives in the contradiction between what he is and what he would like to be. Either he then becomes fully conscious of the contradiction and its causes, and so joins the political struggle for a full democracy which entails, among other things, the overthrow of capitalism; or else he lives, continually subject to an envy which, compounded with his sense of powerlessness, dissolves into recurrent day-dreams (148).The role of the brand, and its publicity, is implicated by Berger in both the tension between what an individual is and what s/he would like to be; and in the creation of an envy that subjugates people. For Berger, the brand is about publicity and the commodifying of the future. Referring to publicity images, Berger argues that "they never speak of the present. Often they refer to the past and always they speak of the future". Brands are created and marketed by such publicity images that are often, these days, incorporated within social media and websites. At the same time, Berger argues that "Publicity is about social relationships, not objects [or experiences]. Its promise is not of pleasure, but of happiness: happiness as judged from the outside by others. The happiness of being envied is glamour." It is the dual pressure from the perception of the gap between the individual's actual and potential life, and the daydreaming and envy of that future, that helps construct Berger's powerless individual.Morrison's view, fashioned in part by his success at adapting, at not being a dinosaur that sinks into the mud, is that the authenticity lies in the congruence of the brand and the belief. "A personal brand can help you straight away but as long as you believe it […] You have to be true to what you're about and then it works. And then the thing becomes you [… you] just go for it and, you know, don't worry about failure. Failure will happen anyway".Berger's commentary on publicity is partially divergent from branding. Publicity is generally a managed message, on that is paid for and promoted by the person or entity concerned. A brand is a more holistic construction and is implicated in ways of seeing in that different people will have very different perceptions of the same brand. Morrison's view of his personal brand, and the brand of the Morrison Studio, is that it encompasses much more than design expertise and technical know-how. He lionises the role of passion and talks about the importance of ways of managing deadlines, interlocking skills sets, creative elements and the insecurity of uncertainty.For the producers who hire Morrison, and help build his brand, Berger's observation of the importance of history and the promise for the future remains key to their hiring decisions. Although carefully crafted, creative images are central to the Morrison Studio's work, it is not the surface presentation of those images that determines the way their work is perceived by people in the film industry, it is the labour and networks that underpin those images. While Morrison's outputs form part of the visual environment critiqued in Ways of Seeing, it is informed by the dynamics of international capitalism via global networks and mobility. Although one of myriad small businesses that help make the film industry the complex and productive creative sphere that it is, Morrison Studios does not so much seek to create a public brand as to be known and valued by the small group of industry players upon whom the Studio relies for its existence. Their continued future depends upon the ways in which they are seen.ReferencesBenjamin, Walter. Illuminations: Essays and Reflections. United States of America, 1969.Berger, John. Ways of Seeing. London: Penguin Books, 1972.Brazil. Dir. Terry Gilliam. Universal Pictures. 1985. Film. Chapain, Caroline, and Roberta Comunian. "Enabling and Inhibiting the Creative Economy: The Role of the Local and Regional Dimensions in England." Regional Studies 44.6 (2010): 717-734. Christopherson, Susan. "The Divergent Worlds of New Media: How Policy Shapes Work in the Creative Economy." Review of Policy Research 21.4 (2004): 543-558. Currah, Andrew. "Hollywood, the Internet and the World: A Geography of Disruptive Innovation." Industry and Innovation 14.4 (2007): 359-384. Enemies at the Gates. Dir. Jean-Jacques Annaud. Paramount. 2001. FilmFranklin, Michael, et al. "Innovation in the Application of Digital Tools for Managing Uncertainty: The Case of UK Independent Film." Creativity and Innovation Management 22.3 (2013): 320-333. Gornostaeva, Galina. "The Wolves and Lambs of the Creative City: The Sustainability of Film and Television Producers in London." Geographical Review (2009): 37-60. Jones, Phil, and Saskia Warren. "Time, Rhythm and the Creative Economy." Transactions of the Institute of British Geographers 41.3 (2016): 286-296. Morrison, Richard. Personal Interview. 13 Oct 2016.The Morrison Studio. The Morrison Studio, 2017. 16 June 2017 <https://themorrisonstudio.com/>.Quadrophenia. Dir. Franc Roddam. Brent Walker Film Distributing. 1979. Film.Riviera. Dir. Neil Jordan. Sky Atlantic HD. 2017. Film.Storper, Michael, and Scott, Allen. "The Geographical Foundations and Social Regulation of Flexible Production Complexes". The Power of Geography: How Territory Shapes Social Life. Eds. Jennifer Wolch and Michael Dear. New York: Routledge, 1989. 21-40.

In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016-present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast and/or setting. “Revivals” and “remakes” both seek to capitalise on nostalgia for a specific notion of the past and access the (presumed) existing audience of the earlier series (Mittell; Rebecca Williams; Johnson).Reboots operate around two key pleasures. First, there is the pleasure of revisiting and/or reimagining characters that are “known” to audiences. Whether continuations or remakes, reboots are invested in the audience’s desire to see familiar characters. Second, there is the desire to “fix” and/or recuperate an earlier series. Some reboots, such as the Charmed remake attempt to recuperate the whiteness of the original series, whereas others such as Gilmore Girls: A Life in the Year (2017) set out to fix the ending of the original series by giving audiences a new “official” conclusion.The Roseanne reboot is invested in both these pleasures. It reunites the original cast for a short-lived, but impactful nine-episode tenth season. There is pleasure in seeing Roseanne (Roseanne Barr), Dan (John Goodman), Jackie (Laurie Metcalf), Becky (Lecy Goranson [seasons one to six, ten], Sarah Chalke [seasons six to nine]), Darlene (Sara Gilbert), and DJ (Michael Fishman) back in the Conner house with the same well-worn couch and afghan. The (attempted) recuperation is of author-star Barr, whose recent politics are in stark contrast to the working-class second-wave feminist politics of her nineties’ persona. This article is particularly interested in the second pleasure, because both the original series and the reboot situate the voice of Barr as central to the series’ narrative and politics.Despite achieving the highest ratings of any US sitcom in the past three years (O’Connell), on 29 May 2018, ABC announced that it was cancelling the Roseanne reboot. This decision came about in the wake of a racist tweet, where Barr compared a black woman (high-ranking Obama aide Valerie Jarrett) to an ape. Barr’s tweet and the cancellation of Roseanne, highlight the limits of nostalgia and Roseanne/Barr’s particular brand of white feminism. While whiteness and a lack of racial awareness are (and always have been) at the centre of Barr’s performance of feminism, the political landscape has shifted since the 1990s, with the rise of third and fourth-wave feminisms and intersectional activism. As such in the contemporary landscape, there is the expectation that white feminist figures take on and endorse anti-racist stances.This article argues that the reboot’s attempt to capitalise on nineties nostalgia exposes the limits of Roseanne/Barr’s feminism, as well as the limits of nostalgia. The feminist legacy of nineties-era Roseanne cannot and does not recuperate Barr’s star-persona. Also, the reboot and its subsequent cancellation highlight how the feminism of the series is embodied by Barr and her whiteness. This article will situate Roseanne and Barr within a feminist tradition on US television, before exploring how the reboot operates and circulates differently to the original series.From Roseanne (1988-1997) to Roseanne (2018)In its original form, Roseanne holds the distinction of being one of the most highly discussed and canonised feminist-leaning television series of all time, alongside The Mary Tyler Moore Show (1970-1977), Cagney and Lacey (1981-1988), and Buffy the Vampire Slayer (1997-2004). Roseanne also enabled and informed many popular feminist-leaning contemporary series, including Girls (2012-2017), Mom (2013-present), Better Things (2016-present), and Dietland (2018). Although it may seem anachronistic today, Roseanne and Barr helped define what it means to be a feminist and speak feminist politics on US television.Roseanne depicts the lives of the Conner family, headed by parents Roseanne and Dan. They live in the fictional blue-collar town of Lanford, Illinois with their three children Becky, Darlene, and DJ. Both Roseanne and Dan experience precarious employment and embark on numerous (mostly failed) business ventures throughout the series’ run. The reboot catches up with the Conner family in 2018, after Roseanne has experienced a health scare and single mom Darlene has moved into her parents’ house with her two children Harris (Emma Kenney) and Mark (Ames McNamara). In the new season, Roseanne and Dan’s children are experiencing similar working conditions to their parents in the 1990s. Becky works at a Mexican restaurant and is eager to act as surrogate mother to earn $50,000, Darlene is recently unemployed and looking for work, and DJ has just returned from military service.A stated objective of reviving Roseanne was to address the contentious US political landscape after the election of President Donald J. Trump (VanDerWerff). Barr is a vocal supporter of President Trump, as is her character in the reboot. The election plays a key role in the new season’s premise. The first episode of season 10 establishes that the titular Roseanne has not spoken to her sister Jackie (who is a Hillary Clinton supporter) in over a year. In both its nineties and 2018 incarnations, Roseanne makes apparent the extent to which feminist politics are indebted to and spoken through the author-star. The series is based on a character that Barr created and is grounded in her life experience. Barr and her character Roseanne are icons of nineties televisual feminism. While the other members of the Conner family are richly drawn and compelling, Roseanne is the centre of the series. It is her voice and perspective that drives the series and gives it its political resonance. Roseanne’s power in the text is authorised by Barr’s stardom. As Melissa Williams writes: “For nearly a decade, Barr was one of the most powerful women in Hollywood” (180).In the late 1980s and into the 1990s, Roseanne (and Barr) represented a new kind of feminist voice on US television, which at that stage (and still today) was dominated by middle-class women. Unlike Mary Richards (Mary Tyler Moore), Claire Huxtable (Phylicia Rashad), or Murphy Brown (Candice Bergen), Roseanne did not have a stable job and her family’s economic situation was often precarious. Roseanne/Barr adopted and used a feminism of personality popularised on television by Mary Tyler Moore and Lucille Ball. Unlike her foremothers, though, Roseanne/Barr was not slender, feminine, or interested in being likeable to men. Roseanne did not choose to work outside of the home, which marked her as different from many of US television’s other second-wave feminists and/or mothers. As Rachael Horowitz writes: “Roseanne’s feminism was for women who have to work because bills must get paid, who assert their role as head of the house despite the degrading work they often do during the day to pay for their kids’ food and clothes” (9).According to Kathleen Rowe, Barr is part of a long line of “female grotesques” whose defining features are excess and looseness (2-3). Rowe links Barr’s fatness or physical excess with her refusal to shut up and subversive speech. The feminism of Roseanne is contained within and expressed through Barr’s unruly white body (and voice). Barr’s unruliness and her unwillingness to follow the social conventions of politeness and decorum are tied to her (perceived) feminist politics.Understandings of Barr’s stardom, however, have shifted considerably in the years since the publication of Rowe’s analysis. While Barr is still “unruly,” her unruliness is no longer located in her body (which has been transformed to meet more conventional standards of western beauty), but rather in her Twitter presence, which is pro-Israel, pro-Trump, and anti-immigration. As Roxane Gay writes of the reboot: “Whatever charm and intelligence she [Barr] brought to the first nine seasons of her show, a show I very much loved, are absolutely absent in her current persona, particularly as it manifests on Twitter.”Feminist Voice and Stardom on US TVRoseanne performs what Julie D’Acci calls “explicit general feminism,” which is defined by “dialogue and scenes that straightforwardly addressed discrimination against women in both public and private spheres, stories structured around topical feminist causes, and the use of unequivocal feminist language and slogans” (147). However, the feminist politics of Roseanne and Barr are (and never were) straightforward or uncomplicated.Studies of feminism on US television have primarily focused on comedies that feature female television stars who function as advocates for feminism and women’s issues (Spigel; Rabinovitz; D’Acci). Much of the critical discussion of feminist voice in US female-led television identifies the feminist intervention as taking place at the level of performance (Dow; Spigel; Spangler). Comedic series such as I Love Lucy (1951-1957), Murphy Brown (1988-1998, 2018-present), and Grace Under Fire (1993-1998), and dramatic series’, such as Cagney and Lacey and Buffy the Vampire Slayer, privilege the articulation of feminist ideas through performance and character.Roseanne is not a series that derives its comedy from a clash of different perspectives or a series where politics are debated and explored in a nuanced a complex way. Roseanne promotes a distinct singular perspective – that of Roseanne Barr. In seasons one to nine, the character Roseanne is rarely persuaded to think differently about an issue or situation or depicted as “wrong.” The series centres Roseanne’s pain and distress when Becky elopes with Mark (Glenn Quinn), or when Jackie is abused by her boyfriend Fisher (Matt Roth), or when Darlene accidently gets pregnant. Although those storylines are about other characters, Roseanne’s emotions are central. Roseanne/Barr’s perspective (as fictional character and media personality) informs the narrative, sensibility, and tone. Roseanne is not designed to contain multiple perspectives.Roseanne is acutely aware of its place in the history of feminist voice and representations of women on US television. Television is central to the series’ articulation of feminism and feminist voice. In season seven episode “All About Rosey,” the series breaks the fourth wall (as it does many times throughout its run), taking the audience behind the scenes where some of US television’s most well-known (and traditional) mothers are cleaning the Conner’s kitchen. June Cleaver (Barbara Billingsley) from Leave It to Beaver (1957-1963), Joan Nash (Pat Crowley) from Please Don’t Eat the Daisies (1965-1967), Ruth Martin (June Lockhart) from Lassie (1958-1964), Norma Arnold (Alley Mills) from The Wonder Years (1988-1993), and Louise Jefferson (Isabel Sanford) from The Jeffersons (1975-1985) at first sit in judgment of Barr and her character Roseanne, claiming she presents “wrong image” for a TV mother. However, Roseanne/Barr eventually wins over the TV mothers, declaring “the important thing is on my show, I’m the boss and father knows squat” (7.19). It is in contrast to more traditional television mothers that Roseanne/Barr’s feminist voice comes into focus.In the ninth and final season of Roseanne’s initial run, the series (arguably) becomes a parody of its former self. By this point in the series, “Barr was seen as the sole cause of the show’s demise, as a woman who was ‘imploding,’ ‘losing the plot,’ or ‘out of control’” (White 234). White argues that depicting the working-class Conners’ social and economic ascension to upper-class diminishes the distinction between Barr and her character (243). White writes that in the series’ finale, the “line between performer and character is irrevocably blurred; it is unclear whether the voice we are hearing is that of Roseanne Conner or Roseanne Barr” (244). This blurring between Roseanne and Barr becomes particularly contentious in season 10.Rebooting Roseanne: Season 10Season 10 redacts and erases most of the events of season nine, which itself was a fantasy, as revealed in the season nine finale. As such, the reboot is not a simple continuation, because in the season nine finale it is revealed that Dan suffered a fatal heart attack a year earlier. The final monologue (delivered in voice-over by Barr) “reveals” that Roseanne has been writing and editing her experiences into a digestible story. The “Conners winning the lottery” storyline that dominated season nine was imagined by Roseanne as an elaborate coping strategy after Dan’s death. Yet in the season 10 reboot, Dan is revealed to be alive, as is Darlene and David’s (Johnny Galecki) daughter Harris, who was born during the events of season nine.The limits of Roseanne/Barr’s feminism within the contemporary political landscape come into focus around issues of race. This is partly because the incident that incited ABC to cancel the reboot of Roseanne was racially motivated, and partly because Roseanne/Barr’s feminism has always relied on whiteness. Between 1997 and 2018, Barr’s unruliness has become less associated with empowering working-class women and more with railing against minorities and immigrants. In redacting and erasing the events of season nine, the reboot attempts to step back the conflation between Roseanne and Barr with little success.In the first episode of season 10, “Twenty Years to Life”, Roseanne is positioned as the loud-mouthed victim of circumstance and systemic inequality – similar to her nineties-persona. Yet in 2018, Roseanne mocks same things that nineties’ Roseanne took seriously, including collective action, community building, and labour conditions. Roseanne claims: “It is not my fault that I just happen to be a charismatic person that’s right about everything” (10.01). Here, the series attempts to make light of a now-outdated understanding of Barr’s persona, but it comes off as tone-deaf and lacking self-awareness.Roseanne has bigoted tendencies in both the 1990s and in 2018, but the political resonance of those tendencies and their relationships to feminisms and nostalgia differs greatly from the original series to the reboot. This is best illustrated by comparing season seven episode “White Men Can’t Kiss” and season 10 episode “Go Cubs.” In the former, Roseanne is appalled that she may have raised a racist son and insists DJ must kiss his black classmate Geena (Rae’Ven Larrymore Kelly) in the school play. Towards the end of this episode, Geena’s father comes by the restaurant where Roseanne and Jackie are closing up. When the tall black man knocks on the locked door, Roseanne refuses to let him inside. She appears visibly afraid. Once Roseanne knows he is Geena’s father, she lets him in and he confronts her about her racist attitude. Roseanne (and the audience) is forced to sit in the discomfort of having her bigotry exposed. While there are no material consequences for Roseanne or DJ’s racism, within the context of the less intersectional 1990s, this interaction does not call into question Roseanne or Barr’s feminist credentials.In season 10, Roseanne tackles similar issues around race, ignorance, and bigotry, but it plays out very differently. In the reboot’s seventh episode, Roseanne suspects her Muslim refugee neighbours Fatima (Anne Bedian) and Samir (Alain Washnevky) are terrorists. Although Roseanne is proven wrong, she is not forced to reckon with her bigotry. Instead, she is positioned as a “hero” later in the episode, when she berates a supermarket cashier for her racist treatment of Fatima. Given what audiences know about Barr’s off-screen politics, this does not counteract the impression of racism, but compounds it. It also highlights the whiteness of the politics embodied by Roseanne/Barr both on-screen and off. Although these are two very different racial configurations (anti-blackness and Islamophobia), these episodes underline the shifting reception and resonance of the feminism Roseanne/Barr embodies.ConclusionIn June 2018, shortly after the cancellation of the Roseanne reboot, ABC announced that it was developing a spin-off without Barr called The Conners (2018-present). In the spin-off Roseanne is dead and her family is dealing with life after Roseanne/Roseanne (Crucchiola). Here, Roseanne suffers the same fate as Dan in season nine (she dies off-screen), but now it is Barr who is fictionally buried. While The Conners attempts to rewrite the story of the Conner family by rejecting Barr’s racist views and removing her financial and creative stake in their stories, Barr cannot be erased or redacted from Roseanne or the story of the Conner family, because it is her story.The reboot and its cancellation illuminate how Barr and Roseanne’s feminist voice has not evolved past its white second-wave roots. The feminism of Roseanne is embodied by Barr in all her unruliness and whiteness. Roseanne/Barr/Roseanne has not taken on the third and fourth-wave critiques of second-wave feminisms, which emphasise the limits of white feminisms. The failure of the Roseanne reboot reveals that the pleasure and nostalgia of seeing the Conner family back together is not enough. Ultimately, Roseanne is without intersectionality, and thus cannot (and should not) be recognised as feminist in the contemporary political landscape.ReferencesBetter Things. Cr. Pamela Adlon and Louis C.K. 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In Victorian times, when female travel narratives were read as excursions rather than expeditions, it was common for women authors to preface their travels with an apology. “What this book wants,” begins Mary Kingsley’s Travels in West Africa, “is not a simple preface but an apology, and a very brilliant and convincing one at that” (4). This tendency of the woman writer to depreciate her travel with an acknowledgment of its presumptuousness crafted her apology essentially as an admission of guilt. “Where I have offered my opinions,” Isabella Bird writes in The Englishwoman in America, “I have done so with extreme diffidence, giving impressions rather than conclusions” (2). While Elizabeth Howells has since argued the apologetic preface was in fact an opposing strategy that allowed women writers to assert their authority by averting it, it is certainly telling of the time and genre that a female writer could only defend her work by first excusing it. The personal apology may have emerged as the natural response to social restrictions but it has not been without consequence for female travel. The female position, often constructed as communal, is still problematised in contemporary travel texts. While there has been a traceable shift from apology to affirmation since the first women travellers abandoned their embroidery, it seems some sense of lingering culpability still remains. In many ways, the modern female traveller, like the early lady traveller, is still a displaced woman. She still sets out cautiously, guide book in hand. Often she writes, like the female confessant, in an attempt to recover what Virginia Woolf calls “the lives of the obscure”: those found locked in old diaries, stuffed away in old drawers or simply unrecorded (44). Often she speaks insistently of the abstract things which Kingsley, ironically, wrote so easily and extensively about. She is, however, even when writing from within the confines of her own home, still writing from abroad. Women’s solitary or “unescorted” travel, even in contemporary times, is considered less common in the Western world, with recurrent travel warnings constantly targeted at female travellers. Travelling women are always made aware of the limits of their body and its vulnerabilities. Mary Morris comments on “the fear of rape, for example, whether crossing the Sahara or just crossing a city street at night” (xvii). While a certain degree of danger always exists in travel for men and women alike and while it is inevitable that some of those risks are gender-specific, travel is frequently viewed as far more hazardous for women. Guide books, travel magazines and online advice columns targeted especially at female readers are cramped with words of concern and caution for women travellers. Often, the implicit message that women are too weak and vulnerable to travel is packaged neatly into “a cache of valuable advice” with shocking anecdotes and officious chapters such as “Dealing with Officials”, “Choosing Companions” or “If You Become a Victim” (Swan and Laufer vii). As these warnings are usually levelled at white, middle to upper class women who have the freedom and financing to travel, the question arises as to what is really at risk when women take to the road. It seems the usual dialogue between issues of mobility and issues of safety can be read more complexly as confusions between questions of mobility and morality. As Kristi Siegel explains, “among the various subtexts embedded in these travel warnings is the long-held fear of ‘women on the loose’” (4). According to Karen Lawrence, travel has always entailed a “risky and rewardingly excessive” terrain for women because of the historical link between wandering and promiscuity (240). Paul Hyland has even suggested that the nature of travel itself is “gloriously” promiscuous: “the shifting destination, arrival again and again, the unknown possessed, the quest for an illusory home” (211). This construction of female travel as a desire to wander connotes straying behaviours that are often cast in sexual terms. The identification of these traits in early criminological research, such as 19th century studies of cacogenic families, is often linked to travel in a broad sense. According to Nicolas Hahn’s study, Too Dumb to Know Better, contributors to the image of the “bad” woman frequently cite three traits as characteristic. “First, they have pictured her as irresolute and all too easily lead. Second, they have usually shown her to be promiscuous and a good deal more lascivious than her virtuous sister. Third, they have often emphasised the bad woman’s responsibility for not only her own sins, but those of her mate and descendents as well” (3). Like Eve, who wanders around the edge of the garden, the promiscuous woman has long been said to have a wandering disposition. Interestingly, however, both male and female travel writers have at different times and for dissimilar reasons assumed hermaphroditic identities while travelling. The female traveller, for example, may assume the figure of “the observer” or “the reporter with historical and political awareness”, while the male traveller may feminise his behaviours to confront inevitabilities of confinement and mortality (Fortunati, Monticelli and Ascari 11). Female travellers such as Alexandra David-Neel and Isabelle Eberhardt who ventured out of the home and cross-dressed for safety or success, deliberately and fully appropriated traditional roles of the male sex. Often, this attempt by female wanderers to fulfil their own intentions in cognito evaded their dismissal as wild and unruly women and asserted their power over those duped by their disguise. Those women who did travel openly into the world were often accused of flaunting the gendered norms of female decorum with their “so-called unnatural and inappropriate behaviour” (Siegel 3). The continued harnessing of this cultural taboo by popular media continues to shape contemporary patterns of female travel. In fact, as a result of perceived connections between wandering and danger, the narrative of the woman traveller often emerges as a self-conscious fiction where “the persona who emerges on the page is as much a character as a woman in a novel” (Bassnett 234). This process of self-fictionalising converts the travel writing into a graph of subliminal fears and desires. In Tracks, for example, which is Robyn Davidson’s account of her solitary journey by camel across the Australian desert, Davidson shares with her readers the single, unvarying warning she received from the locals while preparing for her expedition. That was, if she ventured into the desert alone without a guide or male accompaniment, she would be attacked and raped by an Aboriginal man. In her opening pages, Davidson recounts a conversation in the local pub when one of the “kinder regulars” warns her: “You ought to be more careful, girl, you know you’ve been nominated by some of these blokes as the next town rape case” (19). “I felt really frightened for the first time,” Davidson confesses (20). Perhaps no tale better depicts this gendered troubling than the fairytale of Little Red Riding Hood. In the earliest versions of the story, Little Red outwits the Wolf with her own cunning and escapes without harm. By the time the first printed version emerges, however, the story has dramatically changed. Little Red now falls for the guise of the Wolf, and tricked by her captor, is eaten without rescue or escape. Charles Perrault, who is credited with the original publication, explains the moral at the end of the tale, leaving no doubt to its intended meaning. “From this story one learns that children, especially young lasses, pretty, courteous and well-bred, do very wrong to listen to strangers, and it is not an unheard thing if the Wolf is thereby provided with his dinner” (77). Interestingly, in the Grimm Brothers’ version which emerges two centuries later an explicit warning now appears in the tale, in the shape of the mother’s instruction to “walk nicely and quietly, and not run off the path” (144). This new inclusion sanitises the tale and highlights the slippages between issues of mobility and morality. Where Little Red once set out with no instruction not to wander, she is now told plainly to stay on the path; not for her own safety but for implied matters of virtue. If Little Red strays while travelling alone she risks losing her virginity and, of course, her virtue (Siegel 55). Essentially, this is what is at stake when Little Red wanders; not that she will get lost in the woods and be unable to find her way, but that in straying from the path and purposefully disobeying her mother, she will no longer be “a dear little girl” (Grimm 144). In the Grimms’ version, Red Riding Hood herself critically reflects on her trespassing from the safe space of the village to the dangerous world of the forest and makes a concluding statement that demonstrates she has learnt her lesson. “As long as I live, I will never by myself leave the path, to run into the wood, when my mother has forbidden me to do so” (149). Red’s message to her female readers is representative of the social world’s message to its women travellers. “We are easily distracted and disobedient, we are not safe alone in the woods (travelling off the beaten path); we are fairly stupid; we get ourselves into trouble; and we need to be rescued by a man” (Siegel 56). As Siegel explains, even Angela Carter’s Red Riding Hood, who bursts out laughing when the Wolf says “all the better to eat you with” for “she knew she was nobody’s meat” (219), still shocks readers when she uses her virginity to take power over the voracious Wolf. In Carter’s world “children do not stay young for long,” and Little Red, who has her knife and is “afraid of nothing”, is certainly no exception (215). Yet in the end, when Red seduces the Wolf and falls asleep between his paws, there is still a sense this is a twist ending. As Siegel explains, “even given the background Carter provides in the story’s beginning, the scene startles. We knew the girl was strong, independent, and armed. However, the pattern of woman-alone-travelling-alone-helpless-alone-victim is so embedded in our consciousness we are caught off guard” (57). In Roald Dahl’s revolting rhyme, Little Red is also awarded agency, not through sexual prerogative, but through the enactment of traits often considered synonymous with male bravado: quick thinking, wit and cunning. After the wolf devours Grandmamma, Red pulls a pistol from her underpants and shoots him dead. “The small girl smiles. One eyelid flickers. She whips a pistol from her knickers. She aims it at the creature’s head and bang bang bang, she shoots him dead” (lines 48—51). In the weeks that follow Red’s triumph she even takes a trophy, substituting her red cloak for a “furry wolfskin coat” (line 57). While Dahl subverts female stereotypes through Red’s decisive action and immediacy, there is still a sense, perhaps heightened by the rhyming couplets, that we are not to take the shooting seriously. Instead, Red’s girrrl-power is an imagined celebration; it is something comical to be mused over, but its shock value lies in its impossibility; it is not at all believable. While the sexual overtones of the tale have become more explicit in contemporary film adaptations such as David Slade’s Hard Candy and Catherine Hardwicke’s Red Riding Hood, the question that arises is what is really at threat, or more specifically who is threatened, when women travel off the well-ordered path of duty. As this problematic continues to surface in discussions of the genre, other more nuanced readings have also distorted the purpose and practice of women’s travel. Some psychoanalytical theorists, for example, have adopted Freud’s notion of travel as an escape from the family, particularly the father figure. In his essay A Disturbance of Memory on the Acropolis, Freud explains how his own longing to travel was “a wish to escape from that pressure, like the force which drives so many adolescent children to run away from home” (237). “When one first catches sight of the sea,” Freud writes, “one feels oneself like a hero who has performed deeds of improbable greatness” (237). The inherent gender trouble with such a reading is the suggestion women only move in search of a quixotic male figure, “fleeing from their real or imaginary powerful fathers and searching for an idealised and imaginary ‘loving father’ instead” (Berger 55). This kind of thinking reduces the identities of modern women to fragile, unfinished selves, whose investment in travel is always linked to recovering or resisting a male self. Such readings neglect the unique history of women’s travel writing as they dismiss differences in the male and female practice and forget that “travel itself is a thoroughly gendered category” (Holland and Huggan 111). Freud’s experience of travel, for example, his description of feeling like a “hero” who has achieved “improbable greatness” is problematised by the female context, since the possibility arises that women may travel with different e/motions and, indeed, motives to their male counterparts. For example, often when a female character does leave home it is to escape an unhappy marriage, recover from a broken heart or search for new love. Elizabeth Gilbert’s best selling travelogue, Eat, Pray, Love (which spent 57 weeks at the number one spot of the New York Times), found its success on the premise of a once happily married woman who, reeling from a contentious divorce, takes off around the world “in search of everything” (1). Since its debut, the novel has been accused of being self-absorbed and sexist, and even branded by the New York Post as “narcissistic New Age reading, curated by Winfrey” (Callahan par 13). Perhaps most interesting for discussions of travel morality, however, is Bitch magazine’s recent article Eat, Pray, Spend, which suggests that the positioning of the memoir as “an Everywoman’s guide to whole, empowered living” typifies a new literature of privilege that excludes “all but the most fortunate among us from participating” (Sanders and Barnes-Brown par 7). Without seeking to limit the novel with separatist generalisations, the freedoms of Elizabeth Gilbert (a wealthy, white American novelist) to leave home and to write about her travels afterwards have not always been the freedoms of all women. As a result of this problematic, many contemporary women mark out alternative patterns of movement when travelling, often moving deliberately in a variety of directions and at varying paces, in an attempt to resist their placelessness in the travel genre and in the mappable world. As Heidi Slettedahl Macpherson, speaking of Housekeeping’s Ruthie and Sylvie, explains, “they do not travel ever westward in search of some frontier space, nor do they travel across great spaces. Rather, they circle, they drift, they wander” (199). As a result of this double displacement, women have to work twice as hard to be considered credible travellers, particularly since travel is traditionally a male discursive practice. In this tradition, the male is often constructed as the heroic explorer while the female is mapped as a place on his itinerary. She is a point of conquest, a land to be penetrated, a site to be mapped and plotted, but rarely a travelling equal. Annette Kolodny considers this metaphor of “land-as-woman” (67) in her seminal work, The Lay of the Land, in which she discusses “men’s impulse to alter, penetrate and conquer” unfamiliar space (87). Finally, it often emerges that even when female travel focuses specifically on an individual or collective female experience, it is still read in opposition to the long tradition of travelling men. In their introduction to Amazonian, Dea Birkett and Sara Wheeler maintain the primary difference between male and female travel writers is that “the male species” has not become extinct (vii). The pair, who have theorised widely on New Travel Writing, identify some of the myths and misconceptions of the female genre, often citing their own encounters with androcentrism in the industry. “We have found that even when people are confronted by a real, live woman travel writer, they still get us wrong. In the time allowed for questions after a lecture, we are regularly asked, ‘Was that before you sailed around the world or after?’ even though neither of us has ever done any such thing” (xvii). The obvious bias in such a comment is an archaic view of what qualifies as “good” travel and a preservation of the stereotypes surrounding women’s intentions in leaving home. As Birkett and Wheeler explain, “the inference here is that to qualify as travel writers women must achieve astonishing and record-breaking feats. Either that, or we’re trying to get our hands down some man’s trousers. One of us was once asked by the president of a distinguished geographical institution, ‘What made you go to Chile? Was it a guy?’” (xviii). In light of such comments, there remain traceable difficulties for contemporary female travel. As travel itself is inherently gendered, its practice has often been “defined by men according to the dictates of their experience” (Holland and Huggan 11). As a result, its discourse has traditionally reinforced male prerogatives to wander and female obligations to wait. Even the travel trade itself, an industry that often makes its profits out of preying on fear, continues to shape the way women move through the world. While the female traveller then may no longer preface her work with an explicit apology, there are still signs she is carrying some historical baggage. It is from this site of trouble that new patterns of female travel will continue to emerge, distinguishably and defiantly, towards a much more colourful vista of general misrule. References Bassnett, Susan. “Travel Writing and Gender.” The Cambridge Companion to Travel Writing, eds. Peter Hulme and Tim Youngs, Cambridge: Cambridge UP, 2002. 225-40. Berger, Arthur Asa. Deconstructing Travel: Cultural Perspectives on Tourism. Walnut Creek: AltaMira Press, 2004. Bird, Isabella. The Englishwoman in America. London: John Murray, 1856. Birkett, Dea, and Sara Wheeler, eds. Amazonian: The Penguin Book of New Women’s Travel Writing. London: Penguin, 1998. Callahan, Maureen. “Eat, Pray, Loathe: Latest Self-Help Bestseller Proves Faith is Blind.” New York Post 23 Dec. 2007. Carter, Angela. “The Company of Wolves.” Burning Your Boats: The Collected Short Stories. London: Vintage, 1995. 212-20. Dahl, Roald. Revolting Rhymes. London: Puffin Books, 1982. Davidson, Robyn. Tracks. London: Jonathan Cape, 1980. Fortunati, Vita, Rita Monticelli, and Maurizio Ascari, eds. Travel Writing and the Female Imaginary. Bologna: Patron Editore, 2001. Freud, Sigmund. “A Disturbance of Memory on the Acropolis.” The Standard Edition of the Complete Psychological Works of Sigmund Freud, vol. XXII. New Introductory Lectures on Psycho-Analysis and Other Works, 1936. 237-48. Gilbert, Elizabeth. Eat, Pray, Love: One Woman’s Search for Everything Across Italy, India and Indonesia. New Jersey: Penguin, 2007. Grimm, Jacob, and Wilhelm Grimm. “Little Red Riding Hood.” Grimms’ Fairy Tales, London: Jonathan Cape, 1962. 144-9. Hahn, Nicolas. “Too Dumb to Know Better: Cacogenic Family Studies and the Criminology of Women.” Criminology 18.1 (1980): 3-25. Hard Candy. Dir. David Slade. Lionsgate. 2005. Holland, Patrick, and Graham Huggan. Tourists with Typewriters: Critical Reflections on Contemporary Travel Writing. Ann Arbor: U of Michigan P, 2003. Howells, Elizabeth. “Apologizing for Authority: The Rhetoric of the Prefaces of Eliza Cook, Isabelle Bird, and Hannah More.” Professing Rhetoric: Selected Papers from the 2000 Rhetoric Society of America Conference, eds. F.J. Antczak, C. Coggins, and G.D. Klinger. London: Lawrence Erlbaum Associates, 2002. 131-7. Hyland, Paul. The Black Heart: A Voyage into Central Africa. New York: Paragon House, 1988. Kingsley, Mary. Travels in West Africa. Middlesex: The Echo Library, 2008. Kolodny, Annette. The Lay of the Land: Metaphor as Experience and History in American Life and Letters. USA: U of North Carolina P, 1975. Lawrence, Karen. Penelope Voyages: Women and Travel in the British Literary Tradition. Ithaca: Cornell UP, 1994. Morris, Mary. Maiden Voyages: Writings of Women Travellers. New York: Vintage Books, 1993. Perrault, Charles. Perrault’s Complete Fairytales. Trans. A.E. Johnson and others. London: Constable & Company, 1961. Red Riding Hood. Dir. Catherine Hardwicke. Warner Bros. 2011. Sanders, Joshunda, and Diana Barnes-Brown. “Eat, Pray, Spend: Priv-Lit and the New, Enlightened American Dream” Bitch Magazine 47 (2010). 10 May, 2011 < http://bitchmagazine.org/article/eat-pray-spend >. Siegel, Kristi. Ed. Gender, Genre, and Identity in Women’s Travel Writing. New York: Peter Lang, 2004. Slettedahl Macpherson, Heidi. “Women’s Travel Writing and the Politics of Location: Somewhere In-Between.” Gender, Genre, and Identity in Women’s Travel Writing, ed. Kristi Siegel. New York: Peter Lang, 2004. 194-207. Swan, Sheila, and Peter Laufer. Safety and Security for Women who Travel. 2nd ed. San Francisco: Travelers’ Tales, 2004. Woolf, Virginia. Women and Writing. London: The Women’s Press, 1979.

No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of seriality into comprehending the play of persona in contemporary culture. From a brief overview of the intersection of persona and seriality as well as a review of the deployment of seriality in popular culture, the article focuses on the character/ person-actor relationship to demonstrate how seriality produces persona. The French term for character—personnage—will be used to underline the clear relations between characterisation, person, and persona which have been developed by the recent work by Lenain and Wiame. Personnage, through its variation on the word person helps push the analysis into fully understanding the particular and integrated configuration between a public persona and the fictional role that an actor inhabits (Heinich).There are several qualities related to persona that allow this movement from the fictional world to the everyday world to be profitable. Persona, in terms of origins, in and of itself implies performance and display. Jung, for instance, calls persona a mask where one is “acting a role” (167); while Goffman considers that performance and roles are at the centre of everyday life and everyday forms and patterns of communication. In recent work, I have use persona to describe how online culture pushes most people to construct a public identity that resembles what celebrities have had to construct for their livelihood for at least the last century (“Persona”; “Self”). My work has expanded to an investigation of how online persona relates to individual agency (“Agency”) and professional postures and positioning (Barbour and Marshall).The fictive constructions then are intensified versions of what persona is addressing: the fabrication of a role for particular directions and ends. Characters or personnages are constructed personas for very directed ends. Their limitation to the study of persona as a dimension of public culture is that they are not real; however, when one thinks of the actor who takes on this fictive identity, there is clearly a relationship between the real personality and that of the character. Moreover, as Nayar’s analysis of highly famous characters that are fictitious reveals, these celebrated characters, such as Harry Potter or Wolverine, sometime take on a public presence in and of themselves. To capture this public movement of a fictional character, Nayar blends the terms celebrity with fiction and calls these semi-public/semi-real entities “celefiction”: the characters are famous, highly visible, and move across media, information, and cultural platforms with ease and speed (18-20). Their celebrity status underlines their power to move outside of their primary text into public discourse and through public spaces—an extra-textual movement which fundamentally defines what a celebrity embodies.Seriality has to be seen as fundamental to a personnage’s power of and extension into the public world. For instance with Harry Potter again, at least some of his recognition is dependent on the linking or seriating the related books and movies. Seriality helps organise our sense of affective connection to our popular culture. The familiarity of some element of repetition is both comforting for audiences and provides at least a sense of guarantee or warranty that they will enjoy the future text as much as they enjoyed the past related text. Seriality, though, also produces a myriad of other effects and affects which provides a useful background to understand its utility in both the understanding of character and its value in investigating contemporary public persona. Etymologically, the words “series” and seriality are from the Latin and refer to “succession” in classical usage and are identified with ancestry and the patterns of identification and linking descendants (Oxford English Dictionary). The original use of the seriality highlights its value in understanding the formation of the constitution of person and persona and how the past and ancestry connect in series to the current or contemporary self. Its current usage, however, has broadened metaphorically outwards to identify anything that is in sequence or linked or joined: it can be a series of lectures and arguments or a related mark of cars manufactured in a manner that are stylistically linked. It has since been deployed to capture the production process of various cultural forms and one of the key origins of this usage came from the 19th century novel. There are many examples where the 19th century novel was sold and presented in serial form that are too numerous to even summarise here. It is useful to use Dickens’ serial production as a defining example of how seriality moved into popular culture and the entertainment industry more broadly. Part of the reason for the sheer length of many of Charles Dickens’ works related to their original distribution as serials. In fact, all his novels were first distributed in chapters in monthly form in magazines or newspapers. A number of related consequences from Dickens’ serialisation are relevant to understanding seriality in entertainment culture more widely (Hayward). First, his novel serialisation established a continuous connection to his readers over years. Thus Dickens’ name itself became synonymous and connected to an international reading public. Second, his use of seriality established a production form that was seen to be more affordable to its audience: seriality has to be understood as a form that is closely connected to economies and markets as cultural commodities kneaded their way into the structure of everyday life. And third, seriality established through repetition not only the author’s name but also the name of the key characters that populated the cultural form. Although not wholly attributable to the serial nature of the delivery, the characters such as Oliver Twist, Ebenezer Scrooge or David Copperfield along with a host of other major and minor players in his many books become integrated into everyday discourse because of their ever-presence and delayed delivery over stories over time (see Allen 78-79). In the same way that newspapers became part of the vernacular of contemporary culture, fictional characters from novels lived for years at a time in the consciousness of this large reading public. The characters or personnages themselves became personalities that through usage became a way of describing other behaviours. One can think of Uriah Heep and his sheer obsequiousness in David Copperfield as a character-type that became part of popular culture thinking and expressing a clear negative sentiment about a personality trait. In the twentieth century, serials became associated much more with book series. One of the more successful serial genres was the murder mystery. It developed what could be described as recognisable personnages that were both fictional and real. Thus, the real Agatha Christie with her consistent and prodigious production of short who-dunnit novels was linked to her Belgian fictional detective Hercule Poirot. Variations of these serial constructions occurred in children’s fiction, the emerging science fiction genre, and westerns with authors and characters rising to related prominence.In a similar vein, early to mid-twentieth century film produced the film serial. In its production and exhibition, the film serial was a déclassé genre in its overt emphasis on the economic quality of seriality. Thus, the film serial was generally a filler genre that was interspersed before and after a feature film in screenings (Dixon). As well as producing a familiarity with characters such as Flash Gordon, it was also instrumental in producing actors with a public profile that grew from this repetition. Flash Gordon was not just a character; he was also the actor Buster Crabbe and, over time, the association became indissoluble for audiences and actor alike. Feature film serials also developed in the first half-century of American cinema in particular with child actors like Shirley Temple, Mickey Rooney and Judy Garland often reprising variations of their previous roles. Seriality more or less became the standard form of delivery of broadcast media for most of the last 70 years and this was driven by the economies of production it developed. Whether the production was news, comedy, or drama, most radio and television forms were and are variation of serials. As well as being the zenith of seriality, television serials have been the most studied form of seriality of all cultural forms and are thus the greatest source of research into what serials actually produced. The classic serial that began on radio and migrated to television was the soap opera. Although most of the long-running soap operas have now disappeared, many have endured for more than 30 years with the American series The Guiding Light lasting 72 years and the British soap Coronation Street now in its 64th year. Australian nighttime soap operas have managed a similar longevity: Neighbours is in its 30th year, while Home and Away is in its 27th year. Much of the analyses of soap operas and serials deals with the narrative and the potential long narrative arcs related to characters and storylines. In contrast to most evening television serials historically, soap operas maintain the continuity from one episode to the next in an unbroken continuity narrative. Evening television serials, such as situation comedies, while maintaining long arcs over their run are episodic in nature: the structure of the story is generally concluded in the given episode with at least partial closure in a manner that is never engaged with in the never-ending soap opera serials.Although there are other cultural forms that deploy seriality in their structures—one can think of comic books and manga as two obvious other connected and highly visible serial sources—online and video games represent the other key media platform of serials in contemporary culture. Once again, a “horizon of expectation” (Jauss and De Man 23) motivates the iteration of new versions of games by the industry. New versions of games are designed to build on gamer loyalties while augmenting the quality and possibilities of the particular game. Game culture and gamers have a different structural relationship to serials which at least Denson and Jahn-Sudmann describe as digital seriality: a new version of a game is also imagined to be technologically more sophisticated in its production values and this transformation of the similitude of game structure with innovation drives the economy of what are often described as “franchises.” New versions of Minecraft as online upgrades or Call of Duty launches draw the literal reinvestment of the gamer. New consoles provide a further push to serialisation of games as they accentuate some transformed quality in gameplay, interaction, or quality of animated graphics. Sports franchises are perhaps the most serialised form of game: to replicate new professional seasons in each major sport, the sports game transforms with a new coterie of players each year.From these various venues, one can see the centrality of seriality in cultural forms. There is no question that one of the dimensions of seriality that transcends these cultural forms is its coordination and intersection with the development of the industrialisation of culture and this understanding of the economic motivation behind series has been explored from some of the earliest analyses of seriality (see Hagedorn; Browne). Also, seriality has been mined extensively in terms of its production of the pleasure of repetition and transformation. The exploration of the popular, whether in studies of readers of romance fiction (Radway), or fans of science fiction television (Tulloch and Jenkins; Jenkins), serials have provided the resource for the exploration of the power of the audience to connect, engage and reconstruct texts.The analysis of the serialisation of character—the production of a public personnage—and its relation to persona surprisingly has been understudied. While certain writers have remarked on the longevity of a certain character, such as Vicky Lord’s 40 year character on the soap opera One Life to Live, and the interesting capacity to maintain both complicated and hidden storylines (de Kosnik), and fan audience studies have looked at the parasocial-familiar relationship that fan and character construct, less has been developed about the relationship of the serial character, the actor and a form of twinned public identity. Seriality does produce a patterning of personnage, a structure of familiarity for the audience, but also a structure of performance for the actor. For instance, in a longitudinal analysis of the character of Fu Manchu, Mayer is able to discern how a patterning of iconic form shapes, replicates, and reiterates the look of Fu Manchu across decades of films (Mayer). Similarly, there has been a certain work on the “taxonomy of character” where the serial character of a television program is analysed in terms of 6 parts: physical traits/appearance; speech patterns, psychological traits/habitual behaviours; interaction with other characters; environment; biography (Pearson quoted in Lotz).From seriality what emerges is a particular kind of “type-casting” where the actor becomes wedded to the specific iteration of the taxonomy of performance. As with other elements related to seriality, serial character performance is also closely aligned to the economic. Previously I have described this economic patterning of performance the “John Wayne Syndrome.” Wayne’s career developed into a form of serial performance where the individual born as Marion Morrison becomes structured into a cultural and economic category that determines the next film role. The economic weight of type also constructs the limits and range of the actor. Type or typage as a form of casting has always been an element of film and theatrical performance; but it is the seriality of performance—the actual construction of a personnage that flows between the fictional and real person—that allows an actor to claim a persona that can be exchanged within the industry. Even 15 years after his death, Wayne remained one of the most popular performers in the United States, his status unrivalled in its close definition of American value that became wedded with a conservative masculinity and politics (Wills).Type and typecasting have an interesting relationship to seriality. From Eisenstein’s original use of the term typage, where the character is chosen to fit into the meaning of the film and the image was placed into its sequence to make that meaning, it generally describes the circumscribing of the actor into their look. As Wojcik’s analysis reveals, typecasting in various periods of theatre and film acting has been seen as something to be fought for by actors (in the 1850s) and actively resisted in Hollywood in 1950 by the Screen Actors Guild in support of more range of roles for each actor. It is also seen as something that leads to cultural stereotypes that can reinforce the racial profiling that has haunted diverse cultures and the dangers of law enforcement for centuries (Wojcik 169-71). Early writers in the study of film acting, emphasised that its difference from theatre was that in film the actor and character converged in terms of connected reality and a physicality: the film actor was less a mask and more a sense of “being”(Kracauer). Cavell’s work suggested film over stage performance allowed an individuality over type to emerge (34). Thompson’s semiotic “commutation” test was another way of assessing the power of the individual “star” actor to be seen as elemental to the construction and meaning of the film role Television produced with regularity character-actors where performance and identity became indissoluble partly because of the sheer repetition and the massive visibility of these seriated performances.One of the most typecast individuals in television history was Leonard Nimoy as Spock in Star Trek: although the original Star Trek series ran for only three seasons, the physical caricature of Spock in the series as a half-Vulcan and half-human made it difficult for the actor Nimoy to exit the role (Laws). Indeed, his famous autobiography riffed on this mis-identity with the forceful but still economically powerful title I am Not Spock in 1975. When Nimoy perceived that his fans thought that he was unhappy in his role as Spock, he published a further tome—I Am Spock—that righted his relationship to his fictional identity and its continued source of roles for the previous 30 years. Although it is usually perceived as quite different in its constitution of a public identity, a very similar structure of persona developed around the American CBS news anchor Walter Cronkite. With his status as anchor confirmed in its power and centrality to American culture in his desk reportage of the assassination and death of President Kennedy in November 1963, Cronkite went on to inhabit a persona as the most trusted man in the United States by the sheer gravitas of hosting the Evening News stripped across every weeknight at 6:30pm for the next 19 years. In contrast to Nimoy, Cronkite became Cronkite the television news anchor, where persona, actor, and professional identity merged—at least in terms of almost all forms of the man’s visibility.From this vantage point of understanding the seriality of character/personnage and how it informs the idea of the actor, I want to provide a longer conclusion about how seriality informs the concept of persona in the contemporary moment. First of all, what this study reveals is the way in which the production of identity is overlaid onto any conception of identity itself. If we can understand persona not in any negative formulation, but rather as a form of productive performance of a public self, then it becomes very useful to see that these very visible public blendings of performance and the actor-self can make sense more generally as to how the public self is produced and constituted. My final and concluding examples will try and elucidate this insight further.In 2013, Netflix launched into the production of original drama with its release of House of Cards. The series itself was remarkable for a number of reasons. First among them, it was positioned as a quality series and clearly connected to the lineage of recent American subscription television programs such as The Sopranos, Six Feet Under, Dexter, Madmen, The Wire, Deadwood, and True Blood among a few others. House of Cards was an Americanised version of a celebrated British mini-series. In the American version, an ambitious party whip, Frank Underwood, manoeuvres with ruthlessness and the calculating support of his wife closer to the presidency and the heart and soul of American power. How the series expressed quality was at least partially in its choice of actors. The role of Frank Underwood was played by the respected film actor Kevin Spacey. His wife, Clare, was played by the equally high profile Robin Warren. Quality was also expressed through the connection of the audience of viewers to an anti-hero: a personnage that was not filled with virtue but moved with Machiavellian acuity towards his objective of ultimate power. This idea of quality emerged in many ways from the successful construction of the character of Tony Soprano by James Gandolfini in the acclaimed HBO television series The Sopranos that reconstructed the very conception of the family in organised crime. Tony Soprano was enacted as complex and conflicted with a sense of right and justice, but embedded in the personnage were psychological tropes and scars, and an understanding of the need for violence to maintain influence power and a perverse but natural sense of order (Martin).The new television serial character now embodied a larger code and coterie of acting: from The Sopranos, there is the underlying sense and sensibility of method acting (see Vineberg; Stanislavski). Gandolfini inhabited the role of Tony Soprano and used the inner and hidden drives and motivations to become the source for the display of the character. Likewise, Spacey inhabits Frank Underwood. In that new habitus of television character, the actor becomes subsumed by the role. Gandolfini becomes both over-determined by the role and his own identity as an actor becomes melded to the role. Kevin Spacey, despite his longer and highly visible history as a film actor is overwhelmed by the televisual role of Frank Underwood. Its serial power, where audiences connect for hours and hours, where the actor commits to weeks and weeks of shoots, and years and years of being the character—a serious character with emotional depth, with psychological motivation that rivals the most visceral of film roles—transforms the actor into a blended public person and the related personnage.This blend of fictional and public life is complex as much for the producing actor as it is for the audience that makes the habitus real. What Kevin Spacey/Frank Underwood inhabit is a blended persona, whose power is dependent on the constructed identity that is at source the actor’s production as much as any institutional form or any writer or director connected to making House of Cards “real.” There is no question that this serial public identity will be difficult for Kevin Spacey to disentangle when the series ends; in many ways it will be an elemental part of his continuing public identity. This is the economic power and risk of seriality.One can see similar blendings in the persona in popular music and its own form of contemporary seriality in performance. For example, Eminem is a stage name for a person sometimes called Marshall Mathers; but Eminem takes this a step further and produces beyond a character in its integration of the personal—a real personnage, Slim Shady, to inhabit his music and its stories. To further complexify this construction, Eminem relies on the production of his stories with elements that appear to be from his everyday life (Dawkins). His characterisations because of the emotional depth he inhabits through his rapped stories betray a connection to his own psychological state. Following in the history of popular music performance where the singer-songwriter’s work is seen by all to present a version of the public self that is closer emotionally to the private self, we once again see how the seriality of performance begins to produce a blended public persona. Rap music has inherited this seriality of produced identity from twentieth century icons of the singer/songwriter and its display of the public/private self—in reverse order from grunge to punk, from folk to blues.Finally, it is worthwhile to think of online culture in similar ways in the production of public personas. Seriality is elemental to online culture. Social media encourage the production of public identities through forms of repetition of that identity. In order to establish a public profile, social media users establish an identity with some consistency over time. The everydayness in the production of the public self online thus resembles the production and performance of seriality in fiction. Professional social media sites such as LinkedIn encourage the consistency of public identity and this is very important in understanding the new versions of the public self that are deployed in contemporary culture. However, much like the new psychological depth that is part of the meaning of serial characters such as Frank Underwood in House of Cards, Slim Shady in Eminem, or Tony Soprano in The Sopranos, social media seriality also encourages greater revelations of the private self via Instagram and Facebook walls and images. We are collectively reconstituted as personas online, seriated by the continuing presence of our online sites and regularly drawn to reveal more and greater depths of our character. In other words, the online persona resembles the new depth of the quality television serial personnage with elaborate arcs and great complexity. Seriality in our public identity is also uncovered in the production of our game avatars where, in order to develop trust and connection to friends in online settings, we maintain our identity and our patterns of gameplay. At the core of this online identity is a desire for visibility, and we are drawn to be “picked up” and shared in some repeatable form across what we each perceive as a meaningful dimension of culture. Through the circulation of viral images, texts, and videos we engage in a circulation and repetition of meaning that feeds back into the constancy and value of an online identity. Through memes we replicate and seriate content that at some level seriates personas in terms of humour, connection and value.Seriality is central to understanding the formation of our masks of public identity and is at least one valuable analytical way to understand the development of the contemporary persona. This essay represents the first foray in thinking through the relationship between seriality and persona.ReferencesBarbour, Kim, and P. David Marshall. “The Academic Online Constructing Persona.” First Monday 17.9 (2012).Browne, Nick. “The Political Economy of the (Super)Text.” Quarterly Review of Film Studies 9.3 (1984): 174-82. Cavell, Stanley. “Reflections on the Ontology of Film.” Movie Acting: The Film Reader. Ed. Wojcik and Pamela Robertson. 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