Academic literature on the topic 'David McEvoy'

Abstract Background: Rhabdomyosarcoma (RMS) is the most common soft tissue sarcoma in children and has one of the poorest survival rates among pediatric cancers, underscoring the need to identify factors which may be leveraged to improve therapeutic options for these individuals. Methods: We carried out a genome-wide association study of overall survival (OS) and event-free survival (EFS) in 920 RMS patients from COG protocols and randomly divided them into discovery (n=642) and replication (n=278) cohorts. Genotyping was conducted using the Illumina OmniExpress or Global Screening Array and imputed using the Haplotype Reference Consortium. We used Cox proportional hazards regression to calculate an adjusted hazard ratio (aHR) and P value for each common variant (minor allele frequency [MAF]>5%) for OS and EFS while adjusting for age at diagnosis, tumor stage, histological subtype, and the top five principal components. Analyses were also conducted by histological subtype: embryonal RMS (ERMS, n=544) and alveolar RMS (ARMS, n=268). Finally, we performed a meta-analysis of the results from the discovery and replication cohorts to generate a summary aHR and P value for each single nucleotide polymorphism (SNP). Results: We identified an intergenic SNP at chr8q21.13 associated with worse RMS EFS across subtypes (aHR=2.08, P=2.80x10-9), which had consistent effects across the discovery (aHR=1.91, P=5.05x10-6) and replication (aHR=2.62, P=7.16x10-5) cohorts. This SNP lies in a region which spans the genomic binding site for GATA2 and GATA3, transcription factors that are recognized to contribute to cancer development. We also identified a significant association between a SNP at chr12q21.1 and worse EFS (aHR=2.04, P=3.35x10-8) with consistent effects across the discovery and replication cohorts. Based on data from the Genotype-Tissue Expression project (GTEx), this SNP is associated with expression of SLCO1B1, a gene which encodes a liver anion transporter linked to RMS treatment-related toxicities. In subtype-specific analyses, we identified a SNP at chr17q21.32 that was significantly associated with worse ARMS OS (129 events; aHR=3.18, P=3.12x10-8; discovery: aHR=3.19, P=6.23x10-4; replication: aHR=3.16, P=1.43x10-3). In GTEx, this SNP is associated with expression and splicing of genes including PITPNM3, KIAA0753, and MED31 across various tissues. No SNPs were significantly associated with ERMS OS or EFS. Conclusion: In the first GWAS of RMS survival outcomes, we identified two SNPs that were significantly associated with worse EFS across RMS subtypes. Further, we identified a SNP that was associated with OS in ARMS patients, a subtype that is associated with worse outcomes. Additional investigation of the impact of these SNPs may further support their consideration for novel risk stratification protocols. Citation Format: Bailey A. Martin-Giacalone, Michael E. Scheurer, Javed Khan, Stephen J. Chanock, Shengchao Alfred Li, Meredith Yeager, Deborah A. Marquez-Do, Donald A. Barkauskas, David Hall, Matthew T. McEvoy, Melissa A. Richard, Pagna Sok, Austin L. Brown, Aniko Sabo, Stephen X. Skapek, Douglas S. Hawkins, Rajkumar Venkatramani, Lisa Mirabello, Philip J. Lupo. Identification of common germline variants associated with pediatric rhabdomyosarcoma survival: A report from the Children's Oncology Group (COG) [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 683.

Abstract Introduction Well's syndrome is an uncommon skin condition with cosmetically unpleasant outcomes. It was initially described by Dr. GC wells in 1971 as recurrent granulomatous dermatitis with eosinophilia(1). Case A 69-years-old woman with well controlled CLL presented with pruritic, papular eruptions & ulcerations over extremities and back (Figure 1). She denied asthma or atopy, insect bite, or new medications. Skin biopsy (Figure 2) revealed perivascular & interstitial infiltrate composed of lymphocytes, histiocytes, neutrophils and eosinophils. Antibiotics, antihistamines, dapsone, steroid injection failed to control her symptoms. She responded to oral prednisone. On attempted steroid taper she experienced disease flares. She was transitioned eventually to HCQS. Prednisone was discontinued. She remained in remission on HCQS. Discussion Well's syndrome is often described as exaggerated response to insect bite; it may occur without an inciting event, commonly involves extremities, may precede or follow the diagnosis of CLL and has no association with disease course (2). The lesions range from itchy papules, plaques to edematous vesiculo-bullous lesions and panniculitis or ulcerations (3) and can result in disfiguring skin atrophy (4). Pathology reveals eosinophilic or lymphohistiocytic infiltrates (5). Use of glucocorticoids, antihistamines, immunoglobulins, dapsone, ultra violet-B therapy for treatment has been described (2, 5) and may require prolonged treatment (6). Multiple recurrences are often seen in recalcitrant cases (7). Well's syndrome should be considered in differential diagnosis of skin lesions in patients with CLL. HCQS offers an alternative to long term steroid use in its management. References 1. Wells GC. Recurrent granulomatous dermatitis with eosinophilia. Trans St Johns Hosp Dermatol Soc. 1971;57(1):46-56. 2. Bairey O, Goldschmidt N, Ruchlemer R, Tadmor T, Rahimi-Levene N, Yuklea M, et al. Insect-bite-like reaction in patients with chronic lymphocytic leukemia: a study from the Israeli Chronic Lymphocytic Leukemia Study Group. Eur J Haematol. 2012;89(6):491-6. 3. Rodriguez-Lojo R, Almagro M, Perez-varela L, et al. Eosinophilic Panniculitis and Insect Bite-Like Eruption in a Patient with Chronic Lymphocytic Leukaemia: A Spectrum of the Same Entity. Dermatology Research and Practice. 2010;2010. 4. Gilliam AE, Bruckner AL, Howard RM, Lee BP, Wu S, Frieden IJ. Bullous "cellulitis" with eosinophilia: case report and review of Wells' syndrome in childhood. Pediatrics. 2005;116(1):e149-55. 5. Davis MDP, Perniciaro C, Dahl PR, Randle HW, McEvoy MT, Leiferman KM. Exaggerated arthropod-bite lesions in patients with chronic lymphocytic leukemia: A clinical, histopathologic, and immunopathologic study of eight patients. Journal of the American Academy of Dermatology. 1998;39(1):27-35. 6. Sinno H, Lacroix JP, Lee J, Izadpanah A, Borsuk R, Watters K, et al. Diagnosis and management of eosinophilic cellulitis (Wells' syndrome): A case series and literature review. Can J Plast Surg. 2012;20(2):91-7. 7. Moossavi M, Mehregan DR. Wells' syndrome: a clinical and histopathologic review of seven cases. Int J Dermatol. 2003;42(1):62-7. Figure 1 Figure 1. Figure 2 Figure 2. Disclosures No relevant conflicts of interest to declare.

Background:Psoriatic arthritis (PsA) is a chronic inflammatory musculoskeletal disease with an estimated prevalence of 0.05% to 0.25% in the population and 6% to 41% in psoriasis patients. There is disparity in the reported incidence patterns in the general population in more recent years, with increasing incidence seen in Denmark, but relatively stable rates seen in Canada. However, no studies in the US have looked at the recent incidence patterns, and it would be important to see how newer therapies for psoriasis have impacted the incidence of PsA. Variability in the estimates of incidence and prevalence across different studies has been attributed to differences in case ascertainment and most studies have used ICD codes to identify PsA patients.Objectives:To determine the annual incidence of PsA (2000-17) and compare it to incidence of PsA in previous years (1970-1999)1in the Olmsted County, Minnesota, USA population.Methods:A retrospective, population-based cohort of PsA patients ≥18 years of age from Olmsted County, MN meeting ClASsification of Psoriatic ARthritis (CASPAR) criteria for PsA (2000-17) was identified from the Rochester Epidemiology Project (REP). REP ensures virtually complete ascertainment and follow-up of all clinically diagnosed cases of PsA in a geographically-defined area. The date of fulfillment of CASPAR criteria was taken as the PsA incidence date. Age- and sex-specific incidence rates, adjusted to 2010 US white population, were reported. Our previously reported cohort from REP (1970-1999)1also used the same CASPAR criteria, and trends from the current study were compared to the previous years.Results:There were 170 incident cases of PsA, with a mean age of 46.7 (SD=12.3) years and 47% females from 2000-17. The overall age and sex adjusted annual incidence of PsA per 100,000 population was 8.8 (95% CI 7.5-10.1), and higher in males (9.7, 95% CI 7.7-11.7) than females (8.0, 95% CI 6.2-9.8). Overall incidence was highest in the age range 40-59 years (Table 1). The incidence rate was relatively stable in the recent years 2000-2017 compared to 1970-19991where a rise in incidence was observed (3.6 to 9.8 per 100,000 persons from 1970-79 to 1990-99, p<0.001) (Figure 1).Table 1.Annual incidence rate, IR (per 100,000) of psoriatic arthritis by age and sex between 2000-17 in Olmsted County, MN.MaleFemaleTotalAge Group, yrsNIRNIRNRate18-2994.141.6132.830-392413.4147.33810.240-492413.92614.05014.050-592113.52816.24914.960-6976.987.1157.070-7935.000.032.280+26.000.022.2Total (95% CI)909.7 (7.7-11.7)†808.0 (6.2-9.8)†1708.8 (7.5-10.1)††† Age-adjusted to the 2010 US White population. †† Age- and sex-adjusted to the 2010 US White populationConclusion:In the Olmsted County population, the increasing PsA incidence seen in previous years 1970-19991seems to have leveled off after 2000. This is in contrast to increasing incidence in recent years reported from Denmark, Taiwan and Israel. However, similar to our study, incidence rates for PsA from 2008-2015 were reported to be stable in Canada.References:[1]Wilson FC, Icen M, Crowson CS, McEvoy MT, Gabriel SE, Kremers HM. Time trends in epidemiology and characteristics of psoriatic arthritis over 3 decades: a population-based study.J Rheumatol. 2009;36(2):361-367.Acknowledgments:This project was supported by CTSA Grant Number UL1 TR002377 from the National Center for Advancing Translational Science (NCATS).Disclosure of Interests:Paras Karmacharya: None declared, Cynthia S. Crowson Grant/research support from: Pfizer research grant, Delamo Bekele: None declared, Sara Achenbach: None declared, John M Davis III Grant/research support from: Research grants from Pfizer, Consultant of: Served on advisory boards for Abbvie and Sanofi-Genzyme, Alexis Ogdie Grant/research support from: Pfizer, Novartis, Consultant of: Abbvie, Amgen, BMS, Celgene, Corrona, Janssen, Lilly, Pfizer, Novartis, Ali Duarte-Garcia: None declared, Hilal Maradit-Kremers: None declared, Megha Tollefson: None declared, Floranne C. Ernste: None declared, Kerry Wright: None declared

Cognitive learning during the COVID-19 pandemic encountered many obstacles, but the use of various gadgets could be an effective solution in early childhood learning, especially to prepare them to enter the elementary school level. This study aims to describe the online cognitive learning process (OCL) in early childhood during the COVID-19 and new era of the pandemic through integrated technology and hybrid learning. This study uses a qualitative approach with a case study involving two ECE teachers and one principal. Data analysis using Miles and Huberman models. The findings of this study explain the importance of the teacher's role in OCL and its constraints, how parent-teacher collaboration is the key to successful cognitive improvement through online learning, and the implementation of OCL through effective learning to prevent learning loss. Further research in distance and hybrid learning, especially for early childhood, is expected to give birth to various new learning models and methods that are integrated with technology towards online teaching-learning when needed. Keywords: early childhood, cognitive online learning, integrated technology, hybrid learning References: Ansari, A., & Purtell, K. M. (2017). Activity settings in full-day kindergarten classrooms and children’s early learning. Early Childhood Research Quarterly, 38, 23–32. https://doi.org/10.1016/j.ecresq.2016.09.003 Bacher-Hicks, A., Goodman, J., & Mulhern, C. (2021). Inequality in household adaptation to schooling shocks: Covid-induced online learning engagement in real time. Journal of Public Economics, 193, 104345. https://doi.org/10.1016/j.jpubeco.2020.104345 Borup, J., Graham, C. R., West, R. E., Archambault, L., & Spring, K. J. (2020). Academic Communities of Engagement: An expansive lens for examining support structures in blended and online learning. Educational Technology Research and Development, 68(2), 807–832. https://doi.org/10.1007/s11423-020-09744-x Danovitch, J. H. (2019). Growing up with Google: How children’s understanding and use of internet‐based devices relates to cognitive development. Human Behavior and Emerging Technologies, 1(2), 81–90. https://doi.org/10.1002/hbe2.142 Davies, T. (2016). Mind change: How digital technologies are leaving their mark on our brains. New Media & Society, 18(9), 2139–2141. https://doi.org/10.1177/1461444816652614 Davis, A. N., Carlo, G., Gulseven, Z., Palermo, F., Lin, C.-H., Nagel, S. C., Vu, D. C., Vo, P. H., Ho, T. L., & McElroy, J. A. (2019). Exposure to environmental toxicants and young children’s cognitive and social development. Reviews on Environmental Health, 34(1), 35–56. https://doi.org/doi:10.1515/reveh-2018-0045 Dias, M. J. A., Almodóvar, M., Atiles, J. T., Vargas, A. C., & Zúñiga León, I. M. (2020). Rising to the Challenge: Innovative early childhood teachers adapt to the COVID-19 era. Childhood Education, 96(6), 38–45. https://doi.org/10.1080/00094056.2020.1846385 Dong, C., Cao, S., & Li, H. (2020). Young children’s online learning during COVID-19 pandemic: Chinese parents’ beliefs and attitudes. Children and Youth Services Review, 118, 105440. https://doi.org/10.1016/j.childyouth.2020.105440 Engzell, P., Frey, A., & Verhagen, M. D. (2021). Learning loss due to school closures during the COVID-19 pandemic. Proceedings of the National Academy of Sciences, 118(17), e2022376118. https://doi.org/10.1073/pnas.2022376118 Ford, T. G., Kwon, K.-A., & Tsotsoros, J. D. (2021). Early childhood distance learning in the U.S. during the COVID pandemic: Challenges and opportunities. Children and Youth Services Review, 131, 106297. https://doi.org/10.1016/j.childyouth.2021.106297 Graham, C. R., Borup, J., Pulham, E., & Larsen, R. (2019). K–12 Blended Teaching Readiness: Model and Instrument Development. Journal of Research on Technology in Education, 51(3), 239–258. https://doi.org/10.1080/15391523.2019.1586601 Hassan, M. N., Abdullah, A. H., Ismail, N., Suhud, S. N. A., & Hamzah, M. H. (2018). Mathematics Curriculum Framework for Early Childhood Education Based on Science, Technology, Engineering and Mathematics (STEM). International Electronic Journal of Mathematics Education, 14(1). https://doi.org/10.12973/iejme/3960 Hrastinski, S., Cleveland-Innes, M., & Stenbom, S. (2018). Tutoring online tutors: Using digital badges to encourage the development of online tutoring skills: Tutoring online tutors. British Journal of Educational Technology, 49(1), 127–136. https://doi.org/10.1111/bjet.12525 Hu, X., Chiu, M. M., Leung, W. M. V., & Yelland, N. (2021). Technology integration for young children during COVID‐19: Towards future online teaching. British Journal of Educational Technology, 52(4), 1513–1537. https://doi.org/10.1111/bjet.13106 Hu, X., & Yelland, N. (2017). An investigation of preservice early childhood teachers’ adoption of ICT in a teaching practicum context in Hong Kong. Journal of Early Childhood Teacher Education, 38(3), 259–274. https://doi.org/10.1080/10901027.2017.1335664 Hu, X., & Yelland, N. (2019). Changing Learning Ecologies in Early Childhood Teacher Education: From Technology to stem Learning. Beijing International Review of Education, 1(2–3), 488–506. https://doi.org/10.1163/25902539-00102005 Huber, B., Tarasuik, J., Antoniou, M. N., Garrett, C., Bowe, S. J., & Kaufman, J. (2016). Young children’s transfer of learning from a touchscreen device. Computers in Human Behavior, 56, 56–64. https://doi.org/10.1016/j.chb.2015.11.010 Jong, M. S. Y. (2016). Teachers’ concerns about adopting constructivist online game-based learning in formal curriculum teaching: The VISOLE experience. British Journal of Educational Technology, 47(4), 601–617. https://doi.org/10.1111/bjet.12247 Joubert, I., & Harrison, G. D. (2021). Revisiting Piaget, his contribution to South African early childhood education. Early Child Development and Care, 191(7–8), 1002–1012. https://doi.org/10.1080/03004430.2021.1896499 Kesäläinen, J., Suhonen, E., Alijoki, A., & Sajaniemi, N. (2022). Children’s play behaviour, cognitive skills and vocabulary in integrated early childhood special education groups. International Journal of Inclusive Education, 26(3), 284–300. https://doi.org/10.1080/13603116.2019.1651410 Kim, J. (2020). Learning and Teaching Online During Covid-19: Experiences of Student Teachers in an Early Childhood Education Practicum. International Journal of Early Childhood, 52(2), 145–158. https://doi.org/10.1007/s13158-020-00272-6 Kuhfeld, M., Soland, J., Tarasawa, B., Johnson, A., Ruzek, E., & Liu, J. (2020). Projecting the Potential Impact of COVID-19 School Closures on Academic Achievement. Educational Researcher, 49(8), 549–565. https://doi.org/10.3102/0013189X20965918 Lau, E. Y. H., & Lee, K. (2020). Parents’ Views on Young Children’s Distance Learning and Screen Time During COVID-19 Class Suspensio. Early Education and Development, 19. https://doi.org/10.1080/10409289.2020.1843925 Lau, E. Y. H., & Ng, M. L. (2019). Are they ready for home-school partnership? Perspectives of kindergarten principals, teachers and parents. Children and Youth Services Review, 99, 10–17. https://doi.org/10.1016/j.childyouth.2019.01.019 Miles, M. B., Huberman, A. M., & Saldaña, J. (2014). Qualitative data analysis: A methods sourcebook (Third edition). SAGE Publications, Inc. Mirau, E. (2017). Online Learning for Early Childhood Education Students [University of Victoria]. https://dspace.library.uvic.ca//handle/1828/8513 Neumann, D., Peterson, E. R., Underwood, L., Morton, S. M. B., & Waldie, K. E. (2021). The development of cognitive functioning indices in early childhood. Cognitive Development, 60, 101098. https://doi.org/10.1016/j.cogdev.2021.101098 Orben, A., & Przybylski, A. K. (2019). The association between adolescent well-being and digital technology use. Nature Human Behaviour, 3(2), 173–182. https://doi.org/10.1038/s41562-018-0506-1 Peng, P., & Kievit, R. A. (2020). The Development of Academic Achievement and Cognitive Abilities: A Bidirectional Perspective. Child Development Perspectives, 14(1), 15–20. https://doi.org/10.1111/cdep.12352 Pérez-Pereira, M., Fernández, M. P., Gómez-Taibo, M. L., Martínez-López, Z., & Arce, C. (2020). A Follow-Up Study of Cognitive Development in Low Risk Preterm Children. International Journal of Environmental Research and Public Health, 17(7). https://doi.org/10.3390/ijerph17072380 Ranjitkar, S., Hysing, M., Kvestad, I., Shrestha, M., Ulak, M., Shilpakar, J. S., Sintakala, R., Chandyo, R. K., Shrestha, L., & Strand, T. A. (2019). Determinants of Cognitive Development in the Early Life of Children in Bhaktapur, Nepal. Frontiers in Psychology, 10. https://www.frontiersin.org/articles/10.3389/fpsyg.2019.02739 Reuben, A., Arseneault, L., Belsky, D. W., Caspi, A., Fisher, H. L., Houts, R. M., Moffitt, T. E., & Odgers, C. (2019). Residential neighborhood greenery and children’s cognitive development. Social Science & Medicine, 230, 271–279. https://doi.org/10.1016/j.socscimed.2019.04.029 Richardson, J. C., Maeda, Y., Lv, J., & Caskurlu, S. (2017). Social presence in relation to students’ satisfaction and learning in the online environment: A meta-analysis. Computers in Human Behavior, 71, 402–417. https://doi.org/10.1016/j.chb.2017.02.001 Saeed, M., Malik, R. N., & Kamal, A. (2020). Fluorosis and cognitive development among children (6–14 years of age) in the endemic areas of the world: A review and critical analysis. Environmental Science and Pollution Research, 27(3), 2566–2579. https://doi.org/10.1007/s11356-019-06938-6 Schoon, I., Nasim, B., & Cook, R. (2021). Social inequalities in early childhood competences, and the relative role of social and emotional versus cognitive skills in predicting adult outcomes. British Educational Research Journal, 47(5), 1259–1280. https://doi.org/10.1002/berj.3724 Simon, L., Nusinovici, S., Flamant, C., Cariou, B., Rouger, V., Gascoin, G., Darmaun, D., Rozé, J.-C., & Hanf, M. (2017). Post-term growth and cognitive development at 5 years of age in preterm children: Evidence from a prospective population-based cohort. PLOS ONE, 12(3), e0174645. https://doi.org/10.1371/journal.pone.0174645 Singh, J., Steele, K., & Singh, L. (2021). Combining the Best of Online and Face-to-Face Learning: Hybrid and Blended Learning Approach for COVID-19, Post Vaccine, & Post-Pandemic World. Journal of Educational Technology Systems, 50(2), 140–171. https://doi.org/10.1177/00472395211047865 Szente, J. (2020). Live Virtual Sessions with Toddlers and Preschoolers Amid COVID-19: Implications for Early Childhood Teacher Education. Journal of Technology and Teacher Education, 28(2), 373–380. Taylor, M. E., & Boyer, W. (2020). Play-Based Learning: Evidence-Based Research to Improve Children’s Learning Experiences in the Kindergarten Classroom. Early Childhood Education Journal, 48(2), 127–133. https://doi.org/10.1007/s10643-019-00989-7 Thai, K. P., & Ponciano, L. (2016). Improving Outcomes for At-Risk Prekindergarten and Kindergarten Students with a Digital Learning Resource. 31. Trikoilis, D., & Papanastasiou, E. C. (2020). The Potential of Research for Professional Development in Isolated Settings During the Covid-19 Crisis and Beyond. Journal of Technology and Teacher Education, 28(2), 295–300. Troseth, G. L., & Strouse, G. A. (2017). Designing and using digital books for learning: The informative case of young children and video. International Journal of Child-Computer Interaction, 12, 3–7. https://doi.org/10.1016/j.ijcci.2016.12.002 Watanabe, N. (2019). Effective Simple Mathematics Play at Home in Early Childhood: Promoting both Non-cognitive and Cognitive Skills in Early Childhood. International Electronic Journal of Mathematics Education, 14(2). https://doi.org/10.29333/iejme/5739 Zauche, L. H., Thul, T. A., Mahoney, A. E. D., & Stapel-Wax, J. L. (2016). Influence of language nutrition on children’s language and cognitive development: An integrated review. Early Childhood Research Quarterly, 36, 318–333. https://doi.org/10.1016/j.ecresq.2016.01.015

It is widely acknowledged among film scholars that Lynch’s 2001 neo-noir Mulholland Drive is richly infused with intertextual references and homages — most notably to Charles Vidor’s Gilda (1946), Billy Wilder’s Sunset Boulevard (1950), Alfred Hitchcock’s Vertigo (1958), and Ingmar Bergman’s Persona (1966). What is less recognised is the extent to which J. Sheridan Le Fanu’s 1872 Gothic novella Carmilla has also influenced Mulholland Drive. This article focuses on the dynamics of the relationship between Carmilla and Mulholland Drive, particularly the formation of femme fatale Camilla Rhodes (played by Laura Elena Harring), with the aim of establishing how the Gothic shapes the viewing experience of the film. I argue that not only are there striking narrative similarities between the texts, but lying at the heart of both Carmilla and Mulholland Drive is the uncanny. By drawing on this elusive and eerie feeling, Lynch successfully introduces an archetypal quality both to Camilla and Mulholland Drive as a whole, which in turn contributes to powerful sensations of desire, dread, nostalgia, and “noirness” that are aroused by the film. As such Mulholland Drive emerges not only as a compelling work of art, but also a deeply evocative cinematic experience. I begin by providing a brief overview of Le Fanu’s Gothic tale and establish its formative influence on later cinematic texts. I then present a synopsis of Mulholland Drive before exploring the rich interrelationship the film has with Carmilla. Carmilla and the Lesbian Vampire Carmilla is narrated from the perspective of a sheltered nineteen-year-old girl called Laura, who lives in an isolated Styrian castle with her father. After a bizarre event involving a carriage accident, a young woman named Carmilla is left in the care of Laura’s father. Carmilla is beautiful and charming, but she is an enigma; her origins and even her surname remain a mystery. Though Laura identifies a number of peculiarities about her new friend’s behaviour (such as her strange, intense moods, languid body movements, and other irregular habits), the two women are captivated with each other, quickly falling in love. However, despite Carmilla’s harmless and fragile appearance, she is not what she seems. She is a one hundred and fifty year old vampire called Mircalla, Countess Karnstein (also known as Millarca — both anagrams of Carmilla), who preys on adolescent women, seducing them while feeding off their blood as they sleep. In spite of the deep affection she claims to have for Laura, Carmilla is compelled to slowly bleed her dry. This takes its physical toll on Laura who becomes progressively pallid and lethargic, before Carmilla’s true identity is revealed and she is slain. Le Fanu’s Carmilla is monumental, not only for popularising the female vampire, but for producing a sexually alluring creature that actively seeks out and seduces other women. Cinematically, the myth of the lesbian vampire has been drawn on extensively by film makers. One of the earliest female centred vampire movies to contain connotations of same-sex desire is Lambert Hilyer’s Dracula’s Daughter (1936). However, it was in the 1960s and 1970s that the spectre of the lesbian vampire exploded on screen. In part a response to the abolishment of Motion Picture Code strictures (Baker 554) and fuelled by latent anxieties about second wave feminist activism (Zimmerman 23–4), films of this cycle blended horror with erotica, reworking the lesbian vampire as a “male pornographic fantasy” (Weiss 87). These productions draw on Carmilla in varying degrees. In most, the resemblance is purely thematic; others draw on Le Fanu’s novella slightly more directly. In Roger Vadim’s Et Mourir de Plaisir (1960) an aristocratic woman called Carmilla becomes possessed by her vampire ancestor Millarca von Karnstein. In Roy Ward Baker’s The Vampire Lovers (1970) Carmilla kills Laura before seducing a girl named Emma whom she encounters after a mysterious carriage breakdown. However, the undead Gothic lady has not only made a transition from literature to screen. The figure also transcends the realm of horror, venturing into other cinematic styles and genres as a mortal vampire whose sexuality is a source of malevolence (Weiss 96–7). A well-known early example is Frank Powell’s A Fool There Was (1915), starring Theda Barra as “The Vampire,” an alluring seductress who targets wealthy men, draining them of both their money and dignity (as opposed to their blood), reducing them to madness, alcoholism, and suicide. Other famous “vamps,” as these deadly women came to be known, include the characters played by Marlene Dietrich such as Concha Pérez in Joseph von Sternberg’s The Devil is a Woman (1935). With the emergence of film noir in the early 1940s, the vamp metamorphosed into the femme fatale, who like her predecessors, takes the form of a human vampire who uses her sexuality to seduce her unwitting victims before destroying them. The deadly woman of this era functions as a prototype for neo-noir incarnations of the sexually alluring fatale figure, whose popularity resurged in the early 1980s with productions such as Lawrence Kasdan’s Body Heat (1981), a film commonly regarded as a remake of Billy Wilder’s 1944 classic noir Double Indemnity (Bould et al. 4; Tasker 118). Like the lesbian vampires of 1960s–1970s horror, the neo-noir femme fatale is commonly aligned with themes of same-sex desire, as she is in Mulholland Drive. Mulholland Drive Like Sunset Boulevard before it, Mulholland Drive tells the tragic tale of Hollywood dreams turned to dust, jealousy, madness, escapist fantasy, and murder (Andrews 26). The narrative is played out from the perspective of failed aspiring actress Diane Selwyn (Naomi Watts) and centres on her bitter sexual obsession with former lover Camilla. The film is divided into three sections, described by Lynch as: “Part one: She found herself inside a perfect mystery. Part two: A sad illusion. Part three: Love” (Rodley 54). The first and second segments of the movie are Diane’s wishful dream, which functions as an escape from the unbearable reality that, after being humiliated and spurned by Camilla, Diane hires a hit man to have her murdered. Part three reveals the events that have led up to Diane’s fateful action. In Diane’s dream she is sweet, naïve, Betty who arrives at her wealthy aunt’s Hollywood home to find a beautiful woman in the bathroom. Earlier we witness a scene where the woman survives a violent car crash and, suffering a head injury, stumbles unnoticed into the apartment. Initially the woman introduces herself as Rita (after seeing a Gilda poster on the wall), but later confesses that she doesn’t know who she is. Undeterred by the strange circumstances surrounding Rita’s presence, Betty takes the frightened, vulnerable woman (actually Camilla) under her wing, enthusiastically assuming the role of detective in trying to discover her real identity. As Rita, Camilla is passive, dependent, and grateful. Importantly, she also fondly reciprocates the love Betty feels for her. But in reality, from Diane’s perspective at least, Camilla is a narcissistic, manipulative femme fatale (like the character portrayed by the famous star whose name she adopts in Diane’s dream) who takes sadistic delight in toying with the emotions of others. Just as Rita is Diane’s ideal lover in her fantasy, pretty Betty is Diane’s ego ideal. She is vibrant, wholesome, and has a glowing future ahead of her. This is a far cry from reality where Diane is sullen, pathetic, and haggard with no prospects. Bitterly, she blames Camilla for her failings as an actress (Camilla wins a lead role that Diane badly wanted by sleeping with the director). Ultimately, Diane also blames Camilla for her own suicide. This is implied in the dream sequence when the two women disguise Rita’s appearance after the discovery of a bloated corpse in Diane Selwyn’s apartment. The parallels between Mulholland Drive and Carmilla are numerous to the extent that it could be argued that Lynch’s film is a contemporary noir infused re-telling of Le Fanu’s novella. Both stories take the point-of-view of the blonde haired, blue eyed “victim.” Both include a vehicle accident followed by the mysterious arrival of an elusive dark haired stranger, who appears vulnerable and helpless, but whose beauty masks the fact that she is really a monster. Both narratives hinge on same-sex desire and involve the gradual emotional and physical destruction of the quarry, as she suffers at the hands of her newly found love interest. Whereas Carmilla literally sucks her victims dry before moving on to another target, Camilla metaphorically drains the life out of Diane, callously taunting her with her other lovers before dumping her. While Camilla is not a vampire per se, she is framed in a distinctly vampirish manner, her pale skin contrasted by lavish red lipstick and fingernails, and though she is not literally the living dead, the latter part of the film indicates that the only place Camilla remains alive is in Diane’s fantasy. But in the Lynchian universe, where conventional forms of narrative coherence, with their demand for logic and legibility are of little interest (Rodley ix), intertextual alignment with Carmilla extends beyond plot structure to capture the “mood,” or “feel” of the novella that is best described in terms of the uncanny — something that also lies at the very core of Lynch’s work (Rodley xi). The Gothic and the Uncanny Though Gothic literature is grounded in horror, the type of fear elicited in the works of writers that form part of this movement, such as Le Fanu (along with Horace Walpole, Ann Radcliffe, Mary Shelly, and Bram Stoker to name a few), aligns more with the uncanny than with outright terror. The uncanny is an elusive quality that is difficult to pinpoint yet distinct. First and foremost it is a sense, or emotion that is related to dread and horror, but it is more complex than simply a reaction to fear. Rather, feelings of trepidation are accompanied by a peculiar, dream-like quality of something fleetingly recognisable in what is evidently unknown, conjuring up a mysterious impression of déjà vu. The uncanny has to do with uncertainty, particularly in relation to names (including one’s own name), places and what is being experienced; that things are not as they have come to appear through habit and familiarity. Though it can be frightening, at the same time it can involve a sensation that is compelling and beautiful (Royle 1–2; Punter 131). The inventory of motifs, fantasies, and phenomena that have been attributed to the uncanny are extensive. These can extend from the sight of dead bodies, skeletons, severed heads, dismembered limbs, and female sex organs, to the thought of being buried alive; from conditions such as epilepsy and madness, to haunted houses/castles and ghostly apparitions. Themes of doubling, anthropomorphism, doubt over whether an apparently living object is really animate and conversely if a lifeless object, such as a doll or machinery, is in fact alive also fall under the broad range of what constitutes the uncanny (see Jentsch 221–7; Freud 232–45; Royle 1–2). Socio-culturally, the uncanny can be traced back to the historical epoch of Enlightenment. It is the transformations of this eighteenth century “age of reason,” with its rejection of transcendental explanations, valorisation of reason over superstition, aggressively rationalist imperatives, and compulsive quests for knowledge that are argued to have first caused human experiences associated with the uncanny (Castle 8–10). In this sense, as literary scholar Terry Castle argues, the eighteenth century “invented the uncanny” (8). In relation to the psychological underpinnings of this disquieting emotion, psychiatrist Ernst Jentsch was the first to explore the subject in his 1906 document “On the Psychology of the Uncanny,” though Sigmund Freud and his 1919 paper “The Uncanny” is most popularly associated with the term. According to Jentsch, the uncanny, or the unheimlich in German (meaning “unhomely”), emerges when the “new/foreign/hostile” corresponds to the psychical association of “old/known/familiar.” The unheimlich, which sits in direct opposition to the heimlich (homely) equates to a situation where someone feels not quite “at home” or “at ease” (217–9). Jentsch attributes sensations of the unheimlich to psychical resistances that emerge in relation to the mistrust of the innovative and unusual — “to the intellectual mystery of a new thing” (218) — such as technological revolution for example. Freud builds on the concept of the unheimlich by focusing on the heimlich, arguing that the term incorporates two sets of ideas. It can refer to what is familiar and agreeable, or it can mean “what is concealed and kept out of sight” (234–5). In the context of the latter notion, the unheimlich connotes “that which ought to have remained secret or hidden but has come to light” (Freud 225). Hence for Freud, who was primarily concerned with the latent content of the psyche, feelings of uncanniness emerge when dark, disturbing truths that have been repressed and relegated to the realm of the unconscious resurface, making their way abstractly into the consciousness, creating an odd impression of the known in the unknown. Though it is the works of E.T.A. Hoffman that are most commonly associated with the unheimlich, Freud describing the author as the “unrivalled master of the uncanny in literature” (233), Carmilla is equally bound up in dialectics between the known and the unknown; the homely and the unhomely. Themes centring on doubles, the undead, haunted gardens, conflicting emotions fuelled by desire and disgust — of “adoration and also of abhorrence” (Le Fanu 264), and dream-like nocturnal encounters with sinister, shape-shifting creatures predominate. With Carmilla’s arrival the boundaries between the heimlich and the unheimlich become blurred. Though Carmilla is a stranger, her presence triggers buried childhood memories for Laura of a frightening and surreal experience where Carmilla appears in Laura’s nursery during the night, climbing into bed with her before seemingly vanishing into thin air. In this sense, Laura’s remote castle home has never been homely. Disturbing truths have always lurked in its dark recesses, the return of the dead bringing them to light. The Uncanny in Mulholland Drive The elusive qualities of the uncanny also weave their way extensively through Mulholland Drive, permeating all facets of the cinematic experience — cinematography, sound score, mise en scène, and narrative structure. As film maker and writer Chris Rodley argues, Lynch mobilises every aspect of the motion picture making process in seeking to express a sense of uncanniness in his productions: “His sensitivity to textures of sound and image, to the rhythms of speech and movement, to space, colour, and the intrinsic power of music mark him as unique in this respect.” (Rodley ix–xi). From the opening scenes of Mulholland Drive, the audience is plunged into the surreal, unheimlich realm of Diane’s dream world. The use of rich saturated colours, soft focus lenses, unconventional camera movements, stilted dialogue, and a hauntingly beautiful sound score composed by Angelo Badalamenti, generates a cumulative effect of heightened artifice. This in turn produces an impression of hyper-realism — a Baudrillardean simulacrum where the real is beyond real, taking on a form of its own that has an artificial relation to actuality (Baudrillard 6–7). Distorting the “real” in this manner produces an effect of defamiliarisation — a term first employed by critic Viktor Shklovsky (2–3) to describe the artistic process involved in making familiar objects seem strange and unfamiliar (or unheimlich). These techniques are something Lynch employs in other works. Film and literary scholar Greg Hainge (137) discusses the way colour intensification and slow motion camera tracking are used in the opening scene of Blue Velvet (1984) to destabilise the aesthetic realm of the homely, revealing it to be artifice concealing sinister truths that have so far been hidden, but that are about to come to light. Similar themes are central to Mulholland Drive; the simulacra of Diane’s fantasy creating a synthetic form of real that conceals the dark and terrible veracities of her waking life. However, the artificial dream place of Diane’s disturbed mind is disjointed and fractured, therefore, just as the uncanny gives rise to an elusive sense of mystery and uncertainty, offering a fleeting glimpse of the tangible in something otherwise inexplicable, so too is the full intelligibility of Mulholland Drive kept at an obscure distance. Though the film offers a succession of clues to meaning, the key to any form of complete understanding lingers just beyond the grasp of certainty. Names, places, and identities are infused with doubt. Not only in relation to Betty/Diane and Rita/Camilla, but regarding a succession of other strange, inexplicable characters and events, one example being the recurrent presence of a terrifying looking vagrant (Bonnie Aarons). Figures such as this are clearly poignant to the narrative, but they are also impossibly enigmatic, inviting the audience to play detective in deciphering what they signify. Themes of doubling and mirroring are also used extensively. While these motifs serve to denote the split between waking and dream states, they also destabilise the narrative in relation to what is familiar and what is unfamiliar, further grounding Mulholland Drive in the uncanny. Since its publication in 1872, Carmilla has had a significant formative influence on the construct of the seductive yet deadly woman in her various manifestations. However, rarely has the novella been paid homage to as intricately as it is in Mulholland Drive. Lynch draws on Le Fanu’s archetypal Gothic horror story, combining it with the aesthetic conventions of film noir, in order to create what is ostensibly a contemporary, poststructuralist critique of the Hollywood dream-factory. Narratively and thematically, the similarities between the two texts are numerous. However, intertextual configuration is considerably more complex, extending beyond the plot and character structure to capture the essence of the Gothic, which is grounded in the uncanny — an evocative emotion involving feelings of dread, accompanied by a dream-like impression of familiar and unfamiliar commingling. Carmilla and Mulholland Drive bypass the heimlich, delving directly into the unheimlich, where boundaries between waking and dream states are destabilised, any sense of certainty about what is real is undermined, and feelings of desire are paradoxically conjoined with loathing. Moreover, Lynch mobilises all fundamental elements of cinema in order to capture and express the elusive qualities of the Unheimlich. In this sense, the uncanny lies at the very heart of the film. What emerges as a result is an enigmatic work of art that is as profoundly alluring as it is disconcerting. References Andrews, David. “An Oneiric Fugue: The Various Logics of Mulholland Drive.” Journal of Film and Video 56 (2004): 25–40. Baker, David. “Seduced and Abandoned: Lesbian Vampires on Screen 1968–74.” Continuum 26 (2012): 553–63. Baudrillard, Jean. Simulacra and Simulation. Michigan: U Michigan P, 1994. Bould, Mark, Kathrina Glitre, and Greg Tuck. Neo-Noir. New York: Wallflower, 2009. Castle, Terry. The Female Thermometer: Eighteenth-century Culture and the Invention of the Uncanny. Oxford: Oxford UP, 1995. Freud, Sigmund. “The Uncanny.” Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. XVII: An Infantile Neurosis and Other Works. London: Hogarth, 2001. 217–256. Le Fanu, J. Sheridan. Carmilla. In a Glass Darkly. Oxford: Oxford UP, 2008. 243–319. Hainge, Greg. “Weird or Loopy? Spectacular Spaces, Feedback and Artifice in Lost Highway’s Aesthetics of Sensation.” The Cinema of David Lynch: American Dreams, Nightmare Visions. Ed. Erica Sheen and Annette Davidson. London: Wallflower, 2004. 136–50. Jentsch, Ernst. “On the Psychology of the Uncanny.” Uncanny Modernity: Cultural Theories, Modern Anxieties. Ed. Jo Collins and John Jervis. Basingstoke: Palgrave, 2008. 216–28. Punter, David. “The Uncanny.” The Routledge Companion to the Gothic. Ed. Catherine Spooner and Emma McEvoy. Hoboken: Taylor and Francis, 2007. 129–36. Rodley, Chris. Lynch on Lynch. London: Faber, 2005. Royle, Nicholas. The Uncanny. Manchester: Manchester UP, 2003. Shklovsky, Viktor. “Art as Technique.” Theory of Prose. Illinois: Dalkey, 1991. Tasker, Yvonne. Working Girls: Gender and Sexuality in Popular Cinema. New York: Routledge, 1998. Weiss, Andrea. Vampires and Violets: Lesbians in Cinema. London: Jonathan Cape, 1992. Zimmerman, Bonnie. “Daughters of Darkness Lesbian Vampires.” Jump Cut 24.5 (2005): 23–4.

Closer examination of contemporary art forms including music videos in addition to the Gothic’s literature legacy is essential, “as it is virtually impossible to ignore the relationship the Gothic holds to popular culture” (Piatti-Farnell ii). This article critically examines how Gothic themes and modes are used in the music videos of Lana Del Rey; particularly the “ways in which Gothic is dispersed through contemporary non-literary media” (Spooner and McEvoy 2). This work follows the argument laid down by Edwards and Monnet who describe Gothic’s assimilation into popular culture —Pop Gothic— as a powerful pop cultural force, not merely a subcultural or cult expression. By interpreting Del Rey’s work as a both a component of, and a contributor to, the Pop Gothic advance, themes of social climate, consumer culture, gender identity, sexuality and the male gaze can be interrogated. Indeed the potential for a collective crisis of these issues in early 21st Century western culture is exposed, “the façade of carnivalised surfaces is revealed to hide the chaos and entropy of existential emptiness.” (Yeo 17). Gothic modes have been approximated by Pop Gothic into the mainstream (Edwards and Monnet) as a driving force behind these contradictions and destabilisations. The Gothic has become ubiquitous within popular culture and continues to exert influence. This is easily reflected in the $392 million the first Twilight movie grossed at the box office (Edwards and Monnet). Examples are abundant in pop culture across music, film and television. Edwards and Monnet cite the movies Zombieland and Blade in the Pop Gothic march, along with TV shows including Buffy the Vampire Slayer, Being Human, True Blood as well as Lady Gaga’s Fame Monster music album. Edwards and Monnet observe that the Gothic aesthetics of the 1980s and 1990s, “melancholy and imagery associated with death, dying and the undead” (3), shifted from the corners of subculture to the mainstream of millennial popular culture. With this shift comes the rebelliousness and melancholy that characterises Gothic texts. This is evident when a pop star of Lana Del Rey’s popularity —her Summertime Sadness video alone has over 160 million views on youtube.com (YouTube)— narratively represents themes of death and suicide repeatedly in her videos. In two of Lana Del Rey’s music videos —Blue Jeans and Born to Die— either she or a representation of her persona dies. In a third video, Summertime Sadness, her companion takes her own life and Lana ultimately follows suit. Themes of death and loss are just the most obvious of Gothic elements present in Del Rey’s work. Del Rey’s songs and videos speak of the American dream, of aestheticised beauty, of being immaculately presented, well dressed and having hair “beauty queen style”, as in Summertime Sadness. She depicts an excess of hedonistic consumption and love that knows no bounds, not even death. Much of the delivery has resonance with the Gothic; performatively, visually and musically, and shows a subversion and fatalism that juxtaposes, contests and contradicts pop cultural tropes (Macfarlane). This contrary nature of the Gothic, as characterised by Botting, can provoke a sense of otherness; the uncanny, including “displays of uncontrolled passion, violent emotion or flights of fancy to portrayals of perversion or obsession” (Gothic 2). It is argued that these characteristics have been commodified into merchandisable and mainstream stylistic representations (Edwards and Monnet). Del Rey’s visual work uses this otherness and representation of repressed darkness as subversion or contestation to the bubble gum consumerist, fairy tale sexualisation of the Katy Perry brand of neo-liberal pop music that floods the mainstream (Macfarlane). Del Rey also harnesses the Gothic mode in her music, underscoring social anxieties through moments of sound which act as “a sonic imp, this music enters perception through the back door, and there it does its destabilising work” (van Elferen 137). As potential psychosocial sources of this otherness in the Gothic (Botting, Gothic), Jung argued that as a collective consciousness by repressing our darkest side, we can be dislocated from it. Further he argued that many modern ills —conflict, war, disenfranchisement, poverty— stem from culturally rationalised divisions of ‘good vs evil’ (Tacey). Providing a space for these dark sides to surface, Swirski comments that cultural product can act "as a social barometer and a cultural diagnostic tool. It identifies social trends and cultural patterns and weaves elaborate counterfactuals- literary fictions- that hang human faces on large-scale human abstractions such as society and culture" (1). Jung proposes the large-scale social abstraction; that to truly live with ourselves we need embrace the otherness inside us— to learn to live with it (Tacey). The Gothic may enable this living with, rather than living without. Jung asserts that we now rely so much on what we can touch, taste and own, that western culture has become a “creed without substance” (Tacey 32). In more concrete terms, Hoffie argues that popular media today tells stories: in terms of disaster and crisis: weather patterns: disastrous. Climate Change: disastrous. Global Financial Crisis: disastrous. Political situations: disastrous. Unemployment: disastrous. And so on. The high-pitched wail of this lament corrodes the peaks and troughs of potential emotional responsiveness; the vapours of benumbing apathy steam upwards like a bewitching spell. All stands still. Action, like in a bad dream, seems impossible. (14) This apathy in the face of crisis or disaster is well expressed in Del Rey’s work through the Gothic influenced lyrics and videos; she describes her partner as so good looking as to be “sick as cancer” in Blue Jeans and that her lover left her because he was “chasing paper”. Represented here is the social current that the need to acquire goods in late capitalism’s climate “of unrestrained consumerism” (Heine and Thakur 2) is her lover’s priority over companionship. Revealing more of the Gothic aesthetic is that her videos and songs represent this loss, they depict “disturbances of sanity and security” (Botting, Gothic 2) and thematically reflect the social climate of “disaster and crisis” (Hoffie 14). This sense of otherness through Gothic influences of the uncanny, death and melancholy have a significant impact on creative expression creating music videos that play like a kind of half remembered nightmare (Botting, Love Your Zombie; Macfarlane). In the black and white video for Blue Jeans the opening shot shows an image of Del Rey rippling and blurred, framed by circular waves of water as black as oil. The powerful Gothic aesthetic of the abyss is rendered here, “to convey the figurative meaning of a catastrophic situation seen as likely to occur whereby the individual will sink to immeasurable intellectual, ethical or moral depths” (Edwards and Monnet 9). This abyss is represented as Del Rey sings to her ghostly tattooed lover that she will love him until “the end of time” and climaxes in the suggestion that he drowns her. As in Edwards and Monnet‘s description of zombie films, Del Rey’s videos narratively “suggest that the postmodern condition is itself a form of madness that disseminates cultural trauma and erases historical memory” (8). This view is evident in contrasting Del Rey’s interview comment that she finds conversations about feminism boring (Cooper). Yet in her song delivery and lyrics she retains an ironic tone regards feminine power. This combination helps “produce a darkly funny and carnivalesque representation of sex and waste under late capitalism” (Edwards and Monnet 8). Further evidence of these ironies and distorted juxtapositions of loss and possession are evident in the song Radio. The video —a bricolage of retrospective fashion imagery— and lyrics hint at the persistent desire for goods in US western culture (Heine and Thakur). Simultaneously in her song Radio, she is corruptibly engorged by consumption and being consumed (Mulvey) as she sings that life is “sweet like cinnamon, a fucking dream on Ritalin”. The video itself represents distorted dreams hyper-real on Ritalin. Del Rey’s work speaks of an excess; the overflow of sensations, sexual excess, of buying, of having, of owning, and at the same time the absence; of loss or not knowing what to have (Botting, Love Your Zombie). Exemplified by the lyrics in What Makes Us Girls, “do I know what I want?” and again in Radio “American dreams came true somehow, I swore I’d chase until I was dead”. Increasingly it is evident that Del Rey sings “as a woman who does not know what she wants” (Vigier 5). She illustrates the “endemic narcissism” (Hoffie 15) of contemporary western culture. Del Rey therefore clearly delineates much of “the loneliness, emptiness, and alienation that results from rampant consumerism and materialism under advanced capitalism” (Edwards and Monnet 8). As a theme of this representation, Del Rey implies a sense of commodified female sexual energy through the male gaze (Mulvey), along with a sense of wasted youth and opportunity in the carnivalesque National Anthem. The video, shot as if on Super 8 film, tells the story of Del Rey’s ‘character’ married to a hedonistic style of president. It is reminiscent of the JFK story including authentic and detailed presentation of costume —especially Del Rey’s Jackie Onassis fashions— the couple posing in presidential gardens with handsome mixed-race children. Lavish lifestyles are depicted whilst the characters enjoy drinking, gambling and consumerist excess, Del Rey sings "It's a love story for the new age, For the six page, We're on a quick sick rampage, Wining and dining, Drinking and driving, Excessive buying, Overdose and dyin'". In National Anthem sexual excess is one of the strongest themes communicated. Repeatedly depicted are distinct close up shots of his hand on her thigh, and vice versa. Without being sexually explicit in itself, it is an overtly sexual reference, communicating something of sexual excess because of the sheer number of times it is highlighted in close-up shots. This links to the idea of the Gothic use of jouissance, a state of: excessive energies that burst in and beyond circuits of pleasure: intensities are read in relation to a form of subjectivity that finds itself briefly and paradoxically in moments of extreme loss. (Botting, Love Your Zombie 22) Del Rey represents these moments of loss —of herself, of her man, of her power, of her identity being subsumed by his— as intense pleasure, indicated in the video through sexual referencing. Botting argues that these excesses create anxieties; that in the pursuit of postmodern excess, of ownership, of consumption: the subject internalises the inconsistencies and contradictions of capitalism, manifesting pathologies not of privation but overabundance: stress, eating disorders, self-harming, and a range of anxieties. (Love Your Zombie 22) These anxieties are further expressed in National Anthem. Del Rey sings to her lover that he cannot keep his “pants on” and she must “hold you like a python”. The python in this tale simultaneously symbolises the exotic, erotic and dangerous entrapment by her male suitor. Edwards and Monnet argue for the Gothic monster, whose sign is further referenced as Del Rey swims with crocodiles in Blue Jeans. Here the male power, patriarchy and dominance is represented as monstrous. In the video she shares the pool with her beau yet we only see Del Rey swim and writhe with the crocodiles. Analogous of her murderous lover, this adds a powerful otherness to the scene and reinforces the symbols of threatening masculinity and impeding disaster. This expression of monstrousness creates a cathartic tension as it “puts the ‘pop’ in Pop Goth: its popularity is based on the frisson of selling simultaneous aversion from and attraction to self-destruction and cultural taboo” (Edwards and Monnet 9). In a further representation of anxieties Del Rey conforms to the sexual object persona in large part through her retro pin-up iconography —meticulous attention to costume, continuous posing and pouting— and song lyrics (Buszek). As in National Anthem her lyrics talk of devotion and male strength to protect and to “keep me safe in his bell tower”. Her videos, whilst they may show some of her strength, ultimately reside in patriarchal resolution (Mulvey). She is generally confounded by the male figures in her videos appearing to be very much alone and away from them: most notably in Blue Jeans, Born to Die and Video Games. In two cases it is suggested she is murdered by the male figures of her love. Her costume and appearance —iconic 1960’s swimsuits, pantsuits and big hairstyles in National Anthem— portray something of the retro pin-up. Buszek argues that at one time “young feminists may poke fun at the pin-up, but they do so in ways that betray affinities with, even affection for, the genre itself” (3). Del Rey simultaneously adheres to and confronts these normative gender roles, as is characteristic of the Gothic mode (Botting, Gothic). These very Gothic contradictions are also evident in Del Rey’s often ironic or mocking song delivery, undermining apparent heteronormative sexual and gender positioning. In National Anthem she sings, as if parodying women who might sincerely ask, “do you think he’ll buy me lots of diamonds?”. Her conformity is however, subverted. In Del Rey’s videos, clear evidence exists in her facial expressions where she consistently portrays Gothic elements of uncertainty, sorrow, grief and a pervading sense that she does not belong in this world (Botting, Gothic). Whilst depicted as a brooding and mourning widow —simultaneously playing the mistress luxuriating on a lion skin rug— in National Anthem Del Rey sings, “money is the anthem of success” without a smile or sense of any attachment to the lyrics. In the same song she sings “God you’re so handsome” without a trace of glee, pleasure or optimism. In the video for Blue Jeans she sings, “I will love you til the end of time” staring sorrowfully into the distance or directly at the camera. This confident yet ‘dead stare’ emphasises the overall juxtaposition of the largely positive lyrical expression, with the sorrowful facial expression and low sung notes. Del Rey signifies repeatedly that something is amiss; that the American dream is over and that even with apparent success within this sphere, there exists only emptiness and isolation (Botting, Love Your Zombie). Further contradictions exist as Lana Del Rey walks this blurred line —as is the Gothic mode— between heteronormative and ambiguous gender roles (Botting, Gothic; Edwards and Monnet). Lana Del Rey oscillates between positions of strength and independence —shown in her deadpan to-camera delivery— to that of weakness and subjugation. As she plays narrator, Del Rey symbolically reclaims some power as she retells the tragic story of Born to Die from her throne. Represented here Del Rey’s persona exerts a troubled malevolence, with two tigers calmly sat by her side: her benevolent pets, or symbols of contrived excess. She simultaneously presents the angelic —resplendent in sheer white dress and garland ‘crown’ headdress of the spurned bride in the story— and the stoic as she stares down the camera. Del Rey is powerful and in many senses threatening. At one point she draws a manicured thumbnail across her neck in a cut-throat gesture; a movement echoed later by her lover. Her character ultimately walks symbolically —and latently— to her death. She neither remedies her position as subservient, subordinate female nor revisits any kind of redemption for the excessive male dominance in her videos. The “excess is countered by greater excess” (Botting Love Your Zombie 27) and leads to otherness. In this reading of Del Rey’s work, there are representations that remain explicitly Pop Gothic, eliciting sensations of paranoia and fear, overloading her videos with these signs (Yeo). These signs elicit the otherness of the Gothic mode; expressed in visual symbols of violence, passion or obsession (Botting, Gothic). In our digital visual age, subjecting an eager viewer to this excess of signs creates the conditions for over-reading of a growing gender or consumerist paranoia, enabled by the Gothic, “paranoia stems from an excessive over-reading of signs and is a product of interpretation, misinterpretation and re-interpretation based on one’s knowledge or lack of it” (Yeo 22). Del Rey stimulates these sensations of paranoia partly through interlaying intertextual references. She does this thematically —Gothic melancholy— and pop culturally channelling Marilyn Monroe and other fashion iconography, as well as through explicit textual references, as in her most recent single Ultraviolence. In Ultraviolence, Del Rey sings “He hit me and it felt like a kiss”. Effortlessly and simultaneously she celebrates and lays bare her pain; however the intertextual reference to the violent controversy of the film A Clockwork Orange serves to aestheticise the domestic violence she describes. With Del Rey it may be that as meaning is sought amongst the texts as Macfarlane wrote about Lady Gaga, Del Rey’s “truth is ultimately irrelevant in the face of its interlayed performance” (130). Del Rey’s Gothic mode of ambiguity, of transgressed boundaries and unclear lines, shows “this ambience of perpetually deferred climax is no stranger to contemporary culture” (Hoffie 15) and may go some way to expressing something of the “lived experience of her audience” (Vigier 1). Hermes argues that in post-feminist pop culture, strong independent post-feminist women can be characterised by their ability to break traditional taboos, question or hold up for interrogation norms and traditions, but that ultimately narrative arches tend to restore the patriarchal norm. Edwards and Monnet assert that the Gothic in Pop Gothic cultural representation can become “post-race, post-sexuality, post-gender” (6). In places Del Ray exhibits this postmodernism but through the use of Gothic mode goes outside political debates and blurs clear lines of feminist discourse (Botting, Love Your Zombie). Whilst a duality in the texts exists; comments on consumerism, the emptiness of capitalist society and a suicidal expression of hopelessness, are undermined as she demonstrates conformity to subservient gender roles and her ambiguously ironic need to be “young and beautiful”. To be consumed by her man thus defines her value as an object within a consumerist neo-liberal trope (Jameson). This analysis goes some way to confirming Hermes’ assertion that in this post-feminist climate there has been a “loss of a political agenda, or the foundation for a new one, where it signposts the overcoming of unproductive old distinctions between feminist and feminine” (79). Hermes further argues, with reference to television shows Ally McBeal and Sex and the City, that presentation of female characters or personas has moved forward; the man is no longer the lone guarantor of a woman’s happiness. Yet many of the tropes in Del Rey’s work are familiar; overwhelming love for her companion equal only to the emphasis on physical appearance. Del Rey breaks taboos —she is powerful, sexual and a romantic predator, without being a demon seductress— and satirises consumerist excess and gender inequality; yet she remains sexually and politically subservient to the whim and sometimes violently expressed or implied male gaze (Mulvey). Del Rey may well represent something of Vigier’s assertion that whilst society has clear direction for the ‘success’ of women, “that real liberation and genuine satisfaction elude them” (1). In closing, there is no clear answer as to whether Del Rey is a Beauty Queen or Gothic Princess; she is neither and she is both. In Vigier’s words, “self-exploitation or self-destruction cannot be the only choices open to young women today” (13). Del Rey’s work is provocative on multiple levels. It hints at the pull of rampant consumerism and the immediacy of narcissistic desires, interlinked with contradictions which indicate the potential for social crises. This is shown in Del Rey’s use of the Gothic — otherness, the monstrous, darkness and death— and its juxtaposition with heteronormative gender representations which highlights the persistent commodification of the female body, its subjugation to male power and the potential for deep anxieties in 21st-century identity. References Blue Jeans. Dir. Yoann Lemoine. Perf. Lana Del Rey. Interscope Records, 2012. Botting, Fred. Gothic. New York: Routledge, 2014. Botting, Fred. "Love Your Zombie." The Gothic in Contemporary Literature and Popular Culture. Ed. Edwards, Justin and Agnieszka Monnet. New York: Routledge, 2012. 19-36. Buszek, Maria. Pin-Up Grrrls Feminism, Sexuality and Popular Culture. London: Duke University Press, 2006. Cooper, Duncan. "Lana Del Rey Cover Interview." Fader, June 2014. Edwards, Justin, and Agnieszka Monnet. "Introduction." The Gothic in Contemporary Literature and Popular Culture. Eds. Justin Edwards and A. Monnet. New York: Routledge, 2012. 1-18. Heine, Jorge, and Ramesh Thakur. The Dark Side of Globalisation. New York: UN UP, 2011. Hermes, Joke. "The Tragic Success of Feminism." Feminism in Popular Culture. Eds. Joanne Hollows and Rachel Moseley. New York: Berg, 2006. 79-95. Hoffie, Pat. "Deadly Ennui." Artlink Magazine 32.4 (2012): 15-16. Jameson, Fredric. "Globalisation and Political Strategy." New Left Review 2.4 (2000): 49-68. Lana Del Rey. "Radio." Born To Die. Interscope Records, 2012. "Lana Del Rey - Summertime Sadness" YouTube, n.d. 12 June 2014 ‹http://www.youtube.com/watch?v=nVjsGKrE6E8›. Lana Del Rey. "This Is What Makes Us Girls." Born To Die. Interscope Records, 2012. Macfarlane, K. "The Monstrous House of Gaga." The Gothic in Contemporary Literature and Popular Culture. Ed. Justin Edwards and A. Monnet. New York: Routledge, 2012. 114-134. Mestrovic, Stjepan. Postemotional Society. London: Sage, 1997. Mulvey, Laura. Visual and other Pleasures. New York: Palgrave Macmillan, 2009. National Anthem. Dir. Anthony Mandler. Perf. Lana Del Rey. Interscope Records, 2012. Paglia, Camille. Lady Gaga and the Death of Sex. 12 Sep. 2010. 2 June 2014 ‹http://www.thesundaytimes.co.uk/sto/public/magazine/article389697.ece›. Piatti-Farnell, Lorna. "Introduction: a Place for Contemporary Gothic." Aeternum: the Journal of Contemporary Gothic Studies 1.1 (2014): i-iv. Spooner, Catherine, and Emma McEvoy. The Routledge Companion to Gothic. New York: Routledge, 2007. Summertime Sadness. Dir. Chris Sweeney. Perf. Lana Del Rey. Interscope Records, 2013. Swirski, Peter. American Utopia and Social Engineering in Literature, Social Thought, and Political History. New York: Routledge, 2011. Tacey, David. The Jung Reader. New York: Routledge, 2012. Van Elferen, Isabella. "Spectural Liturgy, Transgression, Ritual and Music in Gothic." The Gothic in Contemporary Literature and Popular Culture. Eds. Justin Edwards and A. Monnet. New York: Routledge, 2012. 135-147. Vigier, Catherine. "The Meaning of Lana Del Rey." Zeteo: The Journal of Interdisciplinary Writing Fall (2012): 1-16. Yeo, David. "Gothic Paranoia in David Fincher's Seven, The Game and Fight Club." Aeternum: The Journal Of Contemporary Gothic Studies 1.1 (2014): 16-25. Young and Beautiful. Dir. Chris Sweeney. Perf. Lana Del Rey. Interscope Records, 2013.

The Directory on Popular Piety and the Liturgy (DPPL) upholds that Christian worship originates and is brought to completion in the Spirit of Christ, which dispenses truthful liturgical devotion and realistic manifestations of popular piety. A vigorous engagement of evangelization and culture is embodied in the Sabuaga Festival, an Easter Sunday celebration in Sto. Tomas, Pampanga. It is a collaboration of the Catholic Church (St. Thomas the Apostle Parish) and the Local Government Unit (Sto. Tomas). This paper argues how a true and fruitful harmony between liturgy and popular piety is achieved in the Sabuaga Festival. Hence, the researcher articulates the following, namely: First, the dimensions of the Sabuaga Festival that make it an expression of popular piety. Second, the principles offered by DPPL for the true and fruitful harmonization of liturgy and popular piety. Third, the pastoral action plan, entitled: “An Authentic Pastoral Action of the Liturgy: Towards Building upon the Riches of the Sabuaga as a Popular Piety,” which provides suitable catechesis for the harmonization of Liturgy and Popular Piety in the Sabuaga Festival. References Archdiocese of Saint Paul and Minneapolis, “What Is ‘Liturgy’? Why Is It Important?” Accessed last March 29, 2021 from https://www.archspm.org/faith-and-discipleship/catholic-faith/what-is-liturgy-why-is-it-important/. Benedict XVI, Jesus of Nazareth. Holy Week: From the Entrance into Jerusalem to the Resurrection. London: Catholic Truth Society. Catholic Church. Catechism of the Catholic Church: Revised in Accordance with the Official Latin Text Promulgated by Pope John Paul II. Vatican City: Libreria Editrice Vaticana, 1997. Catholic Bishops’ Conference of the Philippines. Acts and Decrees of the Second Plenary Council of the Philippines. Manila: CBCP, 1992. Catholic Bishops’ Conference of the Philippines. Catechism for Filipino Catholics. Manila: ECCCE Word and Life Publications, 2008. Robert E. Alvis. “The Tenacity of Popular Devotions in the Age of Vatican II: Learning from the Divine Mercy,” Religions 12, 1 (2021): 65. https://doi.org/10.3390/rel12010065 Catholic Culture. “Catholic Activity: Liturgy of Easter Sunday and the Octave of Easter,” Accessed March 16, 2021 from https://www.catholicculture.org/culture/liturgicalyear/activities/view.cfm?id=1044. Chupungco, Anscar J. “Liturgical Inculturation: The Future That Awaits Us.” Accessed last 3 April 2021 from https://www.valpo.edu/institute-of-liturgical-studies/files/2016/09/chupungco2.pdf. Cole, Father. “St. John Damascene: Holy Pictures to the Rescue!” National Catholic Register. Last modified December 1, 1996. Accessed last March 31, 2021 from https://www.ncregister.com/news/st-john-damascene-holy-pictures-to-the-rescue. Coffey, David. “The Common and the Ordained Priesthood,” Theological Studies 58 (1997). Congregation for Divine Worship and Discipline of the Sacraments. Directory on Popular Piety and the Liturgy, Principles, and Guidelines. Promulgated on December 2001. Accessed from http://www.vatican.va/roman_curia/congregations/ccdds/documents/rc_con_ccdds_doc_20020513_vers-direttorio_en.html Deguma, Jabin J. Melona S. Case, and Jemima N. Tandag. “Popular Religiosity: Experiencing Quiapo and Turumba.” American Research Journal of Humanities & Social Science Vol. 2, 6 (June 2019). https://www.researchgate.net/publication/337158384_Popular_Religiosity_Experiencing_Quiapo_and_Turumba Duggan, Robert D. “Good Liturgy: The Assembly,” America: The Jesuit Review. Last modified, 1 March 2004. Accessed last 4 April 2021 from https://www.americamagazine.org/issue/475/article/good-liturgy-assembly Ecclesia in Asia, Post Synodal Exhortation solemnly promulgated by His Holiness: John Paul II on November 6, 1999. Accessed last March 29, 2021 from http://www.vatican.va/content/john-paul-ii/en/apost_exhortations/documents/hf_jp- ii_exh_06111999_ecclesia-in-asia.html. Estevez, Jorge Arturo Medina. “Popular Piety And The Life Of Faith,” Catholic Culture. Accessed March 31, 2021 from https://www.catholicculture.org/culture/library/view.cfm?recnum=4614. Evangelii Gaudium. Apostolic Exhortation on the Proclamation of the Gospel in Today’s World of the His Holiness Pope Francis promulgated on 24 November 2013. Accessed last 4 April 2021 from http://www.vatican.va/content/francesco/en/apost_exhortations/documents/papa-francesco_esortazione-ap_20131124_evangelii-gaudium.html#The_evangelizing_power_of_popular_piety Evangelii Nuntiandi Apostolic Exhortation, solemnly promulgated by His Holiness Pope Paul VI on December 8, 1975. Accessed last 30 March 2021 from http://www.vatican.va/content/paul-vi/en/apost_exhortations/documents/hf_p-vi_exh_19751208_evangelii-nuntiandi.html. Fifth General Conference of the Bishops of Latin America and the Caribbean convened in Aparecida (Brazil), from May 13 to 31, 2007. 258-265. Gueguen, John. “Jesus of Nazareth from Baptism in the Jordan to the Transfiguration Joseph Ratzinger-Pope Benedict XVI." Accessed last 14 March 2021, from http://my.ilstu.edu/~jguegu/BenedictXVIPart2.pdf?fbclid=IwAR2Ehr2_33BasxvvDnOGBEqaEz0VajyxpzfO2FYCq5Vi-j0et09a_St2PiU Graduateway. “Popular Piety: Emotive Christianity in Medieval Society Example.” Accessed last 11 December 2020 from https://graduateway.com/popular-piety-emotive-christianity-in-medieval-society/. Guardini, Romano. “The Spirit of the Liturgy.” Accessed last March 31, 2021 from https://www.ewtn.com/catholicism/library/spirit-of-the-liturgy-11203. Ivan About Town. “Pampanga: Easter Sunday Salubong, Pusu-Puso, and Sagalas of Santo Tomas.” Last modified, 6 April 2010. Accessed last 5 April 2021, from https://www.ivanhenares.com/2010/04/pampanga-easter-sunday-salubong-pusu.html Keenan OP, Oliver James. New Series: Popular Piety,” The Dominican Friars – England and Scotland. Last modified 18 October 2013. Accessed last March 30, 2021 from https://www.english.op.org/godzdogz/new-series-popular-piety Krueger, Derek. “The Religion of Relics in Late Antiquity and Byzantium,” in Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe, eds. Martina Bagnoli, Holger A. Klein, C Griffith Mann, and James Robinson. London: The British Museum Press, 2011. Kroeger, James H. “Popular Piety: Some Missiological Insights,” Japan Mission Journal Vol. 70, 4 (Winter 2016). Lumen Gentium. Dogmatic Constitution on the Church, solemnly promulgated by His Holiness Pope Paul VI on November 21, 1964. Accessed last March 30, 2021 from http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_const_19641121_lumen-gentium_en.html. McEvoy, Bernice. “Why Do Catholics Wear Medals, Scapulars &amp; Venerate Relics?” St Martin Apostolate. Last modified July 8, 2019. Accessed last 4 April 2021 from https://www.stmartin.ie/why-do-catholics-wear-medals-scapulars-venerate-relics/. Mirus, Jeff. “Vatican II on the Liturgy: Particular Norms and the Eucharist,” Catholic Culture. Last modified 11 February 2010. Accessed last March 29, 2021 from https://www.catholicculture.org/commentary/vatican-ii-on-liturgy-particular-norms-eucharist/. Musicam Sacram, Second Vatican Ecumenical Council Instruction on Music in the Liturgy solemnly promulgated on 5 March 1967. Accessed last 4 April 2021 from http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_instr_19670305_musicam-sacram_en.html Piotr, Roszak. and Sławomir Tykarski. “Popular Piety and Devotion to Parish Patrons in Poland and Spain, 1948–98” Religions 11, 658 (2020): doi:10.3390/rel11120658 Plese, Matthew. “A Catholic Guide to Relics: What Kinds Are There and Why Do We Honor Them?” The Fatima Center. Accessed last 1 March 2020 from https://fatima.org/news-views/catholic-apologetics-58/. __________. “The Importance of Kneeling and Prostrations,” The Fatima Center. last modified June 15, 2020. Accessed last 4 April 2021 from https://fatima.org/news-views/the-importance-of-kneeling-and-prostrations/. Pontifical Council for Culture, Towards a Pastoral Approach to Culture. Promulgated in 1999. Accessed last 4 April 2021 from https://www.vatican.va/roman_curia/pontifical_councils/cultr/documents/rc_pc_pc-cultr_doc_03061999_pastoral_en.html. Ratzinger, Joseph Cardinal. God and the world: believing and living in our time: A Conversation with Peter Seewald. Translated by Henry Taylor. San Francisco, CA: Ignatius Press, 2002. __________. “Sacred Places: The Altar and the Direction of Liturgical Prayer,” The Institute for Sacred Architecture. Accessed last March 31, 2021 from https://www.sacredarchitecture.org/articles/the_altar_and_the_direction_of_liturgical_prayer/. Rosales, Daniel Montoya. “The Influence of the Missionary Heritage on Liturgical Forms.” International Review of Missions, 74, 295 (July 1985): 373-376. https://doi.org/10.1111/j.1758-6631.1985.tb02595.x Sacramentum Caritatis. Post-Synodal Apostolic Exhortation on the Eucharist as the Source and Summit of the Church's Life and Mission, solemnly promulgated by His Holiness Benedict XVI on 22 February 2007. Accessed March 29, 2021 from https://www.vatican.va/content/benedict-xvi/en/apost_exhortations/documents/hf_ben-xvi_exh_20070222_sacramentum-caritatis.html#Actuosa_participatio Sacrosanctum Concilium. Constitution on Sacred Liturgy, solemnly promulgated by His Holiness Pope Paul VI on December 4, 1963. Accessed last 1 April 2021 from https://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_const_19631204_sacrosanctum-concilium_en.html Saunders, William. “Icons and Sacred Images,” Catholic Exchange. Last modified January 19, 2017. Accessed last 4 April 2021 from https://catholicexchange.com/icons-sacred-images-2. Salvador, Ryan. “Some Reflections on Theology and Popular Piety: A Fruitful or Fraught Relationship?” HeyJ 53 (2012): 961–971. Scheuman, Joseph. “Five Truths About the Incarnation,” Desiring God. Last Modified 25 December 2013. Accessed last March 31, 2021 from https://www.desiringgod.org/articles/five-truths-about-the-incarnation. Sheehan, Peter C. “Role of Music in Liturgy.” Academia.edu. Accessed March 31, 2021. https://www.academia.edu/12569062/Role_of_Music_in_Liturgy. Stroik, Duncan G., and Barbara J. Elliott, James Fitzmaurice, et al. “The Church Building as Sacred Place: Beauty, Transcendence & Eternal,” The Imaginative Conservative. Last modified August 13, 2019. Accessed last 4 April 2021 from https://theimaginativeconservative.org/2013/02/the-church-building-as-sacred-place.html. Synod of Bishops XIII Ordinary General Assembly The New Evangelization for the Transmission of the Christian Faith, Instrumentum Laboris" promulgated in 2012. Accessed last March 30, 2021 from http://www.vatican.va/roman_curia/synod/documents/rc_synod_doc_20120619_instrumentum-xiii_en.html. Szylak, Paweł. “Popular Piety: Processions,” The Dominican Friars – England and Scotland. Last modified 14 January 2014. Accessed March 31, 2021. https://www.english.op.org/godzdogz/popular-piety-processions. Theodula and Popular Religiosity. “Liturgy and Popular Religiosity: Historical Perspective,” accessed last 4 April 2020 from https://theologicaldramatics.wordpress.com/popular-religiosity/02-popular-religionreligiosity-and-official-liturgy/notes-mark-francis-csv/ Theodula and Popular Religiosity. “Debosyon.” Accessed last 4 April 2021 from https://theologicaldramatics.wordpress.com/liturgy-popular-piety-religiosity-in-the-magisterium/ Thompson, O.P Augustine. “The Dominican Venia and Kissing the Scapular.” New Liturgical Movement. Last modified 5 July 2008. Accessed March 31, 2021 from http://www.newliturgicalmovement.org/2008/07/dominican-venia-and-kissing-scapular.html#.YGQCrZMzbe0. Appendix: SC- Sacrosanctum Concilium CCC- Catechism of the Catholic Church DPPL- Directory on Popular Piety and the Liturgy YOUCAT- Youth Catechism EG- Evangelii Gaudium

Herbie Hancock’s influential recordings from his pre-electric era, 1961-1968, display a jazz piano style that contains a unique combination of musical elements. This submission for the degree of Master of Philosophy in Music Performance investigates the ways in which Hancock’s improvisational language of this era can successfully be employed in performance by the modern jazz pianist. The project identifies melodic, harmonic and rhythmic traits from Hancock’s solos and presents prominent examples of each. It outlines how these are then assimilated through a practice regime that employs a series of twelve-key exercises. The musical elements are further developed to create more opportunities for their execution in a variety of musical situations. Two recitals are presented, one of Hancock’s pre-electric music specifically, and one encompassing a broader repertoire. Each recital demonstrates the application of these aspects of Hancock’s improvisational vocabulary in contemporary jazz performance. An explanation of this process of application is given, and specific examples from the recital recordings are used to illustrate that process. The submission consists of CD recordings of the two 60-minute public recitals and a 7500 word exegesis. This project highlights the process used by the modern jazz pianist to assimilate new improvisational techniques and apply these in performance.
Thesis (M.Phil.) -- University of Adelaide, Elder Conservatorium of Music, 2014

The importance of clubs and associations in generating the intellectual climate of Enlightenment Edinburgh has been taken as a given ever since the pioneering work done by David McElroy in the 1950s.1 The mechanisms by which they initiated innovation and promoted its diffusion have been less well explored, though networks and an imprecise alignment with that useful but inexact concept, ‘the public sphere’, have formed much of the basis for evaluating the importance of associational life, both in Edinburgh and elsewhere. The exploration of the nature of Edinburgh clubs and societies, and the reasons for their significance, soon brings us back in fact to ground already familiar from earlier chapters.