Journal articles on the topic 'Divine Royal Presence'

AbstractDivine hiddenness in the Hebrew Bible is widely construed as the conceptual equivalent to divine absence. This article challenges this influential account in light of Psalm 88—where the hidden God is hostilely present, not absent—and reevaluates divine hiddenness. Divine hiddenness is not conterminous with divine absence. Rather, with its roots in the ancient Near Eastern idea of the royal and cultic audience, the meaning of “hide the face” (סתר + פנים) may be construed as a refusal of an audience with the divine king YHWH. Building on this insight, I argue that divine hiddenness possesses a petitionary logic and develop a distinction between the experiential and petitionary inaccessibility of salvific divine presence. Divine absence and hostile divine presence denote the former, while divine hiddenness the latter. I probe the relationships between divine hiddenness, divine absence, and hostile divine presence, concluding that the absent or hostilely present God is not ipso facto hidden.

In Second Temple Judaism, especially in apocalyptic literature, the encounter between God and believers acquires a distinct visionary accent. Regardless of whether heavenly realities are revealed on earth or the visionary ascends to heaven, the essence is the manifestation of important revelations. Corresponding Old Testament heroes, such as Enoch or Moses, according to apocryphal, Samaritan or rabbinic texts, ascended to the place of God’s presence (a throne room or even a cloud). In addition to receiving relevant soteriological and cosmological knowledge, they underwent transfiguration there. The transfiguration of these characters is very illustrative: they take angelic, royal, and priestly qualities. Divine radiance, shining faces, and magnificent robes are just some examples of the divine characteristics that are acquired. This article, together with the study of these elements, underlines the fact that these divine qualities were described in the literature around the change of era and dedicated to Adam prior to his expulsion from Eden. The closeness between the first man and God in the Garden of Eden was expressed in a number of divine attributes inherent in Adam, the same ones that would later be assumed by Enoch or Moses, among others, in heaven. In this way, the transfiguration of Enoch or Moses is nothing more than a manifestation of the rich Jewish anthropology of an Adamic character.

Abstract In contrast to the common idea that Joshua is modeled on and prefigures Josiah, this article shows that the connection of Joshua is fundamentally back in time to Moses, not forward in time to the latter kings. Joshua is depicted as Moses' successor and a second Moses. None of the key features of Joshua 1 (Joshua meditating on the law, the tribal pledge of total obedience, the military leadership of Joshua, the encouragements given to him, the promises of divine presence) are essentially royal in nature. Unlike subsequent kings, Joshua is a leader without a successor. The usually posited intertextual connections between Joshua and later kings are unconvincing. The book's emphasis on (Canaanite) kings as enemies makes it unlikely that Joshua himself is pictured as a king figure. In line with his nonroyal status, the closing chapter of the book depicts Joshua as head of an Israelite household exhorting other Israelite households and their heads to serve God as King faithfully.

The shiny, black stone statue of Shri Nathji that today resides in the busy pilgrimage town of Nathdvara (Rajasthan, India) is the preeminent image of the Vaisnava sect of the Vallabha Sampradaya. Like all statues in the sect, the image is an anthropomorphic manifestation of Krishna, the sect's paramount deity (see Plate 1). More than simply representing Krishna, Vallabhite statues are believed to contain this deity's ‘immanent presence’ and to possess (and emanate) his mystical powers. In order to partake of these powers, the worship of images is a regular feature of Vallabhite religious practice, and pilgrimage to important temples, such as the Shri Nathji Temple, is a cherished goal of all members of the sect. This article examines how the Hindu rajas of western India attempted to bind these mystical powers to the service of their rule and what consequences this had both for royal action and for the maintenance and perpetuation of the divine powers of the statues themselves.

The sequential reading of the macrostructure of the Psalter pioneered by Gerald Wilson produced a seachange in Psalms scholarship, however, his non-messianic reading of the Psalter continues to evoke controversy and attract criticism. In this article I attempt to answer Wilson’s critics who find fault with his reading of the Psalter on the basis of the presence of Psalms 110 and 132 in Book v, psalms that are usually classified as ‘royal’ and seen as promoting a strongly messianic hope. After a review of Wilson’s arguments, I analyse the immediate context, the key words and the theocratic focus of Psalms 110 and 132. These features provide support for Wilson’s thesis that ‘David’ in Book v is no messianic cipher, but an exemplary model of loyal devotion to God’s kingship. This viewpoint in no way undermines a Christian reading of the Psalter, with the Book of Psalms read as pointing forward to the God-man, Jesus Christ, who is the ultimate model of human devotion to God, the apocalyptic Son of Man, and the Divine King come to save his people.

On Wednesday 24 March 1847 a national day of fast and humiliation was observed throughout the United Kingdom, imploring, in the words of the royal proclamation, ‘the removal of those heavy judgments which our manifold sins and provocations have most justly deserved’. The fast-day was marked by a general stoppage of work and the opening of places of worship for special services. Substantial collections for the relief of famine distress in Ireland and the Scottish Highlands were made at church and chapel doors as the congregations retired. The effect was, as one Hampshire clergyman observed, dramatic: ‘The whole nation has this day lamented their sins and prayed for pardon; imagination can scarcely picture a more affecting scene than that of millions of people, assembled at the same moment in the presence of the Almighty, imploring his forgiveness, praying for grace to amend their lives, and deprecating the continuance of his displeasure.’What was the meaning of this seemingly archaic reaction to the Irish Famine? Considered through the filter of late twentieth-century religious scepticism, it might appear at best a marginal distraction from the catastrophic drama of the Famine, at worst a cynical attempt by the political establishment to lay a moral smokescreen around the question of responsibility for famine relief by reviving pre-modern conceptions of divine agency. To understand the significance of the fast-day and its repercussions, however, it is necessary to recognise the extent to which a Christian — and more particularly a Protestant evangelical — world-view permeated early Victorian British society.

The crimson and forest-green chevrons and piping on the long black academic gowns of surgeons and physicians, respectively, are symbols of blood and foliage, of healing with the knife or with medicaments.1 Most of us are strangers to neither calling, having trained intensively in both these arts and sciences, and many proudly don the red-piped garb of the College of Surgeons as well as the green-striped garments of our Society of Otolaryngology - Head and Neck Surgery. The latter has seen 60 years come and go, and with these years, many highlights, lowlights, and colleagues who have gone before us. Red and green are also colors that mark a 35th anniversary with coral and jade, both regarded as precious gems from antiquity. Corallium rubrum (red coral) “combined myth and magic,” as “its bright red color fascinated people in the East and West alike.”2 It has been regarded as the “blood of Medusa, soft and diaphanous under water, as hard as stone in the air,” or a procreative “tree of blood” that “link(ed) with the divine and the supernatural.”2 Green jade, “the Emperor’s Stone,” has been mined and worked in China since prehistoric times, eventually becoming the “royal gem.”3 Red coral, green jade – precious stones on the 35th year of the Philippine Journal of Otolaryngology Head and Neck Surgery. Coral red, jade green – precious colors that reflect our noble profession. Red and green are also the colors of Christmas, and their use may be traced back to the “spatial and spiritual border marked by rood screens” in 14th to 16th century medieval churches, “whose symbolism may have carried over to the temporal boundary between the end of one year and the beginning of the next.”4 These elaborately designed dividers featured edifying illustrations of saints and holy scenes in multicolored splendor, but were predominantly green and red. “Iron was one source of red pigment, and copper a source of green pigment, that colored the screens” and because “metallurgy was determined by astronomy,” also closely associated were “Iron with Mars, the masculine, war, and fire” and “Copper with Venus, the feminine, love and water.”4 Hence, the colors people encountered held multiple planes of meaning for them, as they celebrated another year over, a new one begun. Today, there is much to be thankful for, and much more to remain open to. Our journal has maintained a respected position among its peers, and is ready to move forward. With this issue, we begin granting a Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license5 to articles published in the Philippine Journal of Otolaryngology Head and Neck Surgery, in addition to the copyright already transferred to the Philippine Society of Otolaryngology Head and Neck Surgery. This license means that readers are free to share - copy and redistribute the material in any medium or format under the following terms: Attribution – they must give appropriate credit, provide a link to the license, and indicate if changes were made. They may do so in any reasonable manner, but not in a way that suggests the licensor endorses them or their use. NonCommercial – they may not use the material for commercial purposes. NoDerivatives – if they remix, transform or build upon the material, they may not distribute the modified material. We hope that this further concretizes our response to the Manila Declaration on the Availability and Use of health Research Information6 and eventually qualifies us for inclusion in the Directory of Open Access Journals.7 In support of this, we conducted a Basic Medical Writing Workshop for authors last March 19, 2016 and a two-day Research Technical Review Workshop for reviewers last April 29-30 hosted by the PSOHNS, and plan to continue doing so. We are seriously negotiating for migration from our current online platform to one that will better serve our needs, and those of our readers. We will soon activate our social media presence as well. Indeed, we all are yin and yang, you and I, red coral and green jade. We draw blood, and apply herbal poultices. We swim with the flow, yet solidly stand our ground. We don gay apparel of coral red and jade green, and merrily yet solemnly celebrate. Mabuhay!

IN May 1622 a series of private discussions on religion was held in London between representatives of the Anglican Church and the Jesuit, John Percy, alias Fisher. The occasion was the announcement by the Countess of Buckingham, mother of King James I’s favourite, George Villiers, Marquess (later Duke) of Buckingham, of her intention to become a Catholic. The King and the Marquess arranged the discussions which occupied three successive days, the 24th, 25th and 26th of May. Two eminent Anglican divines were enlisted to debate with Percy. On the first day the Anglican case was argued by Francis White, at this time a royal chaplain and later a bishop. He was opposed by Percy, in the presence of the Countess, the Marquess and Marchioness (Lady Catherine, who had also influenced her husband's decision to hold these discussions by declaring her intention to return to the Catholic faith in which she had been brought up), Bishop John Williams, (the Lord Keeper), and—possibly—the King. On the second day the King himself took the leading part in putting the Anglican case. On the third day the chief Anglican protagonist was William Laud, at this period Bishop of St. David's, who took the place of Francis White.

Resumen: En los últimos años, se han incrementado considerablemente los estudios dedicados a las reinas medievales; sin embargo, se ha prestado una menor atención a lo que sucedía con aquellas que enviudaban. El presente artículo tiene como objetivo analizar en profundidad el prolongado periodo de viudedad de Margarita de Prades (1410-1430), el cual contrasta con su efímero reinado de poco más de ocho meses y medio. Todo un elenco de fuentes, en gran parte inéditas, custodiadas en los archivos reales, papales, nobiliarios, notariales y municipales nos servirá para reconstruir una realidad marcada por las graves y recurrentes dificultades económicas a las que tuvo que hacer frente esta reina fugaz. Teniendo en cuenta la amplitud del corpus documental manejado y primando la exhaustividad por encima de una mera perspectiva de síntesis, el artículo se divide en dos partes, abordándose en esta segunda los años de reinado de Alfonso el Magnánimo hasta el fallecimiento de la reina viuda. Palabras clave: Margarita de Prades, reginalidad, reina viuda, dificultades económicas, monja, Corona de Aragón, dinastía Trastámara, Alfonso el Magnánimo, Monasterio de Santa Maria de Valldonzella, Monasterio de Bonrepòs, siglo xv. Abstract: Whereas we have come to find a substantial increase in the number of studies focusing on medieval queens in recent years, less attention has been paid to those who became widowed. This article’s aim is to conduct a detailed analysis of the prolonged period of time that Margarita de Prades remained a widow (1410-1430), a considerably long period when compared to her short reign which lasted for just over eight and a half months. A wide range of largely unpublished sources kept in royal, papal, nobility, notarial and municipal archives will provide us with the information needed to recreate a reality marked by the severe and recurring financial difficulties faced by this short-reigning queen. Considering the breadth of documents and prioritising thoroughness over a simple summary of viewpoints, a decision to split the article in two was made. This second instalment will deal specifically with the years of the reign of Alfonso the Magnanimous until the death of the queen dowager. Keywords: Margarita de Prades, queenship, queen dowager, financial difficulties, nun, Crown of Aragon, Trastamara dynasty, Alfonso the Magnanimous, Monastery of Santa Maria de Valldonzella, Monastery of Bonrepòs, 15th century.

Almost four decades after its discovery was initially announced, the Celtic necropolis in Karaburma, a suburb of Belgrade, is still one of the most important archaeological sites for the interpretation of the historical, economic, and cultural processes taking place in the central Balkans from the 4th to the end of the 1st centuries B.C. Most of all, it represents a wide-ranging source for explaining the chronology of the oldest Celtic presence in this area, also illustrating cultural exchanges in the network in which they were included. In this necropolis, belonging to the regional military elite, there are several graves in which, in addition to standard offerings relating to the regional material culture, items originating from a wider cultural area were found. Amongst these, grave number 22, the subject of our research, is especially important. In this grave were found objects mainly made of bronze and iron, with a smaller fragment of pottery. The iron items represent the attire of the deceased and his offensive weapons, while bronze items are characteristically imported vessels and a smaller bronze ring (figs. 1, 2). The imported vessels are represented by the well-known situla and cup. According to the basic typological scheme, we can classify the situla within the large group of ovoid situlae with the leaf-shaped or the so-called heart-shaped ornament under the attachment (figs. 1, 9; 2; 3, 7). According to the typological scheme here suggested, the situla found in Karaburma belongs to the first group, namely to its variant b (Ib), which is characterized by situlae with a leaf-shaped ornament on the attachment, separately cast and then pinned down or soldered to the body of the vessel (fig. 3, 7). Also belonging to this group are situlae from Skillountia, Goce Delcev (fig. 3, 8), V?rbica (fig. 3, 9) and from Chirnogi (fig. 3, 10). Situlae from Budva (fig. 3, 11) and Belgrade (fig. 3, 12) should also be included here, probably the one from Bitola as well. According to the analysis here presented, we have attributed the situla to the work of Macedonian workshops of the 4th century, to which other situlae, initially recorded in the contexts of Celtic provenance, have finally been included, and which ended up in the graves of Celtic dignitaries as exclusive imports of particular social conditions and ideological features. The other bronze vessel, considering its size, metric relations, technical and stylistic execution, we interpret as a cup, or at least as some kind of transitional form, since it is somewhat more shallow when compared to actual cups, and significantly taller compared to phiale (figs. 1, 10; 2). The context in which it was found indicates that it must have been used as a drinking cup in a set, together with the ovoid situla. Similar phiale were a very popular form in Thrace in the 4th century (fig. 7, 2-3), but the greatest resemblance can be seen in the phiale from Peretu, from the Thraco-Getian area to the north (fig. 7, 1). Characteristics of the form and style of the cup from Karaburma enabled its classification among the later variants or transitional forms of cups, seen in the context of the bronze production of Northern Greece, i.e. Macedonia. It is important for the period of the midto late 4th century, in other words, it completely matches with the chronological background and location of the ovoid situla with the leaf-shaped ornament under the attachment. In the analysis of weapons belonging to a Celtic warrior buried in grave 22, an iron sword with preserved fragments of a scabbard made of iron sheet (fig. 1, 1-2) stands out. Comparative analysis has characterized the sword as an exceptionally late form of the group Kosd D, attributed to the phase Lt B2. However, the slightly accentuated biconical shape of the scabbard?s end also points to certain elements of the group Kosd C. In the Carpathian basin the group Kosd C represents a rather rare form, which as a cultural innovation spread westwards, thus the Karaburma necropolis in Belgrade represents their southeastern, furthest point of expansion. To this same time frame also belongs the sword belt chain set (fig. 1, 5-6). Typological and spatial analysis has shown that chain belts with single figure-ofeight links, exactly the same as the ones found in grave 22, are relatively rare in that region. Asimilar sword belt set was found in the Benacci necropolis in Bologna, also containing a sword inside a scabbard decorated with a pair of dragons of the II type according to Jose-Maria De Navarro. Alongside it was also found a spear-butt with a spike which by its workmanship, closely resembles precisely the spear-butt with a long spike and the massive conical lower part from grave 22 (fig. 1, 4). Unlike the complete sword belt chain set and the sword, the spear-butt was isolated, but perhaps we can connect the bronze ring with it (fig. 1, 3). Given its size, it was probably the grip which was strengthening the spot at which the spear-butt was inserted into it. Aspecial feature of grave 22 are two highly fragmented remains of fibulae (fig. 1, 7-8). The spring of the larger fibula stands out, with two winders on each side, and with an external arch (fig. 1, 7), which dates from the late Lt B2 phase and the transitional horizon B2/C1. It has long been accepted as fact that the Celts inhabited the area between the rivers Sava and Danube from as early as the second half and towards the end of the 4th century, while the Scordisci, as such, formed only after the defeat at Delphi. However, the process of the Celtic expansion was already happening at the beginning of the 4th century, and it spread along the main communication routes, the rivers, with strategic points first to be settled. Only after several decades of consolidation, or only upon the return from the military expedition to the south of the Balkan peninsula, was the whole area inhabited by the Celts by the end of the 4th century. This historically suggested claim always necessarily led to the question of chronological positioning and the distance between phases Lt B2 and Lt C2. Most authors dealing with this matter have held that phase Lt B2 was supposed to have finished after the Celtic invasion of the southern Balkans, i.e. some time in the 3rd century. However, this assessment does not seem entirely correct, since most objects of La T?ne cultural provenance found in the Aegean region and Asia Minor stem from the initial Lt C horizon, which means that the expedition to Delphi cannot represent an absolute chronological border between the Lt B2 and C1. The absence of indicative elements of the material culture of the Lt B horizon in the Aegean area and Anatolia indicates that they already had to be completely out of fashion by the time of the expedition. In brief - after the dissolution of Lisimachus? kingdom and the murder of Seleucus I in 281 B.C., there was a military and political power vacuum in the region of Macedonia and Thrace. The opportunity was seized by Celts from the region of the lower Danube, who set out towards ?the South?. In 279 B.C. one of the three groups, led by Bolgios (i.e. Belgius), defeated the Macedonian royal army, and Ptolemy Ceraunus himself got killed. In the summer of the same year, Brennus reached central Greece, i.e. Delphi; having suffered a defeat, the larger portion of the army was stationed in the region of Thrace, after a logical retreat. There they received an offer from Nicomedus I of Bythinia who hired 20,000 of them as mercenaries, hence their penetration into Asia Minor in 278 and 277 B.C. On the other hand, the archaeological findings from the mentioned area, connected with these events, indicate that it can and must be classified within the Lt C1 phase. An additional argument in favour of an earlier dating is also offered by a pair of two-part anklets, with eight hollow semispherical bosses with no ornaments, found in the Spanos well in the vicinity of Poseidon?s sanctuary in Isthmia. Previously, Rupert Gebhard had held that these findings should be brought into connection with the incursion of 279 B.C., dating from his horizon 5, i.e. between c. 290 and 260 B.C. However, Isabelle Raubitschek demonstrated the opposite, pointing to several details: firstly, since the remnants of the Celtic army after their defeat withdrew through the Thermopylae, it is unlikely that on the way back anyone would pass through Isthmia; secondly, similar anklets were also found in the Heraion of Perachora, and finally and most importantly, that they were found in an enclosed context, together with the kylix-krater, meaning that they must date from the third quarter of the 4th century. To her conclusions we can now add two other possible perspectives: 1. - regarding the chronology, the most important fact is that the pair of two-part anklets is evidently much older than previously thought. From the historical perspective, the information on the enclosed context, i.e. that similar findings were also found in the complexes of Greek sanctuaries, is of great importance. 2. - dating clearly shows that these anklets cannot be connected with war or looting, i.e. cannot be seen as spoil from the expedition to Delphi to be sacrificed by the victors. In fact, that context points to a small, but recognizable segment from the range of diplomatic gifts which circulated between the Greek world and the Celtic aristocrats from the region of the middle course of Danube. On the other hand, among the graves of the La T?ne cultural provenance containing findings which originated from Greek, i.e. Macedonian workshops, and which predate the time of the military expedition to the south of the Balkan peninsula, apart from the finding of a bronze cup from the end of the 4th century found in Szabolc in Hungary, only Karaburma grave 22 stands out. Both findings were included by Miklos Szab? among those which preceded the expedition to Delphi, although it is possible that they reached the Celtic world after that event. He also mentioned that it was becoming increasingly evident that this was more than just a case of military spoil or loot, which he concluded on the basis of the presence of less valuable items. This claim led M. Szab? into a trap: if the items, mostly from the 4th century, presupposed contacts of the Celtic inhabitants with the Aegean world, it would be necessary to date their settlement, i.e. the phase Lt B2, in the 4th century, and thus in the period significantly earlier than the expedition to Delphi. Furthermore, a bronze lekythos was found in a slightly younger grave 18/64 on the Hurbanovo site, in the same cultural and historical context. This is a lekythos of the Talcot type, frequently found in Greece, Thrace and Macedonia, dating back to the end of the 4th and the first half of the 3rd century. On the mentioned site it was chronologically classified in the transitional horizon Lt B2/C1, which according to Jozef Bujna was the period after the military expedition to the Balkans. The same researcher held that the grave 22 from Karaburma should also be included in that time frame. However, what if J. Bujna was wrong on this matter, given that he opted for a conservative dating of the set of vessels? Based on the above, we might actually consider placing the absolute dating of the Lt C1 phase in the 4th century - the century during which the production of such lekythoi flourished, as did their laying in Macedonian graves. Implicitly, such dating is also confirmed by the items of the La T?ne provenance, found in the region of the southern Balkans, i.e. the Aegean area. They all exhibit formal characteristics typical of the Lt C. Consequently, it can be concluded that the beginning of the Lt C horizon must be sought in the period immediately preceding the expedition to ?the South?. In connection with that, it was precisely J. Bujna who demonstrated that certain graves in the necropolises of the Lt C were found on the periphery, which he interpreted as a possible clue for recognizing the newcomers, i.e. those who returned from the Balkan expedition. Aurel Rustoiu also came to a similar conclusion, having systematically analyzed the equipment of the warrior elites, the socalled mercenaries from the Aegean world. The declining number of male graves in the period between Lt B1 and Lt C1, among other things, also led Peter Ramsl to hypothesize that numerous warriors hired as mercenaries never returned to their homes. Related to this, significant data in the analysis of the share of warrior graves in the necropolises of the Carpathian basin was provided by A. Rustoiu. He showed that the share of warrior graves, i.e. graves with weapons in Lt B2 phase, is higher than of those in the Lt C1. However, the Karaburma necropolis is an exception also in this respect, since the share of the warrior graves is significantly higher than in the other necropolises belonging to both phases. Thus in the Lt C1 it is 48%, while in the Lt B2 it is as high as 70%. On the basis of the collected data, he hypothesized that there were two types of societies in the Carpathian basin: agricultural communities with reduced military elites, and military communities which represented social aristocracy and which formed the core for military and war expeditions, and also constituted the basis for the recruitment of mercenaries. The latter transcended ethnic bounds, given that they were selected on an individual basis, which is clearly reflected in the changeability and different origin of the equipment of warriors. Findings of bronze vessels tie in with this neatly, if we interpret them as a result of contacts and a substitute for the traditional late La T?ne pottery set, consisting of a ceramic bowl (phiale), and a vessel for liquids (situla-like pot or lenticular bottle). Both situla and phiale are standard items, frequent, widespread, and the most indicative parts of solemn ritual banquets and feasts, as shown by numerous and explicit findings from the rich graves of Thracia and Anatolia. However, they were still an essential part of the Greek culture, commonly used in religious, mystical ceremonies. Although we frequently encounter them in hoards and, of course, temples, with rare exceptions mostly due to insufficient knowledge on the item?s context of finding, those situlae and phiale were, almost as a rule, part of luxury sets, indicating rich graves of those belonging to the highest social and political strata of the society. This is the reason why they were often interpreted as burial insignia, used to sanctify the burial space and to encourage eternal deification, divine vitality and the rebirth of a deceased dignitary; in other words, it is thought that they exhibited power and authority in both Thracian and Getian graves. However, the Celts could also have used these vessels at funeral feasts and banquets, just as they were used in their country of origin, since we know that in the graves of the Celtic dignitaries everything was laid that they possessed in their lifetime, especially sets of dishes, for the purpose of ensuring an unbroken cycle of rebirth. It has been further suggested that the bronze vessels were used for the ceremonies of libation, but also for trade and exchange, while the silver drinking cups and luxury sets made of precious metals were used for burial feasts and diplomatic banquets during negotiations and/or when concluding agreements, simply as keimelia or as a ritual device for expressing deeply held and widely accepted eschatological practices and new trends. However, both could have been quite practically used for bribing - both people and gods! Finally, the imported vessels from Karaburma, classified as Macedonian products from the 4th century, should now be viewed as the northernmost findings of a complete symposiastic set, but also in the context of other vessels imported from Macedonia found in the graves with the features of the La T?ne culture. It is unlikely that they represent war spoils from Greece or other parts. The idea that the situla and phiale from the grave 22 of the Karaburma necropolis inaugurated direct contact between the Celts and Macedonians seems more likely. The items could have reached the 4th century Celtic dignitaries of the Danube region as keimelia - diplomatic gifts, or could have simply arrived by a trade route from the northern parts of Macedonia. In that sense, we should also remember those modest, but for this case invaluable records found in the historical sources connected with this period. It has been thought that the Celtic presence dates back to as early as the time of the defeat and expulsion of the Ardiaei in 359/358 B.C., as recorded by Theopompus. However, there are reliable records of their embassy to Alexander the Great while he was engaged with the Tribali in 335 B.C., as reported by Arrian. Precisely those could have been the points of direct contact between the highest ranking military and political dignitaries of the Celts and the aristocrats and diplomats of the Macedonian state. From all this it can be concluded that the Karaburma necropolis is truly an exception, representing the southernmost point of Celtic militarized expansion, where the military social aristocracy was stationed. The region where the Sava and Danube meet thus became an area where technological innovations concentrated and developed, and also the space where the political, military and economic contacts filtered. All this is vividly illustrated by grave 22 in the necropolis, chosen precisely because of those features. Weapons, i.e. the sword of the Celtic dignitary who was buried there, indicate the technological tradition of the early La T?ne. In the same tradition were fashioned the fibulae which, in an unchanged form, remain in the repertoire of accessories at the beginning of the middle La T?ne period, just as, on the other hand, the sword and the shape of its scabbard indicate the beginning of re-fashioning of that same conservative tradition. The sword belt chain set and the spear-butt with its spike indicate the innovations which were yet to become the characteristic features of the middle La T?ne soldiers? equipment. Furthermore, the intertwining of traditions and innovations is also evident from the symbolic and semantic processes which were connected with the ritual of this burial. At the time when the cremation became the predominant type of burial in the Celtic world, the ritual of laying gifts in graves also changed. Instead of the complete equipment which the deceased used during life, only select items are found to represent the totality, which in our example can be seen in the deposited spear-butt. Thus the suum cuique principle was replaced by the pars pro toto principle. Based on the above, the famous warrior from the Karaburma grave 22 both in an abstract and also direct sense, confirms the intertwining of traditions and the circulation of cultural elements, and thus shows that he himself was one of the carriers of the avant-garde of the time, the forerunner of a new period in political and economic relations in the central Balkans of the third quarter of the 4th century.

PurposeThis paper documents a strong violation of the law of one price surrounding a large rights issue.Design/methodology/approachIf prices are right, the relation between the prices of shares and rights follows the outcome of a simple calculation.FindingsIn the case of Royal Imtech N.V. in 2014, prices deviated sharply and persistently from the theoretical prediction. Throughout the term of the rights, investors were buying shares at prices that were many times what they should have been given the price of the rights. Short-selling constraints in the form of high recall risk and lacking stock lending supply are the most likely explanation for the failure of arbitrage as a safeguard of market efficiency. Still, it remains remarkable that investors were buying large volumes of shares at highly inflated prices in the presence of a cheap, perfect substitute.Originality/valueThe mispricing was special not just because of its severity but also because unlike previously documented cases there was no fundamental risk and no material noise trader risk.

As Lewis Carroll’s Alice comes to the end of her journey through the looking glass world, she has also come to the end of her patience with its strange power games and arbitrations. At every stage of the adventure, she has encountered someone who wants to dictate rules and protocols, and a lesson on table manners from the Red Queen finally triggers rebellion. “I can’t stand this any more,” Alice cries, as she seizes the tablecloth and hurls the entire setting into chaos (279). Then, catching hold of the Red Queen, she gives her a good shaking, until the rigid contours of the imperious figure become fuzzy and soft. At this point, the hold of the dream dissolves and Alice, awakening on the other side of the mirror, realises she is shaking the kitten. Queens have long been associated with ideas of transformation. As Alice is duly advised when she first looks out across the chequered landscape of the looking glass world, the rules of chess decree that a pawn may become a queen if she makes it to the other side. The transformation of pawn to queen is in accord with the fairy tale convention of the unspoiled country girl who wins the heart of a prince and is crowned as his bride. This works in a dual register: on one level, it is a story of social elevation, from the lowest to the highest rank; on another, it is a magical transition, as some agent of fortune intervenes to alter the determinations of the social world. But fairy tales also present us with the antithesis and adversary of the fortune-blessed princess, in the figure of the tyrant queen who works magic to shape destiny to her own ends. The Queen and the mirror converge in the cultural imaginary, working transformations that disrupt the order of nature, invert socio-political hierarchies, and flout the laws of destiny. In “Snow White,” the powers of the wicked queen are mediated by the looking glass, which reflects and affirms her own image while also serving as a panopticon, keep the entire realm under surveillance, to pick up any signs of threat to her pre-eminence. All this turbulence in the order of things lets loose a chaotic phantasmagoria that is prime material for film and animation. Two major film versions of “Snow White” have been released in the past few years—Mirror Mirror (2012) and Snow White and the Huntsman (2012)—while Tim Burton’s animated 3D rendition of Alice in Wonderland was released in 2010. Alice through the Looking Glass (2016) and The Huntsman: Winter’s War, the 2016 prequel to Snow White and the Huntsman, continue the experiment with state-of-the-art-techniques in 3D animation and computer-generated imaging to push the visual boundaries of fantasy. Perhaps this escalating extravagance in the creation of fantasy worlds is another manifestation of the ancient lore and law of sorcery: that the magic of transformation always runs out of control, because it disrupts the all-encompassing design of an ordered world. This principle is expressed with poetic succinctness in Ursula Le Guin’s classic story A Wizard of Earthsea, when the Master Changer issues a warning to his most gifted student: But you must not change one thing, one pebble, one grain of sand, until you know what good and evil will follow on that act. The world is in balance, in Equilibrium. A wizard's power of Changing and Summoning can shake the balance of the world. It is dangerous, that power. (48)In Le Guin’s story, transformation is only dangerous if it involves material change; illusions of all kinds are ultimately harmless because they are impermanent.Illusions mediated by the mirror, however, blur the distinction Le Guin is making, for the mirror image supposedly reflects a real world. And it holds the seductive power of a projected narcissism. Seeing what we wish for is an experience that can hold us captive in a way that changes human nature, and so leads to dangerous acts with material consequences. The queen in the mirror becomes the wicked queen because she converts the world into her image, and in traditions of animation going back to Disney’s original Snow White (1937) the mirror is itself an animate being, with a spirit whose own determinations become paramount. Though there are exceptions in the annals of fairy story, powers of transformation are typically dark powers, turbulent and radically elicit. When they are mediated through the agency of the mirror, they are also the powers of narcissism and autocracy. Through a Glass DarklyIn her classic cultural history of the mirror, Sabine Melchior-Bonnet tracks a duality in the traditions of symbolism associated with it. This duality is already evident in Biblical allusions to the mirror, with references to the Bible itself as “the unstained mirror” (Proverbs 7.27) counterpointed by images of the mortal condition as one of seeing “through a glass darkly” (1 Corinthians 13.12).The first of these metaphoric conventions celebrates the crystalline purity of a reflecting surface that reveals the spiritual identity beneath the outward form of the human image. The church fathers drew on Plotinus to evoke “a whole metaphysics of light and reflection in which the visible world is the image of the invisible,” and taught that “humans become mirrors when they cleanse their souls (Melchior-Bonnet 109–10). Against such invocations of the mirror as an intermediary for the radiating presence of the divine in the mortal world, there arises an antithetical narrative, in which it is portrayed as distorting, stained, and clouded, and therefore an instrument of delusion. Narcissus becomes the prototype of the human subject led astray by the image itself, divorced from material reality. What was the mirror if not a trickster? Jean Delumeau poses this question in a preface to Melchior-Bonnet’s book (xi).Through the centuries, as Melchior-Bonnet’s study shows, these two strands are interwoven in the cultural imaginary, sometimes fused, and sometimes torn asunder. With Venetian advances in the techniques and technologies of mirror production in the late Renaissance, the mirror gained special status as a possession of pre-eminent beauty and craftsmanship, a means by which the rich and powerful could reflect back to themselves both the self-image they wanted to see, and the world in the background as a shimmering personal aura. This was an attempt to harness the numinous influence of the divinely radiant mirror in order to enhance the superiority of leading aristocrats. By the mid seventeenth century, the mirror had become an essential accessory to the royal presence. Queen Anne of Austria staged a Queen’s Ball in 1633, in a hall surrounded by mirrors and tapestries. The large, finely polished mirror panels required for this kind of display were made exclusively by craftsmen at Murano, in a process that, with its huge furnaces, its alternating phases of melting and solidifying, its mysterious applications of mercury and silver, seemed to belong to the transformational arts of alchemy. In 1664, Louis XIV began to steal unique craftsmen from Murano and bring them to France, to set up the Royal Glass and Mirror Company whose culminating achievement was the Hall of Mirrors at Versailles.The looking glass world of the palace was an arena in which courtiers and visitors engaged in the high-stakes challenge of self-fashioning. Costume, attitude, and manners were the passport to advancement. To cut a figure at court was to create an identity with national and sometimes international currency. It was through the art of self-fashioning that the many princesses of Europe, and many more young women of title and hereditary distinction, competed for the very few positions as consort to the heir of a royal house. A man might be born to be king, but a woman had to become a queen.So the girl who would be queen looks in the mirror to assess her chances. If her face is her fortune, what might she be? A deep relationship with the mirror may serve to enhance her beauty and enable her to realise her wish, but like all magical agents, the mirror also betrays anyone with the hubris to believe they are in control of it. In the Grimm’s story of “Snow White,” the Queen practises the ancient art of scrying, looking into a reflective surface to conjure images of things distant in time and place. But although the mirror affords her the seer’s visionary capacity to tell what will be, it does not give her the power to control the patterns of destiny. Driven to attempt such control, she must find other magic in order to work the changes she desires, and so she experiments with spells of self-transformation. Here the doubleness of the mirror plays out across every plane of human perception: visual, ethical, metaphysical, psychological. A dynamic of inherent contradiction betrays the figure who tries to engage the mirror as a servant. Disney’s original 1937 cartoon shows the vain Queen brewing an alchemical potion that changes her into the very opposite of all she has sought to become: an ugly, ill-dressed, and impoverished old woman. This is the figure who can win and betray trust from the unspoiled princess to whom the arts of self-fashioning are unknown. In Tarsem Singh’s film Mirror Mirror, the Queen actually has two mirrors. One is a large crystal egg that reflects back a phantasmagoria of palace scenes; the other, installed in a primitive hut on an island across the lake, is a simple looking glass that shows her as she really is. Snow White and the Huntsman portrays the mirror as a golden apparition, cloaked and faceless, that materialises from within the frame to stand before her. This is not her reflection, but with every encounter, she takes on more of its dark energies, until, in another kind of reversal, she becomes its image and agent in the wider world. As Ursula Le Guin’s sage teaches the young magician, magic has its secret economies. You pay for what you get, and the changes wrought will come back at you in ways you would never have foreseen. The practice of scrying inevitably leads the would-be clairvoyant into deeper levels of obscurity, until the whole world turns against the seer in a sequence of manifestations entirely contrary to his or her framework of expectation. Ultimately, the lesson of the mirror is that living in obscurity is a defining aspect of the human condition. Jorge Luis Borges, the blind writer whose work exhibits a life-long obsession with mirrors, surveys a range of interpretations and speculations surrounding the phrase “through a glass darkly,” and quotes this statement from Leon Bloy: “There is no human being on earth capable of declaring with certitude who he is. No one knows what he has come into this world to do . . . or what his real name is, his enduring Name in the register of Light” (212).The mirror will never really tell you who you are. Indeed, its effects may be quite the contrary, as Alice discovers when, within a couple of moves on the looking glass chessboard, she finds herself entering the wood of no names. Throughout her adventures she is repeatedly interrogated about who or what she is, and can give no satisfactory answer. The looking glass has turned her into an estranged creature, as bizarre a species as any of those she encounters in its landscapes.Furies“The furies are at home in the mirror,” wrote R. S. Thomas in his poem “Reflections” (265). They are the human image gone haywire, the frightening other of what we hope to see in our reflection. As the mirror is joined by technologies of the moving image in twentieth-century evolutions of the myth, the furies have been given a new lease of life on the cinema screen. In Disney’s 1937 cartoon of Snow White, the mirror itself has the face of a fury, which emerges from a pool of blackness like a death’s head before bringing the Queen’s own face into focus. As its vision comes into conflict with hers, threatening the dissolution of the world over which she presides, the mirror’s face erupts into fire.Computer-generated imaging enables an expansive response to the challenges of visualisation associated with the original furies of classical mythology. The Erinyes are unstable forms, arising from liquid (blood) to become semi-materialised in human guise, always ready to disintegrate again. They are the original undead, hovering between mortal embodiment and cadaverous decay. Tearing across the landscape as a flock of birds, a swarm of insects, or a mass of storm clouds, they gather into themselves tremendous energies of speed and motion. The 2012 film Snow White and the Huntsman, directed by Rupert Sanders, gives us the strongest contemporary realisation of the archaic fury. Queen Ravenna, played by Charlize Theron, is a virtuoso of the macabre, costumed in a range of metallic exoskeletons and a cloak of raven’s feathers, with a raised collar that forms two great black wings either side of her head. Powers of dematerialisation and rematerialisation are central to her repertoire. She undergoes spectacular metamorphosis into a mass of shrieking birds; from the walls around her she conjures phantom soldiers that splinter into shards of black crystal when struck by enemy swords. As she dies at the foot of the steps leading up to the great golden disc of her mirror, her face rapidly takes on the great age she has disguised by vampiric practices.Helena Bonham Carter as the Red Queen in Burton’s Alice in Wonderland is a figure midway between Disney’s fairy tale spectre and the fully cinematic register of Theron’s Ravenna. Bonham Carter’s Queen, with her accentuated head and pantomime mask of a face, retains the boundaries of form. She also presides over a court whose visual structures express the rigidities of a tyrannical regime. Thus she is no shape-shifter, but energies of the fury are expressed in her voice, which rings out across the presence chamber of the palace and reverberates throughout the kingdom with its calls for blood. Alice through the Looking Glass, James Bobin’s 2016 sequel, puts her at the centre of a vast destructive force field. Alice passes through the mirror to encounter the Lord of Time, whose eternal rule must be broken in order to break the power of the murdering Queen; Alice then opens a door and tumbles in free-fall out into nothingness. The place where she lands is a world not of daydream but of nightmare, where everything will soon be on fire, as the two sides in the chess game advance towards each other for the last battle. This inflation of the Red Queen’s macabre aura and impact is quite contrary to what Lewis Carroll had in mind for his own sequel. In some notes about the stage adaptation of the Alice stories, he makes a painstaking distinction between the characters of the queen in his two stories.I pictured to myself the Queen of Hearts as a sort of embodiment of ungovernable passion—a blind and aimless Fury. The Red Queen I pictured as a Fury, but of another type; her passion must be cold and calm—she must be formal and strict, yet not unkindly; pedantic to the 10th degree, the concentrated essence of governesses. (86)Yet there is clearly a temptation to erase this distinction in dramatisations of Alice’s adventures. Perhaps the Red Queen as a ‘not unkindly’ governess is too restrained a persona for the psychodynamic mythos surrounding the queen in the mirror. The image itself demands more than Carroll wants to accord, and the original Tenniel illustrations give a distinctly sinister look to the stern chess queen. In their very first encounter, the Red Queen contradicts every observation Alice makes, confounds the child’s sensory orientation by inverting the rules of time and motion, and assigns her the role of pawn in the game. Kafka or Orwell would not have been at all relaxed about an authority figure who practises mind control, language management, and identity reassignment. But here Carroll offers a brilliant modernisation of the fairy story tradition. Under the governance of the autocratic queen, wonderland and the looking glass world are places in which the laws of science, logic, and language are overturned, to be replaced by the rules of the queen’s games: cards and croquet in the wonderland, and chess in the looking glass world. Alice, as a well-schooled Victorian child, knows something of these games. She has enough common sense to be aware of how the laws of gravity and time and motion are supposed to work, and if she boasts of being able to believe six impossible things before breakfast, this signifies that she has enough logic to understand the limits of possibility. She would also have been taught about species and varieties and encouraged to make her own collections of natural forms. But the anarchy of the queen’s world extends into the domain of biology: species of all kinds can talk, bodies dissolve or change size, and transmutations occur instantaneously. Thus the world-warping energies of the Erinyes are re-imagined in an absurdist’s challenge to the scientist’s universe and the logician’s mentality.Carroll’s instinct to tame the furies is in accord with the overall tone and milieu of his stories, which are works of quirky charm rather than tales of terror, but his two queens are threatening enough to enable him to build the narrative to a dramatic climax. For film-makers and animators, though, it is the queen who provides the dramatic energy and presence. There is an over-riding temptation to let loose the pandemonium of the original Erinyes, exploiting their visual terror and their classical association with metamorphosis. FashioningThere is some sociological background to the coupling of the queen and the mirror in fairy story. In reality, the mirror might assist an aspiring princess to become queen by enchanting the prince who was heir to the throne, but what was the role of the looking glass once she was crowned? Historically, the self-imaging of the queen has intense and nervous resonances, and these can be traced back to Elizabeth I, whose elaborate persona was fraught with newly interpreted symbolism. Her portraits were her mirrors, and they reflect a figure in whom the qualities of radiance associated with divinity were transferred to the human monarch. Elizabeth developed the art of dressing herself in wearable light. If she lacked for a halo, she made up for it with the extravagant radiata of her ruffs and the wreaths of pearls around her head. Pearls in mediaeval poetry carried the mystique of a luminous microcosm, but they were also mirrors in themselves, each one a miniature reflecting globe. The Ditchely portrait of 1592 shows her standing as a colossus between heaven and earth, with the changing planetary light cycle as background. This is a queen who rules the world through the mediation of her own created image. It is an inevitable step from here to a corresponding intervention in the arrangement of the world at large, which involves the armies and armadas that form the backdrop to her other great portraits. And on the home front, a regime of terror focused on regular public decapitations and other grisly executions completes the strategy to remaking the world according to her will. Renowned costume designer Eiko Ishioka created an aesthetic for Mirror Mirror that combines elements of court fashion from the Elizabethan era and the French ancien régime, with allusions to Versailles. Formality and mannerism are the keynotes for the palace scenes. Julia Roberts as the Queen wears a succession of vast dresses that are in defiance of human scale and proportion. Their width at the hem is twice her height, and 100,000 Svarovski crystals were used for their embellishment. For the masked ball scene, she makes her entry as a scarlet peacock with a high arching ruff of pure white feathers. She amuses herself by arranging her courtiers as pieces on a chess-board. So stiffly attired they can barely move more than a square at a time, and with hats surmounted by precariously balanced ships, they are a mock armada from which the Queen may sink individual vessels on a whim, by ordering a fatal move. Snow White and the Huntsman takes a very different approach to extreme fashioning. Designer Colleen Atwood suggests the shape-shifter in the Queen’s costumes, incorporating materials evoking a range of species: reptile scales, fluorescent beetle wings from Thailand, and miniature bird skulls. There is an obvious homage here to the great fashion designer Alexander McQueen, whose hallmark was a fascination with the organic costuming of creatures in feathers, fur, wool, scales, shells, and fronds. Birds were everywhere in McQueen’s work. His 2006 show Widows of Culloden featured a range of headdresses that made the models look as if they had just walked through a flock of birds in full flight. The creatures were perched on their heads with outstretched wings askance across the models’ faces, obscuring their field of vision. As avatars from the spirit realm, birds are emblems of otherness, and associated with metempsychosis, the transmigration of souls. These resonances give a potent mythological aura to Theron’s Queen of the dark arts.Mirror Mirror and Snow White and the Huntsman accordingly present strikingly contrasted versions of self-fashioning. In Mirror Mirror we have an approach driven by traditions of aristocratic narcissism and courtly persona, in which form is both rigid and extreme. The Queen herself, far from being a shape-shifter, is a prisoner of the massive and rigid architecture that is her costume. Snow White and the Huntsman gives us a more profoundly magical interpretation, where form is radically unstable, infused with strange energies that may at any moment manifest themselves through violent transformation.Atwood was also costume designer for Burton’s Alice in Wonderland, where an invented framing story foregrounds the issue of fashioning as social control. Alice in this version is a young woman, being led by her mother to a garden party where a staged marriage proposal is to take place. Alice, as the social underling in the match, is simply expected to accept the honour. Instead, she escapes the scene and disappears down a rabbit hole to return to the wonderland of her childhood. In a nice comedic touch, her episodes of shrinking and growing involve an embarrassing separation from her clothes, so divesting her also of the demure image of the Victorian maiden. Atwood provides her with a range of fantasy party dresses that express the free spirit of a world that is her refuge from adult conformity.Alice gets to escape the straitjacket of social formation in Carroll’s original stories by overthrowing the queen’s game, and with it her micro-management of image and behaviour. There are other respects, though, in which Alice’s adventures are a form of social and moral fashioning. Her opening reprimand to the kitten includes some telling details about her own propensities. She once frightened a deaf old nurse by shouting suddenly in her ear, “Do let’s pretend that I’m a hungry hyaena and you’re a bone!” (147). Playing kings and queens is one of little Alice’s favourite games, and there is more than a touch of the Red Queen in the way she bosses and manages the kitten. It is easy to laud her impertinence in the face of the tyrannical characters she meets in her fantasies, but does she risk becoming just like them?As a story of moral self-fashioning, Alice through the Looking Glass cuts both ways. It is at once a critique of the Victorian social straitjacket, and a child’s fable about self-improvement. To be accorded the status of queen and with it the freedom of the board is also to be invested with responsibilities. If the human girl is the queen of species, how will she measure up? The published version of the story excludes an episode known to editors as “The Wasp in a Wig,” an encounter that takes place as Alice reaches the last ditch before the square upon which she will be crowned. She is about to jump the stream when she hears a sigh from woods behind her. Someone here is very unhappy, and she reasons with herself about whether there is any point in stopping to help. Once she has made the leap, there will be no going back, but she is reluctant to delay the move, as she is “very anxious to be a Queen” (309). The sigh comes from an aged creature in the shape of a wasp, who is sitting in the cold wind, grumbling to himself. Her kind enquiries are greeted with a succession of waspish retorts, but she persists and does not leave until she has cheered him up. The few minutes devoted “to making the poor old creature comfortable,” she tells herself, have been well spent.Read in isolation, the episode is trite and interferes with the momentum of the story. Carroll abandoned it on the advice of his illustrator John Tenniel, who wrote to say it didn’t interest him in the least (297). There is interest of another kind in Carroll’s instinct to arrest Alice’s momentum at that critical stage, with what amounts to a small morality tale, but Tenniel’s instinct was surely right. The mirror as a social object is surrounded by traditions of self-fashioning that are governed by various modes of conformity: moral, aesthetic, political. Traditions of myth and fantasy allow wider imaginative scope for the role of the mirror, and by association, for inventive speculation about human transformation in a world prone to extraordinary upheavals. ReferencesBorges, Jorge Luis. “Mirrors of Enigma.” Labyrinths: Selected Stories and Other Writings. Eds. Donald A. Yates and James Irby. New York: New Directions, 2007. 209–12. Carroll, Lewis. Alice through the Looking Glass. In The Annotated Alice. Ed. Martin Gardner. London: Penguin, 2000.The King James Bible.Le Guin, Ursula. The Earthsea Quartet. London: Penguin, 2012.Melchior-Bonnet, Sabine. The Mirror: A History. Trans. Katherine H. Jewett. London: Routledge, 2014.Thomas, R.S. “Reflections.” No Truce with the Furies, Collected Later Poems 1988–2000. Hexham, Northumberland: Bloodaxe, 2011.

Home is where one starts from. As we grow older The world becomes stranger, the pattern more complicated Of dead and living. Not the intense moment Isolated, with no before and after, But a lifetime burning in every moment… (Eliot 204) Questions of just what home might mean emerged with unfortunate biting salience during the writing of this article with the vicious attack of a student knocked to the ground by the force of a broken bottle and then kicked mercilessly in the head. If not for the ministrations of a bystander, there would have been one less person on the planet. Such disruptive and distressing incidents shake up our world – not only for the person who experiences the original event but also for those who find themselves as witnesses. Using the given incident as an exemplar, the following paper explores the concept of home in the context of ruptures and breaks for people who inhabit a blended world of the digital and the physical. To focus investigations, the Winnicottian concept of the holding environment provides a novel way of understanding home as a seamless domain of continuity which, in this instance is the worldspace spans the physico-digital divide. Sitting writing a paper about ‘home’ and the manner in which the virtual and the physical worlds are blending, I glanced up and was shocked. It is very easy to sit within the warmth and comfort of academe, especially if you have a nice toasty office in the midst of winter and to postulate about what home might be. Theories and concepts, heater, pc and comfy chair support feelings of being at home, of feeling like you have a place in the world, that you have an academic home, you have a conceptual home and, …just wait a minute… back shortly… just answering an email… and a virtual home, in which you can interact and exist in wholly other ways. The other day, however, I abandoned writing the earlier paper with the disorienting experience of seeing a student at my door, a person who tumbled in amidst a mass of scrambled sentences, bandaged bleeding hands, and a bruised head-kicked face. An overseas student who should have been knocking on my door to tell me that ‘Hey, I’ve finished my exams’ instead arrived to ask for my advice: ‘Someone attacked me the other night and I don’t know what to do.’ Home, at least the home about which I wrote before the shock of meeting a traumatised student, was a concept and reality that had transformed markedly over the last quarter of the twentieth century. It was a concept that in its shifts revealed a parallel between the setting up of share housing and the emergence of virtual/physical world blending. Home, as I construed it was about the move, by people aged up to thirties, who were frequently moving from family homes towards blended environments in which share housing became specific non-related familial space (McNamara & Connell), a space/place replicated by social networking in the domain of the digital. There it was. Leaning on the work of theorists such as Miriam Meyerhoff in relation to communities of practice in a linguistic sense, to the earlier work of Lesley Milroy in relation to social networks, I was set to make an argument that the textual world of the internet and other digital domains was developing in a manner that replicated linguistic – specifically spoken – communities of practice based on speech patterns. Buoyed by the recent discovery of the more recent writing of Line Dubé, Anne Bourhis and Réal Jacob in relation to virtual communities of practice, I was certain that my propositions regarding textual practices had something to offer to the current edition of this journal. Further, my argument would proceed in such a way as to infer that the textual base played out in digital media was advancing into the domain of speech in the physical world to the extent that it was possible to determine who had an active digital life – especially in relation to domains on the net – merely by their vocabulary and their sentence construction. My proposition was that the digital domain had not only blended with the virtual in the manner that Dubé, Bourhis and Jacob suggested, but that textual communication was now a home base for the development of the English language for a broad section of the general populace in English speaking countries. The sudden jar of a physical world shock shook loose the comfortable home of text and theory and challenged what I wrote. What was home for the young student who stood before me? We had spoken of ‘home’ before, of making home in a new country, of how your housemates become your family to a certain extent, of how internet and mobile phones made it easier, how home was really with you wherever you went BUT, with the disaster that was an assault, some of that rhetoric resonated as hollow – rhetoric without substance, cold comfort, no comfort. In this situation, home is a concept tested. Perhaps only in such a context can the boundaries and meanings of home come to the fore. It is to that issue that I will address this version of the paper and for that purpose, I will advance the argument that although there may well be a modified version of home developing for a specific generation or cohort of people, that there remains a need for anchoring in the various domains of engagement. To that end, I will use the theory of psychoanalytic theorist D.W. Winnicott who constructed the concept of the holding environment (Winnicott ‘From Dependence;’ and Seinfeld). This article therefore takes its new springing point from hereon in and starts with a brief exploration of the holding environment by its originating author, reconstructs this as a contextually relevant concept, and then talks into some of the original propositions using the given incident for illustrative purposes. The holding environment as construed by D.W. Winnicott is, under optimal conditions, the first environment that an infant experiences, the warm and caring one provided by a primary caregiver who, for this article will be known as the m/other (“The Concept of the Healthy Individual” 27-28). Within this environment of literal and metaphoric holding, the infant knows nothing other than an all-encompassing domain which includes physical and psychological care, the anticipation and provision of needs, and a titrated introduction to the world of things and people (“From Dependence” 86). From the perspective of the infant and within this circle of holding, the world belongs to the infant and is composed largely of the m/other. Only when there is a break in the continuity of care does the infant notice/perceive a world that is anything other than seamless with her/his own existence. In Winnicott’s schema, if a holding environment operates in an optimal manner, it largely remains invisible (Winnicott, “From Dependence” 86; Winnicott, “The Theory of the Parent-Infant Relationship” 52; Ogden 200). This manner of experiencing the world changes with the developing person so that in adulthood, we experience a range of environments that attend to our various needs, if we are fortunate enough. For example, your office supports your work to a greater or lesser extent and perhaps your partner supports you in a psychological sense, and your personal trainer supports your physical training needs. Other instances of support and holding could include the glasses that support your sight and the car that supports your proclivity for drives in the country and a particular lifestyle. There are therefore, many things, people, institutions, and even phenomena such as birthday celebrations that support different aspects of who we are – our being – and different aspects of our activities – our doing. This mirrors theories developed within the context of sociolinguistics in which authors parallel what people are with social networks and what people do, with communities of practice (Moore 22). In the context of Winnicott and linguistic theory, without those supports, our lives would be different and for many of us, would be diminished. The supports I describe are those I construe as holding environments and I believe that by considering a holding environment as a form of ‘home’ that we can reveal a specific way of understanding not only what a home might be, but also the manner in which it operates when people perceive it to be under threat. In the context of the digital domain, there are many media such as email, chat rooms, twitter, real time chat in a range of venues and digital social networks and virtual worlds that support different aspects of our identities, of things that we want to do, of contacts we make and maintain, and of communication for fun and for business. My initial proposition included the concept that various language forms operate to support and construct our identities and that what digital media provided were various venues for the operation of differing but overlapping holding environments in a textual sense. What do these elements, or those like them mean in the situation in which the student found himself? What does it mean and why was it that despite some time in between, that his primary quest was to seek out a person in the physical domain rather than finding solace online when, as I understood, he spent a great deal of time in digital communication? I believe that although there is a blending of domains – the digital and analogue – that when a holding environment of either variety breaks, fractures or at least reveals cracks, that it is likely that a person will seek redress in both modes and in so doing, will reaffirm what is a vital element for the healthy existence of every person – the maintenance of a sense of home – be that on or offline. Despite the seeking for redress in the mode in which the break occurred, the parallel search for social sanction and acknowledgement in the alternative domain may be just as significant for a slightly different reason. When Winnicott writes about ruptures and breaks, it is about those impingements that destroy continuity (“The Fear of Breakdown” 93) – the break in going on being. In the current context in which a person or community inhabits both the online and offline realms, part of their continuity of being, their worldspace (Hardey 2) is the seamlessness between the domains. It is therefore necessary to bring the sense of rupture/failure that occurs in one domain, across into the other to maintain the meta- holding environment or home. Home is that space where ‘you speak my language,’ whether on or offline, the holding environment is one that adapts to you, that understands your speech/text and responds in a manner predictable and in your own genre under optimal conditions, home meets you where you are and, importantly, is a space and place that when it ruptures, mends in such a way as to your restore your faith in its capacity to perform as a holding environment (“Transitional Objects” 10-11). Winnicott writes that only with an environment that was not perfect, (only with an environment that failed occasionally in a minor way), is it possible for a person to sense that there was a holding environment at all. Further, rather than a person construing this failing as a marker of lack of dependability, that the small failure revealed the significance and value of its effective functioning for most of the time. Additionally, a minor break revealed that the holding environment/home held the potential to respond to some unanticipated and distressing break by supporting the person experiencing it. By operating in this manner, there is now an imaginal space of holding/home. In a sense, this mirrors what other authors such as Thomas Lindif and Milton Shatzer write about when they describe social presence in relation to the manner in which an online arena supports or is perceived to support activities such as communication between peers. One of the most noted and public manifestations of the phenomenon of a failed holding environment becoming mended and therefore stronger was that experienced in several places in relation to terrorist attacks such as that of 2001 in the USA. In relation to the attacks on the twin towers in New York, the people of that city experienced a shattering of the integrity of their holding environment/ their home. However, they also noted – as reported across a range of media (for example: Gamble 1.iii; Grider), a huge outpouring of compassion and caring by their fellow New Yorkers thereby experiencing a certain mending and elevating of the significance of their home city holding environment (Gamble 2.vi). In the context of the aforementioned student being attacked, the break also occurred in the physical domain. Although he sought some form of reassurance online could provide some solace. However, it would leave him with the experience that the physical environment was no longer homelike, that it had failed as a holding environment. That is, home in the physical realm was, for a time, failing to support him. To effect a mending in the physical domain, it was therefore important that he seek out solutions that equally involved the physical world of people – mirroring the break – the assault by a person. What occurred when he visited my office was that he received a physical world hearing and witness to his injuries and then with the aid of colleagues, he received further care, advice and support. One of the consequences of such an experience is that although the possibility of assault is now imaginable, because it has been experienced; there is also the knowledge that assistance is at hand – a situation that may not have been known or predicted before. In some manner therefore, with other imagined ghastly events, there is now an expectation of potential assistance. That imaginal knowing therefore now forms part of his holding environment in his physical world, that form of home that ensures ontological security as mentioned by McNamara and Connell (82). Outrage over incidents in Second Life and in other domains such as myspace predominantly play out in those arenas but, like the assault of the student, also get played out in other arenas, including mainstream media. For example, an attack on the virtual headquarters of the Australian Broadcasting Corporation on Second Life attracted attention in newspapers and other mainstream media (Hutcheon). It seems therefore that not only is it necessary to mend the breaks in a sense within the medium in which the original break occurred but also to reassert the blended domain of the digital and the analogue and the capacity of each to form part of the meta holding environment that exists in contemporary society. There is yet to develop a discourse that links the digital and the physical worlds as constituents of a worldspace (Hardey 2), that can be viewed as a meta- holding environment/home. However, even with the few examples proffered here, it seems apparent that by investigating breaks and ruptures in the lives of people who maintain a life world that spans the digital/physical divide that it might be possible to understand the apparent merging of the two. Further, it may lead to significant observations about the newly emerging worldspace as a holding environment /home in a novel way with leads for the assisting people across the divides that may otherwise have not been considered. The implications for maintaining the seamlessness and continuity of home/holding environment in the instance of natural or person-effected disasters in either domain is the demand for an appropriate response in both. Although this already occurs, it is in an ad hoc manner without a consideration of the significance of mending ruptures and re-enlivening both domains for a sense of ontological security of the worldspace – that is at its very heart, a sense of home. References Dubé, L., A. Bourhis, and R. Jacob. “Towards a Typology of Virtual Communities of Practice.” Interdisciplinary Journal of Information, Knowledge, and Management 1 (2006): 69-93. Eliot, T. S. “East Coker V.” Collected Poems 1909-26. London: Faber, 1974. 202-204. Gamble, Jennifer M. The Aesthetics of Mourning & the Anaesthetics of Trauma: Transformation through Memorial Space. Ph.D. thesis. The University of Sydney, 2006. Grider, Sylvia. “Spontaneous Shrines: A Modern Response to Tragedy and Disaster (Preliminary Observations Regarding the Spontaneous Shrines Following the Terrorist Attacks of September 11, 2001)”. New Directions in Folklore 5 Oct. 2001: 1-10. 1 Dec. 2002 http://www.temple.edu/isllc/newfolk/shrines.html>. Hardey, Mariann. “Going Live: Converging Mobile Technology and the Sociability of the iGeneration.” M/C Journal 10.1 (2007). 2 July 2007 http://journal.media-culture.org.au/0703/09-hardey.php>. Hutcheon, Stephen. “Vandals ‘Bomb’ ABC Island.” Sydney Morning Herald 22 May 2007. 23 May. 2007 http://www.smh.com.au/news/web/vandals-bomb-abc-island/2007/05/22/1179601400256.html>. Lindlif, Thomas R., and Milton J. Shatzer. “Media Ethnography in Virtual Space: Strategies, Limits, and Possibilities.” Journal of Broadcasting & Electronic Media 42.2 (1998): 170(20). McNamara, Sophie, and John Connell. “Homeward Bound? Searching for Home in Inner Sydney’s Share Houses.” Australian Geographer 38.1 (2007): 71-91. Meyerhoff, Miriam. “Communities of Practice.” Handbook of Language Variation and Change. Eds. J.K. Chambers, Natalie Schilling-Estes and Peter Trudgill. Oxford: Basil Blackwell, 2002. 526-548. Milroy, J., and L. Milroy. “Linguistic Change, Social Network and Speaker Innovation.” Journal of Linguistics 21.2 (1985): 229-284. Moore, Emma. Learning Style and Identity: A Sociolinguistic Analysis of a Bolton High School. Unpublished PhD dissertation. Manchester, UK: University of Manchester (2003). Ogden, Thomas H. The Matrix of the Mind: Object Relations and the Psychoanalytic Dialogue. London: Maresfield Library, 1990. Seinfeld, Jeffrey. “Donald Winnicott and the Holding Relationship.” Interpreting and Holding: The Paternal and Maternal Functions of the Psychotherapist. Northvale, New Jersey & London: Jason Aronson, 1993. 101-121. Winnicott, Donald Woods. “The Concept of a Healthy Individual.” D.W. Winnicott: Home Is Where We Start From: Essays by a Psychoanalyst. Eds. Clare Winnicott, Ray Shepherd, and Madeleine Davis. New York: Penguin, 1975 (A talk given to the Royal Medico-Psychological Association, Psychotherapy and Social Psychiatry Section, 8 March 1967). 21-39. ———. “The Fear of Breakdown.” D. W. Winnicott: Psycho-Analytic Explorations. Eds. Clare Winnicott, Ray Shepherd and Madeleine Davis. Vol. 1. London: Karnac Books, 1989 (paper originally written c. 1963). 87-96. ———. “From Dependence towards Independence in the Development of the Individual.” The Maturational Processes and the Facilitating Environment. London: Karnac Books, 2002 (Paper first presented in 1963). 83-92. ———. “The Theory of the Parent-Infant Relationship.” The Maturational Processes and the Facilitating Environment. London: Karnac Books, 2002 (Paper first presented in 1960). 37-55. ———. “Transitional Objects and Transitional Phenomena.” Playing and Reality. London: Brunner-Routledge, 1971/2001. 1-30. Citation reference for this article MLA Style Gamble, Jennifer M. "Holding Environment as Home: Maintaining a Seamless Blend across the Virtual/Physical Divide." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/11-gamble.php>. APA Style Gamble, J. (Aug. 2007) "Holding Environment as Home: Maintaining a Seamless Blend across the Virtual/Physical Divide," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/11-gamble.php>.

Although I'm a rich white guy, I'm also a feminist anti-racism activist who fights for the rights of the poor and oppressed. (Carl Kenner)Systemic bias is a scourge to the pillar of neutrality. (Cerejota)Count me in. Let's leave the bias to the mainstream media. (Orcar967)Because this is so important. (CuttingEdge)These are a handful of comments posted by online editors who have banded together in a virtual coalition to combat Western bias on the world’s largest digital encyclopedia, Wikipedia. This collective action by Wikipedians both acknowledges the inherent inequalities of a user-controlled information project like Wikpedia and highlights the potential for progressive change within that same project. These community members are taking the responsibility of social change into their own hands (or more aptly, their own keyboards).In recent years much research has emerged on Wikipedia from varying fields, ranging from computer science, to business and information systems, to the social sciences. While critical at times of Wikipedia’s growth, governance, and influence, most of this work observes with optimism that barriers to improvement are not firmly structural, but rather they are socially constructed, leaving open the possibility of important and lasting change for the better.WikiProject: Countering Systemic Bias (WP:CSB) considers one such collective effort. Close to 350 editors have signed on to the project, which began in 2004 and itself emerged from a similar project named CROSSBOW, or the “Committee Regarding Overcoming Serious Systemic Bias on Wikipedia.” As a WikiProject, the term used for a loose group of editors who collaborate around a particular topic, these editors work within the Wikipedia site and collectively create a social network that is unified around one central aim—representing the un- and underrepresented—and yet they are bound by no particular unified set of interests. The first stage of a multi-method study, this paper looks at a snapshot of WP:CSB’s activity from both content analysis and social network perspectives to discover “who” geographically this coalition of the unrepresented is inserting into the digital annals of Wikipedia.Wikipedia and WikipediansDeveloped in 2001 by Internet entrepreneur Jimmy Wales and academic Larry Sanger, Wikipedia is an online collaborative encyclopedia hosting articles in nearly 250 languages (Cohen). The English-language Wikipedia contains over 3.2 million articles, each of which is created, edited, and updated solely by users (Wikipedia “Welcome”). At the time of this study, Alexa, a website tracking organisation, ranked Wikipedia as the 6th most accessed site on the Internet. Unlike the five sites ahead of it though—Google, Facebook, Yahoo, YouTube (owned by Google), and live.com (owned by Microsoft)—all of which are multibillion-dollar businesses that deal more with information aggregation than information production, Wikipedia is a non-profit that operates on less than $500,000 a year and staffs only a dozen paid employees (Lih). Wikipedia is financed and supported by the WikiMedia Foundation, a charitable umbrella organisation with an annual budget of $4.6 million, mainly funded by donations (Middleton).Wikipedia editors and contributors have the option of creating a user profile and participating via a username, or they may participate anonymously, with only an IP address representing their actions. Despite the option for total anonymity, many Wikipedians have chosen to visibly engage in this online community (Ayers, Matthews, and Yates; Bruns; Lih), and researchers across disciplines are studying the motivations of these new online collectives (Kane, Majchrzak, Johnson, and Chenisern; Oreg and Nov). The motivations of open source software contributors, such as UNIX programmers and programming groups, have been shown to be complex and tied to both extrinsic and intrinsic rewards, including online reputation, self-satisfaction and enjoyment, and obligation to a greater common good (Hertel, Niedner, and Herrmann; Osterloh and Rota). Investigation into why Wikipedians edit has indicated multiple motivations as well, with community engagement, task enjoyment, and information sharing among the most significant (Schroer and Hertel). Additionally, Wikipedians seem to be taking up the cause of generativity (a concern for the ongoing health and openness of the Internet’s infrastructures) that Jonathan Zittrain notably called for in The Future of the Internet and How to Stop It. Governance and ControlAlthough the technical infrastructure of Wikipedia is built to support and perhaps encourage an equal distribution of power on the site, Wikipedia is not a land of “anything goes.” The popular press has covered recent efforts by the site to reduce vandalism through a layer of editorial review (Cohen), a tightening of control cited as a possible reason for the recent dip in the number of active editors (Edwards). A number of regulations are already in place that prevent the open editing of certain articles and pages, such as the site’s disclaimers and pages that have suffered large amounts of vandalism. Editing wars can also cause temporary restrictions to editing, and Ayers, Matthews, and Yates point out that these wars can happen anywhere, even to Burt Reynold’s page.Academic studies have begun to explore the governance and control that has developed in the Wikipedia community, generally highlighting how order is maintained not through particular actors, but through established procedures and norms. Konieczny tested whether Wikipedia’s evolution can be defined by Michels’ Iron Law of Oligopoly, which predicts that the everyday operations of any organisation cannot be run by a mass of members, and ultimately control falls into the hands of the few. Through exploring a particular WikiProject on information validation, he concludes:There are few indicators of an oligarchy having power on Wikipedia, and few trends of a change in this situation. The high level of empowerment of individual Wikipedia editors with regard to policy making, the ease of communication, and the high dedication to ideals of contributors succeed in making Wikipedia an atypical organization, quite resilient to the Iron Law. (189)Butler, Joyce, and Pike support this assertion, though they emphasise that instead of oligarchy, control becomes encapsulated in a wide variety of structures, policies, and procedures that guide involvement with the site. A virtual “bureaucracy” emerges, but one that should not be viewed with the negative connotation often associated with the term.Other work considers control on Wikipedia through the framework of commons governance, where “peer production depends on individual action that is self-selected and decentralized rather than hierarchically assigned. Individuals make their own choices with regard to resources managed as a commons” (Viegas, Wattenberg and McKeon). The need for quality standards and quality control largely dictate this commons governance, though interviewing Wikipedians with various levels of responsibility revealed that policies and procedures are only as good as those who maintain them. Forte, Larco, and Bruckman argue “the Wikipedia community has remained healthy in large part due to the continued presence of ‘old-timers’ who carry a set of social norms and organizational ideals with them into every WikiProject, committee, and local process in which they take part” (71). Thus governance on Wikipedia is a strong representation of a democratic ideal, where actors and policies are closely tied in their evolution. Transparency, Content, and BiasThe issue of transparency has proved to be a double-edged sword for Wikipedia and Wikipedians. The goal of a collective body of knowledge created by all—the “expert” and the “amateur”—can only be upheld if equal access to page creation and development is allotted to everyone, including those who prefer anonymity. And yet this very option for anonymity, or even worse, false identities, has been a sore subject for some in the Wikipedia community as well as a source of concern for some scholars (Santana and Wood). The case of a 24-year old college dropout who represented himself as a multiple Ph.D.-holding theology scholar and edited over 16,000 articles brought these issues into the public spotlight in 2007 (Doran; Elsworth). Wikipedia itself has set up standards for content that include expectations of a neutral point of view, verifiability of information, and the publishing of no original research, but Santana and Wood argue that self-policing of these policies is not adequate:The principle of managerial discretion requires that every actor act from a sense of duty to exercise moral autonomy and choice in responsible ways. When Wikipedia’s editors and administrators remain anonymous, this criterion is simply not met. It is assumed that everyone is behaving responsibly within the Wikipedia system, but there are no monitoring or control mechanisms to make sure that this is so, and there is ample evidence that it is not so. (141) At the theoretical level, some downplay these concerns of transparency and autonomy as logistical issues in lieu of the potential for information systems to support rational discourse and emancipatory forms of communication (Hansen, Berente, and Lyytinen), but others worry that the questionable “realities” created on Wikipedia will become truths once circulated to all areas of the Web (Langlois and Elmer). With the number of articles on the English-language version of Wikipedia reaching well into the millions, the task of mapping and assessing content has become a tremendous endeavour, one mostly taken on by information systems experts. Kittur, Chi, and Suh have used Wikipedia’s existing hierarchical categorisation structure to map change in the site’s content over the past few years. Their work revealed that in early 2008 “Culture and the arts” was the most dominant category of content on Wikipedia, representing nearly 30% of total content. People (15%) and geographical locations (14%) represent the next largest categories, while the natural and physical sciences showed the greatest increase in volume between 2006 and 2008 (+213%D, with “Culture and the arts” close behind at +210%D). This data may indicate that contributing to Wikipedia, and thus spreading knowledge, is growing amongst the academic community while maintaining its importance to the greater popular culture-minded community. Further work by Kittur and Kraut has explored the collaborative process of content creation, finding that too many editors on a particular page can reduce the quality of content, even when a project is well coordinated.Bias in Wikipedia content is a generally acknowledged and somewhat conflicted subject (Giles; Johnson; McHenry). The Wikipedia community has created numerous articles and pages within the site to define and discuss the problem. Citing a survey conducted by the University of Würzburg, Germany, the “Wikipedia:Systemic bias” page describes the average Wikipedian as:MaleTechnically inclinedFormally educatedAn English speakerWhiteAged 15-49From a majority Christian countryFrom a developed nationFrom the Northern HemisphereLikely a white-collar worker or studentBias in content is thought to be perpetuated by this demographic of contributor, and the “founder effect,” a concept from genetics, linking the original contributors to this same demographic has been used to explain the origins of certain biases. Wikipedia’s “About” page discusses the issue as well, in the context of the open platform’s strengths and weaknesses:in practice editing will be performed by a certain demographic (younger rather than older, male rather than female, rich enough to afford a computer rather than poor, etc.) and may, therefore, show some bias. Some topics may not be covered well, while others may be covered in great depth. No educated arguments against this inherent bias have been advanced.Royal and Kapila’s study of Wikipedia content tested some of these assertions, finding identifiable bias in both their purposive and random sampling. They conclude that bias favoring larger countries is positively correlated with the size of the country’s Internet population, and corporations with larger revenues work in much the same way, garnering more coverage on the site. The researchers remind us that Wikipedia is “more a socially produced document than a value-free information source” (Royal & Kapila).WikiProject: Countering Systemic BiasAs a coalition of current Wikipedia editors, the WikiProject: Countering Systemic Bias (WP:CSB) attempts to counter trends in content production and points of view deemed harmful to the democratic ideals of a valueless, open online encyclopedia. WP:CBS’s mission is not one of policing the site, but rather deepening it:Generally, this project concentrates upon remedying omissions (entire topics, or particular sub-topics in extant articles) rather than on either (1) protesting inappropriate inclusions, or (2) trying to remedy issues of how material is presented. Thus, the first question is "What haven't we covered yet?", rather than "how should we change the existing coverage?" (Wikipedia, “Countering”)The project lays out a number of content areas lacking adequate representation, geographically highlighting the dearth in coverage of Africa, Latin America, Asia, and parts of Eastern Europe. WP:CSB also includes a “members” page that editors can sign to show their support, along with space to voice their opinions on the problem of bias on Wikipedia (the quotations at the beginning of this paper are taken from this “members” page). At the time of this study, 329 editors had self-selected and self-identified as members of WP:CSB, and this group constitutes the population sample for the current study. To explore the extent to which WP:CSB addressed these self-identified areas for improvement, each editor’s last 50 edits were coded for their primary geographical country of interest, as well as the conceptual category of the page itself (“P” for person/people, “L” for location, “I” for idea/concept, “T” for object/thing, or “NA” for indeterminate). For example, edits to the Wikipedia page for a single person like Tony Abbott (Australian federal opposition leader) were coded “Australia, P”, while an edit for a group of people like the Manchester United football team would be coded “England, P”. Coding was based on information obtained from the header paragraphs of each article’s Wikipedia page. After coding was completed, corresponding information on each country’s associated continent was added to the dataset, based on the United Nations Statistics Division listing.A total of 15,616 edits were coded for the study. Nearly 32% (n = 4962) of these edits were on articles for persons or people (see Table 1 for complete coding results). From within this sub-sample of edits, a majority of the people (68.67%) represented are associated with North America and Europe (Figure A). If we break these statistics down further, nearly half of WP:CSB’s edits concerning people were associated with the United States (36.11%) and England (10.16%), with India (3.65%) and Australia (3.35%) following at a distance. These figures make sense for the English-language Wikipedia; over 95% of the population in the three Westernised countries speak English, and while India is still often regarded as a developing nation, its colonial British roots and the emergence of a market economy with large, technology-driven cities are logical explanations for its representation here (and some estimates make India the largest English-speaking nation by population on the globe today).Table A Coding Results Total Edits 15616 (I) Ideas 2881 18.45% (L) Location 2240 14.34% NA 333 2.13% (T) Thing 5200 33.30% (P) People 4962 31.78% People by Continent Africa 315 6.35% Asia 827 16.67% Australia 175 3.53% Europe 1411 28.44% NA 110 2.22% North America 1996 40.23% South America 128 2.58% The areas of the globe of main concern to WP:CSB proved to be much less represented by the coalition itself. Asia, far and away the most populous continent with more than 60% of the globe’s people (GeoHive), was represented in only 16.67% of edits. Africa (6.35%) and South America (2.58%) were equally underrepresented compared to both their real-world populations (15% and 9% of the globe’s population respectively) and the aforementioned dominance of the advanced Westernised areas. However, while these percentages may seem low, in aggregate they do meet the quota set on the WP:CSB Project Page calling for one out of every twenty edits to be “a subject that is systematically biased against the pages of your natural interests.” By this standard, the coalition is indeed making headway in adding content that strategically counterbalances the natural biases of Wikipedia’s average editor.Figure ASocial network analysis allows us to visualise multifaceted data in order to identify relationships between actors and content (Vego-Redondo; Watts). Similar to Davis’s well-known sociological study of Southern American socialites in the 1930s (Scott), our Wikipedia coalition can be conceptualised as individual actors united by common interests, and a network of relations can be constructed with software such as UCINET. A mapping algorithm that considers both the relationship between all sets of actors and each actor to the overall collective structure produces an image of our network. This initial network is bimodal, as both our Wikipedia editors and their edits (again, coded for country of interest) are displayed as nodes (Figure B). Edge-lines between nodes represents a relationship, and here that relationship is the act of editing a Wikipedia article. We see from our network that the “U.S.” and “England” hold central positions in the network, with a mass of editors crowding around them. A perimeter of nations is then held in place by their ties to editors through the U.S. and England, with a second layer of editors and poorly represented nations (Gabon, Laos, Uzbekistan, etc.) around the boundaries of the network.Figure BWe are reminded from this visualisation both of the centrality of the two Western powers even among WP:CSB editoss, and of the peripheral nature of most other nations in the world. But we also learn which editors in the project are contributing most to underrepresented areas, and which are less “tied” to the Western core. Here we see “Wizzy” and “Warofdreams” among the second layer of editors who act as a bridge between the core and the periphery; these are editors with interests in both the Western and marginalised nations. Located along the outer edge, “Gallador” and “Gerrit” have no direct ties to the U.S. or England, concentrating all of their edits on less represented areas of the globe. Identifying editors at these key positions in the network will help with future research, informing interview questions that will investigate their interests further, but more significantly, probing motives for participation and action within the coalition.Additionally, we can break the network down further to discover editors who appear to have similar interests in underrepresented areas. Figure C strips down the network to only editors and edits dealing with Africa and South America, the least represented continents. From this we can easily find three types of editors again: those who have singular interests in particular nations (the outermost layer of editors), those who have interests in a particular region (the second layer moving inward), and those who have interests in both of these underrepresented regions (the center layer in the figure). This last group of editors may prove to be the most crucial to understand, as they are carrying the full load of WP:CSB’s mission.Figure CThe End of Geography, or the Reclamation?In The Internet Galaxy, Manuel Castells writes that “the Internet Age has been hailed as the end of geography,” a bold suggestion, but one that has gained traction over the last 15 years as the excitement for the possibilities offered by information communication technologies has often overshadowed structural barriers to participation like the Digital Divide (207). Castells goes on to amend the “end of geography” thesis by showing how global information flows and regional Internet access rates, while creating a new “map” of the world in many ways, is still closely tied to power structures in the analog world. The Internet Age: “redefines distance but does not cancel geography” (207). 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Introduction This article explores the phenomenon of the Creative City in the context of Aberdeen, Scotland’s third-largest city. The common perception of Aberdeen is likely to revolve around its status, for the last 50 years, as Europe’s Oil & Gas Capital. However, for more than a decade Aberdeen’s city planners have sought to incorporate creativity and culture in their placemaking. The most visible expression of this was the unsuccessful 2013 bid to become the UK City of Culture 2017 (CoC), which was referred to as a “reality check” by Marie Boulton (BBC), the councillor charged with the culture portfolio. This article reviews and appraises subsequent policies and actions. It looks at Aberdeen’s history and its current Cultural Strategy and how events have supported or inhibited the reimagining of Aberdeen as a Creative and Cultural City. Landry’s “Lineages of the Creative City” tracks the rise in interest around culture and creative sectors and highlights that there is more to the creative city than economic growth, positing that a creative city is a holistic environment in which “ordinary people can make the extra-ordinary happen” (2). Comunian develops Landry’s concept of hard (infrastructural) assets and soft (people and activity) assets by introducing Complexity Theory to examine the interactions between the two. Comunian argues that a city should be understood as a complex adaptive system (CAS) and that the interconnectivity of consumption and production, micro and macro, and networks of actors must be incorporated into policy thinking. Creating physical assets without regard to what happens in and around them does not build a creative city. Aberdeen: Context and History Important when considering Aberdeen is its remoteness: 66 miles north of its closest city neighbour Dundee, 90 miles north of Edinburgh and 125 miles north-east of Glasgow. For Aberdonians travel is a necessity to connect with other cultural centres whether in Scotland, the UK, Europe, or further afield, making Aberdeen’s nearly 900-year-old port a key asset. Sitting at the mouth of the River Dee, which marks Aberdeen’s southern boundary, this key transport hub has long been central to Aberdeen’s culture giving rise to two of the oldest established businesses in the UK: the Port of Aberdeen (1136) and the Shore Porter’s Society (1498). Fishing and trade with Europe thrived and connections with the continent led to the establishment of Aberdeen’s first university: King’s College (Scotland’s third and the UK’s fifth) in 1495. A second, Marischal College, was established in 1593, joining forces with King’s in 1860 to become the University of Aberdeen. The building created in 1837 to house Marischal College is the second-largest granite building in the world (VisitAberdeenshire, Marischal) and now home to Aberdeen City Council (ACC). Robert Gordon University (RGU), awarded university status in 1992, grew out of an institution established in 1729 (RGU, Our History); this period marked the dawning of the Scottish Enlightenment when Aberdeen’s Wise Club were key to an intellectual discourse that changed western thinking (RSA). Gray’s School of Art, now part of RGU, was established in 1885, at the same time as Aberdeen Art Gallery which holds a collection of national significance (ACC, Art Gallery). Aberdeen’s northern boundary is marked by its second river, the River Don, which has also contributed to the city’s history, economics, and culture. For centuries, paper and woollen mills, including the world-famous Crombie, thrived on its banks and textile production was the city’s largest employer, with one mill employing 3,000 staff (P&J, Broadford). While the city and surrounds have been home to notable creatives, including writers Lewis Grassic Gibbon and Lord Byron; musicians Annie Lennox, Dame Evelyn Glennie, and Emeli Sandé; fashion designer Bill Gibb and dancer Michael Clark, it has struggled to attract and retain creative talent, and there is a familiar exodus of art school graduates to the larger and more accepted creative cities of Glasgow, Edinburgh, and London. In 2013, at the time of the CoC bid, ACC recognised that creative industries graduates leaving the city was “a serious issue” (ACC, Cultural Mapping 1). The City of Culture Bid This recognition came at a time when ACC acknowledged that Aberdeen, with already low unemployment, required an influx of workforce. An ACC document (Cultural Mapping) cites Richard Florida’s proposal that a strong cultural offer attracts skilled workers to a city, adding that they “look for a lively cultural life in their choice of location” (7) and quoting an oil executive: “our poor city centre is often cited as a major obstacle in attracting people” (7). Changing the image of the city to attract new residents appears to have been a key motivation for the CoC bid. The CoC assessor noted this in their review of the bid, citing a report that 120,000 recruits were required in the city and agreeing that Aberdeen needed to “change perceptions of the city to retain and attract talent” (Regeneris 1). Aberdeen’s CoC bid was rejected at the first shortlisting stage, with feedback that the artistic vision “lacked depth” and “that cultural activity in the city was weaker than in several other bidding areas” (Regeneris 3). In an exploration of the bidding process, McGillivray and Turner highlight two factors which link to other concerns and feedback about the bid. Firstly, they compare Aberdeen’s choice of a Bid Manager from the business community with Paisley’s choice of one from their local arts sector in their bid for CoC 2021, which was successful in being shortlisted, highlighting different motivators behind the bids. Secondly, Aberdeen secured a bid team member from “Pafos’s bid to be 2017 European Capital of Culture (ECC), who subsequently played an important role” for Kalamata’s 2021 ECC bid (41), showing Aberdeen’s reluctance to develop local talent. A Decade of Investment ACC responded to the “reality check” with a series of investments in the hard assets of the city. Major refurbishment of two key buildings, the Music Hall and the Art Gallery, caused them both to be closed for several years, significantly diminishing the cultural offer in the city. The Music Hall re-opened in 2018 (Creative Scotland) and the Art Gallery in 2019 (McLean). In 2021, the extended and updated Art Gallery was named “Scotland’s building of the year” by the Royal Incorporation of Architects in Scotland (RIAS) (Museums Association). Concurrent with this was the development of “Europe’s largest new events complex, TECA [now P&J live] part financed through a £370 million stock market bond issue” (InvestAberdeen). Another cultural asset of the city which has been undergoing a facelift since 2019 is Union Terrace Gardens (UTG), the green heart of the city centre, gifted to the public in 1877. The development of this asset has had a chequered history. In 2008 it had been awarded “funding from Aberdeen Council (£3 million), the Scottish Arts Council (£4.3M) and Scottish Enterprise (£2 million)” (Aberdeenvoice) to realise a new multi-disciplinary contemporary art centre to be called ‘Northern Light’ and housed in a purpose-designed building (Brizac Gonzalez). The project, led by Peacock Visual arts, a printmaking centre of excellence and gallery founded in 1974, had secured planning permission. It would host Peacock Visual Arts, City Moves dance company, and the ACC arts development team. It echoed similar cultural partnership approaches, such as Dundee Contemporary Arts, although notably without involvement from the universities. Three months later, a counterbid to radically re-think UTG as a vast new city square was proposed by oil tycoon Sir Ian Wood, who backed the proposal with £50 million of his own funds, requiring matching finance by the city and ownership of the Gardens passing to private hands. Resistance to these plans came from ‘Friends of UTG’, and a public consultation was held. ACC voted to adopt Wood’s plans and drop those of Peacock, but a change of administration in the local authority overturned Wood’s plans in August 2012. A significant portion of the funding granted to the Northern Lights project was consumed in the heated public debate and the remainder was lost to the city, as was the Wood money, providing a highly charged backdrop to the CoC bid and an unfortunate divide created between the business and culture sectors that is arguably still discernible in the city today. According to the Aberdeen & Grampian Chamber of Commerce (AGCC) 2022 Investment Tracker, the nearly complete UTG transformation has cost £28.3m. The AGCC trackers since 2016 provide a useful reference for a wider view of investment in the region over this period. During this period, ACC commissioned two festivals: Spectra (ACC, Culture Programme 5), a festival of light curated by a Manchester-based organisation, and NuArt (VisitAberdeenshire, Nuart), a street-art festival curated by a Stavanger-based team. Both festivals deliver large-scale public spectacles but have little impact on the development of the cultural sector in the city. The drivers of footfall, income generation, and tourism are key motivators for these festivals, supporting a prevailing narrative of cultural consumption over cultural production in the city, despite Regeneris’s concerns about “importing of cultural activity, which might not leave behind a cultural sector” (1) and ACC’s own published concerns (ACC, Cultural Mapping). It is important to note that in 2014 the oil and gas industry that brought prosperity to Aberdeen was severely impacted upon by a drop in price and revenue. Many jobs were lost, people left the city, and housing prices, previously inflated, fell dramatically. The attention of the authorities turned to economic regeneration of the city and in 2015, the Aberdeen City Region Deal (UK Gov), bringing £250m to the region, (REF) was signed between the UK Government, Scottish Government, ACC, Aberdeenshire Council, and Opportunity North East (ONE). ONE “is the private sector leader and catalyst for economic diversification in northeast Scotland” with board members from industry, enterprise, AGCC, the councils, the universities, the harbour, and NHS. ONE focuses on five ‘pillars’: Digital Technology, Energy, Life Sciences, Tourism and Food, and Drink & Agriculture. A Decade of Creativity and Cultural Development Aberdeen’s ambitious cultural capital infrastructure spending of the last decade has seen the creation or refurbishment of significant hard assets in the city. The development of people (Cohendet et al.), the soft assets that Landry and Comunian agree are essential to the complex system that is a Creative City, has also seen development over this time. In 2014, RGU commissioned a review of Creative Industries in the North East of Scotland. The report notes that: the cultural sector in the region is strong at the grass roots end, but less so the higher up the scale it goes. There is no producing theatre, and no signature events or assets, although the revitalised art gallery might provide an opportunity to address this. (Ekos 2) This was followed by an international conference at which other energy cities (Calgary, Houston, Perth, and Oslo) presented their culture strategies, providing useful comparators for Aberdeen and a second RGU report (RGU, Regenerating). A third report, (RGU, New North), set out a vision for the region’s cultural future. The reports recommend strategy, leadership, and vision in the development of the cultural and creative soft assets of the region and the need to create conditions for graduate and practitioner retention. Also in 2014, RGU initiated the Look Again Festival of Art and Design, an annual festival to address a gap in the city festival roster and meet a need arising from the closure of both Art Gallery and Music Hall for refurbishment. The first festival took place in 2015 with a weekend-long public event showcasing a series of thought-provoking installations and events which demonstrated a clear appetite amongst the public and partner organisations for more activity of this type. Between 2015 and 2019, the festivals grew from strength to strength and increased in size and ambition, “carving out a new creative community in Aberdeen” (Williams). The 2019 festival involved 119 creatives, the majority from the region, and created 62 paid opportunities. Look Again expanded and became a constant presence and vehicle for sectoral and skills development, supporting students, graduates, volunteers, and new collectives, focussing on social capital and the intangible creative community assets in the city. Creative practitioners were supported with a series of programmes such as ‘Cultivate’ (2018), funded by Creative Scotland, that provided mentoring to strengthen business sustainability and networking events to improve connectivity in the sector. Cultivate also provided an opportunity to undertake further research, and a survey of over 100 small and micro creative businesses presented a view of a tenacious sector, committed to staying in the region but lacking structured and tailored support. The project report noted consistent messages about the need for “a louder voice for the sector” and concluded that further work was needed to better profile, support, and connect the sector (Cultivate 15). Comunian’s work supports this call to give greater consideration to the interplay of the agents in the creation of a strong creative city. In 2019, Look Again’s evolving role in creative sector skills development was recognised when they became part of Gray’s School of Art. A partnership quickly formed with the newly created Entrepreneurship & Innovation Group (EIG), a team formed within RGU to drive entrepreneurial thinking across all schools of the university. Together, Look Again and EIG ran a Creative Accelerator which became a prototype for a validated Creative Entrepreneurship post-graduate short-course that has supported around 120 creative graduates and practitioners with tailored business skills, contextual thinking, and extended peer networks. Meanwhile, another Look Again collaboration with the newly re-opened Art Gallery provided pop-up design events that many of these small businesses took part in, connecting them with public-facing retail opportunities and, for some, acquisitions for the Gallery’s collection. Culture Aberdeen During this time and after a period of public consultation, a new collaborative group, ‘Culture Aberdeen’, emerged. Membership of the group includes many regional cultural and arts organisations including ACC, both universities, and Aberdeen Civic Forum, which seeks “to bring the voice and views of all communities to every possible level of decision making”. The group subsequently published Culture Aberdeen: A Culture Strategy for the City of Aberdeen 2018-2028, which was endorsed by ACC in their first Cultural Investment Impact Report. The strategy sets out a series of cultural ambitions including a bid to become a UNESCO Creative City, establishing an Aberdeen Biennale, and becoming a national centre of excellence for an (unspecified) artform. This collaboration brings a uniting vision to Aberdeen’s creative activity and places of culture and presents a more compelling identity as a creative city. It also begins to map to Comunian’s concept of CAS and establish a framework for realising the potential of hard assets by strategically envisioning and leading the agents, activities, and development of the city’s creative sector. Challenges for Delivery of the Strategy In delivering a strategy based on collaborative efforts, it is essential to have shared goals and strong governance “based on characteristics such as trust, shared values, implicit standards, collaboration, and consultation” (Butcher et al. 77). Situations like Aberdeen’s tentative bid for UNESO Creative City status, which began in late 2018 but was halted in early 2019, suggest that shared goals and clear governance may not be in place. Wishing to join other UNESCO cities across Scotland – Edinburgh (Literature), Glasgow (Music), and Dundee (Design) –, Aberdeen had set its sights on ‘City of Craft and Folk Art’; that title subsequently went to the city of Perth in 2022, limiting Aberdeen’s future hopes of securing UNESCO Creative City status. In 2022, Aberdeen is nearly halfway through its strategy timeline; to achieve its vision by 2028, the leadership recommended in 2014 needs to be established and given proper authority and backing. Covid-19 has been particularly disruptive for the strategy, arriving early in its implementation and lasting for two years during which collaborators have, understandably, had to attend to core business and crisis management. Picking up the threads of collaborative activity at the same time as ‘returning to normal’ will be challenging. The financial impacts of Covid-19 have also hit arts organisations and local councils particularly hard, creating survival challenges that displace future investment plans. The devastation caused to city centres across the UK as shops close and retail moves online is keenly felt in Aberdeen. Yet the pandemic has also seen the growth of pockets of new activity. With falling demand for business space resulting in more ‘meanwhile spaces’ and lower rents, practitioners have been able to access or secure spaces that were previously prohibitive. Deemouth Artists’ Studios, an artist-run initiative, has provided a vital locus of support and connectivity for creatives in the city, doubling in size over the past two years. ‘We Are Here Scotland’ arrived in response to the resurgent Black Lives Matter movement in 2020, as a Community Interest Company initiated in Aberdeen to support black creatives and creatives of colour across Scotland. Initiatives such as EP Spaces that re-purpose empty offices as studios have created a resource, albeit precarious, for scores of recent creative graduates, supporting an emerging creative community. The consequences of the pandemic for the decade of cultural investment and creative development are yet to be understood, but disrupted strategies are hard to rekindle. Culture Aberdeen’s ability to resolve or influence these factors is unclear. As a voluntary network without a cohesive role or formal status in the provision of culture in the city, and little funding and few staff to advocate on its behalf, it probably lacks the strength of leadership required. Nevertheless, work is underway to refresh the strategy in response to the post-pandemic needs of the city and culture, and the Creative Industries more broadly, are, once again, beginning to be seen as part of the solution to recovery as new narratives emerge. There is a strong desire in the city’s and region’s creative communities to nurture, realise, and retain emerging talent to authentically enrich the city’s culture. Since the 2013 failed CoC bid, much has been done to rekindle confidence and shine a light on the rich creative culture that exists in Aberdeen, and creative communities are gaining a new voice for their work. 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