Academic literature on the topic 'Lucan (39-65)'

BackgroundTofacitinib, an oral Janus Kinase inhibitor, is indicated for the treatment of adult patients with moderate to severe active rheumatoid arthritis (RA).ObjectivesTo describe the safety profile of Tofacitinib in a French prospective observational study DeFacTo.MethodsThe safety profile of tofacitinib was assessed using interim data from a descriptive analysis of patients who took at least one dose of tofacitinib in the DeFacTo study.ResultsAmong 314 patients enrolled in the study, 306 received tofacitinib and were included in the safety analysis, including 274 patients with a follow-up ≥ 18 months (POP2) on 03/15/22 date of analysis) with a median exposure duration of 538 [Q1; Q3: 381; 554] days. 113 patients (41.2%) were still on tofacitinib (39 discontinued, 122 missing data regarding prescription). At inclusion, 78.3% of the 306 pts were women with a mean (± standard deviation) age of 59.5 ± 11.5 years, median disease duration of 8.9 years [Q1; Q3: 4.1; 18.9]. There was a history of cardiovascular (CV) disease in 11.9% of cases (including 4.6% myocardial infarction (MI), 5.0% stroke/transient ischemic attack (TIA), 1.7% heart failure, and 1.7% peripheral arterial disease); 5.6% history of cancer, 16.8% history of infection, and 46.6% smoker/former smoker. Tofacitinib was prescribed in combination with a csDMARD in 61.1% of patients and corticosteroids in 56.2% of cases. The results showed that adverse events (AEs) were reported in 54.2% of the 306 patients, 14.4% were considered as serious. Infections were found in 22.2% of patients, no deaths were reported (Table 1).Table 1.Real-life and age-specific safety data for tofacitinibN, (%)< 65 ans (n=193)≥ 65 ans (n=111)Total (n=306*)Adverse events (AEs)104 (53.9)62 (55.9)166 (54.2)Serious adverse events21 (10.9)23 (20.7)44 (14.4)Infection41 (21.2)27 (24.3)68 (22.2)Herpes Zoster6 (3.1)6 (5.4)12 (3.9)Serious AEs of special interestSerious infection5 (2.6)4 (3.6)9 (2.9)Herpes zosterTuberculosis1 (0.5)0 (0.0)0 (0.0)2 (1.8)1 (0.3)2 (0.7)Cancer1 (0.5)1 (0.9)2 (0.7)CV eventⴕ1 (0.5)1 (0.9)2 (0.7)VTEⱡ0 (0.0)2 (1.8)2 (0.7)Death0 (0.0)0 (0.0)0 (0.0)*2 patients with missing age but counted in the total. ⴕ cardiovascular event (Evt): non-fatal MI and stroke + CV death. ⱡ VTE (venous thromboembolic disease): deep vein thrombosis + pulmonary embolism.ConclusionThese intermediate, descriptive results show a safety profile of tofacitinib in real-life RA similar to the one previously reported in clinical and observational studies.[1-2]References[1]Wollenhaupt et al. Arthritis Research & Therapy (2019) 21:89https://doi.org/10.1186/s13075-019-1866-2[2]Kremer et al. ACR Open Rheumatology 2021. DOI 10.1002/acr2.11232AcknowledgementsThis study was sponsored by Pfizer.Disclosure of InterestsCécile Gaujoux-Viala Speakers bureau: AbbVie; Amgen; Bristol-Myers Squibb; Celgene; Eli Lilly; Galapagos; Gilead Sciences, Inc.; Janssen; Medac; Merck-Serono; Mylan; Nordic Pharma; Novartis; Pfizer; Roche; Sandoz; Sanofi; and UCB, Consultant of: AbbVie; Amgen; Bristol-Myers Squibb; Celgene; Eli Lilly; Galapagos; Gilead Sciences, Inc.; Janssen; Medac; Merck-Serono; Mylan; Nordic Pharma; Novartis; Pfizer; Roche; Sandoz; Sanofi; and UCB, Andre BASCH Consultant of: Janssen, Novartis, Amgen, BMS, Abbvie, Lilly, Pfizer, MSD, UCB, Slim Lassoued: None declared, Fabienne COURY-LUCAS Consultant of: AbbVie, Bristol-Myers Squibb, Janssen, Lilly, MSD, Novartis and Pfizer, Grant/research support from: AbbVie, Biogen, Roche Chugai, Pfizer, and UCB, Meriem Kessouri Shareholder of: Pfizer, Employee of: Pfizer, Yves Brault Shareholder of: Pfizer, Employee of: Pfizer, Thierry Lequerre Consultant of: Abbvie, BMS, Boeringher, Lilly, Medac, MSD, Nordic Pharma, Novartis, Pfizer, Roche – Chugai, Sanofi, UCB, Carine Salliot Consultant of: Biogen, Lilly, Novartis, Roche Chugai, Pfizer.

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This article studies whether firm-level and country-level factors affect to the corporation's debt maturity in case of Vietnam or not. The paper adopts the balance panel data of 267 listed companies on two trading board HOSE and HNX in the period from 2008 to 2015, estimated by FEM, REM, 2SLS and GMM method. To intrinsic factors, research results show that financial leverage and default risk control have high positive statistical significance with the debt maturity, but tangible assets are lower than those factors. In addition, growth opportunities and company quality have negative impacts to the debt maturity. To external factors, the results point out that economic growth, stock market development and governmental regulation's efficiency demonstrate the positive relationship to the debt maturity with fairly low correlation levels. 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03–438 Appel, Christine (Dublin City U., Ireland; Email: christine.appel@dcu.ie) and Mullen, Tony (U. of Groningen, The Netherlands). A new tool for teachers and researchers involved in e-mail tandem language learning. ReCALL (Cambridge, UK), 14, 2 (2002), 195–208.03–439 Atlan, Janet (IUT – Université Nancy 2, France; Email: janet.atlan@univ-nancy2.fr). La recherche sur les stratégies d'apprentissage appliquée à l'apprentissage des langues. [Learning strategies research applied to language learning.] Stratégies d'apprentissage (Toulouse, France), 12 (2003), 1–32.03–440 Aviezer, Ora (Oranim Teachers College & U. of Haifa, Israel; Email: aviezer@research.haifa.ac.il). Bedtime talk of three-year-olds: collaborative repair of miscommunication. First Language (Bucks., UK), 23, 1 (2003), 117–139.03–441 Block, David (Institute of Education, University of London). Destabilized identities and cosmopolitanism across language and cultural borders: two case studies. Hong Kong Journal of Applied Linguistics. (Hong Kong, China), 7, 2 (2002), 1–19.03–442 Brantmeier, Cindy (Washington U., USA). Does gender make a difference? Passage content and comprehension in second language reading. Reading in a Foreign Language (Hawaii, USA), 15, 1 (2003), 1–27.03–443 Cameron, L. (University of Leeds, UK; Email: L.J.Cameron@education.leeds.ac.uk). Challenges for ELT from the expansion in teaching children. ELT Journal, 57, 2 (2003), 105–112.03–444 Carter, Beverley-Anne (University of the West Indies, Trinidad and Tobago). Helping learners come of age: learner autonomy in a Caribbean context. Hong Kong Journal of Applied Linguistics (Hong Kong, China), 7, 2 (2002), 20–38.03–445 Cenos, Jasone (U. del País Vasco, Vitoria-Gasteiz, Spain; Email: fipceirj@vc.ehu.es). Facteurs déterminant l'acquisition d'une L3: âge, développement cognitive et milieu. [Factors determining the acquisition of an L3: age, cognitive development and environment.] Aile 18, 2002, 37–51.03–446 Chini, Danielle (Université de Pau et des Pays de l'Adour, France). La situation d'apprentissage: d'un lieu externe à un espace interne. [Learning situation: from external to internal space.] Anglais de Specialité37–38 (2002), 95–108.03–447 Condon, Nora and Kelly, Peter (U. Namur, Belgium). Does cognitive linguistics have anything to offer English language learners in their efforts to master phrasal verbs?ITL Review of Applied Linguistics (Leuven, Belgium), 137–138 (2002), 205–231.03–448 Crawford Camiciottoli, Belinda (Florence U., Italy). Metadiscourse and ESP reading comprehension: An exploratory study. Reading in a Foreign Language (Hawaii, USA), 15, 1 (2003), 28–44.03–449 Dykstra-Pruim, Pennylyn (Calvin College, Michigan, USA). Speaking, Writing, and Explicit Rule Knowledge: Toward an Understanding of How They Interrelate. Foreign Language Annals (New York, USA), 36, 1 (2003), 66–75.03–450 Giguère, Jacinthe, Giasson, Jocelyne and Simard, Claude (Université Laval, Canada; Email: jacinthegiguere@hotmail.com). Les relations entre la lecture et l'écriture: Représentations d'élèves de différents niveaux scolaires et de différents niveaux d'habilité. [Relationships between reading and writing: The perceptions of students of different grade levels and different ability levels.] The Canadian Journal of Applied Linguistics (Canada), 5, 1–2 (2003), 23–50.03–451 Gregersen, Tammy S. (Northern Iowa U., USA). To Err is Human: A Reminder to Teachers of Language-Anxious Students. Foreign Language Annals (New York, USA), 36, 1 (2003), 25–32.03–452 Haznedar, Belma (Bounaziçi U., Turkey; Email: haznedab@boun.edu.tr). The status of functional categories in child second language acquisition: evidence from the acquisition of CP.Second Language Research (London, UK), 19, 1 (2003), 1–41.03–453 Hesling, Isabelle (Université Victor Segalen Bordeaux 2, France). L'hémisphère cérébral droit: un atout en anglais de spécialité. [The right brain hemisphere: an advantage in specialised English.] Anglais de Specialité, 37–38 (2002), 121–140.03–454 Hilton, Heather (Université de Savoie). Modèles de l'acquisition lexicale en L2: où en sommes-nous? [Models of lexical acquisition for L2: where are we?] Anglais de Spécialité (Bordeaux, France), 35–36 (2000), 201–217.03–455 Iwashita, Noriko (Melbourne U., Australia; Email: norikoi@unimelb.edu.au). Negative feedback and positive evidence in task-based interaction. Differential effects on L2 development. Studies in Second Language Acquisition (Cambridge, UK), 25 (2003), 1–36.03–456 Johnson, Sharon P. and English, Kathryn (Virginia State U., USA). Images, myths, and realities across cultures. The French Review (Carbondale, IL, USA), 76, 3 (2003), 492–505.03–457 Kobayashi, Masaki (U. of British Columbia, Canada). The role of peer support in ESL students' accomplishment of oral academic tasks. The Canadian Modern Language Review/La Revue Canadienne des Langues Vivantes, 59, 3 (2003), 337–368.03–458 Lam, Agnes (University of Hong Kong). Language policy and learning experience in China: Six case histories. Hong Kong Journal of Applied Linguistics (Hong Kong, China), 7, 2 (2002), 57–72.03–459 Laufer, Batia (U. of Haifa, Israel; Email: batialau@research.haifa.ac.il). Vocabulary acquisition in a second language: do learners really acquire most vocabulary by reading? Some empirical evidence. The Canadian Modern Language Review/La Revue Ccanadienne des Langues Vivantes, 59, 4 (2003), 567–587.03–460 Lavoie, Natalie (Université du Québec à Rimouski, Email: natalie_lavoie@uqar.qc.ca). Les conceptions des parents de scripteurs débutants relativement à l'apprentissage de l'écriture. [The perceptions of beginner writers' parents relating to the process of learning to write.] The Canadian Journal of Applied Linguistics (Canada), 5, 1–2 (2003), 51–64.03–461 Leeman, Jennifer (George Mason U., Fairfax, USA; Email: jleeman@gmu.edu). Recasts and second language development: beyond negative evidence. Studies in Second Language Acquisition (Cambridge, UK), 25 (2003), 37–63.03–462 Loucky, John Paul (Seinan Women's U., Japan) Improving access to target vocabulary using computerized bilingual dictionaries. ReCALL (Cambridge, UK), 14, 2 (2002), 293–312.03–463 MacIntyre, Peter D. (U. College of Cape Breton, Sydney, Canada; Email: petermacintyre@uccb.ca), Baker, Susan C., Clément, Richard and Donovan, Leslie A. Talking in order to learn: willingness to communicate and intensive language programs. The Canadian Modern Language Review/La Revue canadienne des langues vivantes, 59, 4 (2003), 589–607.03–464 McAlpine, Janice and Myles, Johanne (Queens U., Ontario, Canada; Email: jm27@post.queensu.ca). Capturing phraseology in an online dictionary for advanced users of English as a second language: a response to user needs. System (Oxford, UK), 31, 1 (2003), 71–84.03–465 Mennim, P. (The University of Edinburgh, Scotland, UK). Rehearsed oral L2 output and reactive focus on form. ELT Journal, 57, 2 (2003), 130–138.03–466 Muñoz, Carmen (U. of Barcelona, Spain; Email: munoz@fil.ub.es). Le rythme d'acquisition des savoirs communicationnels chez des apprenants guidés: l'influence de l'âge. [Patterns of acquisition of communication skills in guided learning: the influence of age.] Aile, 18 (2002), 53–77.03–467 Newcombe, Lynda Pritchard (Cardiff University, Wales, UK). “A tough hill to climb alone” – Welsh learners speak. Hong Kong Journal of Applied Linguistics (Hong Kong, China), 7, 2 (2002), 39–56.03–468 Newman, Michael, Trenchs-Parera, Mireia and Pujol, Mercè (CUNY, USA; Email: mnewman@qc.edu). Core academic literacy principles versus culture-specific practices: a multi-case study of academic achievement. English for Specific Purposes (Amsterdam, NE), 22, 1 (2003), 45–71.03–469 Nsangou, Maryse. Problemursachen und Problemlösung in der zweitsprachlichen Kommunikation. [Problems in L2 communication: causes and solutions.] Deutsch als Fremdsprache, 39, 4 (2002), 232–237.03–470 O'Grady, William (U. of Hawaii, USA; Email: ogrady@hawaii.edu) and Yamashita, Yoshie. Partial agreement in second-language acquisition. Linguistics (Berlin, Germany), 40, 5 (2002), 1011–1019.03–471 Payne, J. Scott (Middlebury College, USA) and Whitney, Paul J. Developing L2 Oral Proficiency through Synchronous CMC: Output, Working Memory, and Interlanguage Development. CALICO Journal (Texas, USA), 20, 1 (2002), 7–32.03–472 Pekarek Doehler, Simona (U. of Basle, Switzerland). Situer l'acquisition des langues secondes dans les activités sociales: l'apport d'une perspective interactionniste. [Second-language acquisition through social activities: an interactionist perspective.] Babylonia (Comano, Switzerland), 4 (2002), 24–29.03–473 Philp, Jenefer (U. of Tasmania, Australia; Email: philos@tassie.net.au). Constraints on “noticing the gap”. Nonnative speakers' noticing of recasts in NS-NNS interaction. Studies in Second Language Acquisition (Cambridge, UK), 25 (2003), 99–126.03–474 Prévost, Philippe (U. Laval, Québec, Canada; Email: philippe.prevost@lli.ulaval.ca). Truncation and missing inflection in initial child L2 German. Studies in Second Language Acquisition (Cambridge, UK), 25 (2003), 65–97.03–475 Pujolá, Joan-Tomás (Universitat de Barcelona, Spain). CALLing for help: researching language learning strategies using help facilities in a web-based multimedia program. ReCALL (Cambridge, UK), 14, 2 (2002), 235–62.03–476 Rees, David (Institut National d'Horticulture d'Angers, France). Role change in interactive learning environments. Stratégies d'apprentissage (Toulouse, France), 12 (2003), 67–75.03–477 Rehner, Katherine, Mougeon, Raymond (York U., Toronto, Canada; Email: krehner@yorku.ca) and Nadasdi, Terry. The learning of sociolinguistic variation by advanced FSL learners. The case ofnousversusonin immersion French. Studies in Second Language Acquisition (Cambridge, UK), 25 (2003), 127–156.03–478 Richter, Regina. Konstruktivistiche Lern- und Mediendesign-Theorie und ihre Umsetzung in multimedialen Sprachlernprogrammen. [Constructivist learning- and media-design theory and its application in multimedia language-learning programmes.] Deutsch als Fremdsprache, 39, 4 (2002), 201–206.03–479 Rinder, Ann. Das konstruktivistische Lernparadigma und die neuen Medien. [The constructivist learning paradigm and the new media.] Info DaF (Munich, Germany), 30, 1 (2003), 3–22.03–480 Rott, Susanne and Williams, Jessica (U. of Chicago at Illinois, USA). Making form-meaning connections while reading: A qualitative analysis of word processing. Reading in a Foreign Language (Hawaii, USA), 15, 1 (2003), 45–75.03–481 Shinichi, Izumi (Sophia U., Japan; Email: s-izumi@hoffman.cc.sophia.ac.jp). Output, input enhancement, and the noticing hypothesis. Studies in Second Language Acquisition (Cambridge, UK), 24, 4 (2002), 541–577.03–482 Sifakis, N. C. (Hellenic Open U., Greece; Email: nicossif@hol.gr). Applying the adult education framework to ESP curriculum development: an integrative model. English for Specific Purposes (Amsterdam, NE), 22, 1 (2003), 195–211.03–483 Slabakova, Roumyana (U. of Iowa, USA; Email: roumyana-slabakova@uiowa.edu). Semantic evidence for functional categories in interlanguage grammars. Second Language Research (London, UK), 19, 1 (2003), 42–75.03–484 Soboleva, Olga and Tronenko, Natalia (LSE, UK; Email: O.Sobolev@lse.ac.uk). A Russian multimedia learning package for classroom use and self-study. Computer Assisted Language Learning (Lisse, NE), 15, 5 (2002), 483–499.03–485 Stockwell, Glenn (Kumamoto Gakuen U., Japan) and Harrington, Michael. The Incidental Development of L2 Proficiency in NS-NNS E-mail Interactions. CALICO Journal (Texas, USA), 20, 2 (2003), 337–359.03–486 Van de Craats, Ineke (Nijmegen U., Netherlands). The role of the mother tongue in second language learning. Babylonia (Comano, Switzerland), 4 (2002), 19–22.03–487 Vidal, K. (U. Autonoma de Madrid, Spain). Academic Listening: A Source of Vocabulary Acquisition?Applied Linguistics, 24, 1 (2003), 56–89.03–488 Wakabayashi, Shigenori (Gunma Prefectural Women's U., Japan; Email: waka@gpwu.ac.jp). Contributions of the study of Japanese as a second language to our general understanding of second language acquisition and the definition of second language acquisition research. Second Language Research (London, UK), 19, 1 (2003), 76–94.03–489 Ward, Monica (Dublin City U., Ireland). Reusable XML technologies and the development of language learning materials. ReCALL (Cambridge, UK), 14, 2 (2002), 283–92.03–490 Wendt, Michael (U. Bremen, Germany; Email: inform@uni-bremen.de). Context, culture, and construction: research implications of theory formation in foreign language methodology. Language, Culture and Curriculum (Clevedon, UK), 15, 3 (2002), 284–297.03–491 Wernsing, Armin Volkmar (Maria-Sybilla-Merian-Gymnasium/Studienseminar, Krefeld, Germany). Über die Zuversicht und andere Emotionen beim Fremdsprachenlernen. [Confidence and other emotions in foreign-language learning.] Fremdsprachenunterricht (Berlin, Germany), 2 (2003), 81–87.03–492 Wintergerst, Ann, DeCapua, Andrea and Verna, Marilyn (St. Johns U. New York, USA). An analysis of one learning styles instrument for language students. TESL Canada Journal (Burnaby, BC, Canada), 20, 1 (2002), 16–37.03–493 Yang, Anson and Lau, Lucas (City U. of Hong Kong; Email: enanson@cityu.edu.hk). Student attitudes to the learning of English at secondary and tertiary levels. System (Oxford, UK), 31, 1 (2003), 107–123.03–494 Yoshii, Makoto (Baiko Gakuin U., Japan) and Flaitz, Jeffra. Second Language Incident Vocabulary Retention: The Effect of Text and Picture Annotation Types. CALICO Journal (Texas, USA), 20, 1 (2002), 33–58.03–495 Yuan, F. (U. of Pennsylvania, USA) and Ellis, R. The Effects of Pre-Task Planning and On-Line Planning on Fluency, Complexity and Accuracy in L2 Monologic Oral Production. Applied Linguistics, 24, 1 (2003), 1–27.

03—230 Andress, Reinhard (St. Louis U., USA), James, Charles J., Jurasek, Barbara, Lalande II, John F., Lovik, Thomas A., Lund, Deborah, Stoyak, Daniel P., Tatlock, Lynne and Wipf, Joseph A.. Maintaining the momentum from high school to college: Report and recommendations. Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 1—14.03—231 Andrews, David R. (Georgetown U., USA.). Teaching the Russian heritage learner. Slavonic and East European Journal (Tucson, Arizona, USA), 45, 3 (2001), 519—30.03—232 Ashby, Wendy and Ostertag, Veronica (U. of Arizona, USA). How well can a computer program teach German culture? Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 79—85.03—233 Bateman, Blair E. (937 17th Avenue, SE Minneapolis, MN 55414, USA; Email: bate0048@umn.edu). Promoting openness toward culture learning: Ethnographic interviews for students of Spanish. The Modern Language Journal (Malden, MA, USA), 86, 3 (2002), 318—31.03—234 Belz, Julie A. and Müller-Hartmann, Andreas. Deutsche-amerikanische Telekollaboration im Fremdsprachenuterricht – Lernende im Kreuzfeuer der institutionellen Zwänge. [German-American tele-collaboration in foreign language teaching – learners in the crossfire of institutional constraints.] Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 36, 1 (2002), 68—78.03—235 Bosher, Susan and Smalkoski, Kari (The Coll. of St. Catherine, St. Paul, USA; Email: sdbosher@stkate.edu). From needs analysis to curriculum development: Designing a course in health-care communication for immigrant students in the USA. English for Specific Purposes (Amsterdam, The Netherlands), 21, 1 (2002), 59—79.03—236 Brandl, Klaus (U. of Washington, USA; Email: brandl@u.washington.edu). Integrating Internet-based reading materials into the foreign language curriculum: From teacher- to student-centred approaches. Language Learning and Technology (http://llt.msu.edu/), 6, 3 (2002), 87—107.03—237 Bruce, Nigel (Hong Kong U.; Email: njbruce@hku.hk). Dovetailing language and content: Teaching balanced argument in legal problem answer writing. English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 321—45.03—238 Bruton, Anthony (U. of Seville, Spain; Email: abruton@siff.us.es). From tasking purposes to purposing tasks. ELT Journal (Oxford, UK), 56, 3 (2002), 280—95.03—239 Candlin, C. N. (Email: enopera@cityu.edu.hk), Bhatia, V. K. and Jensen, C. H. (City U. of Hong Kong). Developing legal writing materials for English second language learners: Problems and perspectives. English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 299—320.03—240 Chen, Shumei. A contrastive study of complimentary responses in British English and Chinese, with pedagogic implications for ELT in China. Language Issues (Birmingham, UK), 13, 2 (2001), 8—11.03—241 Chudak, Sebastian (Adam-Mickiewicz-Universität, Poznán, Poland). Die Selbstevaluation im Prozess- und Lernerorientierten Fremdsprachenunterricht (Bedeutung, Ziele, Umsetzungsmöglichkeiten). [The self-evaluation of process- and learner-oriented foreign language teaching.] Glottodidactica (Poznań, Poland), 28 (2002), 49—63.03—242 Crosling, Glenda and Ward, Ian (Monash U., Clayton, Australia; Email: glenda.crosling@buseco.monash.edu.au). Oral communication: The workplace needs and uses of business graduate employees. English for Specific Purposes (Amsterdam, The Netherlands), 21, 1 (2002), 41—57.03—243 Davidheiser, James (U. of the South, USA). Classroom approaches to communication: Teaching German with TPRS (Total Physical Response Storytelling). Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 25—35.03—244 Duff, Patricia A. (U. of British Columbia, Canada; Email: patricia.duff@ubc.ca). The discursive co-construction of knowledge, identity, and difference: An ethnography of communication in the high school mainstream. Applied Linguistics (Oxford, UK), 23, 3 (2002), 289—322.03—245 Egbert, Joy (Washington State U., USA; Email: egbert@wsunix.wsu.edu), Paulus, Trena M. and Nakamichi, Yoko. The impact of CALL instruction on classroom computer use: A foundation for rethinking technology in teacher education. Language Learning and Technology (http://llt.msu.edu/), 6, 3 (2002), 108—26.03—246 Einbeck, Kandace (U. of Colorado at Boulder, USA). Using literature to promote cultural fluency in study abroad programs. Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 59—67.03—247 Fallon, Jean M. (Hollins U., Virginia, USA). On foreign ground: One attempt at attracting non-French majors to a French Studies course. Foreign Language Annals (New York, USA), 35, 4 (2002), 405—13.03—248 Furuhata, Hamako (Mount Union Coll., Ohio, USA; Email: furuhah@muc.edu). Learning Japanese in America: A survey of preferred teaching methods. Language, Culture and Curriculum (Clevedon, UK), 15, 2 (2002), 134—42.03—249 Goldstein, Tara (Ontario Inst. for Studies in Ed., U. of Toronto, Canada). No Pain, No Gain: Student playwriting as critical ethnographic language research. The Canadian Modern Language Review/La Revue canadienne des langues vivantes (Toronto, Ont.), 59, 1 (2002), 53—76.03—250 Hu, Guangwei (Nanyang Technological U., Singapore; Email: gwhu@nie.edu.sg). Potential cultural resistance to pedagogical imports: The case of communicative language teaching in China. Language, Culture and Curriculum (Clevedon, UK), 15, 2 (2002), 93—105.03—251 Huang, Jingzi (Monmouth U., New Jersey, USA; Email: jhuang@monmouth.edu). Activities as a vehicle for linguistic and sociocultural knowledge at the elementary level. Language Teaching Research (London, UK), 7, 1 (2003), 3—33.03—252 Hyland, Ken (City U. of Hong Kong; Email: ken.hyland@cityu.edu.hk). Specificity revisited: How far should we go now? English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 385—95.03—253 Jahr, Silke. Die Vermittlung des sprachen Ausdrucks von Emotionen in DaF-Unterricht. [The conveying of the oral expression of emotion in teaching German as a foreign language.] Deutsch als Fremdsprache (Berlin, Germany), 39, 2 (2002), 88–95.03—254 Jung, Yunhee (U. of Alberta, Canada; Email: jhee6539@hanmail.net). Historical review of grammar instruction and current implications. English Teaching (Korea), 57, 3 (2002), 193—213.03—255 Kagan, Olga and Dillon, Kathleen (UCLA, USA & UC Consortium for Language Teaching and Learning, USA). A new perspective on teaching Russian: Focus on the heritage learner. Slavonic and East European Journal (Tucson, Arizona, USA), 45, 3 (2001), 507—18.03—256 Kang, Hoo-Dong (Sungsim Coll. of Foreign Languages, Korea; Email: hdkang2k@hanmail.net). 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Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), a novel coronavirus , is causing a serious worldwide COVID-19 pandemic. The emergence of strains with rapid spread and unpredictable changes is the cause of the increase in morbidity and mortality rates. A number of drugs as well as vaccines are currently being used to relieve symptoms, prevent and treat the disease caused by this virus. However, the number of approved drugs is still very limited due to their effectiveness and side effects. In such a situation, medicinal plants and bioactive compounds are considered a highly valuable source in the development of new antiviral drugs against SARS-CoV-2. This review summarizes medicinal plants and bioactive compounds that have been shown to act on molecular targets involved in the infection and replication of SARS-CoV-2. Keywords: Medicinal plants, bioactive compounds, antivirus, SARS-CoV-2, COVID-19 References [1] R. Lu, X. Zhao, J. Li, P. Niu, B. Yang, H. 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If I find out that you have bought a $90 red light sabre, Tara, well there's going to be trouble. -- Kevin Brabazon A few Saturdays ago, my 71-year old father tried to convince me of imminent responsibilities. As I am considering the purchase of a house, there are mortgages, bank fees and years of misery to endure. Unfortunately, I am not an effective Big Picture Person. The lure of the light sabre is almost too great. For 30 year old Generation Xers like myself, it is more than a cultural object. It is a textual anchor, and a necessary component to any future history of the present. Revelling in the aura of the Australian release for Star Wars: The Phantom Menace, this paper investigates popular memory, an undertheorised affiliation between popular culture and cultural studies.1 The excitement encircling the Star Wars prequel has been justified in terms of 'hype' or marketing. Such judgements frame the men and women cuing for tickets, talking Yodas and light sabres as fools or duped souls who need to get out more. My analysis explores why Star Wars has generated this enthusiasm, and how cultural studies can mobilise this passionate commitment to consider notions of popularity, preservation and ephemerality. We'll always have Tattooine. Star Wars has been a primary popular cultural social formation for a generation. The stories of Luke Skywalker, Princess Leia, Han Solo, Chewbacca, Darth Vader, Yoda, C-3PO and R2D2 offer an alternative narrative for the late 1970s and 1980s. It was a comfort to have the Royal Shakespearian tones of Alec Guinness confirming that the Force would be with us, through economic rationalism, unemployment, Pauline Hanson and Madonna discovering yoga. The Star Wars Trilogy, encompassing A New Hope, The Empire Strikes Back and Return of the Jedi, was released between 1977 and 1983. These films have rarely slipped from public attention, being periodically 'brought back' through new cinematic and video releases. The currency of Star Wars is matched with the other great popular cultural formations of the post-war period: the James Bond series and Star Trek. One reason for the continued success of these programmes is that other writers, film makers and producers cannot leave these texts alone. Bond survives not only through Pierce Brosnan's good looks, but the 'Hey Baby' antics of Austin Powers. Star Trek, through four distinct series, has become an industry that will last longer than Voyager's passage back from the Delta Quadrant. Star Wars, perhaps even more effectively than the other popular cultural heavyweights, has enmeshed itself into other filmic and televisual programming. Films like Spaceballs and television quizzes on Good News Week keep the knowledge system and language current and pertinent.2 Like Umberto Eco realised of Casablanca, Star Wars is "a living example of living textuality" (199). Both films are popular because of imperfections and intertextual archetypes, forming a filmic quilt of sensations and affectivities. Viewers are aware that "the cliches are talking among themselves" (Eco 209). As these cinematic texts move through time, the depth and commitment of these (con)textual dialogues are repeated and reinscribed. To hold on to a memory is to isolate a moment or an image and encircle it with meaning. Each day we experience millions of texts: some are remembered, but most are lost. Some popular cultural texts move from ephemera to popular memory to history. In moving beyond individual reminiscences -- the personal experiences of our lifetime -- we enter the sphere of popular culture. Collective or popular memory is a group or community experience of a textualised reality. For example, during the Second World War, there were many private experiences, but certain moments arch beyond the individual. Songs by Vera Lynn are fully textualised experiences that become the fodder for collective memory. Similarly, Star Wars provides a sense-making mechanism for the 1980s. Like all popular culture, these texts allow myriad readership strategies, but there is collective recognition of relevance and importance. Popular memory is such an important site because it provides us, as cultural critics, with a map of emotionally resonant sites of the past, moments that are linked with specific subjectivities and a commonality of expression. While Star Wars, like all popular cultural formations, has a wide audience, there are specific readings that are pertinent for particular groups. To unify a generation around cultural texts is an act of collective memory. As Harris has suggested, "sometimes, youth does interesting things with its legacy and creatively adapts its problematic into seemingly autonomous cultural forms" (79). Generation X refers to an age cohort born between the mid-1960s and the mid-1970s. Finally cultural studies theorists have found a Grail subculture. Being depthless, ambivalent, sexually repressed and social failures, Xers are a cultural studies dream come true. They were the children of the media revolution. Star Wars is integral to this textualised database. A fan on the night of the first screening corrected a journalist: "we aren't Generation X, we are the Star Wars generation" (Brendon, in Miller 9). An infatuation and reflexivity with the media is the single framework of knowledge in which Xers operate. This shared understanding is the basis for comedy, and particularly revealed (in Australia) in programmes like The Panel and Good News Week. Television themes, lines of film dialogue and contemporary news broadcasts are the basis of the game show. The aesthetics of life transforms television into a real. Or, put another way, "individual lives may be fragmented and confused but McDonald's is universal" (Hopkins 17). A group of textual readers share a literacy, a new way of reading the word and world of texts. Nostalgia is a weapon. The 1990s has been a decade of revivals: from Abba to skateboards, an era of retro reinscription has challenged linear theories of history and popular culture. As Timothy Carter reveals, "we all loved the Star Wars movies when we were younger, and so we naturally look forward to a continuation of those films" (9). The 1980s has often been portrayed as a bad time, of Thatcher and Reagan, cold war brinkmanship, youth unemployment and HIV. For those who were children and (amorphously phrased) 'young adults' of this era, the popular memory is of fluorescent fingerless gloves, Ray Bans, 'Choose Life' t-shirts and bubble skirts. It was an era of styling mousse, big hair, the Wham tan, Kylie and Jason and Rick Astley's dancing. Star Wars action figures gave the films a tangibility, holding the future of the rebellion in our hands (literally). These memories clumsily slop into the cup of the present. The problem with 'youth' is that it is semiotically too rich: the expression is understood, but not explained, by discourses as varied as the educational system, family structures, leisure industries and legal, medical and psychological institutions. It is a term of saturation, where normality is taught, and deviance is monitored. All cultural studies theorists carry the baggage of the Birmingham Centre into any history of youth culture. The taken-for-granted 'youth as resistance' mantra, embodied in Resistance through Rituals and Subculture: The Meaning of Style, transformed young people into the ventriloquist's puppet of cultural studies. The strings of the dancing, smoking, swearing and drinking puppet took many years to cut. The feminist blade of Angela McRobbie did some damage to the fraying filaments, as did Dick Hebdige's reflexive corrections in Hiding in the Light. However, the publications, promotion and pedagogy of Gen X ended the theoretical charade. Gen X, the media sophisticates, played with popular culture, rather than 'proper politics.' In Coupland's Generation X, Claire, one of the main characters believed that "Either our lives become stories, or there's just no way to get through them." ... We know that this is why the three of us left our lives behind us and came to the desert -- to tell stories and to make our own lives worthwhile tales in the process. (8) Television and film are part of this story telling process. This intense connection generated an ironic and reflexive literacy in the media. Television became the basis for personal pleasures and local resistances, resulting in a disciplined mobilisation of popular cultural surfaces. Even better than the real thing. As the youngest of Generation Xers are now in their late twenties, they have moved from McJobs to careers. Robert Kizlik, a teacher trainer at an American community college expressed horror as the lack of 'commonsensical knowledge' from his new students. He conducted a survey for teachers training in the social sciences, assessing their grasp of history. There was one hundred percent recognition of such names as Madonna, Mike Tyson, and Sharon Stone, but they hardly qualify as important social studies content ... . I wondered silently just what it is that these students are going to teach when they become employed ... . The deeper question is not that we have so many high school graduates and third and fourth year college students who are devoid of basic information about American history and culture, but rather, how, in the first place, these students came to have the expectations that they could become teachers. (n. pag.) Kizlik's fear is that the students, regardless of their enthusiasm, had poor recognition of knowledge he deemed significant and worthy. His teaching task, to convince students of the need for non-popular cultural knowledges, has resulted in his course being termed 'boring' or 'hard'. He has been unable to reconcile the convoluted connections between personal stories and televisual narratives. I am reminded (perhaps unhelpfully) of one of the most famous filmic teachers, Mr Holland. Upon being attacked by his superiors for using rock and roll in his classes, he replied that he would use anything to instil in his students a love of music. Working with, rather than against, popular culture is an obvious pedagogical imperative. George Lucas has, for example, confirmed the Oprahfied spirituality of the current age. Obviously Star Wars utilises fables, myths3 and fairy tales to summon the beautiful Princess, the gallant hero and the evil Empire, but has become something more. Star Wars slots cleanly into an era of Body Shop Feminism, John Gray's gender politics and Rikki Lake's relationship management. Brian Johnson and Susan Oh argued that the film is actually a new religion. A long time ago in a galaxy far far away -- late 1970s California -- the known universe of George Lucas came into being. In the beginning, George created Star Wars. And the screen was without form, and void. And George said, 'Let there be light', and there was Industrial Light and Magic. And George divided the light from the darkness, with light sabres, and called the darkness the Evil Empire.... And George saw that it was good. (14) The writers underestimate the profound emotional investment placed in the trilogy by millions of people. Genesis narratives describe the Star Wars phenomenon, but do not analyse it. The reason why the films are important is not only because they are a replacement for religion. Instead, they are an integrated component of popular memory. Johnson and Oh have underestimated the influence of pop culture as "the new religion" (14). It is not a form of cheap grace. The history of ideas is neither linear nor traceable. There is no clear path from Plato to Prozac or Moses to Mogadon. Obi-Wan Kenobi is not a personal trainer for the ailing spirituality of our age. It was Ewan McGregor who fulfilled the Xer dream to be the young Obi Wan. As he has stated, "there is nothing cooler than being a Jedi knight" (qtd. in Grant 15). Having survived feet sawing in Shallow Grave and a painfully large enema in Trainspotting, there are few actors who are better prepared to carry the iconographic burden of a Star Wars prequel. Born in 1971, he is the Molly Ringwall of the 1990s. There is something delicious about the new Obi Wan, that hails what Hicks described as "a sense of awareness and self- awareness, of detached observation, of not taking things seriously, and a use of subtle dry humour" (79). The metaphoric light sabre was passed to McGregor. The pull of the dark side. When fans attend The Phantom Menace, they tend to the past, as to a loved garden. Whether this memory is a monument or a ruin depends on the preservation of the analogue world in the digital realm. The most significant theoretical and discursive task in the present is to disrupt the dual ideologies punctuating the contemporary era: inevitable technological change and progress.4 Only then may theorists ponder the future of a digitised past. Disempowered groups, who were denied a voice and role in the analogue history of the twentieth century, will have inequalities reified and reinforced through the digital archiving of contemporary life. The Web has been pivotal to the new Star Wars film. Lucasfilm has an Internet division and an official Website. Between mid November and May, this site has been accessed twenty million times (Gallott 15). Other sites, such as TheForce.net and Countdown to Star Wars, are a record of the enthusiasm and passion of fans. As Daniel Fallon and Matthew Buchanan have realised, "these sites represent the ultimate in film fandom -- virtual communities where like-minded enthusiasts can bathe in the aura generated by their favourite masterpiece" (27). Screensavers, games, desktop wallpaper, interviews and photo galleries have been downloaded and customised. Some ephemeral responses to The Phantom Menace have been digitally recorded. Yet this moment of audience affectivity will be lost without a consideration of digital memory. The potentials and problems of the digital and analogue environments need to be oriented into critical theories of information, knowledge, entertainment and pleasure. The binary language of computer-mediated communication allows a smooth transference of data. Knowledge and meaning systems are not exchanged as easily. Classifying, organising and preserving information make it useful. Archival procedures have been both late and irregular in their application.5 Bocher and Ihlenfeldt assert that 2500 new web sites are coming on-line every day ("A Higher Signal-to-Noise Ratio"). The difficulties and problems confronting librarians and archivists who wish to preserve digital information is revealed in the Australian government's PADI (Preserving Access to Digital Information) Site. Compared with an object in a museum which may lie undisturbed for years in a storeroom, or a book on a shelf, or even Egyptian hieroglyd on the wall of a tomb, digital information requires much more active maintenance. If we want access to digital information in the future, we must plan and act now. (PADI, "Why Preserve Access to Digital Information?") phics carve The speed of digitisation means that responsibility for preserving cultural texts, and the skills necessary to enact this process, is increasing the pressure facing information professionals. An even greater difficulty when preserving digital information is what to keep, and what to release to the ephemeral winds of cyberspace. 'Qualitative criteria' construct an historical record that restates the ideologies of the powerful. Concerns with quality undermine the voices of the disempowered, displaced and decentred. The media's instability through technological obsolescence adds a time imperative that is absent from other archival discussions.6 While these problems have always taken place in the analogue world, there was a myriad of alternative sites where ephemeral material was stored, such as the family home. Popular cultural information will suffer most from the 'blind spots' of digital archivists. While libraries rarely preserve the ephemera of a time, many homes (including mine) preserve the 'trash' of a culture. A red light sabre, toy dalek, Duran Duran posters and a talking Undertaker are all traces of past obsessions and fandoms. Passion evaporates, and interests morph into new trends. These objects remain in attics, under beds, in boxes and sheds throughout the world. Digital documents necessitate a larger project of preservation, with great financial (and spatial) commitments of technology, software and maintenance. Libraries rarely preserve the ephemera -- the texture and light -- of the analogue world. The digital era reduces the number of fan-based archivists. Subsequently forfeited is the spectrum of interests and ideologies that construct the popular memory of a culture. Once bits replace atoms, the recorded world becomes structured by digital codes. Only particular texts will be significant enough to store digitally. Samuel Florman stated that "in the digital age nothing need be lost; do we face the prospect of drowning in trivia as the generations succeed each other?" (n. pag.) The trivia of academics may be the fodder (and pleasures) of everyday life. Digitised preservation, like analogue preservation, can never 'represent' plural paths through the past. There is always a limit and boundary to what is acceptable obsolescence. The Star Wars films suggests that "the whole palette of digital technology is much more subtle and supple; if you can dream it, you can see it" (Corliss 65). This film will also record how many of the dreams survive and are archived. Films, throughout the century, have changed the way in which we construct and remember the past. They convey an expressive memory, rather than an accurate history. Certainly, Star Wars is only a movie. Yet, as Rushkoff has suggested, "we have developed a new language of references and self-references that identify media as a real thing and media history as an actual social history" (32). The build up in Australia to The Phantom Menace has been wilfully joyful. This is a history of the present, a time which I know will, in retrospect, be remembered with great fondness. It is a collective event for a generation, but it speaks to us all in different ways. At ten, it is easy to be amazed and enthralled at popular culture. By thirty, it is more difficult. When we see Star Wars, we go back to visit our memories. With red light sabre in hand, we splice through time, as much as space. Footnotes The United States release of the film occurred on 19 May 1999. In Australia, the film's first screenings were on 3 June. Many cinemas showed The Phantom Menace at 12:01 am, (very) early Thursday morning. The three main players of the GNW team, Paul McDermott, Mikey Robbins and Julie McCrossin, were featured on the cover of Australia's Juice magazine in costumes from The Phantom Menace, being Obi-Wan, Yoda and Queen Amidala respectively. Actually, the National Air and Space Museum had a Star Wars exhibition in 1997, titled "Star Wars: The Magic of Myth". For example, Janet Collins, Michael Hammond and Jerry Wellington, in Teaching and Learning with the Media, stated that "the message is simple: we now have the technology to inform, entertain and educate. Miss it and you, your family and your school will be left behind" (3). Herb Brody described the Net as "an overstuffed, underorganised attic full of pictures and documents that vary wildly in value", in "Wired Science". The interesting question is, whose values will predominate when the attic is being cleared and sorted? This problem is extended because the statutory provision of legal deposit, which obliges publishers to place copies of publications in the national library of the country in which the item is published, does not include CD-ROMs or software. References Bocher, Bob, and Kay Ihlenfeldt. "A Higher Signal-to-Noise Ratio: Effective Use of WebSearch Engines." State of Wisconsin Department of Public Instruction Website. 13 Mar. 1998. 15 June 1999 <http://www.dpi.state.wi.us/dpi/dlcl/lbstat/search2.php>. Brody, Herb. "Wired Science." Technology Review Oct. 1996. 15 June 1999 <http://www.techreview.com/articles/oct96/brody.php>. Carter, Timothy. "Wars Weary." Cinescape 39 (Mar./Apr. 1999): 9. Collins, Janet, Michael Hammond, and Jerry Wellington. Teaching and Learning with Multimedia. London: Routledge, 1997. Corliss, Richard. "Ready, Set, Glow!" Time 18 (3 May 1999): 65. Count Down to Star Wars. 1999. 15 June 1999 <http://starwars.countingdown.com/>. Coupland, Douglas. Generation X. London: Abacus, 1991. Eco, Umberto. Travels in Hyper-Reality. London: Picador, 1987. Fallon, Daniel, and Matthew Buchanan. "Now Screening." Australian Net Guide 4.5 (June 1999): 27. Florman, Samuel. "From Here to Eternity." MIT's Technology Review 100.3 (Apr. 1997). Gallott, Kirsten. "May the Web Be with you." Who Weekly 24 May 1999: 15. Grant, Fiona. "Ewan's Star Soars!" TV Week 29 May - 4 June 1999: 15. Hall, Stuart, and Tony Jefferson, eds. Resistance through Rituals. London: Hutchinson, 1976. Harris, David. From Class Struggle to the Politics of Pleasure: the Effects of Gramscianism on Cultural Studies. London: Routledge, 1992. Hebdige, Dick. Hiding in the Light. London: Routledge, 1988. Hopkins, Susan. "Generation Pulp." Youth Studies Australia Spring 1995. Johnson, Brian, and Susan Oh. "The Second Coming: as the Newest Star Wars Film Illustrates, Pop Culture Has Become a New Religion." Maclean's 24 May 1999: 14-8. Juice 78 (June 1999). Kizlik, Robert. "Generation X Wants to Teach." International Journal of Instructional Media 26.2 (Spring 1999). Lucasfilm Ltd. Star Wars: Welcome to the Official Site. 1999. 15 June 1999 <http://www.starwars.com/>. Miller, Nick. "Generation X-Wing Fighter." The West Australian 4 June 1999: 9. PADI. "What Digital Information Should be Preserved? Appraisal and Selection." Preserving Access to Digital Information (PADI) Website. 11 March 1999. 15 June 1999 <http://www.nla.gov.au/padi/what.php>. PADI. "Why Preserve Access to Digital Information?" Preserving Access to Digital Information (PADI) Website. <http://www.nla.gov.au/padi/why.php>. Rushkoff, Douglas. Media Virus. Sydney: Random House, 1994. Citation reference for this article MLA style: Tara Brabazon. "A Red Light Sabre to Go, and Other Histories of the Present." M/C: A Journal of Media and Culture 2.4 (1999). [your date of access] <http://www.uq.edu.au/mc/9906/sabre.php>. Chicago style: Tara Brabazon, "A Red Light Sabre to Go, and Other Histories of the Present," M/C: A Journal of Media and Culture 2, no. 4 (1999), <http://www.uq.edu.au/mc/9906/sabre.php> ([your date of access]). APA style: Tara Brabazon. (1999) A red light sabre to go, and other histories of the present. M/C: A Journal of Media and Culture 2(4). <http://www.uq.edu.au/mc/9906/sabre.php> ([your date of access]).

IntroductionNew digital technologies hold promise for equalising access to information and communication for the Deaf community. SMS technology, for example, has helped to equalise deaf peoples’ access to information and made it easier to communicate with both deaf and hearing people (Tane Akamatsu et al.; Power and Power; Power, Power, and Horstmanshof; Valentine and Skelton, "Changing", "Umbilical"; Harper). A wealth of anecdotal evidence and some recent academic work suggests that new media technology is also reshaping deaf peoples’ sense of local and global community (Breivik "Deaf"; Breivik, Deaf; Brueggeman). One focus of research on new media technologies has been on technologies used for point to point communication, including communication (and interpretation) via video (Tane Akamatsu et al.; Power and Power; Power, Power, and Horstmanshof). Another has been the use of multimedia technologies in formal educational setting for pedagogical purposes, particularly English language literacy (e.g. Marshall Gentry et al.; Tane Akamatsu et al.; Vogel et al.). An emphasis on the role of multimedia in deaf education is understandable, considering the on-going highly politicised contest over whether to educate young deaf people in a bilingual environment using a signed language (Swanwick & Gregory). However, the increasing significance of social and participatory media in the leisure time of Westerners suggests that such uses of Web 2.0 are also worth exploring. There have begun to be some academic accounts of the enthusiastic adoption of vlogging by sign language users (e.g. Leigh; Cavander and Ladner) and this paper seeks to add to this important work. Web 2.0 has been defined by its ability to, in Denise Woods’ word, “harness collective intelligence” (19.2) by providing opportunities for users to make, adapt, “mash up” and share text, photos and video. As well as its well-documented participatory possibilities (Bruns), its re-emphasis on visual (as opposed to textual) communication is of particular interest for Deaf communities. It has been suggested that deaf people are a ‘visual variety of the human race’ (Bahan), and the visually rich presents new opportunities for visually rich forms of communication, most importantly via signed languages. The central importance of signed languages for Deaf identity suggests that the visual aspects of interactive multimedia might offer possibilities of maintenance, enhancement and shifts in those identities (Hyde, Power and Lloyd). At the same time, the visual aspects of the Web 2.0 are often audio-visual, such that the increasingly rich resources of the net offer potential barriers as well as routes to inclusion and community (see Woods; Ellis; Cavander and Ladner). In particular, lack of captioning or use of Auslan in video resources emerges as a key limit to the accessibility of the visual Web to deaf users (Cahill and Hollier). In this paper we ask to what extent contemporary digital media might create moments of permeability in what Krentz has called “the hearing line, that invisible boundary separating deaf and hearing people”( 2)”. To provide tentative answers to these questions, this paper will explore the use of participatory digital media by a group of young Deaf people taking part in a small-scale digital moviemaking project in Sydney in 2009. The ProjectAs a starting point, the interdisciplinary research team conducted a video-making course for young deaf sign language users within the Department of Media, Music and Cultural Studies at Macquarie University. The research team was comprised of one deaf and four hearing researchers, with expertise in media and cultural studies, information technology, sign language linguistics/ deaf studies, and signed language interpreting. The course was advertised through the newsletter of partner organization the NSW Deaf Society, via a Sydney bilingual deaf school and through the dense electronic networks of Australian deaf people. The course attracted fourteen participants from NSW, Western Australia and Queensland ranging in age from 10 to 18. Twelve of the participants were male, and two female. While there was no aspiration to gather a representative group of young people, it is worth noting there was some diversity within the group: for example, one participant was a wheelchair user while another had in recent years moved to Sydney from Africa and had learned Auslan relatively recently. Students were taught a variety of storytelling techniques and video-making skills, and set loose in groups to devise, shoot and edit a number of short films. The results were shared amongst the class, posted on a private YouTube channel and made into a DVD which was distributed to participants.The classes were largely taught in Auslan by a deaf teacher, although two sessions were taught by (non-deaf) members of Macquarie faculty, including an AFI award winning director. Those sessions were interpreted into Auslan by a sign language interpreter. Participants were then allowed free creative time to shoot video in locations of their choice on campus, or to edit their footage in the computer lab. Formal teaching sessions lasted half of each day – in the afternoons, participants were free to use the facilities or participate in a range of structured activities. Participants were also interviewed in groups, and individually, and their participation in the project was observed by researchers. Our research interest was in what deaf young people would choose to do with Web 2.0 technologies, and most particularly the visually rich elements of participatory and social media, in a relatively unstructured environment. Importantly, our focus was not on evaluating the effectiveness of multimedia for teaching deaf young people, or the level of literacy deployed by deaf young people in using the applications. Rather we were interested to discover the kinds of stories participants chose to tell, the ways they used Web 2.0 applications and the modalities of communication they chose to use. Given that Auslan was the language of instruction of the course, would participants draw on the tradition of deaf jokes and storytelling and narrate stories to camera in Auslan? Would they use the format of the “mash-up”, drawing on found footage or photographs? Would they make more filmic movies using Auslan dialogue? How would they use captions and text in their movies: as subtitles for Auslan dialogue? As an alternative to signing? Or not at all? Our observations from the project point to the great significance of the visual dimensions of Web 2.0 for the deaf young people who participated in the project. Initially, this was evident in the kind of movies students chose to make. Only one group – three young people in their late teens which included both of the young women in the class - chose to make a dialogue heavy movie, a spoof of Charlie’s Angels, entitled Deaf Angels. This movie included long scenes of the Angels using Auslan to chat together, receiving instruction from “Charlie” in sign language via videophone and recruiting “extras”, again using Auslan, to sign a petition for Auslan to be made an official Australian language. In follow up interviews, one of the students involved in making this film commented “my clip is about making a political statement, while the other [students in the class] made theirs just for fun”. The next group of (three) films, all with the involvement of the youngest class member, included signed storytelling of a sort readily recognisable from signed videos on-line: direct address to camera, with the teller narrating but also taking on the roles of characters and presenting their dialogue directly via the sign language convention of “role shift” - also referred to as constructed action and constructed dialogue (Metzger). One of these movies was an interesting hybrid. The first half of the four minute film had two young actors staging a hold-up at a vending machine, with a subsequent chase and fight scene. Like most of the films made by participants in the class, it included only one line of signed dialogue, with the rest of the narrative told visually through action. However, at the end of the action sequence, with the victim safely dead, the narrative was then retold by one of the performers within a signed story, using conventions typically observed in signed storytelling - such as role shift, characterisation and spatial mapping (Mather & Winston; Rayman; Wilson).The remaining films similarly drew on action and horror genres with copious use of chase and fight scenes and melodramatic and sometimes quite beautiful climactic death tableaux. The movies included a story about revenging the death of a brother; a story about escaping from jail; a short story about a hippo eating a vet; a similar short comprised of stills showing a sequence of executions in the computer lab; and a ghost story. Notably, most of these movies contained very little dialogue – with only one or two lines of signed dialogue in each four to five minute video (with the exception of the gun handshape used in context to represent the object liberally throughout most films). The kinds of movies made by this limited group of people on this one occasion are suggestive. While participants drew on a number of genres and communication strategies in their film making, the researchers were surprised at how few of the movies drew on traditions of signed storytelling or jokes– particularly since the course was targeted at deaf sign language users and promoted as presented in Auslan. Consequently, our group of students were largely drawn from the small number of deaf schools in which Auslan is the main language of instruction – an exceptional circumstance in an Australian setting in which most deaf young people attend mainstream schools (Byrnes et al.; Power and Hyde). Looking across the Hearing LineWe can make sense of the creative choices made by the participants in the course in a number of ways. Although methods of captioning were briefly introduced during the course, iMovie (the package which participants were using) has limited captioning functionality. Indeed, one student, who was involved in making the only clip to include captioning which contextualised the narrative, commented in follow-up interviews that he would have liked more information about captioning. It’s also possible that the compressed nature of the course prevented participants from undertaking the time-consuming task of scripting and entering captions. As well as being the most fun approach to the projects, the use of visual story telling was probably the easiest. This was perhaps exacerbated by the lack of emphasis on scriptwriting (outside of structural elements and broad narrative sweeps) in the course. Greater emphasis on that aspect of film-making would have given participants a stronger foundational literacy for caption-based projectsDespite these qualifications, both the movies made by students and our observations suggest the significance of a shared visual culture in the use of the Web by these particular young people. During an afternoon when many of the students were away swimming, one student stayed in the lab to use the computers. Rather than working on a video project, he spent time trawling through YouTube for clips purporting to show ghost sightings and other paranormal phenomena. He drew these clips to the attention of one of the research team who was present in the lab, prompting a discussion about the believability of the ghosts and supernatural apparitions in the clips. While some of the clips included (uncaptioned) off-screen dialogue and commentary, this didn’t seem to be a barrier to this student’s enjoyment. Like many other sub-genres of YouTube clips – pranks, pratfalls, cute or alarmingly dangerous incidents involving children and animals – these supernatural videos as a genre rely very little on commentary or dialogue for their meaning – just as with the action films that other students drew on so heavily in their movie making. In an E-Tech paper entitled "The Cute Cat Theory of Digital Activism", Ethan Zuckerman suggests that “web 1.0 was invented to allow physicists to share research papers and web 2.0 was created to allow people to share pictures of cute cats”. This comment points out both the Web 2.0’s vast repository of entertaining material in the ‘funny video’genre which is visually based, dialogue free, entertaining material accessible to a wide range of people, including deaf sign language users. In the realm of leisure, at least, the visually rich resources of Web 2.0’s ubiquitous images and video materials may be creating a shared culture in which the line between hearing and deaf people’s entertainment activities is less clear than it may have been in the past. The ironic tone of Zuckerman’s observation, however, alerts us to the limits of a reliance on language-free materials as a route to accessibility. The kinds of videos that the participants in the course chose to make speaks to the limitations as well as resources offered by the visual Web. There is still a limited range of captioned material on You Tube. In interviews, both young people and their teachers emphasised the central importance of access to captioned video on-line, with the young people we interviewed strongly favouring captioned video over the inclusion on-screen of simultaneous signed interpretations of text. One participant who was a regular user of a range of on-line social networking commented that if she really liked the look of a particular movie which was uncaptioned, she would sometimes contact its maker and ask them to add captions to it. Interestingly, two student participants emphasised in interviews that signed video should also include captions so hearing people could have access to signed narratives. These students seemed to be drawing on ideas about “reverse discrimination”, but their concern reflected the approach of many of the student movies - using shared visual conventions that made their movies available to the widest possible audience. All the students were anxious that hearing people could understand their work, perhaps a consequence of the course’s location in the University as an overwhelmingly hearing environment. In this emphasis on captioning rather than sign as a route to making media accessible, we may be seeing a consequence of the emphasis Krentz describes as ubiquitous in deaf education “the desire to make the differences between deaf and hearing people recede” (16). Krentz suggests that his concept of the ‘hearing line’ “must be perpetually retested and re-examined. It reveals complex and shifting relationships between physical difference, cultural fabrication and identity” (7). The students’ movies and attitudes emphasised the reality of that complexity. Our research project explored how some young Deaf people attempted to create stories capable of crossing categories of deafness and ‘hearing-ness’… unstable (like other identity categories) while others constructed narratives that affirmed Deaf Culture or drew on the Deaf storytelling traditions. This is of particular interest in the Web 2.0 environment, given that its technologies are often lauded as having the politics of participation. The example of the Deaf Community asks reasonable questions about the validity of those claims, and it’s hard to escape the conclusion that there is still less than appropriate access and that some users are more equal than others.How do young people handle the continuing lack of material available to the on the Web? The answer repeatedly offered by our young male interviewees was ‘I can’t be bothered’. As distinct from “I can’t understand” or “I won’t go there” this answer, represented a disengagement from demands to identify your literacy levels, reveal your preferred means of communication; to rehearse arguments about questions of access or expose attempts to struggle to make sense of texts that fail to employ readily accessible means of communicating. Neither an admission of failure or a demand for change, CAN’T-BE-BOTHERED in this context offers a cool way out of an accessibility impasse. This easily-dismissed comment in interviews was confirmed in a whole-group discussions, when students came to a consensus that if when searching for video resources on the Net they found video that included neither signing nor captions, they would move on to find other more accessible resources. Even here, though, the ground continues to shift. YouTube recently announced that it was making its auto-captioning feature open to everybody - a machine generated system that whilst not perfect does attempt to make all YouTube videos accessible to deaf people. (Bertolucci).The importance of captioning of non-signed video is thrown into further significance by our observation from the course of the use of YouTube as a search engine by the participants. Many of the students when asked to research information on the Web bypassed text-based search engines and used the more visual results presented on YouTube directly. In research on deaf adolescents’ search strategies on the Internet, Smith points to the promise of graphical interfaces for deaf young people as a strategy for overcoming the English literacy difficulties experienced by many deaf young people (527). In the years since Smith’s research was undertaken, the graphical and audiovisual resources available on the Web have exploded and users are increasingly turning to these resources in their searches, providing new possibilities for Deaf users (see for instance Schonfeld; Fajardo et al.). Preliminary ConclusionsA number of recent writers have pointed out the ways that the internet has made everyday communication with government services, businesses, workmates and friends immeasurably easier for deaf people (Power, Power and Horstmanshof; Keating and Mirus; Valentine and Skelton, "Changing", "Umbilical"). The ready availability of information in a textual and graphical form on the Web, and ready access to direct contact with others on the move via SMS, has worked against what has been described as deaf peoples’ “information deprivation”, while everyday tasks – booking tickets, for example – are no longer a struggle to communicate face-to-face with hearing people (Valentine and Skelton, "Changing"; Bakken 169-70).The impacts of new technologies should not be seen in simple terms, however. Valentine and Skelton summarise: “the Internet is not producing either just positive or just negative outcomes for D/deaf people but rather is generating a complex set of paradoxical effects for different users” (Valentine and Skelton, "Umbilical" 12). They note, for example, that the ability, via text-based on-line social media to interact with other people on-line regardless of geographic location, hearing status or facility with sign language has been highly valued by some of their deaf respondents. They comment, however, that the fact that many deaf people, using the Internet, can “pass” minimises the need for hearing people in a phonocentric society to be aware of the diversity of ways communication can take place. They note, for example, that “few mainstream Websites demonstrate awareness of D/deaf peoples’ information and communication needs/preferences (eg. by incorporating sign language video clips)” ("Changing" 11). As such, many deaf people have an enhanced ability to interact with a range of others, but in a mode favoured by the dominant culture, a culture which is thus unchallenged by exposure to alternative strategies of communication. Our research, preliminary as it is, suggests a somewhat different take on these complex questions. The visually driven, image-rich approach taken to movie making, Web-searching and information sharing by our participants suggests the emergence of a certain kind of on-line culture which seems likely to be shared by deaf and hearing young people. However where Valentine and Skelton suggest deaf people, in order to participate on-line, are obliged to do so, on the terms of the hearing majority, the increasingly visual nature of Web 2.0 suggests that the terrain may be shifting – even if there is still some way to go.AcknowledgementsWe would like to thank Natalie Kull and Meg Stewart for their research assistance on this project, and participants in the course and members of the project’s steering group for their generosity with their time and ideas.ReferencesBahan, B. "Upon the Formation of a Visual Variety of the Human Race. In H-Dirksen L. Baumann (ed.), Open Your Eyes: Deaf Studies Talking. 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Re-Framing Participation in the Architecture Studio Recently, within design literature, significant attention has been given to collaboration across different disciplines (see for instance, Nicolini et al.; Carlile), as well as consideration of the breakdown of traditional disciplinarity and the corresponding involvement of users in co-generation (Sanders and Stappers, “Co-Creation” 11–12) through the development and deployment of structured methods and toolkits (Sanders et al., “Framework”; Sanders and Stappers, “Probes”). Relatively less attention has been paid to the workings of the “communities of practice” (Wenger) operating within the disciplinary domain of architecture. The discourse around concept design in architecture has tended to emphasise individualist approaches driven by personal philosophies, inspirations, imitation of a more experienced designer, and emphasis on latent talent or genius (for instance, Moneo). This can be problematic because without a shared language and methods there are limited opportunities for making meaning to facilitate participation between collaborators in architectural studio settings. It is worth asking then: are there things that “Architecture” might learn from “Design” about the deployment of structured methods, and might this interdisciplinary exchange promote participatory practices in studio-based cultures? We address this question by connecting and building on two important concepts relevant to design methods, meta-design as described in the open design literature (De Mul 36–37), and design frames as described by Schön and formalised by Dorst (‘Core’; Frame; see also Weedon). Through this combination, we propose a theory of participation by making shared meaning in architectural design. We animate our theoretical contribution through a design toolkit we have developed, refined, and applied over several years in typologically focused architectural design studios in Australian university contexts. One important contribution, we argue, is to the area of design theory-building, by taking two previously unrelated concepts from the design methods literature. We draw them together using an example from our own design practices to articulate a new term and concept for making shared meaning in design. The other contribution made is to the translation of this concept into the context of studio-based architectural practice, a setting that has traditionally struggled to accept structured methods. The existence of other form-metaphor design tools available for architecture and the theoretical basis of their development and connection to design literature more broadly has not always been clearly articulated (see for example Di Mari and Yoo; Lewis et al.). The rationale for giving an account of the construction and deployment of our own toolkit is to illustrate its theoretical contribution while providing the basis for future field testing and translation (including by other researchers), noting the established trajectory of this kind of work in the design literature (see, for example, Hoolohan and Browne; Visser et al.; Vaajakallio and Mattelmäki; Sanders and Stappers, “Co-Creation” and ”Probes”). In line with this issue’s thematic and epistemological agenda, we adopt what Cross identifies as “designerly ways of knowing” (223), and is at least partly a reflection on a practice in which we engage with our own disciplines and research interests to propose and deploy design thinking as a kind of critical “reflection-in-action” (Robertson and Simonsen 2). Meta-Framing: Combining Meta-Design and Framing Meta-design is a term used in open design literature to describe approaches aimed toward orchestration of a project in such a way that people are afforded the agency to become effective co-designers, regardless of their pre-existing skills or design-specific knowledge (De Mul 36). According to a meta-design approach, design is conceived of as a shared project of mutual learning instead of an individualistic expression of singular genius. Through the establishment of shared protocols and formats, what Ehn (1) calls “infrastructuring”, individuals with even very limited design experience are provided scaffolds that enable them to participate in a design project. One important way in which meta-design helps “create a pathway through a design space” is through the careful selection and adoption of shared guiding metaphors that provide common meanings between co-designers (De Mul 36). The usefulness of metaphors is also recognised in the context of design frames, the second concept on which we build our theory. Conceptualised as “cognitive shortcuts” for making “sense of complex situations” (Haase and Laursen 21), design frames were first conceived of by Schön (132) as a rational approach to design, one guided by “epistemological norms”. Frames have subsequently been further developed within the design methods literature and are defined as a system of counterfactual design decision-making that uses metaphors to provide a rationale for negotiating ill-structured problems. According to Dorst, frames involve: the creation of a (novel) standpoint from which a problematic situation can be tackled … . Although frames are often paraphrased by a simple metaphor, they are in fact very complex sets of statements that include the specific perception of a problem situation, the (implicit) adoption of certain concepts to describe the situation, a ‘working principle’ that underpins a solution and the key thesis: IF we look at the problem situation from this viewpoint, and adopt the working principle associated with that position, THEN we will create the value we are striving for. (525) Despite Schön choosing to illustrate his original conception of framing through the example of a student’s architectural design project, there has been limited subsequent consideration of framing in architectural studio contexts—an exception being Eissa in 2019. This may be because formalised design methods have tended to be treated with suspicion within architectural culture. For instance, Christopher Alexander’s Pattern Language is one such “highly systemised design process” (Dawes and Ostwald 10) that despite its potential to guide participatory design has had an “uneven reception” (Bhatt 716) within architecture itself. One way architecture as a disciplinary domain and as a profession has attempted to engage with design method is through typology, which is one of the few persistent and recurring notions in architectural discourse (Bandini; Grover et al.). As a system of classification, typology categorises “forms and functions as simply and unequivocally as possible” (Oechslin 37). In addition to being used as a classification system, typology has also been positioned as “a process as much as an object”, one with the potential for an “active role in the process of design” (Lathouri 25). Type and typology have been conceptualised as a particular way of projecting architecture’s “disciplinary agency” (Jacoby 936), and this goes some way to explaining their enduring value. A potentially valid criticism of framing is that it can tend toward “design fixation”, when a pre-existing assumption “inadvertently restricts the designers’ imagination” (Crilly). Similarly, typology-as-method—as opposed to a classification tool—has been criticised for being relatively “inflexible” or “reductive” (Shane 2011) and responsible for perpetuating “conservative, static norms” (Jacoby 932) if applied in a rote and non-reflexive way. We deal with these concerns in the discussion of the deployment of our Typekit below. We are drawing here on our experience teaching in the first two years of undergraduate architecture degrees in Australian university settings. As well as being equipped with a diversity of educational, social, linguistic, and cultural backgrounds, students typically have divergent competencies in the domain-specific skills of their discipline and a limited vocabulary for making shared meaning in relation to an architectural proposal. The challenge for studio-based collaborative work in such a context is developing shared understandings and a common language for working on a design project to enable a variety of different design solutions. The brief for a typical studio project will specify a common site, context, and program. Examples we have used include a bathhouse, fire station, archive, civic centre, and lifesaving club. There will then be multiple design solutions proposed by each studio participant. Significantly we are talking about relatively well-structured problems here, typically a specific building program for a specified site and user group. These are quite unlike the open-ended aims of “problem frames” described in the design thinking literature “to handle ill-defined, open-ended, and ambiguous problems that other problem-solving methodologies fail to handle” (Haase and Laursen 21). However, even for well-structured problems, there is still a multitude of possible solutions possible, generated by students working on a particular project brief. This openness reduces the possibility of making shared meaning and thus hinders participation in architectural design. Designing the Typekit The Typekit was developed heuristically out of our experiences teaching together over several years. As part of our own reflective practice, we realised that we had begun to develop a shared language for describing projects including that of students, our own, precedents and canonical works. Often these took the form of a simple formal or functional metaphor such as “the building is a wall”; “the building is an upturned coracle”; or “the building is a cloud”. While these cognitive shortcuts proved useful for our communication there remained the possibility for this language to become esoteric and exclusionary. On the other hand, we recognised the potential for this approach to be shared beyond our immediate “interpretive community” (Fish 485) of two, and we therefore began to develop a meta-design toolkit. Fig. 1: Hybrid page from the Typekit We began by developing a visual catalogue of formal and functional metaphors already present within the panoply of constructed contemporary architectural projects assembled by surveying the popular design media for relevant source material. Fig. 2: Classification of contemporary architectural built work using Typekit metaphors We then used simple line drawings to generate abstract representations of the observed building metaphors adopting isometry to maintain a level of objectivity and a neutral viewing position (Scolari). The drawings themselves were both revelatory and didactic and by applying what Cross calls “designerly ways of knowing” (Cross 223) the toolkit emerged as both design artefact and output of design research. We recognised two fundamentally different kinds of framing metaphors in the set of architectural projects we surveyed, rule-derived and model-derived—terms we are adapting from Choay’s description of “instaurational texts” (8). Rule-derived types describe building forms that navigate the development of a design from a generic to a specific form (Baker 70–71) through a series of discrete “logical operators” (Choay 134). They tend to follow a logic of “begin with x … perform some operation A … perform some operation B … end up with y”. Examples of such operations include add, subtract, scale-translate-rotate, distort and array. Model-derived framing metaphors are different in the way they aim toward an outcome that is an adapted version of an ideal initial form. This involves selecting an existing type and refining it until it suits the required program, site, and context. Examples of the model-derived metaphors we have used include the hedgehog, caterpillar, mountain, cloud, island, and snake as well as architectural Ur-types like the barn, courtyard, tent, treehouse, jetty, and ziggurat. The framing types we included in the Typekit are a combination of rule-derived and model-derived as well as useful hybrids that combined examples from different categories. This classification provides a construct for framing a studio experience while acknowledging that there are other ways of classifying formal types. Fig. 3: Development of isometric drawings of metaphor-frames After we developed a variety of these line drawings, we carried out a synthesis and classification exercise using a version of the KJ method. Like framing, KJ is a technique of abduction developed for dealing objectively with qualitative data without a priori categorisation (Scupin; Kawakita). It has also become an established and widely practiced method within design research (see, for instance, Hanington and Martin 104–5). Themes were developed from the images, and we aimed at balancing a parsimony of typological categories with a saturation of types, that is to capture all observed types/metaphors and to put them in as few buckets as possible. Fig. 4: Synthesis exercise of Typekit metaphors using the KJ method (top); classification detail (bottom) Deploying the Typekit We have successfully deployed the Typekit in architectural design studios at two universities since we started developing it in 2018. As a general process participants adopt a certain metaphor as the starting point of their design. Doing so provides a frame that prefigures other decisions as they move through a concept design process. Once a guiding metaphor is selected, it structures other decision-making by providing a counterfactual logic (Byrne 30). For instance, if a building-as-ramp is chosen as the typology to be deployed this guides a rationale as to where and how it is placed on the site. People should be able to walk on it; it should sit resolutely on the ground and not be floating above it; it should be made of a massive material with windows and doors appearing to be carved out of it; it can have a green occupiable roof; quiet and private spaces should be located at the top away from street noise; active spaces such as a community hall and entry foyer should be located at the bottom of the ramp … and so on. The adoption of the frame of “building-as-ramp” by its very nature is a crucial and critical move in the design process. It is a decision made early in the process that prefigures both “what” and “how” types of questions as the project develops. In the end, the result seems logical even inevitable but there are many other types that could have potentially been explored and these would have posed different kinds of questions and resulted in different kinds of answers during the process. The selection of a guiding metaphor also allows students to engage with historical and contemporary precedents to offer further insights into the development—as well as refinement—of their own projects within that classification. Even given the well-structured nature of the architectural project, precedents provide useful reference points from which to build domain-specific knowledge and benchmarks to measure the differences in approaches still afforded within each typological classification. We believe that our particular meta-framing approach addresses concerns about design fixation and balances mutual learning with opportunities for individual investigation. We position framing less about finding innovative solutions to wicked problems to become more about finding ways for a group of people to reason together through a design problem process by developing and using shared metaphors. Thus our invocation of framing is aligned to what Haase and Laursen term “solution frames” meaning they have an “operational” meaning-making agenda and provide opportunities for developing shared understanding between individuals engaged in a given problem domain (Haase and Laursen 20). By providing a variety of opportunities within an overarching “frame of frames” there are opportunities for parallel design investigation to be undertaken by individual designers. Meta-framing affords opportunities for shared meaning-making and a constructive discourse between different project outcomes. This occurs whether adopting the same type to enable questions including “How is my building-as-snake different from your building-as-snake?”, “Which is the most snake-like?”, or different types (“In what ways is my building-as-ramp different to your building-as-stair?”) By employing everyday visual metaphors, opportunities for “mutual learning between mutual participants” (Robertson and Simonsen 2) are enhanced without the need for substantial domain-specific architectural knowledge at a project’s outset. We argue that the promise of the toolkit and our meta-framing approach more generally is that it actually multiples rather than forecloses opportunities while retaining a shared understanding and language for reasoning through a project domain. This effectively responds to concerns that typology-as-method is a conservative or reductive approach to architectural design. It is important to clarify the role of our toolkit and its relationship to our theory-building agenda. On the basis of the findings accounted for here we do claim to draw specific conclusions about the efficacy of our toolkit. We simply did not collect experimental data relevant to that task. We can, however, use the example of our toolkit to animate, flesh out, and operationalise a model for collaboration in architectural design that may be useful for teaching and practicing architecture in collaborative, team-based contexts. The contribution of this account, therefore, is theoretical. That is, the adaptation of concepts from design literature modified and translated into a new domain to serve new purposes. The Promise of Meta-Framing through Typology Through our work, we have outlined the benefits of adopting formalised design methods in architecture as a way of supporting participation, including using toolkits for scaffolding architectural concept design. Meta-framing has shown itself to be a useful approach to enable participation in architectural design in a number of ways. It provides coherence of an idea and architectural concept. It assists decision-making in any given scenario because a designer can decide which out of a set of choices makes more sense within the “frame” adopted for the project. The question becomes then not “what do I like?” or “what do I want?” but “what makes sense within the project frame?” Finally and perhaps most importantly it brings a common understanding of a project that allows for communication across a team working on the same problem, supporting a variety of different approaches and problem-solving logics a voice. By combining methodologies and toolkits from the design methods literature with architecture’s domain-specific typological classifications we believe we have developed an effective and adaptive model for scaffolding participation and making shared meaning in architecture studio contexts. References Baker, Geoffrey H. Design Strategies in Architecture: An Approach to the Analysis of Form. 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This thesis represents the first full-scale, English commentary on the opening book of Lucan�s epic poem, De Bello Ciuili, in sixty-five years. Its fundamental purpose is to explain the language and content of the Latin text of the book. The subject matter of the thesis beyond the introduction is naturally dependent upon the content of each individual line under consideration, but the following questions may help establish some of the larger issues I have prioritised throughout my response to the Latin text of book one. These questions may be variously relevant to an episode within book one of De Bello Ciuili, or else a sentence, a line, a word, a metrical issue, or a combination of these. How does it help locate the text within the genre of epic? What does it contribute to the overall meaning of the poem? What does it contribute to our understanding of epic narrative technique? What does it contribute to our understanding of Lucan�s poetic usage and technique? How does it interact with the rest of the poem (i.e. what are the structural or intratextual markers advertised and what do they contribute to the meaning of the passage under consideration or the structure of the book or poem as a whole)? How does it interact with its (especially epic) models (i.e. what intertextual markers are at work and how does the invocation of earlier models affect the meaning of the passage under consideration)? How does it behave in relation to what we know of the norms espoused by Classical literary criticism? What are the programmatic issues, themes, and images explored or established by book one?

La Pharsale de Lucain a été éditée et traduite en français dans son intégralité pour la dernière fois entre 1927 et 1930, par Abel Bourgery, aux éditions des Belles Lettres. Récemment, ces mêmes éditions ayant lancé le projet d’une nouvelle édition du poème, plusieurs livres ont été étudiés ou sont en cours d’étude. La présente thèse se situe dans ce contexte et s’intéresse au livre IV, qui évoque successivement trois épisodes de la guerre civile ayant eu lieu en -49 : la campagne d’Espagne, la mort de Vultéius dans les eaux d’Illyrie et la défaite de Curion en Afrique. La première partie de la thèse est consacrée à l’édition du texte. Elle s’appuie sur 14 manuscrits, sur la tradition indirecte et sur des éditions précédentes. La deuxième partie est dédiée à la traduction et s’attache à combiner respect du texte latin et compréhension aisée du sens pour un lecteur d’aujourd’hui. La troisième partie, enfin, est constituée d’un commentaire linéaire qui explicite le texte, en relève les subtilités et tâche d’appréhender ses influences
Lucan’s Pharsalia was edited and translated in French in its entirety for the last time between 1927 and 1930, by Abel Bourgery, and published by Les Belles Lettres. Recently, this same publisher having launched the project of a new edition of the Pharsalia, several books were or are studied. This thesis was implemented in this context and focuses on Book IV, which relates three episodes of the civil war taking place in 49 BC: the Spanish campaign, Vulteius’ death in the Illyrian sea, and Curion’s defeat in Africa. The first part of the thesis is dedicated to the edition of the text, based on 14 manuscripts, on the indirect tradition, and on previous editions. The second part is devoted to the translation, that tries to combine respect of the latin text and good understanding of the meaning for a contemporary reader. Lastly, the third part is made of a line-by-line commentary to explain the text, highlight its subtleties, and attempt to apprehend its influences

Landscape in Roman literature is manifest with symbolic potential: in particular, Vergil and Ovid respond to ideologically loaded representations of abundance in nature that signal the dawn of the Augustan golden age. Vergil's Eclogues foreground a locus amoenus landscape which articulates both the hopes of the new age as well as the political upheaval that accompanied the new political regime; Ovid uses the same topography in order to suggest the arbitrary and capricious use of power within a deceptively idyllic landscape. Moreover, for Latin poets, depictions of landscape are themselves sites for poetic reflection as evidenced by the discussion of landscape ecphrases in Horace's Ars Poetica. My thesis focuses upon the depiction and refiguration of the locus amoenus landscape in the post-Augustan epics of the first century AD: Lucan's Bellum Civile, Valerius Flaccus' Argonautica, Statius' Thebaid and Silius Italicus' Punica. Landscape in these poems retains the moral, political and metapoetic force evident in the Augustan archetypes. However, I suggest that Lucan's Neronian Bellum Civile fundamentally refigures the landscapes of Latin epic poetry, inscribing the locus amoenus with the nefas of civil war in such a manner that it redefines the perception of landscape in the succeeding Flavian poets. Lucan perverts the landscape, making the locus horridus, a landscape of horror, fear and disgust, the predominant landscape of Latin epic; consequently, the poems of Valerius, Statius and Silius engage with Lucan's refiguration of landscape as a means of expressing the horror of civil war. In the first part of my thesis I examine archetypal landscapes, including those of the Augustan poets and Lucan's Bellum Civile. Taking an approach which engages with literary reception theory and the concept of the â horizon of expectationâ as a framework within which literary topographies can be understood as articulating a response to the thematics of civil war, in the second part of my thesis I demonstrate the manner in which landscapes represent a coherent and paradigmatic response to Lucan's imposition of his civil war narrative within the literary landscape of Roman literature.

In this doctoral dissertation I seek to reassess the innovativeness of the young Corduban poet Lucan’s masterpiece, the Civil War. Faced with the abrupt closure of Lucan’s poem 546 lines into Book 10, I adopt the view propounded by Haffter, Masters and Tracy, that what most have taken as incompletion brought on by the poet’s premature death in 65 CE is in fact a deliberate artistic decision. I then argue back from this view and reread several key features of the poem as manifestations of the same deliberate bodily incompleteness, the same sudden mutilation of a voice that the ending of the poem as we have it presents. My dissertation consists of two macro-sections, one on the structural and thematic characteristics of Lucan’s Civil War, and one on the characterization of the two antagonists most actively involved in the conflict: Julius Caesar, himself the author of an incomplete prose account of the very civil war that Lucan chooses to focus on; and Pompey the Great, a broken man whose mangled body reproduces at the microcosmic level the lack of finish exhibited by the textual body of the poem itself.

By combining literary criticism, philology, and contemporary psychoanalysis, this dissertation offers an innovative interpretation of Neronian court literature (Seneca, Lucan, and Petronius). I argue that the works of these three authors thematize and embody a problematic relation between the human subject and language. Language is not conceived or represented as an inert tool that can be easily appropriated by the speaking subject, but rather as a powerful entity that may, and often does, take control of the human subject, directing it from without. Besides analyzing how Seneca, Lucan, and Petronius portray the relation between the human subject and language in the internal plots and characters of their works, I also explore the relation between these three authors themselves and language. My conclusion is that this relation is defined by unresolved ambiguities and neurotic tensions, and I suggest that this might be a consequence of the traumatizing circumstances that the three examined authors endured at Nero’s court.