Academic literature on the topic 'Mother Earth (Religious leader) – Mental health'

The prevalence of spousal homicides arising from domestic violence is a devastating public health problem affecting today’s families. With an alarming trend of spousal homicides being experienced in Ndhiwa Sub-County in Homa Bay County today, little seems to have been done to bring to light the core factors associated with this problem. The objective of the study was to determine the extent to which emotional dependency predisposes couples to spousal homicide in Ndhiwa Sub-County. Quantitative method and phenomenological research design were applied. Target population encompassed 17,151 married men and 19,205 women, 29 local administrators and 10 religious leaders from the main denominations in the Sub-County. Slovin’s formula was used to obtain a sample of 396 respondents. Stratified random sampling was applied to select 174 male and 198 female spouses, while simple random was utilized to proportionately select 18 local administrators, and 6 religious leaders from the Sub-County’s six administrative zones. Quantitative data was obtained from married men and women through Partner’s Emotional Dependency Scale (SED). Interview guides were used to obtain qualitative data from local administrators and religious leaders. Piloting was carried out in Nyakach Koguta location in the neighboring Kisumu County, involving 40 participants, comprising of 12 men, 22 women, 5 community leaders and 1 religious leader. Analysis for quantitative data was done in descriptive statistics and reported in tables and figures. Hypotheses testing was performed in inferential statistics through simple regression coefficient, using t-test on SPSS version 26. Qualitative data was analyzed in thematic analysis and presented in narrative forms. From the results, a statistically significant relationship was established between emotional dependency and spousal homicide. The study recommended that government agencies needed to develop policies and frameworks aimed at improving mental health of families. There was need for regular workshops and seminars aimed at supporting couples deal with fears related to their dependency and strengthen their sense of identity. Further investigations may be done using different instruments. Further investigation may be required with additional information being obtained from other close family members as key informants.

The Mugeuk Daedokyo Incident on Jeju Island was a significant incident that occurred on Jeju Island in 1937 when Japan was moving toward militarism. According to the verdict, 20 people were convicted in this case. The most common crimes they were charged with were “impiety to the Japanese Emperor” and “National security law.” ‘Impiety to the Japanese Emperor” consisted in the fact that they foresaw that the Japanese Emperor would soon be dethroned, and “National security law” was invoked as they said that Japan’s imperialism would soon collapse and Joseon would become independent. Additionally, Military penal law and Navy penal law were involved as Japan said that it would lose in the Sino-Japanese War. This incident was part of an independence movement that desired the defeat of Japan and Korea's independence. To block the support of the general public for the religious leader Kang Seung-tae, the Japanese government played on social issues such as “fraud,” “rape,” and “violation of doctors’ rules.” charged with immorality. The Imperial Japanese divided the religions of colonial Korea into two types. Japan’s state religions, “Shinto” and “Buddhism,” and “Christianity,” were classified as religions and administered by the Religious Division of the Academic Affairs Bureau of the Japanese Government-General of Korea. Ethnic religions that desired human liberation, national liberation, and national independence were classified as “similar religions,” and were controlled by the Government-General’s Police Bureau, which suppressed independence activists. Religions classified as pseudo-religions were all ethnic religions that dreamed of national liberation. Even after the liberation of Korea, this religious classification made by the Japanese was accepted as it was, and those involved in the Mugeukdaedo incident were excluded from the national conferment of a decoration. Kang Seung-tae, the leader of the Mugeuk Daedokyo, was treated as a person of interest to the point that even after serving his six-year sentence, the Japanese Empire would not release him, because the view of the Japanese Government- General, who treated him as a pseudo religious leader, was maintained even after liberation. Now is the time to frame the Mugeukdaedo incident on Jeju Island as one of the fiercest national liberation movements of the 1930s.

Indian culture is the oldest culture known in the world. It is enriched with the well-organized system of life and large number of literature, which enlighten cultural wealth of ancient India. Veda, Upanishads, Samhitas etc. provide sufficient knowledge about the cultural heritage and spiritualties and science. Health of human being is related to the state of mind, which is governed by various factors like anxiety, workload, mental tension etc. The objective of the present study was to elaborate the knowledge regarding vedic science, spirituality, environment, and health. To fulfill the objectives of the present study, searches were performed on the various research platforms (Web of Science, google scholar, research gate, science direct, and Scopus database). It was observed that there is a continuous debate on the definition of spirituality from its origin to till date. Spirituality and human health are related in positive and negative ways. People’s health improved after practicing the spirituality and in certain cases, a downfall in health of spiritual people was noticed. Vedas considered as the base of modern science in literature. Spirituality was also found closely attached with the environment, as it not only revives the human soul but also to the environment. Spirituality and religious persons called environment as Mother Nature therefore the never damage its components. A clean and refreshing environment is the basis of good health of the persons living on the earth. Therefore, to revive the degrading human society, environment and health, there is a need of huge number of people with high spiritual mind.

There are many pathogens in the reproductive system in both women and men, which are largely responsible for the death of thousands of women as a result of incorrect diagnosis and failure to treat diseases of the reproductive system such as uterine cancer, ectopic pregnancy, acute and chronic infections of the uterus and Fallopian tubes, puerperal infections, and in the event that the patient survived death. These diseases have bad effects, including infertility, miscarriage, fetal death, birth of low-weight fetuses, fetal blindness, pneumonia, and mental retardation. These diseases are transmitted through the mucous membranes during vaginal, anal, or oral intercourse with a person who is infected or passed from mother to fetus. Wrong sexual behaviors also lead to the acquisition of genital infections. The incidence of reproductive system diseases in women is 50%, especially at an early age, compared to 25% for men, and affects them more severely. According to studies, two-thirds of cases of sexually transmitted diseases are obtained in their teens or twenties. There is limited access to health care for women infected with these diseases in developing countries, as health care is often provided in these countries through a range of services for individuals, family planning clinics, reproductive health centers, and public hospitals. However, in developing countries, untrained people provide treatment without accurate diagnosis of the disease, which increases the exacerbation of sexually transmitted diseases, whereas the situation is much better in developed countries.

The call for this special issue was prompted by the International Conference on Women Empowerment deliberations. The conference, held on 10th December 2022 at International Islamic University Malaysia (IIUM), was inaugurated by Dr. Maulana Akbar Shah @ U Tun Aung, Head of Research in the department of Fundamental and Inter-Disciplinary Studies, AbdulHamid AbuSulayman Kulliyyah of Islamic Revealed Knowledge and Human Sciences (AHAS KIRKHS), who delivered a welcoming speech, followed by opening remarks by Prof. Shukran Bin Abd Rahman, Dean of AHAS KIRKHS. The event also featured speeches by distinguished guests, including the Honourable Rector of IIUM, Professor Emeritus Tan Sri Dato’ Dzulkifli bin Abdul Razak and Mr. Thomas Albrecht, Representative of UNHCR, Malaysia, Prof. Abdul Aziz Berghout, the Dean of the International Institute of Islamic Thought and Civilisation (ISTAC), IIUM, and Prof. Dawood Al-Hidabi, Director of International Institute for Muslim Unity (IIMU), IIUM. The conference aimed to explore the social conditions of women refugees living in Malaysia with a focus on their social status, living conditions, domestic violence, the impact of criminal activities in their environment, and lack of access to education for their children. It also aimed to promote academic excellence, cultivate future leaders in various disciplines within the realm of Islamic revealed knowledge and human sciences, and encourage high-quality research, scholarship, and academic work in specific areas. The conference brought together experts and professionals from different fields to share their perspectives on the social status of refugee women. It was attended by over 200 participants and its success was attributed to the efforts of the organizers and the dedication of the speakers and participants. Participants presented innovative ideas, findings, and insights that contributed to advancing knowledge in their fields. The call for this special issue, released in the first quota of the year 2023, triggered a number of conversations with a broad number of people about the topic and ultimately resulted in many submissions. Submissions covered a diverse range of topics and came from contributors mainly from AbdulHamid AbuSulayman Kulliyyah of Islamic Revealed Knowledge and Human Sciences. The contributions that make up this special issue are as follows. First, Family empowerment and role transformation: Observations on the importance of religion. This paper is an examination of the concept of family empowerment and role transformation from an Islamic perspective, emphasising the need for integrated value-driven frameworks to address issues of family roles and empowerment. The authors, Abdelaziz Berghout and Ouahiba Saoud, believe that studies and research on family empowerment have increased in recent years, enshrining the discourse, and providing insights and solutions to the questions associated with family empowerment. They argue among other things that there are numerous efforts in the Islamic world to strengthen family empowerment. The article explains the main elements that comprise the Islamic perspective of family empowerment and the need for role transformation. The articles contends that Islam emphasises the importance of understanding the goals and roles of family as a social entity and agent entrusted with the mission of Istikhalf (vicegerency) and I‘mar (civilisation) on earth. Second, Crucial requirements for children’s empowerment: In this paper Kabuye Uthman Sulaiman sheds light on the important and mostly neglected role that parents play in raising their children, namely empowerment through character development, impartment of knowledge and skills. The key objective of this article is to enhance the understanding of the concept of empowerment of children from the Islamic perspective and the importance of character and values education in today’s society. The article is structured around six core sections describing the role of parents in children’s (1) virtues and character formation and development, (2) physical development, (3) emotional development, (4) mental development, (5) intellectual development, and lastly their role in preparing children for the realities of life and death. The focus of this paper is character formation and development. Character development and impartment of knowledge and skills are the three crucial and mandatory requirements for children’s empowerment. The paper outlines the ideas underlying character refinement or character education focusing on its meaning, aims, importance, and the role of parents, teachers, and community as character educators. It outlines some of the moral qualities of the Prophet (peace and blessings be upon him) as the universal model of all virtues and goodness. This is qualitative research employing descriptive methods with literature review analysis. The primary sources of this paper comprise selected verses from the Qur’an and their exegesis (tafsir) and Hadith, both of which constitute the major source of guidance for Muslims. Its secondary sources consist of books, journals, and other materials. The main contention in this paper is that: first, knowledge, skills, and values or personality traits need to be combined for a thriving life; second, moral values are of paramount significance to peaceful coexistence and harmony in society. They are critical for sustainable living. Without them, there is no cohesion and solidarity among people. Hence, there is no civilization; third, learning is of little value and with no soul unless core ethical values are added to it. Hence, one of the aims of education is to graduate ethical individuals; fourth, the development of character in children is not just the responsibility of parents and schools, it is also the responsibility of those who come into contact with them; last but not least, character education should be included as a core component of schools’ curriculum. Third, A Critical Analysis of Bent-Rib Metaphor Ḥadīth: Embracing Women's Uniqueness and Empowerment. The authors, Nurul Jannah Zainan Nazri, Nurul Mukminah and Mohd Arif assert that the Bent-Rib Metaphor ḥadīth can be interpreted as a symbol of diversity, complexity, and complementarity between genders, rather than justifying women's subordination. By promoting a more nuanced understanding of the ḥadīth, this study advocates for a broader role for women in religious, social, economic, and political spheres. Fourth, A critical need for breastmilk collection centres for high-risk premature babies: In this paper Zainol Abidin and Wan Mazwati write that premature babies are very vulnerable and exposed to various life-threatening diseases. According to the report of World Health Organization, they quote, many premature babies are saved from morbidity and mortality when they are fed with breastmilk starting from within the first hour after their birth. They believe that: firstly, the rate of premature birth in Malaysia has increased exponentially since 2018. Therefore, hospitals should have enough supplies of breastmilk to save the lives of the precious premature babies. Secondly, only one hospital in Malaysia provides supplies of breastmilk on demand. Hence, the study argues for the establishment of breastmilk collection centre. It examines the concept of maqāṣid al-sharīʿah to justify the proposal for the establishment of breastmilk collection centres in hospitals throughout Malaysia to save the lives, intellects, and progenies of the at-risk premature babies. Fifth, Empowering Mothers Against a Malaysian Societal Convention: An Islamic Perspective: In this paper Nur Jannah Hassan believes thar: firstly, having greater women participations in the workforce potentially enhances the country’s prospects for growth; secondly, various agencies work towards increasing women’s participations in the labour force; thirdly, women’s contribution to the family’s and the nation’s income is significant. However, it is observed that the race to get women to ‘roll-up their sleeves’ economically is not without worrying downside trends, even at the current rate of only 55.5% of Malaysian women in the labour force. The paper deliberates on how this affects individuals’ and families’ well-beings, thus putting constrains on the family, society and the Nation at large. The paper draws guidance from the Qur’an and Prophetic traditions to propose a more realistic and well-balanced approach to empowerment of mothers. According to Nur Jannah, the demand to get women’s economic participation towards National growth is real. However, this should not endanger and threaten personal, familial, and societal holistic well beings. She adds, the role of motherhood, especially early motherhood must be included in the equation. Thus, the necessity to empower women. Sixth, Women Empowerment from Quranic perspective. The authors, Radwan Jamal, Rahmawati, and Ziyad Alhaq highlight present-day scenario of problems faced by women in education, social status, in job market, domestic violence, sexual assault etc. and presented a balanced Qur’anic approach to empower women. Seventh, Empowering Thinking and Moral Formation in Muslim Women Through the Philosophical Inquiry (PI) Approach: The authors of this paper, namely Norillah Abdullah and Mohamed Abdelmagid believe that much of what has been said about the social problems involving Muslim women in Malaysia is due to the lack of thinking skills and religious understanding. For this reason, this study is an attempt to highlight the PI method which integrates the Socratic questioning approach to help address the issue and lead to moral formation. This, according to them, would allow women to explore their thoughts and generate rational ideas and choices to achieve understanding and sound judgments (hikmah) and finally empower them in executing their roles and tasks. Eighth, The Role of Faith (Iman) in Women Empowerment: While the role of women in any development is undeniably very essential, the author of this paper Abdul Latif believes that there are women who are being side-lined; their role is being marginalized and consequently, they are being denied their rights. The purpose of his paper is to elaborate on the role of Iman in women empowerment. Abdul Latif describes a good believer as the one who upholds all the three integrated conditions that make the person strong and tranquil, namely profession by the tongue, conviction by heart and practice by limbs. He contends that true belief in Allah is the solution to many of the problems faced by women today. Ninth, The Role of Women in Achieving Sustainable Development Goals (SDGs) in Islam. Rownok Jahan and co-authors analyzed the role of women in achieving sustainable development goals according to Islam. The Islamic approach emphasizes a balanced realization of human rights, consumer welfare, social justice, ecological balance, and economic progress. Achieving these aims is not possible without the active involvement of women. Tenth, The Moral-sexual Empowerment of Women and Children in Hadith Literature: In this paper, Bachar Bakour describes sex as a human innate disposition and a basic need for the survival of the human race, and marriage as the primary appropriate avenue for satisfying sexual desire and living a moral and peaceful life. This article aims to briefly delineate the salient features of women and child sexual empowerment within the specific epistemic and cultural soil of Islamic tradition. Eleventh, A Close Study on Domestic Violence Against Women: Islamic Perspectives and Remedies: The authors of this paper, Maulana Akbar Shah @ U Tun Aung and Phoo Pwint Thu Aung, define women empowerment as: firstly, the process of giving women the power to take control of their lives, rights, and decision-making; secondly, the creation of a society where women are treated equally, with respect, and have access to the same opportunities as men. This, in their view, involves promoting women’s education, encouraging their participation in politics and breaking down gender stereotypes. Twelfth, Women’s Empowerment and Participation in Islamic Financial Planning Diversity, Equity and Inclusion: Evidence from Maqasid al-Shariah. Its authors Mohammad Habibullah, Rusni Hassan, and Nor Razinah Mohd Zain assert that it is imperative to consider the role played by women in the financial sector and their contribution to economic progress. Using an experiment, this study examined the relationship between confidence, gender, and race in relation to dealing with a financial planner among various groups and races with color and creed. The study demonstrates how women plan financially for retirement based on psychological concepts and sociodemographic variables, highlighting the importance of financial management and planning for women. Thirteenth, Muslim Women in Politics: Does it Align With Shari‘ah Parameters? In this paper Ahmad Akram Mahmad Robbi, Saidatolakma Mohd Yunus and Mohamad Faiq Mohamad Sharin examine the views of Muslim scholars regarding women's political participation. They opine that political participation is essential for women empowerment. Fourteenth, Empowerment and Faith: Unraveling the HUI Women’s Mosques in China: In this paper Mai Jianjun describes the Hui Muslims as the largest Muslim minority group in China and their mosques as a very unique phenomenon within the broader Muslim world. They (mosques) stand as a testament of the remarkable resilience of the Hui Muslims in preserving their Islamic faith and Muslim identity in a predominantly non-Muslim society heavily influenced by Confucian culture. Mai Jianjun argues that the previous studies on Hui women’s mosques left two crucial questions unanswered, i.e., why did Hui women’s mosque emerge exclusively in the eastern and central regions of China and not in northwestern region where the concentration of Hui Muslims’ population is higher? Why was this phenomenon limited to the Hui Muslim community and not observed among other Muslim ethnic groups in China? This study employs historical, analytical and contexture analysis approaches to accomplish three research objectives. Firstly, it aims to re-examine the historical background of the Hui Muslims and the emergence of Hui women's mosques during the Ming and Qing dynasties within this particular ethnic group. Secondly, the study seeks to address the aforementioned questions and reidentify the possible causes for the emergence of the Hui women’s mosques in specific regions in China. Thirdly, the study intends to provide an Islamic perspective to illuminate the unique phenomenon of Hui women's mosques in China. Fifteenth, Qadaya al-Mar’ah wa Anwa`uha fi daw’ al-Sunnah al-Nabawiyyah. Its author, Saad Eldin, sheds lights on various topics related to women's issues and their types, such as women's rights, sermons, the hadith concerning the deficiency of intellect and religion, and other issues related to women's rights in general. It also addresses the issue of the mahram (forbidden relationships) for women. Sixteenth, Dawr al-Mar’ah fi al-Marwiyyat al-Hadithiyyah: Mafahimuha wa Masaqatuha. Ahmed Elmogtaba in this article deals with the efforts of women in the narration of Hadiths, with a focus on the six major Hadith collections and the topics related to their narrations. It was found that the narrations of female scholars contributed to various areas of jurisprudence in general, and family laws in particular. The above observations and discussions are intended to prompt critical reflection on the current state of women and children and prompt researchers to consider areas where future research is needed. Editorial Team Associate Professor Dr. Kabuye Uthman Sulaiman, HOD, FIDS, AHAS KIRKHS, IIUM Associate Professor Dr. Maulana Akbar Shah @ U Tun Aung December 5, 2023

Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snapshots” indicates fifteen kaleidoscopic patterns of different moods of life in about fifteen words each. It seems to be a rumination on the variegated images of everyday experiences ranging from individual concerns to spiritual values. Art-wise, they can be called mini-micro-poems as is the last poem of the book. While the character limit in a micro poem is generally 140 (the character limit on Twitter) Susheel has used just around 65 in each of these poems. Naturally, imagery, symbolism and cinematic technique play a great role in this case. In “The End of the Road” the poet depicts his individual experiences particularly changing scenario of the world. He seems to be worried about his eyesight getting weak with the passage of time, simultaneously he contrasts the weakness of his eyesight with the hypocrisy permeating the human life. He compares his diminishing eyesight to Milton and shows his fear as if he will get blind. He changes his spectacles six times to clear his vision and see the plurality of a reality in human life. It is an irony on the changing aspects of human life causing miseries to the humanity. At the end of the poem, the poet admits the huge changes based on the sham principles: “The world has lost its original colour” (4). The concluding lines of the poem make a mockery of the people who are not able to recognise reality in the right perspective. The poem “Durga Puja in 2013” deals with the celebration of the festival “Durga Puja” popular in the Hindu religion. The poet’s urge to be with Ma Durga shows his dedication towards the Goddess Durga, whom he addresses with different names like ‘Mai’, ‘Ma’ and ‘Mother’. He worships her power and expresses deep reverence for annihilating the evil-spirits. The festival Durga Puja also reminds people of victory of the goddess on the elusive demons in the battlefield. “Chasing a Dream on the Ganges” is another poem having spiritual overtones. Similarly, the poem “Akshya Tritya” has religious and spiritual connotations. It reflects curiosity of people for celebration of “Akshya Tritya” with enthusiasm. But the political and economic overtones cannot be ignored as the poem ends with the remarkable comments: The GDP may go up on this day; Even, Budia is able to Eat to his fill; Panditji can blow his Conch shell with full might. Outside, somebody is asking for votes; Somebody is urging others to vote. I shall vote for Akshya Tritya. (65-66) “On Reading Langston Hughes’ ‘Theme for English B’” is a long poem in the collection. In this poem, the poet reveals a learner’s craving for learning, perhaps who comes from an extremely poor background to pursue his dreams of higher education. The poet considers the learner’s plights of early childhood, school education and evolutionary spirit. He associates it with Dronacharya and Eklavya to describe the mythical system of education. He does not want to be burdened with the self-guilt by denying the student to be his ‘guru’ therefore, he accepts the challenge to change his life. Finally, he shows his sympathy towards the learner and decides to be the ‘guru’: “It is better to face/A challenge and change/Than to be burden with a life/Of self-guilt. /I put my signatures on his form willy-nilly” (11). The poem “The Destitute” is an ironical presentation of the modern ways of living seeking pleasure in the exotic locations all over the world. It portrays the life of a person who has to leave his motherland for earning his livelihood, and has to face an irreparable loss affecting moral virtues, lifestyle, health and sometimes resulting in deaths. The poem “The Black Experience” deals with the suppression of the Africans by the white people. The poem “Me, A Black Doxy”, perhaps points out the dilemma of a black woman whether she should prostitute herself or not, to earn her livelihood. Perhaps, her deep consciousness about her self-esteem does not allow her to indulge in it but she thinks that she is not alone in objectifying herself for money in the street. Her voice resonates repeatedly with the guilt of her indulgence on the filthy streets: At the dining time Me not alone? In the crowded street Me not alone? They ’ave white, grey, pink hair Me ’ave black hair – me not alone There’s a crowd with black hair. Me ’ave no black money Me not alone? (14) The poem “Thus Spake a Woman” is structured in five sections having expressions of the different aspects of a woman’s love designs. It depicts a woman’s dreams and her attraction towards her lover. The auditory images like “strings of a violin”, “music of the violin” and “clinch in my fist” multiply intensity of her feelings. With development of the poem, her dreams seem to be shattered and sadness know the doors of her dreamland. Finally, she is confronted with sadness and is taken back to the past memories reminding her of the difficult situations she had faced. Replete with poetic irony, “Bubli Poems” presents the journey of a female, who, from the formative years of her life to womanhood, experienced gender stereotypes, biased sociocultural practices, and ephemeral happiness on the faces of other girls around her. The poem showcases the transformation of a village girl into a New Woman, who dreams her existence in all types of luxurious belongings rather than identifying her independent existence and finding out her own ways of living. Her dreams lead her to social mobility through education, friendships, and the freedom that she gains from her parents, family, society and culture. She attempts her luck in the different walks of human life, particularly singing and dancing and imagines her social status and wide popularity similar to those of the famous Indian actresses viz. Katrina and Madhuri Dixit: “One day Bubli was standing before the mirror/Putting on a jeans and jacket and shaking her hips/She was trying to be a local Katrina” (41). She readily bears the freakish behaviour of the rustic/uncultured lads, derogatory comments, and physical assaults in order to fulfil her expectations and achieves her individual freedom. Having enjoyed all the worldly happiness and fashionable life, ultimately, she is confronted with the evils designs around her which make her worried, as if she is ignorant of the world replete with the evils and agonies: “Bubli was ignorant of her agony and the lost calm” (42). The examples of direct poetic irony and ironic expressions of the socio-cultural evils, and the different governing bodies globally, are explicit in this poem: “Bubli is a leader/What though if a cheerleader./The news makes her family happy.”(40), “Others were blaming the Vice-Chancellor/ Some others the system;/ Some the freedom given to girls;”(45), and “Some blame poverty; some the IMF;/ Some the UN; some the environment;/ Some the arms race; some the crony’s lust;/ Some the US’s craving for power;/Some the UK’s greed. (46-47). Finally, Bubli finds that her imaginative world is fragile. She gives up her corporeal dreams which have taken the peace of her mind away. She yearns for shelter in the temples and churches and surrenders herself before deities praying for her liberation: “Jai Kali,/ Jai Mahakali, Jai Ma, Jai Jagaddhatri,/ Save me, save the world.” (47). In the poem “The Unlucky”, the poet jibes at those who are lethargic in reading. He identifies four kinds of readers and places himself in the fourth category by rating himself a ‘poor’ reader. The first three categories remind the readers of William Shakespeare’s statement “Some are born great, some achieve greatness, and some have greatness thrust upon them.” At the end of the poem, the poet questions himself for being a poet and teacher. The question itself reflects on his ironic presentation of himself as a poor reader because a poet’s wisdom is compared with that of the philosopher and everybody worships and bows before a teacher, a “guru”, in the Indian tradition. The poet is considered the embodiment of both. The poet’s unfulfilled wish to have been born in Prayagraj is indexed with compunction when the poem ends with the question “Why was I not born in Prayagraj?” (52). Ending with a question mark, the last line of the poem expresses his desire for perfection. The next poem, “Saying Goodbye”, is elegiac in tone and has an allusion to Thomas Gray’s “The Elegy Written in a Country Churchyard” in the line “When the curfew tolls the knell of the parting day”; it ends with a question mark. The poem seems to be a depiction of the essence and immortality of ‘time’. Reflecting on the poet’s consideration of the power and beauty of ‘time’, Pradeep Kumar Patra rightly points out, “It is such a phenomena that nobody can turn away from it. The moment is both beautiful as well as ferocious. It beautifies and showcases everything and at the same time pulls everything down when necessary” (146). Apparently, the poem “The Kerala Flood 2018”is an expression of emotions at the disaster caused by the flood in 2018. By reminding of Gandhi’s tenets to be followed by people for the sake of morality and humankind, the poet makes an implicit criticism of the pretentions, and violation of pledges made by people to care of other beings, particularly, cow that is worshiped as “mother” and is considered to be a symbol of fertility, peace and holiness in Hinduism as well as the Buddhist culture. The poet also denigrates people who deliberately ignore the sanctity of the human life in Hinduism and slaughter the animal cow to satisfy their appetites. In the poem, the carnivorous are criticized explicitly, but those who pretend to be herbivorous are decried as shams: If a cow is sacrosanct And people eat beef One has to take a side. Some of the friends chose to Side with cow and others With the beef-eaters. Some were more human They chose both. (55) The poet infuses positivity into the minds of the Indian people. Perhaps, he thinks that, for Indians, poverty, ignorance, dirt and mud are not taboos as if they are habitual to forbear evils by their instincts. They readily accept them and live their lives happily with pride considering their deity as the preserver of their lives. The poem “A Family by the Road” is an example of such beliefs, in which the poet lavishes most of his poetic depiction on the significance of the Lord Shiva, the preserver of people in Hinduism: Let me enjoy my freedom. I am proud of my poverty. I am proud of my ignorance. I am proud of my dirt. I have a home because of these. I am proud of my home. My future is writ on the walls Of your houses My family shall stay in the mud. After all, somebody is needed To clean the dirt as well. I am Shiva, Shivoham. (73) In the poem “Kabir’s Chadar”, the poet invokes several virtues to back up his faith in spirituality and simplicity. He draws a line of merit and virtue between Kabir’s Chadar which is ‘white’ and his own which is “thickly woven” and “Patterned with various beautiful designs/ In dark but shining colours” (50). The poet expresses his views on Kabir’s ‘white’ Chadar symbolically to inculcate the sense of purity, fortitude, spirituality, and righteousness among people. The purpose of his direct comparison between them is to refute artificiality, guilt and evil intents of humanity, and propagate spiritual purity, the stark simplicities of our old way of life, and follow the patience of a saint like Kabir. The poem “Distancing” is a statement of poetic irony on the city having two different names known as Bombay and Mumbai. The poet sneers at its existence in Atlas. Although the poet portraits the historical events jeering at the distancing between the two cities as if they are really different, yet the poet’s prophetic anticipation about the spread of the COVID-19 in India cannot be denied prima facie. The poet’s overwhelming opinions on the overcrowded city of Bombay warn humankind to rescue their lives. Even though the poem seems to have individual expressions of the poet, leaves a message of distancing to be understood by the people for their safety against the uneven things. The poem “Crowded Locals” seems to be a sequel to the poem “Distancing”. Although the poet’s purpose, and appeal to the commonplace for distancing cannot be affirmed by the readers yet his remarks on the overcrowded cities like in Mumbai (“Crowded Locals”), foresee some risk to the humankind. In the poem “Crowded Locals”, he details the mobility of people from one place to another, having dreams in their eyes and puzzles in their minds for their livelihood while feeling insecure especially, pickpockets, thieves and strangers. The poet also makes sneering comments on the body odour of people travelling in first class. However, these two poems have become a novel contribution for social distancing to fight against the COVID-19. In the poem “Buy Books, Not Diamonds” the poet makes an ironical interpretation of social anarchy, political upheaval, and threat of violence. In this poem, the poet vies attention of the readers towards the socio-cultural anarchy, especially, anarchy falls on the academic institutions in the western countries where capitalism, aristocracy, dictatorship have armed children not with books which inculcate human values but with rifles which create fear and cause violence resulting in deaths. The poet’s perplexed opinions find manifestation in such a way as if books have been replaced with diamonds and guns, therefore, human values are on the verge of collapse: “Nine radiant diamonds are no match/ To the redness of the queen of spades. . . . / … holding/ Rifles is a better option than/ Hawking groundnuts on the streets?” (67).The poet also decries the spread of austere religious practices and jihadist movement like Boko Haram, powerful personalities, regulatory bodies and religious persons: “Boko Haram has come/Obama has also come/The UN has come/Even John has come with/Various kinds of ointments” (67). The poem “Lost Childhood” seems to be a memoir in which the poet compares the early life of an orphan with the child who enjoys early years of their lives under the safety of their parents. Similarly, the theme of the poem “Hands” deals with the poet’s past experiences of the lifestyle and its comparison to the present generation. The poet’s deep reverence for his parents reveals his clear understanding of the ways of living and human values. He seems to be very grateful to his father as if he wants to make his life peaceful by reading the lines of his palms: “I need to read the lines in his palm” (70). In the poem “A Gush of Wind”, the poet deliberates on the role of Nature in our lives. The poem is divided into three sections, perhaps developing in three different forms of the wind viz. air, storm, and breeze respectively. It is structured around the significance of the Nature. In the first section, the poet lays emphasis on the air we breathe and keep ourselves fresh as if it is a panacea. The poet criticizes artificial and material things like AC. In the second section, he depicts the stormy nature of the wind scattering papers, making the bed sheets dusty affecting or breaking the different types of fragile and luxurious objects like Italian carpets and lamp shades with its strong blow entering the oriels and window panes of the houses. Apparently, the poem may be an individual expression, but it seems to be a caricature on the majesty of the rich people who ignore the use of eco-chic objects and disobey the Nature’s behest. In the third and the last section of the poem, the poet’s tone is critical towards Whitman, Pushkin and Ginsberg for their pseudoscientific philosophy of adherence to the Nature. Finally, he opens himself to enjoy the wind fearlessly. The poems like “A Voice” , “The New Year Dawn”, “The New Age”, “The World in Words in 2015”, “A Pond Nearby”, “Wearing the Scarlet Letter ‘A’”, “A Mock Drill”, “Strutting Around”, “Sahibs, Snobs, Sinners”, “Endless Wait”, “The Soul with a New Hat”, “Renewed Hope”, “Like Father, Unlike Son”, “Hands”, “Rechristening the City”, “Coffee”, “The Unborn Poem”, “The Fountain Square”, “Ram Setu”, and “Connaught Place” touch upon the different themes. These poems reveal poet’s creativity and unique features of his poetic arts and crafts. The last poem of the collection “Stories from the Mahabharata” is written in twenty-five stanzas consisting of three lines each. Each stanza either describes a scene or narrates a story from the Mahabharata, the source of the poem. Every stanza has an independent action verb to describe the actions of different characters drawn from the Mahabharata. Thus, each stanza is a complete miniscule poem in itself which seems to be a remarkable characteristic of the poem. It is an exquisite example of ‘Micro-poetry’ on paper, remarkable for its brevity, dexterity and intensity. The poet’s conscious and brilliant reframing of the stories in his poem sets an example of a new type of ‘Found Poetry’ for his readers. Although the poet’s use of various types images—natural, comic, tragic, childhood, horticultural, retains the attention of readers yet the abundant evidences of anaphora reflect redundancy and affect the readers’ concentration and diminishes their mental perception, for examples, pronouns ‘her’ and ‘we’ in a very small poem “Lost Childhood”, articles ‘the’ and ‘all’ in “Crowded Locals”, the phrase ‘I am proud of’ in “A Family by the Road” occur many times. Svitlana Buchatska’s concise but evaluative views in her Afterword to Unwinding Self help the readers to catch hold of the poet’s depiction of his emotions. She writes, “Being a keen observer of life he vividly depicts people’s life, traditions and emotions involving us into their rich spiritual world. His poems are the reflection on the Master’s world of values, love to his family, friends, students and what is more, to his beloved India. Thus, the author reveals all his beliefs, attitudes, myths and allusions which are the patterns used by the Indian poets” (150). W. H. Auden defines poetry as “the clear expression of mixed feelings.” It seems so true of Susheel Sharma’s Unwinding Self. It is a mixture of poems that touch upon the different aspects of human life. It can be averred that the collection consists of the poet’s seamless efforts to delve into the various domains of the human life and spot for the different places as well. It is a poetic revue in verse in which the poet instils energy, confidence, power and enthusiasm into minds of Indian people and touches upon all aspects of their lives. The poverty, ignorance, dirt, mud, daily struggle against liars, thieves, pickpockets, touts, politician and darkness have been depicted not as weaknesses of people in Indian culture but their strengths, because they have courage to overcome darkness and see the advent of a new era. The poems teach people morality, guide them to relive their pains and lead them to their salvation. Patricia Prime’s opinion is remarkable: “Sharma writes about his family, men and women, childhood, identity, roots and rootlessness, memory and loss, dreams and interactions with nature and place. His poised, articulate poems are remarkable for their wit, conversational tone and insight” (138). Through the poems in the collection, the poet dovetails the niceties of the Indian culture, and communicates its beauty and uniqueness meticulously. The language of the poem is lucid, elevated and eloquent. The poet’s use of diction seems to be very simple and colloquial like that of an inspiring teacher. On the whole the book is more than just a collection of poems as it teaches the readers a lot about the world around them through a detailed Glossary appended soon after the poems in the collection. It provides supplementary information about the terms used abundantly in Indian scriptures, myths, and other religious and academic writings. The Glossary, therefore, plays pivotal role in unfolding the layers of meaning and reaching the hearts of the global readers. The “Afterwords” appended at the end, enhances readability of poems and displays worldwide acceptability, intelligibility, and popularity of the poet. The Afterwords are a good example of authentic Formalistic criticism and New Criticism. They indirectly teach a formative reader and critic the importance of forming one’s opinion, direct reading and writing without any crutches of the critics.

From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. 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Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. Citation reference for this article MLA Style Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.