Journal articles on the topic 'Robin Hill School series'

It was in October of 1964 when I first used a TEM, it was at the Siemens training school run by their agent Aeon Laboratories. A service engineer (we didn't call them technicians in those days), Robin Willis ran the course, five days for just alignment and cleaning! Robin, by the way, moved to University College London, Anatomy department and became the first person to publish on the tilting of biological samples. He actually invented tomography without knowing it! He used a fish tank within which he hung the negatives of his +60 to -60 tilt series. This procedure created a three dimensional image of the thin section, again I would guess, for the first time.

Abstract. Robin Charles (Ignatius) Whatley was born a ‘Man of Kent’ in 1936. He was educated at Ashford Grammar School, where an inspiring teacher, Frank Kenworthy, stimulated a series of pupils to become earth scientists, for example, John Catt (University College London), Roy Clements (Leicester University), Ron Cook (recently Vice Chancellor of York University) and Chris Wilson (Open University). Following a varied post-school career as a farmer (1954), National Serviceman (1955–1957), and inshore fisherman based at Christchurch, Hampshire (1957–1959), Robin joined Hull University to read Geology. He graduated with a First Class Honours Degree in 1962, one of the first two ever to be awarded by the department. An interest in Micropalaeontology, in particular ostracods, became apparent during undergraduate years and formed part of his BSc dissertation. A further three years at Hull followed, funded by the Department of Scientific and Industrial Research (DSIR, fore-runner of the modern research councils), leading to the award of a PhD degree in 1966 for a thesis on British Callovian and Oxfordian ostracods, carried out under the supervision of John Neale. As a mature student Robin felt it to be his duty to write stern letters to DSIR pointing out the shortcomings of its procedures and officials, and he was somewhat surprised when, visiting DSIR for a Post-Doctoral Fellowship interview, he discovered that his letters were regularly pinned to the staff notice board to be read by all. As it turned out a Fellowship was not required, as Robin was appointed Assistant Lecturer in Geology . . .

This article examines the effectiveness of using interactive methods of teaching chemistry at school. Through a series of experiments and analyses, ways to easily achieve student learning goals using interactive methods were explored. In addition, the analytical hierarchy process was used to evaluate and prioritize the effectiveness of interactive methods. During the study, when teaching chemistry to 7th grade students, the “timed round robin system” method, the game “Quiz”, “Debate”, and “Friends Hour” were used. The use of interactive methods in the subject of chemistry to increase student activity in the lesson, control over the subject, the ability to receive and exchange information, and the level of knowledge.

The reintroduction of Bobâlna Hill into the tourist circuit. Bobâlna Hill is the highest part of the Cluj and Dej Hills, an integrated part of the Someșan Plateau, with an altitude of 693 m. From a geomorphological point of view, it falls within the erosive-structural level formed on the horizon of the Dej tuff, of Lower Pannonian age. At the foot of the hill, a series of subsequent valleys developed, such as Olpret Valley to the north, northeast and east, Măr Valley and Lujerdiu Valley to the south, and Luna Valley to the west and southwest respectively. From a geological point of view, Bobâlna Hill is composed by the Dacitic tuff of Dej, interspersed with marls, clays, sandstones with coals and marly shales. Due to its altitude and the rocks it is made of, Bobâlna Hill determined the meaning of the evolution of the other natural components of the environment, flora, fauna, soils, as well as the hydrography. The development of human communities in the adjacent communes was deeply influenced by the presence of Bobâlna Hill. The hill is located about 30 km west of Dej City. Its area of polarization is more visible on the territories of Bobâlna, Aluniș, Cornești, Recea-Cristur and Panticeu communes. Bobâlna Hill has been the source of building materials for houses and other buildings for a long time. There are still buildings made of “Băbdiu stone” today. In addition to resistance over time, tuff has a beautiful appearance and was accessible to people. In June 1437, an army of peasants gathered on Bobâlna Hill, armed with pitchforks and scythes, ready to fight to regain their rights and freedom. The uprising in Bobâlna took place as a result of burdensome feudal obligations towards the state, the feudal lord and the Catholic church, but also because of numerous abuses. On June 8, 1937, the leaders of the villages in the Olpret area formed an initiative committee to build a monument in honour of the peasants who revolted in 1437, on Bobâlna Hill, at an altitude of 693 meters. The initiative was successful and a limestone monument was built, unveiled on December 21, 1957. Starting from 1968 and up to 1989, popular celebrations were organized, most of them just above, on the Bobâlna plateau. The heroes of the 1437 uprising were commemorated and it was an occasion of joy, reunion and party for the inhabitants of the area. Between the years 1989-1999, the celebrations stopped, but they were resumed in 1999, 2001 and 2002. The last celebration was in 2015, in the school yard in Bobâlna commune, but it had a smaller scale. In the years 2021 and 2022, the first two editions of the Revolution Race event took place, on Bobâlna Hill. Revolution Race is a sporting event that highlights nature, history and rural traditions. The “Înflorești” Sports Club Association participated to the organization of the two events in partnership with the Go4Fun Association and the administration of the municipalities of Bobâlna and Cornești. Over 300 runners from Romania and abroad participated in each edition. Starting from the advantages offered by the natural setting, the presence of Bobâlna Hill, and the significance of the historical event of 1437, Bobâlna municipality is currently designing a long-term development strategy based on ecological rural tourism. Keywords: Bobâlna Hill, Revolution Race, Bobâlna Monument

Understanding how non-native species escape or are accidentally released helps producers better design and operate aquaculture facilities to reduce or prevent escape. Active management of critical points where escape is possible will help achieve regulatory compliance. This 6-page fact sheet is the second in a four-part series devoted to educating industry and other stakeholders on the importance of preventing the escape of non-native species from aquaculture facilities, as well as strategies for non-native species containment and regulatory compliance. It describes farm layouts, explains how fish escape, and outlines a process that aquaculturists can complete to identify potential escape points on their farms. Written by Jeffrey E. Hill, Quenton M. Tuckett, Carlos V. Martinez, Jared L. Ritch, and Katelyn M. Lawson, and published by the School of Forest Resources and Conservation Program in Fisheries and Aquatic Sciences, August 2016. FA196/FA196: Preventing Escape of Non-Native Species from Aquaculture Facilities in Florida, Part 2: Facility Evaluation Strategies (ufl.edu)

Colin Russell Austin, English by birth, initially graduated in Veterinary Science from the University of Sydney in 1936. The Second World War limited his career options, but he was fortunate to be employed by the CSIR Division of Animal Health in Sydney. In 1954 he was invited to join the staff of the Medical Research Council's laboratory in Mill Hill, London to study fertilization and early embryonic development in rats and rabbits. As a result, in 1962 he was asked to teach Fertilization and Gamete Physiology at the Marine Biological Laboratory, Woods Hole, Massachusetts, and subsequently became Professor of Embryology in the Medical School at Tulane University, New Orleans. This alerted the University of Cambridge to his potential and they created a special Charles Darwin Chair for him in 1967. This enabled him to support the work of his young student Robert Edwards on human in vitro fertilization and embryonic development that culminated in the award of the Nobel Prize to Edwards and Patrick Steptoe in 2010. Austin also devoted a great deal of his time to editing the 13-volume Cambridge University Press series of textbooks, Reproduction in Mammals, completing the series from his retirement home in Buderim, Queensland in 1986.

Aquaculture is an important and diverse segment of the agricultural economy in Florida. Ornamental, live bait, food finfish, and other segments of this industry culture and trade in non-native species. Escape or release of these non-native cultured organisms is an environmental and legal concern in Florida and therefore a key consideration in aquaculture farm construction and operation. This 7-page fact sheet is the first in a four-part series devoted to educating industry and other stakeholders on the importance of preventing the escape of non-native species from aquaculture facilities, as well as strategies for non-native species containment and regulatory compliance. It introduces the series, explains why non-native species containment is important, provides information on regulations, including the Florida Aquaculture Best Management Practices rule, describes the BMP inspection process, and provides advice on achieving compliance with these important regulations. Written by Quenton M. Tuckett, Carlos V. Martinez, Jared L. Ritch, Katelyn M. Lawson, and Jeffrey E. Hill, and published by the School of Forest Resources and Conservation Program in Fisheries and Aquatic Sciences, August 2016. FA195/FA195: Preventing Escape of Non-Native Species from Aquaculture Facilities in Florida, Part 1: General Considerations and Regulations (ufl.edu)

The British architect Oliver Hill (1887–1968) was an important and influential figure in the inter-war period. His ability to cross the boundaries of architectural style ensured career longevity and success, but invited a reputation as a half-hearted Modernist, lacking the rigour of his Modern Architectural Research (MARS) Group contemporaries. This view was acknowledged by the MARS chairman Wells Coates (1895–1958), in an early group memorandum of 1933, where he asserted that: ‘Certain people [including Oliver Hill] who are popularly and notoriously known as “modern” architects do not qualify in our sense.’ Unquestionably, there were two sides to Hill’s architecture, as he himself recognized in 1937: ‘Today, my love is divided between the new and the old.’While the MARS Group stuck rigidly to the dogma of the Modern Movement, Hill’s understanding and application of Modernism developed throughout the 1930s. Hill’s Modern buildings chronicle his shifting concept of modernity, reflecting the numerous sub-movements and strands of Modernism in inter-war Britain rather than any halfheartedness in his approach. Commonly remembered for his glitzy early examples of ‘the new’, such as Joldwynds (1930–32) and the Midland Hotel in Morecambe (1932–33), Hill’s Modernism was initially based upon a use of glass and silvered surfaces that straddled Art Deco and the International Style. Yet opulence was gradually replaced by a social concern focused on children’s welfare, evident in a series of exhibits, unrealized projects and school buildings. Hill’s later inter-war Modernism also reflected a wider move toward local materials and construction techniques that acknowledged the peculiarity of English conditions. This article contextualizes Hill’s adoption of Modernism and explores his public work of the late 1930s that combined his fascination for the new with his respect for national tradition.

Structural strategies to prevent the escape of non-native species from aquaculture facilities have numerous environmental benefits, and research at the UF/IFAS Tropical Aquaculture Laboratory has shown that structural strategies also reduce non-compliance with Florida Department of Agriculture and Consumer Services Best Management Practices. Operational and management strategies, however, are also very important. The strategies discussed in this 6-page fact sheet, the management of water, facilities, and employees, must not be overlooked. Operational strategies are easy, inexpensive, and, when used alongside structural strategies, highly effective, offering an impressive return on a minimal investment in the overall effort to minimize the escape of non-native species. This fact sheet is the fourth in a four-part series devoted to educating industry and other stakeholders on the importance of preventing escape of non-native species from aquaculture facilities, as well as strategies for non-native species containment and regulatory compliance. Written by Quenton M. Tuckett, Carlos V. Martinez, Jared L. Ritch, Katelyn M. Lawson, and Jeffrey E. Hill, and published by the School of Forest Resources and Conservation, Program in Fisheries and Aquatic Sciences, August 2016. FA198/FA198: Preventing Escape of Non-Native Species from Aquaculture Facilities in Florida, Part 4: Operational Strategies (ufl.edu)

This study aimed at analyzing and evaluating the content of We Can1, which is published by Mc Graw Hill, edition 2021 for the first grade as a school curriculum for Saudi public schools. It is conducted in the public elementary schools in the Kingdom of Saudi Arabia, Riyadh. We Can1 is chosen for the current study, because it is used in the public elementary schools as an English curriculum. Thus, a deep evaluation of the textbook content is needed. However, the other elementary grades are using other We Can series. The purpose of the current study is to examine the content of We Can1 according to the curriculum layout and design, activities, and English skills. It also seeks to scrutinize the cultural appropriateness of We Can1 in association with the EFL Saudi students’ culture. Moreover, the study focuses on We Can1 curriculum to measure the extent in which it meets the students’ needs. Besides, the interpretation of the objectives of We Can1 as a curriculum in the learning process somehow. The Qualitative Content Analysis (QCA) is used for the current study as a research method to help the researcher in analyzing and evaluating the content. The researcher found that We Can 1 is an effective material in respect to layout and design. Moreover, all the English skills are included except reading skills. The researcher also concluded that We Can1 is culturally appropriate for EFL Saudi students in public elementary schools.

The purpose of this research is to learn about and assess wildlife conservation, with a focus on Kuno National Park. The research also attempts to propose ideas and future perspectives for the enhancement and welfare of wildlife, notably in Kuno, by examination of primary and secondary data sources. Kuno National Park is extended in the Vindhyan hill series, and it is situated in the Sheopur district of Madhya Pradesh within the geographical extent of 76°58'37.45" E to 77°20'7.98" E and 25°30'50.03" N to 26°05'23.19" N [1]. Kuno NP covers an area of 748.761 km² made free of all human habitation through incentivized voluntary relocation of forest settlements. The Kuno NP and adjoining buffer area are part of the Kuno Wildlife Division which covers an area of 1235 km2. In this article, an attempt has been made to explore the concept of environmental protection and wildlife conservation particularly wild animals in Kuno NP. The exploitation of natural resources by humans has degraded the environment, endangered certain animal species, and damaged the ecosystem to a certain extent. Overall, the poll depicts a picture of a society that is heavily reliant on agricultural and animal husbandry for a living. Education levels are largely in the elementary to secondary school range, with some reading gaps that require addressed. The villagers' economic situation is defined by a considerable fraction falling within the middle-income bracket.

The article presents data on bird observations in the Botanical Garden of the National Forestry University of Ukraine. The information was collected from 2017 to 2021. In 2021, 37 species of birds were identified. Of these, 8 species belonging to the Passeriformes series are settled. The best represented family is Muscicapadae, including 7 species. The family Fringillidae includes 6 species, the family Paridae – 5 species. As many as 7 families represent only one species of birds. Birds identified in 2021 are: The great tit (Parus major L.), The Eurasian blue tit (P. caeruleus L.), Crested tit, (P. cristatus L.), Long-tailed tit (Aegithalos caudatus L.), The coal tit (P. ater L.), The marsh tit (P. palustris L.), The common blackbird (Turdus merula L.), Fieldfare (Turdus pilaris L.), The song thrush (T. philomelos Brehm), Redwing (T. iliacus L.), The mistle thrush (T. viscivorus L.), The spotted flycatcher (Muscicapa striata Pallas), European robin (Erithacus rubecula L.), Common wood pigeon (Columba palumbus L.), common pigeon (Columba livia, Gmelin), Eurasian magpie (Pica pica L.), The Eurasian jay (Garrulus glandarius L.), Hooded crow (Corvus cornix L.), The rook (C. frugilegus L.), Great spotted woodpecker (Dendrocopos major L.), The middle spotted woodpecker (D. medius L.), The white-backed woodpecker (D. leucotos Bechstein), Grey-headed woodpecker (Picus canus Gmelin), Eurasian nuthatch (Sitta europaea L.), Eurasian treecreeper (Certhia familiaris L.), Short-toed treecreeper (C. brachydactyla Brehm), Hawfinch (Coccothraustes coccothraustes L.), Common chaffinch (Fringilla coelebs L.), European greenfinch (Chloris chloris L.), Eurasian bullfinch (Pyrrhula pyrrhula L.), Eurasian siskin (Spinus spinus L.), Red crossbill (Loxia curvirostra L.), Eurasian blackcap (Sylvia atricapilla L.), Eurasian wren (Troglodytes troglodytes L.), The goldcrest (Regulus regulus L.), Corn bunting (Emberiza calandra L.), Common buzzard (Buteo buteo L.). The most populated is the part of the arboretum, which is located at the top of the hill, where there are plantations of conifers, including yew, Amur cork tree grows. Ivy and mistletoe on the trees, attract birds throughout the year. The most important risk factor for birds is cats. A marten also occurs in the protected area. Care gardening has a pronounced negative effect on birds, especially during the nesting season. Such work includes pruning bushes, removing individual trees or dry branches, and removing fallen leaves. The collection of nuts, acorns and seeds is not carried out in full – for animals, there is always a significant supply of crops. No special animal protection measures have been implemented in the protected area. It would be appropriate to hang artificial nests in trees and inform people about the inadmissibility of semi-free keeping of cats that regularly hunt birds.

-Johann Angerler, Achim Sibeth, Vom Kultobjekt zur Massenware; Kulturhistorische und kunstethnologische Studie zur figürlichen Holzschnitzkunst der Batak in Nordsumatra/Indonesien. Herbolzheim: Centaurus, 2003, 416 pp. [Sozialökonomische Prozesse in Asien und Afrika 8.] -Greg Bankoff, Eva-Lotta E. Hedman ,Philippine politics and society in the twentieth century; Colonial legacies, post colonial trajectories. London: Routledge, 2000, xv + 206 pp. [Politics in Asia Series.], John T. Sidel (eds) -Peter Boomgard, Andrew Dalby, Dangerous tastes; The story of spices. London: British Museum Press, 2002, 184 pp. -Max de Bruijn, G.J. Schutte, Het Indisch Sion; De Gereformeerde kerk onder de Verenigde Oost-Indische Compagnie. Hilversum: Verloren, 2002, 254 pp. [Serta Historica 7.] -Laura M. Calkins, Jacqueline Aquino Siapno, Gender, Islam, nationalism and the state in Aceh; The paradox of power, co-optation and resistance. London: RoutledgeCurzon, 2002, xxi + 240 pp. -H.J.M. Claessen, Deryck Scarr, A history of the Pacific islands; Passages through tropical time. Richmond: Curzon, 2001, xviii + 323 pp. -Matthew Isaac Cohen, Sean Williams, The sound of the ancestral ship; Highland music of West Java. Oxford: Oxford University Press, 2001, xii + 276 pp. -Freek Colombijn, Raymond K.H. Chan ,Development in Southeast Asia; Review and prospects. Aldershot: Ashgate, 2002, xx + 265 pp., Kwan Kwok Leung, Raymond M.H. Ngan (eds) -Heidi Dahles, Shinji Yamashita, Bali and beyond; Explorations in the anthropology of tourism. Translated and with an introduction by J.S. Eades, New York: Berghahn, 2003, xix + 175 pp. [Asian Anthropologies.] -Frank Dhont, Hans Antlöv ,Elections in Indonesia; The New Order and beyond. With contributions by Hans Antlöv, Syamsuddin Haris, Endang Turmudi, Sven Cederroth, Kaarlo Voionmaa. London: RoutledgeCurzon, 2004, xii + 164 pp. [Nordic Institute of Asian Studies Monograph Series 88.], Sven Cederroth (eds) -Frank Dhont, Aris Ananta ,Indonesian electoral behaviour; A statistical perspective. Singapore: Institute of Southeast Asian Studies, 2004, xli + 429 pp. [Indonesia's Population Series 2.], Evi Nurvida Arifin, Leo Suryadinata (eds) -Hans Hägerdal, Arnaud Leveau, Le destin des fils du dragon; L'influence de la communauté chinoise au Viêt Nam et en Thaïlande. Paris: L'Harmattan, Bangkok: Institut de Recherche sur l'Asie de Sud Est Contemporaine, 2003, xii + 88 pp. -Han Bing Siong, A.W.H. Massier, Van recht naar hukum; Indonesische juristen en hun taal, 1915-2000. (Privately published), 2003, xiii + 234 pp. [PhD thesis, Leiden University.] -David Hicks, Andrew Berry, Infinite tropics; An Albert Russel Wallace anthology, with a preface by Stephen Jay Gould. London: Verso, 2002, xviii + 430 pp. -Carool Kersten, J. van Goor, Indische avonturen; Opmerkelijke ontmoetingen met een andere wereld. Den Haag: Sdu Uitgevers, 2000, 294 pp. -Lisa Migo, Robert Martin Dumas, 'Teater Abdulmuluk' in Zuid-Sumatra; Op de drempel van een nieuwe tijdperk. Leiden: Onderzoekschool CNWS, School voor Aziatische, Afrikaanse en Amerindische Studies, 2000, 345 pp. -John N. Miksic, Claude Guillot ,Historie de Barus, Sumatra; Le site de Lobu Tua; II; Étude archéologique et documents. Paris: Association Archipel, 2003, 339 pp. [Cahier d'Archipel 30.], Marie-France Dupoizat, Daniel Perret (eds) -Sandra Niessen, Traude Gavin, Iban ritual textiles. Leiden: KITLV Press, 2003, xi + 356 pp. [Verhandelingen 205.] -Frank Okker, Jan Lechner, Uit de verte; Een jeugd in Indië 1927-1946. Met een nawoord van Gerard Termorshuizen. Leiden: KITLV Uitgeverij, 2004, 151 pp. [Boekerij 'Oost en West'.] -Angela Pashia, William D. Wilder, Journeys of the soul; Anthropological studies of death, burial and reburial practices in Borneo. Phillips ME: Borneo Research Council, 2003, vix + 366 pp. [Borneo Research Council Monograph Series 7.] -Jonathan H. Ping, Huub de Jonge ,Transcending borders; Arabs, politics, trade and Islam in Southeast Asia. Leiden: KITLV Press, 2002, viii + 246 pp. [Proceedings 5.], Nico Kaptein (eds) -Anton Ploeg, William C. Clarke, Remembering Papua New Guinea; An eccentric ethnography. Canberra: Pandanus Books, Research School of Pacific and Asian Studies, Australian National University, 2003, 178 pp. -Nathan Porath, Gerco Kroes, Same hair, different hearts; Semai identity in a Malay context; An analysis of ideas and practices concerning health and illness. Leiden: Research School of Asian, African and Amerindian Studies (CNWS), Universiteit Leiden, 2002, 188 pp. -Guido Sprenger, Grant Evans, Laos; Culture and society. Chiang Mai: Silkworm Books, 1999, xi + 313 pp. -Gerard Termorshuizen, Dik van der Meulen, Multatuli; Leven en werk van Eduard Douwes Dekker. Nijmegen: SUN, 2002, 912 pp. -Paige West, Karl Benediktsson, Harvesting development; The construction of fresh food markets in Papua New Guinea. Copenhagen: Nordic Institute of Asian Studies/Ann Arbor: University of Michigan Press, 2002, xii + 308 pp. -Edwin Wieringa, Amirul Hadi, Islam and state in Sumatra; A study of seventeenth-century Aceh. Leiden: Brill, 2004, xiii + 273 pp. [Islamic History and Civilization, 48.] -Robin Wilson, Pamela J. Stewart ,Remaking the world; Myth, mining and ritual change among the Duna of Papua New Guinea. Washington: Smithsonian Institution Press, 2002, xvi + 219 pp. [Smithsonian Series in Ethnographic Enquiry.], Andrew Strathern (eds)

The aim of this paper was to elucidate the evolution of our understanding of the term “lucid interval.” A number of texts were reviewed to assess their suitability for analysis. The primary requirement was that the text contain detailed descriptions of a series of patients. Details of the clinical course, the findings and timing of surgery, and, when relevant, the time of death and postmortem findings were required. Books written by Henri-François Le Dran, Percival Pott, and James Hill fulfilled these criteria. Surgical findings included the presence and type of fractures, changes in the bone, separation of periosteum, malodorous or purulent material, tense brain, and hematoma. Postmortem findings supplemented and/or complemented the surgical findings. The courses of the patients were then tabulated, and the correlation between different clinical and operative findings was thereby determined. Our understanding of a lucid interval began in the early 18th century with the work of Henri-François Le Dran and Percival Pott in London. They did not, however, demonstrate an interval without symptoms between trauma and deterioration in patients with epidural hematomas (EDHs). The interval they described was longer than usually expected with EDHs and occurred exclusively in patients who had a posttraumatic infection. In 1751, James Hill, from Dumfries, Scotland, described the first hematoma-related lucid interval in a patient with a subdural hematoma. The first case of a lucid interval associated with an EDH was described by John Abernethy. In the 19th century, Jonathan Hutchinson and Walter Jacobson described the interval as it is known today, in cases of EDH. The most recent work on the topic came from studies in Cincinnati and Oslo, where it was demonstrated that bleeding can separate dura mater and that hemorrhage into the epidural space can be shunted out via the veins. This shunting could delay the accumulation of a hematoma and thus the rise in intracranial pressure, which in turn would delay the development of symptoms. The lucid interval as previously conceived was not properly understood by the French school or by Percival Pott and Benjamin Bell, who all described a symptom-free period prior to the development of infection. The first to have a proper understanding of the interval in relation to an EDH was John Abernethy. The modern description and definition of the lucid interval was the work of Hutchinson and Jacobson in the latter half of the 19th century. Understanding of the pathophysiology of the lucid interval has been advanced by the work of Ford and McLaurin in Cincinnati and a group in Oslo, with the demonstration of what it takes to loosen dura and how an arteriovenous shunt slows down for a while the accumulation of an EDH.

A two-day conference on material culture in the Islamic Middle F.astand Central Asia with special reference to the innovation and diffusonof technology in the areas of engineering, architecture, carpet manufacture,and medicine, among others, was held in London between 5-6 May1994. It was hosted by the School of Oriental and African Studies(SOAS), University of London, United Kingdom. As conveners of theconference, Keith McLachlan (SOAS, University of London, UK) andRichard Tapper (SOAS, University of London, UK) pointed out that itwas the latest in a series of conferences to be held at SOAS on variousaspects of material culture. Earlier ones were entitled "Culinaty Culturesof the Middle Fat" (April 1992)," The Language of Dress in the MiddleEast" (November 1992), and the first conference on #Material Culture inCentral Asia and the Middle Fast" (June 1993).Participants reviewed nomadic, pastoralist, cultivator, and urban systemsand assessed the regions' role as centers for innovation and the diffusionof technologies, principally during the Islamic period. The firstscsmon of the conference's keynote speech was chaired by GhaziAlgosaibi (Saudi Arabian ambassador to the United Kingdom) andincluded a revealing paper titled "Arab and Islamic Contributions to Euro­pean Civilization." Rifat Ebied (professor of Semitic Studies, Universityof Sydney, Australia, and currently Visiting Fellow, Trinity Hall, Cambridge,UK) elaborated upon the historical issues concerning the productionof knowledge in the Muslim world and its transmission to Europe viaeducational establishments. Ebied pointed out that the Arabs inherited thescientific tradition of late antiquity, preserved and expanded it withvaluable additions, and finally passed it on to Europe. He outlined themajor segments of the Muslim world's massive contribution to westerncivilization, focusing on the influence of the Islamic legacy on Europe inthe various fields of knowledge, with particular emphasis on the Islamicorigins of the system of higher education (i.e., the creation of the universityas an institution). In the second session, Donald Hill read a paperentitled "Science and Technology in Islamic Building Construction,* inwhich he examined some of the scientific and technological content of ...

- Chris Ballard, Jeroen A. Overweel, Topics relating to Netherlands New Guinea in Ternate Residency memoranda of transfer and other assorted documents. Leiden: DSALCUL, Jakarta: IRIS, 1995, x + 146 pp. [Irian Jaya Source Materials 13.] - Timothy P. Barnard, Daniel Perret, Sejarah Johor-Riau-Lingga sehingga 1914; Sebuah esei bibliografi. Kuala Lumpur: Kementerian Kebudayaan, Kesenian dan Pelancongan Malaysia/École Francaise d’Extrême Orient, 1998, 460 pp. - Peter Boomgaard, Om Prakash, European commercial enterprise in pre-colonial India. Cambridge: Cambridge University Press, 1998, xviii + 377 pp. [The New Cambridge History of India II-5.] - U.T. Bosma, Oliver Kortendick, Drei Schwestern und ihre Kinder; Rekonstruktion von Familiengeschichte und Identitätstransmission bei Indischen Nerlanders mit Hilfe computerunterstützter Inhaltsanalyse. Canterbury: Centre for Social Anthropology and Computing, University of Kent at Canterbury, 1996, viii + 218 pp. [Centre for Social Anthropology and Computing Monograph 12.] - Freek Colombijn, Thomas Psota, Waldgeister und Reisseelen; Die Revitalisierung von Ritualen zur Erhaltung der komplementären Produktion in SüdwestSumatra. Berlin: Reimer, 1996, 203 + 15 pp. [Berner Sumatraforschungen.] - Christine Dobbin, Ann Maxwell Hill, Merchants and migrants; Ethnicity and trade among Yunannese Chinese in Southeast Asia. New Haven: Yale University Southeast Asia Studies, 1998, vii + 178 pp. [Yale Southeast Asia Studies Monograph 47.] - Aone van Engelenhoven, Peter Bellwood, The Austronesians; Historical and comparative perspectives. Canberra: Department of Anthropology, Research School of Pacific and Asian Studies, Australian National University, 1995, viii + 359 pp., James J. Fox, Darrell Tryon (eds.) - Aone van Engelenhoven, Wyn D. Laidig, Descriptive studies of languages in Maluku, Part II. Jakarta: Badan Penyelenggara Seri NUSA and Universitas Katolik Indonesia Atma Jaya, 1995, xii + 112 pp. [NUSA Linguistic Studies of Indonesian and Other Languages in Indonesia 38.] - Ch. F. van Fraassen, R.Z. Leirissa, Halmahera Timur dan Raja Jailolo; Pergolakan sekitar Laut Seram awal abad 19. Jakarta: Balai Pustaka, 1996, xiv + 256 pp. - Frances Gouda, Denys Lombard, Rêver l’Asie; Exotisme et littérature coloniale aux Indes, an Indochine et en Insulinde. Paris: Éditions de l’École des Hautes Études en Sciences Sociales, 1993, 486 pp., Catherine Champion, Henri Chambert-Loir (eds.) - Hans Hägerdal, Timothy Lindsey, The romance of K’tut Tantri and Indonesia; Texts and scripts, history and identity. Kuala Lumpur: Oxford University Press, 1997, xix + 362 + 24 pp. - Renee Hagesteijn, Ina E. Slamet-Velsink, Emerging hierarchies; Processes of stratification and early state formation in the Indonesian archipelago: prehistory and the ethnographic present. Leiden: KITLV Press, 1995, ix + 279 pp. [VKI 166.] - David Henley, Victor T. King, Environmental challenges in South-East Asia. Richmond: Curzon Press, 1998, xviii + 410 pp. [Nordic Institute of Asian Studies, Man and Nature in Asia Series 2.] - C. de Jonge, Ton Otto, Cultural dynamics of religious change in Oceania. Leiden: KITLV Press, 1997, viii + 144 pp. [VKI 176.], Ad Boorsboom (eds.) - C. de Jonge, Chris Sugden, Seeking the Asian face of Jesus; A critical and comparative study of the practice and theology of Christian social witness in Indonesia and India between 1974 and 1996. Oxford: Regnum, 1997, xix + 496 pp. - John N. Miksic, Roy E. Jordaan, In praise of Prambanan; Dutch essays on the Loro Jonggrang temple complex. Leiden: KITLV Press, 1996, xii + 259 pp. [Translation Series 26.] - Marije Plomp, Ann Kumar, Illuminations; The writing traditions of Indonesia; Featuring manuscripts from the National Library of Indonesia. Jakarta: The Lontar Foundation, New York: Weatherhill, 1996., John H. McGlynn (eds.) - Susan de Roode, Eveline Ferretti, Cutting across the lands; An annotated bibliography on natural resource management and community development in Indonesia, the Philippines and Malaysia. Ithaca, New York: Cornell University Southeast Asia Program, 1997, 329 pp. [Southeast Asia Program Series 16.] - M.J.C. Schouten, Monika Schlicher, Portugal in Ost-Timor; Eine kritische Untersuchung zur portugiesischen Kolonialgeschichte in Ost-Timor, 1850 bis 1912. Hamburg: Abera-Verlag, 1996, 347 pp. - Karel Steenbrink, Leo Dubbeldam, Values and value education. The Hague: Centre for the Study of Education in Developing Countries (CESO), 1995, 183 pp. [CESO Paperback 25.] - Pamela J. Stewart, Michael Houseman, Naven or the other self; A relational approach to ritual action. Leiden: Brill, 1998, xvi + 325 pp., Carlo Severi (eds.) - Han F. Vermeulen, Pieter ter Keurs, The language of things; Studies in ethnocommunication; In honour of Professor Adrian A. Gerbrands. Leiden: Rijksmuseum voor Volkenkunde, 1990, 208 pp. [Mededelingen van het Rijksmuseum voor Volkenkunde 25.], Dirk Smidt (eds.)

This study aims to examine the effectiveness of cognitive behavior group guidance in reducing the negative mindset of vocational students. The study was carried out starting from February to July 2018, which took place at the SMK Kepuhdoko Tembelang Jombang. This study used an experimental design with the design of the Pretest and Posttest Design Group. Data were analyzed by Paired Sample Test t-test, obtained the result of tcount was 6,500 and probability number (Sig. (2-tailed) was 0.001 with df = 5. Then the results were compared with the ttable at a significant level of 5% test 2 parties with df = 5, so that the ttable is 2.571 or 6,500> 2,571. The probability value obtained is 0.001> 0.005, so it can be concluded that cognitive behavior group guidance is effective in reducing the negative mindset of vocational high-school students based on the results of the research recommended for teacher`s guidance and counseling. Applying cognitive-behavioral group guidance as one of the alternative help in reducing the negative mindset of high-school students. Furthermore, researchers can use the results of this study to be used as a reference related to cognitive behavior group guidance, and further researchers can use research designs other than one group pretest and posttest design, for example time series design and n single-subject design. References Arikunto, S. (2010). Penelitian suatu pendekatan praktik edisi revisi. Jakarta: PT. Rineka Cipta. Depdiknas. (2012). Dokumen kurikulum 2013. Jakarta: Kemendikbud. Dewi, S., Tobing, D. H., & Hizkia, D. (2014). Kebermaknaan hidup pada anak pidana di Bali. Jurnal Psikologi Udayana, 1(2), 322-334. Elfiky, I. (2013). Terapi berpikir positif. Jakarta: Penerbit Zaman. Habsy, B. A. (2017a). Model konseling kelompok cognitive behavior untuk meningkatkan self esteem siswa SMK. Perspektif Ilmu Pendidikan, 31(1), 21-35. doi: https://doi.org/10.21009/PIP.311.4 Habsy, B. A. (2017b). Filosofi ilmu bimbingan dan konseling Indonesia. Jurnal Pendidikan (Teori dan Praktik), 2(1), 1-11. doi: http://dx.doi.org/10.26740/jp.v2n1.p1-11 Habsy, B. A. (2018a). Konseling rasional emotif perilaku: sebuah tinjauan filosofis. Indonesian Journal of Educational Counseling, 2(1), 13-30. doi: https://doi.org/10.30653/001.201821.25 Habsy, B. A. (2018b). Model bimbingan kelompok PPPM untuk mengembangkan pikiran rasional korban bullying siswa SMK etnis Jawa. Jurnal Pendidikan (Teori dan Praktik), 2(2), 91-99. doi: http://dx.doi.org/10.26740/jp.v2n2.p91-99 Hurlock, E. B. (1966). Adolescent development (3rd ed.). New York, NY, US: McGraw-Hill. Mardhika, R. (2016). Hubungan pola pikir negatif dan kecemasan terhadap cara berbicara di depan umum mahasiswa program studi pendidikan kepelatihan olahraga. Jurnal Buana Pendidikan, 12(22), 88-98. http://jurnal.unipasby.ac.id/index.php/jurnal_buana_pendidikan/article/view/620 Matson, J. L., & Ollendick, T. H. (1988). Enhancing children's social skills. Oxpord: Pergamon Press. Muqodas, I. (2011). Cognitive-behaviour theraphy: Solusi pendekatan praktek konseling di Indonesia. Diakses dari http://idatmuqodas.blogspot.com/2012/02/cognitive-behaviortherapy-solusi.html Rini, J. F. (2002). Memupuk rasa percaya diri. Jakarta: Team e-Psikologi. Rusydi, A. (2012). Husn Al-Zhann: Konsep berpikir positif dalam perspektif psikologi islam dan manfaatnya bagi kesehatan mental. Jurnal Proyeksi, 7(1), 1-31. doi: http://dx.doi.org/10.30659/p.7.1.1-31 Santrock, J. W. (2003). Perkembangan remaja. Jakarta: Erlangga. Sary, Y. N. E. (2017). Perkembangan kognitif dan emosi psikologi masa remaja awal. J-PENGMAS (Jurnal Pengabdian kepada Masyarakat), 1(1), 6-12. http://ojshafshawaty.ac.id/index.php/jpengmas/article/view/1 Siregar, E. Y. (2013). Penerapan cognitive behavior therapy (cbt) terhadap pengurangan durasi bermain games pada individu yang mengalami games addiction. Jurnal Psikologi, 9(1), 17-24. doi: http://dx.doi.org/10.24014/jp.v9i1.136 Sugiyono. (2013). Metode penelitian pendidikan pendekatan kuantitatif, kualitatif, dan R&D. Bandung: Alfabeta. Wati, S. (2017). Efektivitas pendekatan konseling kognitif perilaku dalam mengatasi dampak negatif alat komunikasi (smartphone) pada peserta didik kelas XI SMK PGRI 4 Bandar Lampung tahun 2015-2016. Tesis. Lampung: IAIN Raden Intan Lampung.

A Review of: Hill, K. (2020). Usability beyond the home page: Bringing usability into the technical services workflow. The Serials Librarian, 78 (1–4), 173–180. https://doi.org/10.1080/0361526X.2020.1702857 Objective – To demonstrate how user experience research techniques can be incorporated into technical services work. As proof of this concept, the author describes a case wherein a team of librarians, including one in a technical services role, deployed a user experience study to determine if students were able to successfully use LibGuides and the A-Z Database List to find subject-specific resources. The study also aimed to gauge the potential for several A-Z Database List interface redesign options. Design – A case study of user experience techniques applied to technical services projects, including a classic usability test of existing tools and an A/B/C comparison of potential interface redesigns. Setting – The library at the University of North Carolina Greensboro (UNCG), a public R2 university (doctoral university with high research activity). Subjects – Eleven student participants recruited through convenience sampling. Methods – The research team recruited study participants who were in the library at the time of the study, deselecting students from UNCG’s library school and those who were not currently affiliated with the university through an initial questionnaire. Eleven student participants were ultimately selected and led through a series of tasks related to finding subject-specific databases using the A-Z Database List and LibGuides. After the tasks for the A-Z Database List were completed, students were asked for their impression of two additional database list interfaces. Students were recorded throughout the tasks using the “talk aloud” method to provide researchers with insights on their thought processes and preferences. Following the study, researchers listened to the recordings, coding them as successful or incomplete and noting their observations for use in generalized findings. Main Results – Eight of eleven participants used the library’s main search box to locate a general resource for their major on the library’s homepage. When shown the A-Z Database List, ten out of eleven participants used the list to find a database for their major, while one used the link to “Research guides by subject” from that page. Comparisons of three A-Z Database List interfaces showed that most students preferred the Springshare Content Management System that allowed for filtering by subject area. When asked to find a research guide for their subject or major from the library’s homepage, nine out of eleven students clicked on the link labeled “Research guides by subject.” Starting from their subject guide, ten out of eleven could find a tab listing article databases. Nine participants noted that the number of databases listed on the guides was daunting. Conclusion – Results from the user experience study were used to support a redesign of the A-Z Database List using the Springshare Content Management System. The author regarded the experience as a whole as demonstrating how technical services librarians can become involved in user experience work and incorporate findings from usability studies into their management and design of tools that promote access and discoverability.

- Jet Bakels, Robert Layton, The anthropology of art. Cambridge: Cambridge University Press, 1991, 258 pp. - J.M.S. Baljon, Herman Leonard Beck, De Islam in Nederland: Romancing religion? [Inaugurele rede theologische faculteit Tilburg 14.2.1992.] Tilburg: Tilburg University Press 1992. - R.H. Barnes, J.D.M. Platenkamp, North Halmahera: Non-Austronesian Languages, Austronesian cultures?, Lecture presented to the Oosters Genootschap in Nederland at Leiden on 23 May 1989, Leiden: Oosters Genootschap in Nederland, 1990. 33 pp. - Hans Borkent, Directory of Southeast Asianists in the Pacific Northwest. Compiled by: Northwest Regional Consortium for Southeast Asian Studies. Seattle, WA: University of Washington [et al.], 1990. 108 pp. - Roy Ellen, Frans Hüsken, Cognation and social organization in Southeast Asia. Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde 145. Leiden: KITLV Press, 1991, 221 pp. figs. tables, index., Jeremy Kemp (eds.) - C. de Jonge, Huub J.W.M. Boelaars, Indonesianisasi. Het omvormingsproces van de katholieke kerk in Indonesië tot de Indonesische katholieke kerk, Kerk en Theologie in Context, 13, Kampen: Kok, 1991, ix + 472 pp. - Nico de Jonge, Gregory Forth, Space and place in eastern Indonesia, University of Kent at Canterbury, Centre of South-east Asian Studies (Occasional Paper no. 16) 1991. 85 pp., ills. - J. Kommers, Bernard Juillerat, Oedipe chasseur. Une mythologie du sujet en Nouvelle-Guinée, P.U.F., Le fil rouge, section 1 Psychanalyse. Paris, 1991. - Gerco Kroes, Signe Howell, Society and cosmos, the Chewong of Peninsular Malaysia, University of Chicago Press, 1989, xv + 294 pp. - Daniel S. Lev, S. Pompe, Indonesian Law 1949-1989: A bibliography of foreign-language materials with brief commentaries on the law, Van Vollenhoven Institute for Law and Administration in Non-Western Countries. Nijhoff, 1992. - A. M. Luyendijk-Elshout, H. den Hertog, De militair geneeskundige verzorging in Atjeh, 1873-1904. Amsterdam, Thesis Publishers, 1991. - G.E. Marrison, Wolfgang Marschall, The Rejang of South Sumatra. Hull: Centre for South-east Asian Studies, 1992, iii + 93 pp., ill. (Occasional Papers no. 19: special issue)., Michele Galizia, Thomas M. Psota (eds.) - Harry A. Poeze, Marijke Barend-van Haeften, Oost-Indie gespiegeld; Nicolaas de Graaff, een schrijvend chirurgijn in dienst van de VOC. Zutphen: Walburg Pers, 1992, 279 pp. - Ratna Saptari, H. Claessen, Het kweekbed ontkiemd; Opstellen aangeboden aan Els Postel. Leiden: VENA, Faculty of Social Sciences, University of Leiden, P.O. Box 9555, 2300 RA., M. van den Engel, D. Plantenga (eds.) - Jerome Rousseau, James J. Fox, The heritage of traditional agriculture among the western Austronesians. Occasional paper of the department of Anthropology. Comparitive Austronesian Project. Research school of Pacific studies. Australian National University, Canberra, Australia, 1992. 89 pp. - Oscar Salemink, Gehan Wijeyewardene, Ethnic groups acrss National boundaries in mainland Southeast Asia. Singapore 1990, Institute of Southeast Asian studies (Social issues in Southeast Asia series). x + 192 pp. - Henk Schulte Nordholt, U. Wikan, Managing turbulent hearts. A Balinese formula for living, Chicago: University of Chicago Press. 1990, xxvi + 343 pp. photos. - Mary Somers Heidhues, Claudine Salmon, Le moment ‘sino-malais’ de la litterature indonesienne. [Cahier d’Archipel 19.] Paris: Association Archipel, 1992. - Heather Sutherland, J.N.F.M. à Campo, Koninklijke Paketvaart Maatschappij; Stoomvaart en staatsvorming in de Indonesische archipel 1888-1914, Hilversum: Verloren, (Erasmus Universiteit Rotterdam, Publikaties van de Faculteit der Historische en Kunstwetenschappen III), 1992, 756 pp., tables, graphics, photographs. - Gerard Termorshuizen, Robin W. Winks, Asia in Western fiction. Honolulu: University of Hawaii Press, 1990. x + 229 pp., James R. Rush (eds.) - John Verhaar, Lourens de Vries, The morphology of Wambon of the Irian Jaya Upper-Digul area. Leiden: KITLV Press, 1992, xiv + 98 pp., Robinia de Vries-Wiersma (eds.) - Maria van Yperen, Cornelia N. Moore, Translation East and West: A cross-cultural approach, Honolulu: University of Hawaii Press. xxv + 259 pp., Lucy Lower (eds.) - Harvey Whitehouse, Klaus Neumann, Not the way it really was: constructing the Tolai past. Honolulu: University of Hawaii Press, 1992.

e4912046This scoping exploratory review was aimed at analyzing the challenges that the so-called post-truth world represents for teaching in Ibero-Latin American higher education. With the increased access to online information media and social networks, netizens are increasingly exposed and may be more vulnerable to false or misleading information that seeks to generate action from emotions rather than reason (GOSWAMI, 2017, Chronicle of Higher Education). The reference search was carried out in the databases of SciELO and La Referencia, from which 26 titles out of 196 were selected. Combinations of terms such as social media, post-truth, fake news, fact-checking, education, higher education, university, teaching, critical thinking, and freedom of expression were used, with the Boolean “Y” connector. The analysis of the references resulted in six thematic categories: main concepts; realms of fake news; news verification initiatives and methods; theoretical analysis and its relationship with education; studies on the factors, perception and credibility of fake news; and addressing misinformation in higher education. The discussion presents the draft of a proposed pedagogical model to be used in higher education and to address misinformation. Includes: critical thinking habits, democratic dialogue, intellectual skepticism, research skills, use of reliable sources of information, and analysis from multiple perspectives.ResumoEsta revisão exploratória de escopo teve como objetivo analisar os desafios que o chamado mundo pós-verdade representa para o ensino na educação superior ibero-americana. Com o aumento do acesso às mídias de informação online e redes sociais, os internautas estão cada vez mais expostos e podem ficar mais vulneráveis a informações falsas ou enganosas que buscam gerar ações a partir de emoções ao invés da razão (GOSWAMI, 2017, Chronicle of Higher Education). A busca das referências foi realizada nas bases de dados SciELO e La Referencia, das quais foram selecionados 26 títulos em 196. Combinações de termos como mídia social, pós-verdade, notícias falsas, checagem de fatos, educação, ensino superior, universidade, ensino, pensamento crítico e liberdade de expressão foram usadas, com o conector booleano “Y”. A análise das referências resultou em seis categorias temáticas: conceitos principais; escopos de notícias falsas; iniciativas e métodos de verificação de notícias; análise teórica e sua relação com a educação; estudos sobre os fatores, percepção e credibilidade das notícias falsas; e aproximação a desinformação no ensino superior. A discussão apresenta o esboço de uma proposta de modelo pedagógico para ser usado no ensino superior e para lidar com a desinformação. Inclui: hábitos de pensamento crítico, diálogo democrático, ceticismo intelectual, habilidades de pesquisa, uso de fontes confiáveis de informação e análise de múltiplas perspectivas.ResumenEsta revisión exploratoria de alcance tuvo como fin analizar los desafíos que para la enseñanza en la educación superior iberoamericana representa lo que se denomina el mundo posfactual (post-truth). Con el incrementado acceso a medios de información en línea y las redes sociales, los cibernautas están cada vez más expuestos y pueden ser más vulnerables a información falsa o engañosa que busca generar acción a partir de las emociones antes que la razón (GOSWAMI, 2017, Chronicle of Higher Education). La búsqueda de referencias se efectuó en las bases de datos de SciELO y La Referencia, de la cual se seleccionaron 26 títulos de 196. Se usaron combinaciones de términos como redes sociales, posverdad, noticias falsas, verificación de hechos, educación, educación superior, universidad, enseñanza, pensamiento crítico y libertad de expresión, con el conector booleano “Y”. El análisis de las referencias dio como resultado seis categorías temáticas: conceptos principales; ámbitos de las noticias falsas; iniciativas y métodos de verificación de noticias; análisis teóricos y su relación con la educación; estudios sobre factores, percepción y credibilidad de las noticias falsas; y abordaje de la desinformación en la educación superior. En la discusión se presenta el borrador de un modelo pedagógico propuesto para ser utilizado en la educación superior y abordar la desinformación. Incluye: hábitos de pensamiento crítico, diálogo democrático, escepticismo intelectual, habilidades de investigación, uso de fuentes confiables de información y análisis de múltiples perspectivas.Palavras-chave: Ensino Superior, Modelo Pedagógico, Mundo Pós-Factual.Keywords: Higher Education, Pedagogical Model, Postfactual World.Palabras clave: Educación Superior, Modelo Pedagógico, Mundo Posfactual.ReferencesAGUIRRE, Juan Carlos; JARAMILLO, Luis Guillermo. La ciencia entre el objetivismo y el construccionismo. Cinta Moebio, v. 38, 2010, 72-90.AGUADO LÓPEZ, Eduardo; ROGEL SALAZAR, Rosario; GARDUÑO OROPEZA, Gustavo; et.al. Redalyc: una alternativa a las asimetrías en la distribución del conocimiento científico. Ciencia, Docencia y Tecnología, v. XIX n. 37, 2008, p. 11-30.ALPERÍN, Juan Pablo; BABINI, Dominique; FISCHMAN, Gustavo (editores). Open access indicators and scholarly communications in Latin America. Buenos Aires: CLACSO, UNESCO, FLACSO Brasil, PKP, SciELO, RedALyC, 2014. Disponível em: http://microblogging.infodocs.eu/wp-content/uploads/2015/08/alperin2014.pdf. Acesso em: 4 de outubro de 2020.ALTBACH, Philip G.; DE WIT, Hans. Nacionalismo: ¿El fin de la internacionalización de la educación? Nexos. 8 mar 2017. Disponível em: https://educacion.nexos.com.mx/?p=480. Acesso em: 6 de outubro de 2020.ÁLVAREZ RUFS, Manuel. Estado del arte: Posverdad y fakenews (tesis de maestría). Madrid: Universidad Nacional de Educación a Distancia (UNED), 2018. Disponível em: http://e-spacio.uned.es/fez/view/bibliuned:masterComEdred-Malvarez. Acesso em: 30 de setembro de 2020.AMARAL FILHO, Nemézio. Tecnologias e a crise da democracia: desafios à práctica e ao ensino do Jornalismo no Brasil. Correspondencias Análisis. n. 10, 2019. Disponível em: https://doi.org/10.24265/cian.2019.n10.02. Acesso em: 28 de setembro de 2020.ARENDT, Hannah. Los orígenes del totalitarismo. Madrid: Santillana, 1998.BACON, Chris C. Appropriated literacies: the paradox of critical literacies, policies, and methodologies in a post-truth era. Education Policy Analysis Archives, v. 26, n. 147, 18 nov. 2018. Disponível em: http://dx.doi.org/10.14507/epaa.26.3377. Acesso em: 10 de outubro de 2020.CARLSON, Scott. How real-world learning could help people compete with machines. The Chronicle of Higher Education, 20 nov. 2017. Disponível em: https://www-chronicle-com.pitt.idm.oclc.org/article/How-Real-World-Learning-Could/241811. Acesso em: 2 de outubro de 2020.CATALINA-GARCÍA, Beatriz; SOUSA, Jorge Pedro; SOUSA, Li-Chang Shuen Cristina Silva. Consumo de noticias y percepción de fake news entre estudiantes de Comunicación de Brasil, España y Portugal. Revista de Comunicación, v. 18, n. 2, 2019, p. 93-115. Disponível em: https://dx.doi.org/10.26441/rc18.2-2019-a5. Acesso em: 8 de outubro de 2020.DAVID, Helena Maria Scherlowski Leal; MARTÍNEZ-RIERA, José Ramón. 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The critical roles of the Higher Education Institutions (HEI) towards the achievement of sustainable development signifies the need to implement Education for Sustainable Development (ESD). Opportunities in applying ESD can be accomplished in different dimensions of the school to pursue the worldwide acceptance of the Sustainable Development Goals (SDGs). This formed a question for San Beda University (SBU) to describe its practices and programs towards the achievement of ESD. In this study, the community extension and citizenship education of San Beda University were specifically examined in its Community Engagement Center (CEC) and National Service Training Program (NSTP). The study employed a framework on the Priority Sustainable Development Goals (SDGs) of SBU and selected key features and strategies of ESD. After a critical assessment of the procedures, teaching methods, documents, and interviews, the results of the study identified the practices and programs including specific teaching activities. The results illustrate the level by which SBU utilizes SDGs towards sustainability. The conclusion provided recommendations to encourage increasing the commitment of SBU in integrating SDGs in instruction, research, and extension. The study is significant in providing a preliminary assessment of the level of SBU engagement towards SDGs. It demonstrated the actions of how a university implements sustainable development. The study intends to contribute to the continuous implementation of ESD and improve the SDG performance of SBU as institutional change agent.ReferencesAlbareda-Tiana, S., Vidal-Raméntol, S., and Fernández-Morilla, M. (2018). Implementing the sustainable development goals at university level. 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General characteristic of approaches of Russian and Western European phytosociologists to the typology of territorial units of vegetation is presented in the paper. Two-dimensional classification of vegetation proposed by V. Sochava (1968) is the basis of Russian approaches, in which 2 classification categories are identified: phytocenomers and phytocenochores. Homogeneous territorial vegetation units are represented by phytocenoses of a certain syntaxa (phytocenomer), then 3 main types are distinguished within heterogeneous units: complexes, ecological series, and ecological-genetic series (Rachkovskaya, 1963; Guricheva, 1965; Isachenko, 1967; Gribova, Isachenko, 1972). In Western European phytocoenology, the approach to the analysis of territorial vegetation units was introduced by R. Tüxen, who in the 1970s created the foundations of the research topic called symphytosociology (Tüxen, 1973, 1978). He developed the approach to include different levels of syntaxa in the classification of territorial units of vegetation. In 1973, R. Tüxen proposed a methodology for the study of vegetation complexes and the method for converting syntaxa into sigma-syntaxa. In 1981, J.-M. Géhu and S. Rivas-Martínez suggested sigmetum as the main unit of symphytosociology. In 1982, S. Rivas-Martínez proposed the tesela as an elementary territorial unit of chorology and phytogeography. Tesela corresponds to the environmentally homogeneous area and includes communities of one sigmeta. The next level of plant cover organization is the catena — territorial vegetation unit determined by geomorphological features of the area. A catena includes several teselas spatially arranged in a mosaic or arranged in belts following to one or more environmental gradients. Geosigmetum or geoseries is the main typological unit of vegetation of the catena. We took into account the disadvantages of these approaches in the development of a proprietary typological scheme. The lack of a rigorous methodology for allocation and identifying territorial units of vegetation, absence of generally recognized nomenclature, and only intuitive level of allocation of the units themselves are disadvantages of the Russian school. The symphytosociological approach is formal in the scientific terms since it does not take into account the important structural features of the territorial units of vegetation. This approach simplifies their characterization to a list of syntaxa and their combinations and is limited to only two levels of the hierarchy (sigmetum and geosigmetum). The approaches to the typology of territorial units of vegetation, currently used in symphytosociology, are a copy of phytosociological ones. Despite this, the logic of map legend formation differs from the principles of vegetation classification. We propose the types of structures (ecological-genetic series, ecological series, complexes) of the existing communities’ combinations to take as a basis of the typological scheme. They reflect the quintessence of the “ecological basis” of phytocenochore habitats, namely the distribution features, intensity, direction, and the result of the interaction between environmental factors. The unification of territorial units of vegetation is carried out based on real and regularly repeated combinations of higher rank (from micro- to meso- level and so on). This allows us to reflect levels of a hierarchical organization of vegetation in the typology and nomenclature. The vegetation of the Barents sea coastal marches was chosen as a model object due to the well-studied syntaxonomic composition and pronounced spatial patterning. This patterning appears mainly due to the discrete gradation of the prevailing environmental factors: the degree of salinity and moisture of the substrate. Within the framework of the typological scheme, the most general categories of territorial units are identified. They correspond to the basic levels of the hierarchical organization of vegetation cover — division, class, and type, which are highly likely to be common to any mapped territory, regardless of its zonal disposition. For a more complete display of the structure and complexity of the spatial organization of phytocenochores, 3 auxiliary categories were introduced — subclass, group, and subtype. Division — is the highest unit of a typological scheme that combines the territorial units of vegetation of a particular natural area confined to such geomorphologic structures as following: 1) watersheds covering the area between the edge of the slopes of the bed-rock terraces in river valleys; 2) river valleys exposed to the flooding regime, the boundaries of this geomorphologic structures are drawn on the edge of the slope, which separates the valleys from the watershed areas; 3) low marine terraces variably flooded by tidal waters, this geomorphologic structure is limited by the bed-rock terrace slope edge. Class is the subordinated unit within the division. They combine topographically well differed territorial units of vegetation, in which the composition of syntaxa and syntaxon combinations reflect the ecological specificity of simple relief forms of the same origin (i. e. hill, ridge, runoff hollow, lake depression, floodplain, etc.) or their elements (slopes, terraces). Phytocenochores of the class rank are formed by combinations of communities, different in ecology (palsa-bogs, coastal marshes, etc.). This is due to the specific distribution and influence of environmental factors and their combinations within the class. The syntaxonomic composition of communities and their combinations within the class reflects the position of vegetation territorial units in the landscape and their habitats’ ecological distinctiveness. The territorial units of vegetation of the same class within different subzones and geobotanical districts can differ significantly in composition (diagnostic syntaxa and the main elements of their combinations) due to the zonal and regional originality. It is the basis for their allocation to the rank of subclass. Phytocenochores of subclasses are usually not territorially conjugate and belong to different units of geobotanical zoning (subzones, geobotanical districts). The class of territorial units of Barents Sea coastal marshes is divided into salt and brackish marsh subclasses. They belong to different geobotanic districts and are considered as ecological variants of coastal marsh class with a uniqueness of composition of syntaxa and their combinations. Within the class/subclass of vegetation territorial units, phytocenochores of meso- or macro-level are often clearly distinguished, discretely, or continually replacing each other along the gradient of leading environmental factors. They were allocated to the rank of group, each is physiognomically distinct and represented by a continuum or relatively homogeneous mosaic of syntaxa and their combinations. The composition of diagnostic syntaxa and their combinations, reflecting the ecological peculiarity of the habitats of this typological unit and the class (subclass) as a whole, is preserved within the group. Groups are territorially conjugate and represent elements within a uniform ecological or ecological-dynamic series of communities and their combinations. The definition of groups, as well as subclasses, can be problematic because of the complexity of the geomorphological features. This is the reason why this typological unit has an auxiliary character. Type — the basic elementary unit of the typological scheme, displayed mainly on maps of large and medium scales. To distinguish the type two main criteria are being applied as follows: 1) the type of spatial structure, and 2) syntaxonomic composition of the elements of the vegetation territorial unit. As a type the following phytocenochores can be recognized: 1) phytocenoses; 2) simple combinations of the first supraphytocenotic level (ecological-genetic series, ecological series, complexes); 3) complex combinations that include a combination of phytocenochores of the first 2 types. The types represented by heterogeneous territorial units of vegetation include complete combinations of all possible elements of phytocenochores (series, ecological series, etc.) that can occur in the conditions of type habitats. Usually, within the phytocenochores, combinations of communities are represented by the selective set of syntaxa represented in the complete combinations. For a comprehensive inventory of the regional territorial units, diversity, and its reflection on the maps, auxiliary typological unit of subtype rank is introduced, which manifests the internal variability of a certain type and reflects the completeness of the type representation in a particular territory. For the names of typological units of different ranks, it is proposed to use the names of diagnostic syntaxa of association and lower rank, since they most reflect the local and regional originality of the mapping area. The Brown-Blanquet approach to the classification of vegetation, as the methodically most developed among others nowadays, is the basis for the nomenclature of typological units. For the name of typological units, we propose to use the ending “-chorietum”, derived from phytocenochora (coenochora). It reflects the chorological aspect of the unit and intended to be used in the nomenclature for all of the territorial vegetation units categories — of any rank of complexity and to rankless territorial units. The term -chorietum is added to the name of the diagnostic syntaxon. For homogeneous territorial units, we propose to use syntaxon name, since any phytocoenosis is an elementary territorial unit of vegetation of the rank of association and below. For simple combinations (ecological-genetic series, ecological series, complexes), regardless of the number of their forming syntaxa, the names of two syntaxa are used. The ending -chorietum is added to the genus name of the taxon of diagnostic syntaxon. This reflects the first supraphytocoenotic level of the structural organization of the territorial unit of vegetation. If the diagnostic syntaxon has the rank of subassociation or variant, then name of the typological unit uses name of the association with the ending -chorietum, followed by the full name of the subassociation or variant. If the type of territorial units is represented by an incomplete series of syntaxa and is assigned to a subtype, then after the diagnostic syntaxon the ending -subchorietum is used. If the type is represented by a complex combination of phytocoenoses and their combinations, the name of the diagnostic syntaxon with the ending -synchorietum is used. When forming the names of typological units of class and lower rank, add the ending corresponding to their rank to the basis of the genus name of the taxon of the diagnostic association, that is, instead of the -etum ending, we use the ending corresponding to the rank of the territorial unit. If the basis of the genus name ends in a consonant, then we use the connecting vowel (“i” or “o” following to Appendix I of the ICPN). If the name of the rank of the phytocenochore consists of the names of two syntaxa, then the first diagnostic syntaxon is unchanged, and the ending corresponding to the rank is added to the last syntaxon. Examples: for class —-chorietea (Luzulo confusae–Salicichorietea nummulariae), subclass — -subchorietea(Puccinellisubchorietea phryganodis), group — -chorieteum(Caricichorieteum glareosae), type — -chorietum (Callitricho–Ranunculetum trichophylli—Carici rariflorae–Salicichorietum glaucae) and -synchorietum (Caricetum subspathaceae arctanthemetosum hulteni—Potamogetonosynchorietum filiformis), subtype — -subchorietum (Parnassio palustris–Salicetum reptantis—Scirpo–Hippuridosubchorietum tetraphyllae). To name division, which represents the highest rank, the term choriophyta is proposed. The term has been added to the Latin names of the divisions of the tundra zone, for example, watersheds — Tundra divortium choriophyta, river valleys — Tundra vallis choriophyta, low sea terraces — Tundra maritimes choriophyta. To describe and display the spatial structure of phytocenochore types represented by simple and complex combinations, it is proposed to use the set of symbols reflecting the structural features. Using the example of coastal marshes of the Haypudyrskaya Bay of the Barents Sea (Puccinellichorietea phryganodis), a typological scheme of territorial vegetation units was developed. The subclass of salt marshes (Puccinellisubchorietea phryganodis) was taken for a case study. Within the subclass 4 groups of 27 categories were selected to create the geobotanical map (1 : 25 000). Those categories are of the rank of types and subtypes of different complexity levels and 13 homogeneous and 14 heterogeneous are among them. In addition to them, 5 types of phytocenochores that intrude marshes from adjacent divisions have been identified. The application of the typological scheme allows taking into account not only the syntaxonomic composition and predominant combinations but also their patterning and complexity. This will largely reflect the originality of the vegetation of the given area, as well as habitas specificity, geomorphological and ecological features of the territory.

A Review of: McKechnie, Lynne (E.F.). “ ‘Spiderman is not for Babies’ (Peter, 4 Years): The ‘Boys and Reading Problem’ from the Perspective of the Boys Themselves.” The Canadian Journal of Information and Library Science 30.1/2 (2006): 57-67. Objective – This study looks at what constitutes legitimate reading material for boys and how this material is defined in light of assessed gender differences in reading, and is part of a larger, ongoing research project on the role of public libraries in the development of youth as readers. Design – Semi-structured, qualitative interviews and book inventories. Setting – The research originated from the MLIS 566 (Literature for Children and Young Adults) class at the Faculty of Information and Media Studies, University of Western Ontario, London, Ontario, Canada. Subjects – Forty-three boys, ages four through twelve, were interviewed. Most of the boys lived in Ontario, although a few came from other Canadian provinces. Methods – Library school students who were registered in a Literature for Children and Young Adults class interviewed children and young adults about their reading and information practice as part of a “Book Ownership Case Study” assignment. The researcher also interviewed children and young adults, for a total of 137 case studies. For the purpose of this article, a data subset for the 43 boys included in the larger project was analyzed. The boys ranged in age from four to twelve years. The mean age was eight and the median age was nine. The theoretical perspective of reader response theory was used to situate the study. This theory has the relationship between the text and the reader as its focus, and it suggests that to understand the reading habits of boys, there needs to be recognition that the experts about their reading are the boys themselves. The interviews, which explored reading preferences and practices, were qualitative, semi-structured, and took thirty minutes to complete. In addition to the interview, each boy’s personal book and information material collection was inventoried. The researcher used a grounded theory approach to analyze the inventory and interview data to pull out themes related to the research questions. Grounded theory “uses a prescribed set of procedures for analyzing data and constructing a theoretical model” from the data (Leedy and Ormrod 154). Main Results – The collection inventories revealed that all 43 study participants had personal collections of reading materials. The collections ranged from eight volumes to 398 volumes. There was a mean volume total of 108 and a median of 98 books per boy. In addition to books, other materials were in the collections. Video recordings were owned by 36 (83.7%) of the boys, 28 (65.1%) of participants had computer software, 28 (65.1%) owned audio recordings, and 21 (48.8%) of the collections also included magazines. In the interview data analysis, a number of themes were revealed. All of the boys except one owned fiction. Some genres appeared frequently and were different than the ones found in the inventories taken of the girls in the larger study. Genres in the boys’ collections included fantasy, science fiction, sports stories, and humorous stories. The boys also discussed genres they did not enjoy: classic children’s fiction, such as The Adventures of Robin Hood, love stories, and “books about groups of girls” (61). All but five boys had series books such as Animorphs, Captain Underpants, Redwall, and Magic Treehouse in their collections. All study participants except for one owned non-fiction titles. When asked what their favourite book was, many of the boys chose a non-fiction title. Holdings included subjects such as “jokes, magic, sports, survival guides, crafts, science, dictionaries, maps, nature, and dinosaurs” (62). In addition to books, the boys reported owning and reading a wide range of other materials. Comics, manga, magazines, pop-up and other toy books, sticker books, colouring books, puzzle books, and catalogues were among the collection inventories. Only one boy read the newspaper. Another theme that emerged from the interview data was “gaming as story” (63). The boys who read video game manuals reported reading to learn about the game, and also reading to experience the game’s story. One boy’s enjoyment of the manual and the game came from the narrative found within. Various reading practices were explored in the interviews. Formats that featured non-linear reading were popular. Illustrations were important. Pragmatic reading, done to support other activities (e.g., Pokeman), was “both useful and pleasurable” (54). And finally, the issue of what counts as reading emerged from the data. Many boys discounted the reading that “they liked the best as not really being reading” (65). Some of the boys felt that reading novels constituted reading but that the reading of computer manuals or items such as science fair project books was “not really reading” (65). A distinction was made between real books and information books by the boys. Conclusions – The researcher explored what has been labelled as the “problem” of boys reading in this paper. She found that the 43 boys in this study are reading, but what they are reading has been undervalued by society and by the boys themselves. Collection inventories found a large number of non-fiction books, computer magazines, comic books, graphic novels, and role-playing game manuals—items not necessarily privileged by libraries, schools, or even by the boys themselves. The researcher suggests that “part of the ‘boys and reading problem’ then lies in what we count as reading” (66). By keeping what boys are actually reading in mind when it comes to collection development and library programming, children’s librarians can “play a central role in legitimizing the reading practices of boys” (66).

One of the most important areas of mathematics education that must be developed from a young age is geometry. Various studies state that arithmetic, geometry, and measurement are three mathematical disciplines that must be prioritized in early childhood education. This research aims to determine the effect of the Somatic, Auditory, Visual, and Intellectual (SAVI) learning model on the geometric abilities of children aged 5-6 years. This research uses a pre-experimental experimental method with a one-group pretest-posttest design. The sample in this study was 18 children aged 5-6 years old Harapan Bunda Kindergarten Pancung Sol Pesisir Selatan. Data collection was obtained from observation and documentation, then the data was analyzed using paired sample tests. The results obtained in this research are that the SAVI model can improve the geometric abilities of children aged 5-6 years. This is known from the results of the paired sample t-test, which obtained a significance value of 0.000 < 0.05, which means Ho is rejected and Ha is accepted so that children's initial mathematical abilities, geometry, increase through the SAVI learning model. Children may become actively involved in their education with the help of the SAVI learning model, particularly when it comes to teaching them geometric forms. Because the teacher may utilize real items to aid in learning, children can recognize and retain the geometric forms around them as they grow older. Keywords: SAVI learning model, geometry ability, early childhood References: Alfiani, D. A. (2016). Penerapan Model Pembelajaran SAVI (Somatis, Auditori, Visual, Intelektual) Terhadap Hasil Belajar Aanak Usia Dini. Jurnal Pendidikan Anak, 2(1), 1-15. https://www.syekhnurjati.ac.id/jurnal/index.php/awlady/article/view/763 Amineh, R. J., & Asl, H. D. (2015). Review Of Constructivism And Social Constructivism. 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“Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 212 NOTICIAS / NEWS (“transfer”, 2017) 1) CONGRESOS / CONFERENCES: 1. 8th Asian Translation Traditions Conference: Conflicting Ideologies and Cultural Mediation – Hearing, Interpreting, Translating Global Voices SOAS, University of London, UK (5-7 July 2017) www.translationstudies.net/joomla3/index.php 2. 8th International Conference of the Iberian Association of Translation and Interpreting (AIETI8), Universidad de Alcalá, Madrid, Spain (8-10 March 2017) www.aieti8.com/es/presentation 3. MultiMeDialecTranslation 7 – Dialect translation in multimedia University of Southern Denmark, Odense, Denmark (17-20 May 2017) https://mmdtgroup.org 4. Texts and Contexts: The Phenomenon of Boundaries Vilnius University, Lithuania (27-28 April 2017) www.khf.vu.lt/aktualijos/skelbimai/220-renginiai/1853-texts-andcontexts- the-phenomenon-of-boundaries 5. 21st FIT World Congress: Disruption and Diversification Australian Institute of Interpreters and Translators (AUSIT), Brisbane, Australia (3-5 August 2017) www.fit2017.org/call-for-papers 6. 6th International Conference on PSIT (PSIT6) - Beyond Limits in Public Service Interpreting and Translating: Community Interpreting & Translation University of Alcalá, Spain (6-8 March 2017) www.tisp2017.com “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 213 7. International Conference: What Grammar Should Be Taught to Translators-to-be? University of Mons, Belgium (9-10 March 2017) Contact: gudrun.vanderbauwhede@umons.ac.be; indra.noel@umons.ac.be; adrien.kefer@umons.ac.be 8. The Australia Institute of Interpreters and Translators (AUSIT) 2016 National Conference Monash University, Melbourne, Australia (18-19 November 2017) www.ausit.org/AUSIT/Events/National_Miniconference_2016_Call_ for_Papers.aspx 9. 1st Congrès Mondial de la Traductologie – La traductologie : une discipline autonome Société Française de Traductologie, Université de Paris Ouest- Nanterre-La Défense, France (10-14 April 2017) www.societe-francaise-traductologie.com/congr-s-mondial 10. Working Our Core: for a Strong(er) Translation and Interpreting Profession Institute of Translation & Interpreting, Mercure Holland House Hotel, Cardiff (19-20 May 2017) www.iti-conference.org.uk 11. International conference T&R5 – Écrire, traduire le voyage / Writing, translating travel Antwerp , Belgium (31 May - 1 June 2018) winibert.segers@kuleuven.be 12. Retranslation in Context III - An international conference on retranslation Ghent University, Belgium (7-8 February 2017) www.cliv.be/en/retranslationincontext3 “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 214 13. 11th International Conference on Translation and Interpreting: Justice and Minorized Languages under a Postmonolingual Order Universitat Jaume I, Castelló de la Plana, Spain (10-12 May 2017) http://blogs.uji.es/itic11 14. 31è Congrès international d’études francophones (CIÉF) : Session de Traductologie – La francophonie à l’épreuve de l’étranger du dedans Martinique, France (26 June – 2 July 2017) https://secure.cief.org/wp/?page_id=913 15. Complexity Thinking in Translation Studies: In Search of Methodologies KU Leuven, Belgium (1-2 June 2017) www.ufs.ac.za/humanities/unlistedpages/ complexity/complexity/home-page 16. 1st International Conference on Dis/Ability Communication (ICDC): Perspectives & Challenges in 21st Century Mumbai University, India (9-11 January 2017) www.icdc2016-universityofmumbai.org 17. Lost and Found in Transcultural and Interlinguistic Translation Université de Moncton, Canada (2-4 November 2017) gillian lane-mercier@mcgill.ca; michel.mallet@umoncton.ca; denise.merkle@umoncton.ca 18. Translation and Cultural Memory (Conference Panel) American Comparative Literature Association's 2017 Annual Meeting University of Utrecht, The Netherlands (6-9 July 2017) www.acla.org/translation-and-cultural-memory 19. Media for All 7 – A Place in Between Hamad bin Khalifa University, Doha, Qatar (23-25 October 2017) http://tii.qa/en/7th-media-all-international-conference “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 215 20. Justice and Minorized Languages in a Postmonolingual Order. XI International Conference on Translation and Interpreting Universitat Jaume I, Castellón, Spain (10-12 May 2017) monzo@uji.es http://blogs.uji.es/itic11/ 21. On the Unit(y) of Translation/Des unités de traduction à l'unité de la traduction Paris Diderot University, Université libre de Bruxelles and University of Geneva (7 July 2017 (Paris) / 21 October 2017 (Brussels) / 9 December 2017 (Geneva) www.eila.univ-paris-diderot.fr/recherche/conf/ciel/traductologieplein- champ/index?s[]=traductologie&s[]=plein&s[]=champ 22. The Translator Made Corporeal: Translation History and the Archive British Library Conference Centre, London, UK (8 May 2017) deborah.dawkin@bl.uk 23. V International Conference Translating Voices Translating Regions - Minority Languages, Risks, Disasters and Regional Crises Europe House and University College London, UK (13-15 December 2017) www.ucl.ac.uk/centras/translation-news-and-events/vtranslatingvoices 24. 8th Annual International Translation Conference - 21st Century Demands: Translators and Interpreters towards Human and Social Responsibilities Qatar National Convention Centre, Doha, Qatar (27-28 March 2017) http://tii.qa/en/8th-annual-international-translation-conference 25. Complexity Thinking in Translation Studies: In Search of Methodologies KU Leuven, Belgium (1-2 June 2017) www.ufs.ac.za/humanities/unlistedpages/ complexity/complexity/home-page “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 216 26. 15th International Pragmatics Conference (IPrA 2017) – Films in Translation – All is Lost: Pragmatics and Audiovisual Translation as Cross-cultural Mediation (Guillot, Desilla, Pavesi). Conference Panel. Belfast, Northern Ireland, UK (16-21 July 2017) http://ipra.ua.ac.be/main.aspx?c=*CONFERENCE2006&n=1296 2) CURSOS, SEMINARIOS, POSGRADOS / COURSES, SEMINARS, MA PROGRAMMES: 1. MA in Intercultural Communication in the Creative Industries University of Roehampton, London, UK www.roehampton.ac.uk/postgraduate-courses/Intercultural- Communication-in-the-Creative-Industries 2. Máster Universitario en Comunicación Intercultural, Interpretación y Traducción en los Servicios Públicos Universidad de Alcalá, Spain www3.uah.es/master-tisp-uah 3. Máster Universitario de Traducción Profesional Universidad de Granada, Spain http://masteres.ugr.es/traduccionprofesional/pages/master 4. Workshop: History of the Reception of Scientific Texts in Translation – Congrès mondial de traductologie Paris West University Nanterre-La Défense, France (10-14 April 2017) https://cmt.u-paris10.fr/submissions 5. MA programme: Traduzione audiovisiva, 2016-2017 University of Parma, Italy www.unipr.it/node/13980 “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 217 6. MA in the Politics of Translation Cairo University, Egypt http://edcu.edu.eg 7. Research Methods in Translation and Interpreting Studies University of Geneva, Switzerland (Online course) www.unige.ch/formcont/researchmethods-distance1 www.unige.ch/formcont/researchmethods-distance2 8. MA programme: Investigación en Traducción e Interpretation, 2016-2017 Universitat Jaume I, Castellón, Spain monzo@uji.es www.mastertraduccion.uji.es 9. MA programme: Traduzione Giuridica - Master di Secondo Livello University of Trieste, Italy Italy http://apps.units.it/Sitedirectory/InformazioniSpecificheCdS /Default.aspx?cdsid=10374&ordinamento=2012&sede=1&int=web &lingua=15 10. Process-oriented Methods in Translation Studies and L2 Writing Research University of Giessen, Germany (3-4 April 2017) www.uni-giessen.de/gal-research-school-2017 11. Research Methods in Translation and Interpreting Studies (I): Foundations and Data Analysis (Distance Learning) www.unige.ch/formcont/researchmethods-distance1 Research Methods in Translation and Interpreting Studies (II): Specific Research and Scientific Communication Skills (Distance Learning) www.unige.ch/formcont/researchmethods-distance2 University of Geneva, Switzerland “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 218 3) LIBROS / BOOKS: 1. Carl, Michael, Srinivas Bangalore and Moritz Schaeffer (eds) 2016. New Directions in Empirical Translation Process Research: Exploring the CRITT TPR-DB. Cham: Springer. http://link.springer.com/book/10.1007/978-3-319-20358-4 2. Antoni Oliver. 2016. Herramientas tecnológicas para traductores. Barcelona: UOC. www.editorialuoc.com/herramientas-tecnologicas-para-traductores 3. Rica Peromingo, Juan Pedro. 2016. Aspectos lingüísticos y técnicos de la traducción audiovisual (TAV). Frakfurt am Main: Peter Lang. www.peterlang.com?432055 4.Takeda, Kayoko and Jesús Baigorri-Jalón (eds). 2016. New Insights in the History of Interpreting. Amsterdam: John Benjamins. https://benjamins.com/#catalog/books/btl.122/main 5. Esser, Andrea, Iain Robert Smith & Miguel Á. Bernal-Merino (eds). 2016. Media across Borders: Localising TV, Film and Video Games. London: Routledge. www.routledge.com/products/9781138809451 6. Del Pozo Triviño, M., C. Toledano Buendía, D. Casado-Neira and D. Fernandes del Pozo (eds) 2015. Construir puentes de comunicación en el ámbito de la violencia de género/ Building Communication Bridges in Gender Violence. Granada: Comares. http://cuautla.uvigo.es/sos-vics/entradas/veruno.php?id=216 7. Ramos Caro, Marina. 2016. La traducción de los sentidos: audiodescripción y emociones. Munich: Lincom Academic Publishers. http://lincom-shop.eu/epages/57709feb-b889-4707-b2cec666fc88085d. sf/de_DE/?ObjectPath=%2FShops%2F57709feb“ Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 219 b889-4707-b2cec666fc88085d% 2FProducts%2F%22ISBN+9783862886616%22 8. Horváth , Ildikó (ed.) 216. The Modern Translator and Interpreter. Budapest: Eötvös University Press. www.eltereader.hu/media/2016/04/HorvathTheModernTranslator. pdf 9. Ye, Xin. 2016. Educated Youth. Translated by Jing Han. Artarmon: Giramondo. www.giramondopublishing.com/forthcoming/educated-youth 10. Martín de León, Celia and Víctor González-Ruiz (eds). 2016. From the Lab to the Classroom and Back Again: Perspectives on Translation and Interpreting Training. Oxford: Peter Lang. www.peterlang.com?431985 11. FITISPos International Journal, 2016 vol.3: A Retrospective View on Public Service Translation and Interpreting over the Last Decade as well as the Progress and Challenges that Lie Ahead www3.uah.es/fitispos_ij 12. Dore, Margherita (ed.) 2016. Achieving Consilience. Translation Theories and Practice. Newcastle: Cambridge Scholars Publishing. www.cambridgescholars.com/achieving-consilience 13. Antonini, Rachele & Chiara Bucaria (eds). 2016. Nonprofessional Interpreting and Translation in the Media. Frankfurt am Main: Peter Lang. www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detai lseiten&seitentyp=produkt&pk=82359&cid=5&concordeid=265483 14. Álvarez de Morales, Cristina & Catalina Jiménez (eds). 2016. Patrimonio cultural para todos. Investigación aplicada en traducción accesible. Granada: Tragacanto. www.tragacanto.es/?stropcion=catalogo&CATALOGO_ID=22 “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 220 15. Poznan Studies in Contemporary Linguistics, special issue on Language Processing in Translation, Volume 52, Issue 2, Jun 2016. www.degruyter.com/view/j/psicl.2016.52.issue-2/issuefiles/ psicl.2016.52.issue-2.xml?rskey=z4L1sf&result=6 16. Translation and Conflict: Narratives of the Spanish Civil War and the Dictatorship Contact: alicia.castillovillanueva@dcu.ie; lucia.pintado@dcu.ie 17. Cerezo Merchán, Beatriz, Frederic Chaume, Ximo Granell, José Luis Martí Ferriol, Juan José Martínez Sierra, Anna Marzà y Gloria Torralba Miralles. 2016. La traducción para el doblaje. Mapa de convenciones. Castelló de la Plana: Publicacions de la Universitat Jaume I. www.tenda.uji.es/pls/www/!GCPPA00.GCPPR0002?lg=CA&isbn=97 8-84-16356-00-3 18. Martínez Tejerina, Anjana. 2016. El doblaje de los juegos de palabras. Barcelona: Editorial UOC. www.editorialuoc.com/el-doblaje-de-los-juegos-de-palabras 19. Chica Núñez, Antonio Javier. 2016. La traducción de la imagen dinámica en contextos multimodales. Granada: Ediciones Tragacanto. www.tragacanto.es 20. Valero Garcés, Carmen (ed.) 2016. Public Service Interpreting and Translation (PSIT): Training, Testing and Accreditation. Alcalá: Universidad de Alcalá. www1.uah.es/publicaciones/novedades.asp 21. Rodríguez Muñoz, María Luisa and María Azahara Veroz González (Eds) 2016. Languages and Texts Translation and Interpreting in Cross Cultural Environments. Córdoba: Universidad de Córdoba. www.uco.es/ucopress/index.php/es/catalogo/materias- 3/product/548-languages-and-texts-translation-and-interpreting“ Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 221 in-cross-cultural-environments 22. Mereu, Carla. 2016. The Politics of Dubbing. Film Censorship and State Intervention in the Translation of Foreign Cinema in Fascist Italy. Oxford: Peter Lang. www.peterlang.com/view/product/46916 23. Venuti, Lawrence (ed.) 2017. Teaching Translation: Programs, Courses, Pedagogies. New York: Routledge. www.routledge.com/Teaching-Translation-Programs-coursespedagogies/ VENUTI/p/book/9781138654617 24. Jankowska, Anna. 2015. Translating Audio Description Scripts. Translation as a New Strategy of Creating Audio Description. Frankfurt: Peter Lang. www.peterlang.com/view/product/21517 25. Cadwell, Patrick and Sharon O'Brien. 2016. Language, culture, and translation in disaster ICT: an ecosystemic model of understanding. Perspectives: Studies in Translatology. www.tandfonline.com/doi/full/10.1080/0907676X. 2016.1142588 26. Baumgarten, Stefan and Chantal Gagnon (eds). 2016. Translating the European House - Discourse, Ideology and Politics (Selected Papers by Christina Schäffner). Newcastle: Cambridge Scholars Publishing. www.cambridgescholars.com/translating-the-european-house 27. Gambier, Yves and Luc van Doorslaer (eds) 2016. Border Crossings – Translation Studies and other disciplines. Amsterdam: John Benjamins. www.benjamins.com/#catalog/books/btl.126/main 28. Setton, Robin and Andrew Dawrant. 2016. Conference Interpreting – A Complete Course. Amsterdam: John Benjamins. https://benjamins.com/#catalog/books/btl.120/main “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 222 29. Setton, Robin and Andrew Dawrant. 2016. Conference Interpreting – A Trainer’s Guide. Amsterdam: John Benjamins. https://benjamins.com/#catalog/books/btl.121/main 5) REVISTAS / JOURNALS: 1. Technology and Public Service Translation and Interpreting, Special Issue of Translation and Interpreting Studies 13(3) Contact: Nike Pokorn (nike.pokorn@ff.uni-lj.si) & Christopher Mellinger (cmellin2@kent.edu) www.atisa.org/tis-style-sheet 2. Translator Quality – Translation Quality: Empirical Approaches to Assessment and Evaluation, special issue of Linguistica Antverpiensia, New Series (16/2017) Contact: Geoffrey S. Koby (gkoby@kent.edu); Isabel Lacruz (ilacruz@kent.edu) https://lans-tts.uantwerpen.be/index.php/LANSTTS/ announcement 3. Special Issue of the Journal of Internationalization and Localization on Video Game Localisation: Ludic Landscapes in the Digital Age of Translation Studies Contacts: Xiaochun Zhang (xiaochun.zhang@univie.ac.at) and Samuel Strong (samuel.strong.13@ucl.ac.uk) 4. mTm Translation Journal: Non-thematic issue, Vol. 8, 2017 www.mtmjournal.gr Contacts: Anastasia Parianou (parianou@gmail.com) and Panayotis Kelandrias (kelandrias@ionio.gr) “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 223 5. CLINA - An Interdisciplinary Journal of Translation, Interpreting and Intercultural Communication, Special Issue on Interpreting in International Organisations. Research, Training and Practice, 2017 (2) revistaclina@usal.es http://diarium.usal.es/revistaclina/home/call-for-papers 6. Technology and Public Service Translation and Interpreting, Special Issue of Translation and Interpreting Studies, 2018, 13(3) www.atisa.org/call-for-papers 7. Literatura: teoría, historia, crítica, special issue on Literature and Translation www.literaturathc.unal.edu.co 8. Tradumàtica: Journal of Translation Technologies Issue 14 (2016): Translation and mobile devices www.tradumatica.net/revista/cfp.pdf 9. Ticontre. Teoria Testo Traduzione. Special issue on Narrating the Self in Self-translation www.ticontre.org/files/selftranslation-it_en.pdf 10. Terminology, International Journal of Theoretical and Applied Issues in Specialized Communication Thematic issue on Food and Terminology, 23(1), 2017 www.benjamins.com/series/term/call_for_papers_special_issue_23 -1.pdf 11. Cultus: the Journal of Intercultural Communication and Mediation. Thematic issue on Multilinguilism, Translation, ELF or What?, Vol. 10, 2017 www.cultusjournal.com/index.php/call-for-papers 12. Translation Spaces Special issue on No Hard Feelings? Exploring Translation as an Emotional Phenomenon “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 224 Contact: severine.hubscher-davidson@open.ac.uk 13. Revista electrónica de didáctica de la traducción y la interpretación (redit), Vol. 10 www.redit.uma.es/Proximo.php 14. Social Translation: New Roles, New Actors Special issue of Translation Studies 12(2) http://explore.tandfonline.com/cfp/ah/rtrs-si-cfp 15. Translation in the Creative Industries, special issue of The Journal of Specialised Translation 29, 2018 www.jostrans.org/Translation_creative_industries_Jostrans29.pdf 16. Translation and the Production of Knowledge(s), special issue of Alif 38, 2018 Contact: mona@monabaker.com,alifecl@aucegypt.edu, www.auceg ypt.edu/huss/eclt/alif/Pages/default.aspx 17. Revista de Llengua i Dret http://revistes.eapc.gencat.cat/index.php/rld/index 18. Call for proposals for thematic issues, Linguistica Antverpiensia New Series https://lans-tts.uantwerpen.be/index.php/LANSTTS/ announcement/view/8 19. Journal On Corpus-based Dialogue Interpreting Studies, special issue of The Interpreters’ Newsletter 22, 2017 www.openstarts.units.it/dspace/handle/10077/2119 20. Díaz Cintas, Jorge, Ilaria Parini and Irene Ranzato (eds) 2016. Ideological Manipulation in Audiovisual Translation, special issue of “Altre Modernità”. http://riviste.unimi.it/index.php/AMonline/issue/view/888/show Toc “Transfer” XII: 1-2 (mayo 2017), pp. 212-225. ISSN: 1886-554 225 21. PUNCTUM- International Journal of Semiotics, special issue on Semiotics of Translation, Translation in Semiotics. Volume 1, Issue 2 (2015) http://punctum.gr 22. The Interpreters' Newsletter, Special Issue on Dialogue Interpreting, 2015, Vol. 20 www.openstarts.units.it/dspace/handle/10077/11848 23. Gallego-Hernández, Daniel & Patricia Rodríguez-Inés (eds.) 2016. Corpus Use and Learning to Translate, almost 20 Years on. Special Issue of Cadernos de Tradução 36(1). https://periodicos.ufsc.br/index.php/traducao/issue/view/2383/s howToc 24. 2015. Special Issue of IberoSlavica on Translation in Iberian- Slavonic Cultural Exchange and beyond. https://issuu.com/clepul/docs/iberoslavica_special_issue 26. The AALITRA Review: A Journal of Literary Translation, 2016 (11) www.lib.latrobe.edu.au/ojs/index.php/AALITRA/index 27. Transcultural: A Journal of Translation and Cultural Studies 8.1 (2016): "Translation and Memory" https://ejournals.library.ualberta.ca/index.php/TC/issue/view/18 77/showToc 28. JoSTrans, The Journal of Specialised Translation, issue 26 www.jostrans.org 29. L’Écran traduit, 5 http://ataa.fr/revue/archives/4518

Robert Hill will always be remembered for his fundamental contributions to the study of photosynthesis, but his originality in the scientific sphere was the reflection of an unusual personality, which will not be so easily remembered without a written record. He was almost invariably known affectionately as Robin, by family, friends and colleagues alike, although his closest friends tended to address him simply as Hill, in the pre-war manner. The scientific outlook was a deep seated part of Robin’s nature, but he was also an artist and craftsman. The different aspects of his life merged into one another with no sharp distinctions. He was trained primarily as a chemist, but in the inter-war years he was one of the pioneers who applied chemical skills and insight in attempts to understand living things, and thus established biochemistry on a sound basis as an independent discipline. His great love was for plants. At the old farm in Barton where he made his home, he grew all the plants needed for his experimental work in the laboratory. For Robin Hill this meant growing any plant with some particular biochemical interest. Among them were the traditional dye plants, such as madder and woad, and he became a well known expert in the chemistry of the natural dyes. Plants and landscapes were the usual subjects of his watercolour sketches. Some of these could be seen hanging in the house, but he was too modest to explain to visitors that he had not only painted the pictures but had also made the pigments himself. He spent the whole of his working life in Cambridge. He had a highly individual lecturing style which could occasionally verge on the histrionic, but his shyness came to dominate. He would stand with his attache case open on the bench in front of him, spectacles cocked on his forehead, and from time to time would duck down, for protection from the audience, as it were. These antics were amusing but distracting, and may partly explain why he never achieved a university appointment. He existed on a series of fellowships until he was eventually rescued by the Agricultural Research Council, and taken on to their external staff in 1943.

Background: Participation in high school cross-country and track has increased over the last few decades. At the same time, the rate of pedestrian-involved motor vehicle crashes (MVCs) has also increased. In the context of organized sport, pedestrian safety among runners is often not highlighted, despite the risk of catastrophic injury. Purpose: To describe incidents of pedestrian-involved MVCs involving student athletes captured by the National Center for Catastrophic Sport Injury Research (NCCSIR) at the University of North Carolina at Chapel Hill. Study Design: Case series. Level of Evidence: Level 5. Methods: This study utilized surveillance data from the NCCSIR from 2011 to 2020. It presents descriptive statistics, including frequencies and percentages, detailed summaries, and a Haddon Matrix. Results: There were 8 incidents involving 11 student athletes, resulting in 9 fatalities. Of these, 5 cases occurred in the afternoon or early evening, 4 occurred in the Fall, and 6 occurred in a rural area. Haddon Matrix analyses of case descriptions indicate schools should implement a runner safety program for all new runners and ensure that runner safety measures are included in emergency action plans. Conclusion: Runner-related MVCs are relatively rare, but tragic, incidents. Pedestrian safety measures should be incorporated into school-sponsored practices and training runs. Clinical Relevance: Pedestrian safety should be incorporated into runner safety and injury prevention efforts.

AWARDSSome major international children’s literature awards have just been announced as I compile the news for this issue. Several of these have Canadian connections.2016 ALSC (Association for Library Service to Children) Book & Media Award WinnersJohn Newbery Medal"Last Stop on Market Street,” written by Matt de la Peña, illustrated by Christian Robinson and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Newbery Honor Books"The War that Saved My Life," written by Kimberly Brubaker Bradley and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Roller Girl,” written and illustrated by Victoria Jamieson and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Echo,” written by Pam Muñoz Ryan and published by Scholastic Press, an imprint of Scholastic Inc.Randolph Caldecott Medal"Finding Winnie: The True Story of the World’s Most Famous Bear," illustrated by Sophie Blackall, written by Lindsay Mattick and published by Little, Brown and Company, a division of Hachette Book Group, Inc.Caldecott Honor Books"Trombone Shorty," illustrated by Bryan Collier, written by Troy Andrews and published by Abrams Books for Young Readers, an imprint of ABRAMS“Waiting,” illustrated and written by Kevin Henkes, published by Greenwillow Books, an imprint of HarperCollins Publishers“Voice of Freedom Fannie Lou Hamer Spirit of the Civil Rights Movement,” illustrated by Ekua Holmes, written by Carole Boston Weatherford and published by Candlewick Press“Last Stop on Market Street,” illustrated by Christian Robinson, written by Matt de le Peña and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Laura Ingalls Wilder AwardJerry Pinkney -- His award-winning works include “The Lion and the Mouse,” recipient of the Caldecott Award in 2010. In addition, Pinkney has received five Caldecott Honor Awards, five Coretta Scott King Illustrator Awards, and four Coretta Scott King Illustrator Honors. 2017 May Hill Arbuthnot Honor Lecture AwardJacqueline Woodson will deliver the 2017 May Hill Arbuthnot Honor Lecture. Woodson is the 2014 National Book Award winner for her New York Times bestselling memoir, “Brown Girl Dreaming.” Mildred L. Batchelder Award“The Wonderful Fluffy Little Squishy,” published by Enchanted Lion Books, written and illustrated by Beatrice Alemagna, and translated from the French by Claudia Zoe BedrickBatchelder Honor Books“Adam and Thomas,” published by Seven Stories Press, written by Aharon Appelfeld, iIllustrated by Philippe Dumas and translated from the Hebrew by Jeffrey M. Green“Grandma Lives in a Perfume Village,” published by NorthSouth Books, an imprint of Nordsüd Verlag AG, written by Fang Suzhen, iIllustrated by Sonja Danowski and translated from the Chinese by Huang Xiumin“Written and Drawn by Henrietta,” published by TOON Books, an imprint of RAW Junior, LLC and written, illustrated, and translated from the Spanish by Liniers.Pura Belpre (Author) Award“Enchanted Air: Two Cultures, Two Wings: A Memoir," written by Margarita Engle and published by Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing DivisionBelpre (Author) Honor Books"The Smoking Mirror," written by David Bowles and published by IFWG Publishing, Inc."Mango, Abuela, and Me," written by Meg Medina, illustrated by Angela Dominguez and published by Candlewick PressPura Belpre (Illustrator) Award"The Drum Dream Girl," illustrated by Rafael López, written by Margarita Engle and published by Houghton Mifflin HarcourtBelpre (Illustrator) Honor Books"My Tata’s Remedies = Los remedios de mi tata,” iIllustrated by Antonio Castro L., written by Roni Capin Rivera-Ashford and published by Cinco Puntos Press“Mango, Abuela, and Me,” illustrated by Angela Dominguez, written by Meg Medina and published by Candlewick Press“Funny Bones: Posada and His Day of the Dead Calaveras,” illustrated and written by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSAndrew Carnegie Medal "That Is NOT a Good Idea," produced by Weston Woods Studios, Inc.Theodor Seuss Geisel Award"Don’t Throw It to Mo!" written by David A. Adler, illustrated by Sam Ricks and published by Penguin Young Readers, and imprint of Penguin Group (USA), LLCGeisel Honor Books "A Pig, a Fox, and a Box," written and illustrated by Jonathan Fenske and published by Penguin Young Readers, an Imprint of Penguin Group (USA) LLC"Supertruck," written and illustrated by Stephen Savage and published by A Neal Porter Book published by Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership"Waiting," written and illustrated by Kevin Henkes and published by Greenwillow Books, an imprint of HarperCollins Publishers.Odyssey Award"The War that Saved My Life," produced by Listening Library, an imprint of the Penguin Random House Audio Publishing Group, written by Kimberly Brubaker Bradley and narrated by Jayne EntwistleOdyssey Honor Audiobook"Echo," produced by Scholastic Audio / Paul R. Gagne, written by Pam Munoz Ryan and narrated by Mark Bramhall, David De Vries, MacLeod Andrews and Rebecca SolerRobert F. Sibert Informational Book Medal"Funny Bones: Posada and His Day of the Dead Calaveras,” written and illustrated by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSSibert Honor Books"Drowned City: Hurricane Katrina and New Orleans," written and illustrated by Don Brown and published by Houghton Mifflin Harcourt"The Boys Who Challenged Hitler: Knud Pedersen and the Churchill Club," by Phillip Hoose and published by Farrar Straus Giroux Books for Young Readers"Turning 15 on the Road to Freedom: My Story of the 1965 Selma Voting Rights March," written by Lynda Blackmon Lowery as told to Elspeth Leacock and Susan Buckley, illustrated by PJ Loughran and published by Dial Books, an imprint of Penguin Group (USA) LLC"Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement," written by Carole Boston Weatherford, illustrated by Ekua Holmes and published by Candlewick PressCONFERENCES & EVENTSThis 2016 is shaping up to be a busy year for those of us involved with Canadian children’s literature. To tantalize your appetite (and encourage you to get involved) here are some highlights:January:Vancouver Children’s Literature Roundtable event: A Celebration of BC’s Award Children’s Authors and Illustrators with special guests Rachel Hartman and the Children’s Literature Roundtables of Canada 2015 Information Book Award winners Margriet Ruurs & Katherine Gibson, January 27, 2016, 7 – 9 pm. Creekside Community Centre, 1 Athletes Way, Vancouver. Free to members and students.April:Wordpower programs from the Young Alberta Book Society feature teams of Albertan children’s literary artists touring to schools in rural areas. Thanks to the generous sponsorship of Cenovus Energy, schools unable to book artist visits due to prohibitive travel costs are able to participate.April 4-8: Wordpower South will send 8 artist teams to communities roughly between Drumheller and Medicine Hat. Artists include Karen Bass, Lorna Shultz-Nicholson, Bethany Ellis, Marty Chan, Mary Hays, Sigmund Brouwer, Carolyn Fisher, Natasha DeenApril 25-29: Wordpower North will have a team of 8 artists traveling among communities in north-eastern Alberta such as Fort MacKay, Conklin, Wabasca, Lac La Biche, Cold Lake, and Bonnyville. The artists include Kathy Jessup, Lois Donovan, Deborah Miller, David Poulsen, Gail de Vos, Karen Spafford-Fitz, Hazel Hutchins, Georgia Graham May: COMICS AND CONTEMPORARY LITERACY: May 2, 2016; 8:30am - 4:30pm at the Rozsa Centre, University of Calgary. This is a one day conference featuring presentations and a workshop by leading authors, scholars, and illustrators from the world of comics and graphic novels. This conference is the 5th in the annual 'Linguistic Diversity and Language Policy' series sponsored by the Chair, English as an Additional Language, Werklund School of Education, University of Calgary. Tom Ricento is the current Chair-holder. The conference is free and lunch is provided. Seating is limited, so register early. The four presenters are:Jillian Tamaki, illustrator for This One Summer, and winner of the Governor General's Award for children's illustration.Richard van Camp, best-selling author of The Lesser Blessed and Three Feathers, and member of the Dogrib Nation.Dr. Nick Sousanis, post-doctoral scholar, teacher and creator of the philosophical comic Unflattening.Dr. Bart Beaty, University of Calgary professor, acclaimed comics scholar and author of Comics vs. Art TD Canadian Children’s Book Week 2016. In 2016, the Canadian Children's Book Centre celebrates 40 years of bringing great Canadian children's books to young readers across the country and the annual TD Canadian Children’s Book Week will be occurring this May across Canada. The theme this year is the celebration of these 40 years of great books written, illustrated and published in Canada as well as stories that have been told over the years. The 2016 tour of storytellers, authors and illustrators and their area of travel are as follows:Alberta: Bob Graham, storyteller; Kate Jaimet, authorBritish Columbia (Interior region) Lisa Dalrymple, author; (Lower Mainland region) Graham Ross, illustrator; (Vancouver Island region) Wesley King, author; (Northern region, Rebecca Bender, author & illustrator.Manitoba: Angela Misri, author; Allison Van Diepen, authorNew Brunswick: Mary Ann Lippiatt, storytellerNewfoundland: Maureen Fergus, authorLabrador: Sharon Jennings, authorNorthwest Territories: Geneviève Després, illustratorNova Scotia: Judith Graves, authorNunavut: Gabrielle Grimard, illustratorOntario: Karen Autio, author; Marty Chan, author; Danika Dinsmore, author; Kallie George, author; Doretta Groenendyk, author & illustrator; Alison Hughes, author; Margriet Ruurs, author.Prince Edward Island: Wallace Edwards, author & illustratorQuebec (English-language tour): LM Falcone, author; Simon Rose, author; Kean Soo, author & illustrator; Robin Stevenson, author; and Tiffany Stone, author/poet.Saskatchewan: (Saskatoon and northern area) Donna Dudinsky, storyteller; (Moose Jaw/Regina and southern area) Sarah Ellis, authorYukon: Vicki Grant, author-----Gail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and comic books & graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta. She is the author of nine books on storytelling and folklore. Gail is also a professional storyteller who has taught the storytelling course at SLIS for over two decades.

Chan, Marty. Fire and Glass. Richmond Hill, ON: Clockwise Press, 2016. Print.Kristina Mah finds herself in an unenviable situation at the start of grade nine: her father has abruptly abandoned Kristina and her mother, and they are forced to move from the familiarity of the suburbs to a small inner-city apartment. The transition to her new school takes some time - it’s old, rundown and all the students are addicted to their phones - but eventually she finds a new friend in Dylan, her grade’s resident iconoclast who cares little for social norms. Just when her life seems to be acquiring some semblance of normalcy, things take a turn at Mackenzie King School. After confirming with Dylan that the spooky interactive white board images are not merely a figment of her imagination, the pair further explore the school and accidentally free an evil Djinn into the halls. Kristina and Dylan’s ensuing adventures revolve around saving their families and school from this spirit.Fire and Glass is Marty Chan’s 15th book, and follows up his work on the Ehrich Weisz Chronicles series. As a radio presenter, playwright and self-anointed “professional liar”, Chan’s multiple talents have led to a distinguished profile in the Edmonton community. Fire and Glass kicks off a new series, Keepers of the Vault, which Chan is writing specifically with reluctant readers in mind. The action begins quickly, the plot is fast-paced, and the humour hits the mark; all in all, Fire and Glass is well positioned to re-engage junior high students with reading.Chan is adept at bridging the reality-fantasy gap by equipping his characters with modern technologies that help them to solve ancient, fantastical problems. While at times the suspense in Fire and Glass seems slightly contrived, later pages offer enough compelling spookiness and mystery to keep the reader intrigued. With a cliffhanger ending, fans will be eagerly anticipating the next entry in the series. Short paragraphs and chapters make this title an attractive choice for struggling readers, though its reach will extend to fantasy fans.Recommended: 3 Stars out of 3 Reviewer: Kyle MarshallReviewer biography: Kyle Marshall is the Assessment & Research Librarian for Edmonton Public Library. He graduated with his MLIS from the University of Alberta in June 2015, and is passionate about diversity in children's and youth literature.

Hill, Janet. Miss Moon, Wise Words from a Dog Governess. Illus. Janet Hill. Toronto: Tundra Books, 2016. Print.This book is disappointing because it lacks the wise (or whimsical) words that it promises and offers only well-worn clichés, like “practice makes perfect” and “remember your manners.” These trite teachings are not offered as part of a story, but simply as a series of lessons. We are told in the introduction that Miss Wilhelmina Moon learned these lessons when she worked for a time as the “governess to sixty-seven dogs on an island off the coast of France,” but we never learn what led her to these insights. The introduction teases us by suggesting that we are about to read about the adventures of a dog governess with an absurdly large number of charges. Unfortunately, there is no story here so the introduction’s implausible premise just seems odd and the text is nothing more than a list of hackneyed expressions. At the back of the book is a “class photo” of the sixty-seven dogs which is confusing because it seems to suggest that Miss Moon is not a governess in a private household, but a teacher at a school for dogs.Since no story grows out of the clever and original idea of an overburdened dog governess, we are left to focus on the illustrations. Dogs are cute. Children are cute. Illustrations of dogs in various guises—wearing glasses, hats, scarves, capes, or bow ties–and involved in various children’s activities—riding a bicycle, listening to a bedtime story, practicing archery, or taking a bath—can hardly fail to be appealing. Janet Hill’s sometimes adorable illustrations manage to capture something of the character of a range of dog breeds and they are sometimes very cleverly conceived, but they vary significantly in quality and sometimes seem unfocused or unfinished. Even so, the only reason to reach for this book is for the charming illustrations.Recommended with reservations: two stars out of fourReviewer: Linda QuirkLinda taught courses in Multicultural Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become a librarian at Bruce Peel Special Collections & Archives at the University of Alberta. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have long been forgotten by history.

Prehistory and Protohistory ; Sarah C. Murray, The Collapse of the Mycenaean Economy. Imports, Trade and Institutions 1300–700 BCE / Chrysanthi Gallou, Death in Mycenaean Laconia. A Silent Place /James C. Wright and Mary K. Dabney (with contributions by Phoebe Acheson, Susan F. Allen, Kathleen M. Forster, Paul Halstead, S.M.A. Hoffman, Anna Karabatsoli, Konstantina Kaza-Papageorgiou, Bartłomiej Lis, Rebecca Mersereau, Hans Mommsen, Jeremy B. Rutter, Tatiana Theodoropoulou, and Jonathan E. Tomlinson), The Mycenaean Settlement on Tsoungiza Hill (Nemea Valley Archaeological Project III) – Oliver Dickinson ; Gioulika-Olga Christakopoulou, To Die in Style! The Residential Lifestyle of Feasting and Dying in Iron Age Stamna, Greece – John Bintliff ; Archaic to Hellenistic ; Oliver Hülden, Das griechische Befestigungswesen der archaïschen Zeit. Entwicklungen – Formen – Funktionen – Hans Lohmann ; Peter van Alfen and Ute Wartenberg (eds) (with Wolfgang Fischer-Bossert, Haim Gitler, Koray Konuk, and Catharine C. Lorber), White Gold: Studies in Early Electrum Coinage – Keith Rutter ; Marta González González, Funerary Epigrams of Ancient Greece: Reflections on Literature, Society and Religion – Fabienne Marchand ; Robert S. Wagman, The Cave of the Nymphs at Pharsalus. Studies on a Thessalian Country Shrine – Maria Mili ; Natascha Sojc (ed.), Akragas. Current Issues in the Archaeology of a Sicilian Polis – Johannes Bergemann ; Roman to Late Roman ; Laura Pfuntner, Urbanism and Empire in Roman Sicily. – Michalis Karambinis ; Walter Scheidel, Escape from Rome. The Failure of Empire and the Road to Prosperity – Bryan Ward-Perkins ; Rinse Willet, The Geography of Urbanism in Roman Asia Minor – Mark P.C. Jackson ; Medieval to Postmedieval ; Charalambos Bouras, Byzantine Athens, 10th-12th Centuries / Nickephoros I. Tsougarakis and Peter Lock (eds), A Companion to Latin Greece / Joanita Vroom (ed.), Medieval and Post-Medieval Ceramics in the Eastern Mediterranean - Fact and Fiction. / Joanita Vroom, Yona Waksman and Roos van Oosten (eds), Medieval Masterchef. Archaeological and Historical Perspectives on Eastern Cuisine and Western Foodways – John Bintliff ; Multiperiod ; María-Paz de Hoz, Juan Luis García Alonso and Luis Arturo Guichard Romero (eds), Greek paideia and local tradition in the Graeco-Roman east – Dorothea Stavrou ; John Ellis Jones and Ourania Kouka, Elis 1969. The Peneios Valley Rescue Excavation Project: British School at Athens Survey 1967 and Rescue Excavations at Kostoureika and Keramidia 1969 / Effie Photos-Jones and Alan J Hall, Eros, mercator and the cultural landscape of Melos in antiquity: The archaeology of the minerals industry of Melos – John Bintliff ; Bleda S. Düring and Claudia Glatz (eds), Kinetic Landscapes, the Cide Archaeological Project: Surveying the Turkish Western Black Sea Coast – James Crow ; J. Rasmus Brandt, Erika Hagelberg, Gro Bjørnstad and Sven Ahrens (eds), Life and Death in Asia Minor in Hellenistic, Roman and Byzantine Times: Studies in Archaeology and Bioarchaeology – Willem M. Jongman ; Caroline Arnould-Béhar and Véronique Vassal (eds), Art et archéologie du Proche-Orient hellénistique et romain. Les circulations artistiques entre Orient et Occident Vol.1 / Caroline Arnould-Béhar and Véronique Vassal (eds), Art et archéologie du Proche-Orient hellénistique et romain. Les circulations artistiques entre Orient et Occident Vol. 2 – Andrew Erskine ; Historiography and Theory ; John Boardman, A Classical Archaeologist’s Life: The Story So Far. An Autobiography – Robin Osborne

Background/Context: Unconscious racial bias (URB) can be a pernicious form of racism. In light of increased awareness of and research on the subject, URB work has become a key focus of equity work in health care, education, and corporate contexts as part of broader calls for racial justice. In Canada, targeting URB in education has become a policy priority at the national, provincial, and school board levels. The role of individual and organizational URB is now widely recognized in policy as central to equitable outcomes in schooling; however, research is limited on how to engage these forms of racism in educational contexts. Prevailing approaches to URB work in schools often include truncated one-off workshops, which leave unaddressed the connections between the individual racial biases, and the operations of white supremacy and racism at the institutional, systemic, and structural levels. Purpose/Objective/Research Question/Focus of Study: While URB is increasingly well-understood by social psychologists, there has been limited engagement from critical scholars working in areas such as critical race theory (CRT), anti-colonialism, and critical whiteness studies—despite the popularity of interrogating URB as an anti-racism strategy in education. CRT in education has laid bare and problematized the central function of schooling in the safeguarding and management of white supremacy. This project emerged from a dual recognition of URB as a productive entry point for racial awareness and anti-racism work, alongside a significant concern about the failure of mainstream URB discourse to address structural racism and white supremacy—masking at times the deeper ways that Euro-colonial racism underpins social relations in contemporary U.S., Canadian, European, and other contexts. This work seeks to address these limitations in the design of the study through deep work with participants. Specifically, the study sought to understand better the impacts of reading critical texts focusing on systemic, structural, and institutional racism on teachers’ understandings of their own racial biases, as well as teachers’ perspectives on the impacts of reading critical texts in terms of their professional practices. Research Design: This article reports on the findings of a 10-month study with secondary teachers in Toronto, Canada, focusing on critical approaches to racial bias mitigation in education. In addition to asking participants to enact a series of URB mitigation strategies developed in the field of social psychology, this study also required participants to read and reflect on one of the following critical anti-racism nonfiction texts: White Fragility: Why It’s So Hard for White People to Talk About Racism by Robin DiAngelo (2018); Policing Black Lives: State Violence in Canada From Slavery to the Present by Robyn Maynard (2017); Everyday Antiracism: Getting Real About Race in School, edited by Mica Pollock (2008); Unsettling the Settler Within: Indian Residential Schools, Truth Telling, and Reconciliation in Canada by Paulette Regan (2014); and Monstrous Intimacies: Making Post-Slavery Subjects by Christina Sharpe (2010). The project was designed using multiple data sources from participants, including electronic survey responses, ongoing journaling/reflection, a midpoint check-in questionnaire, and a final interview. These multiple entry points, as well as the duration of the project, aimed to go beyond the taken-for-granted and toward deeper understanding over time. Conclusions/Recommendations: Findings suggest that reading these works impacted teachers’ understandings of race and racism in terms of their teaching, as well as in terms of their personal relationships to race and racism, increasing their inclination and ability to address race and anti-racism. This work allowed for critical reflection to seep into the most intimate and invisible moments of operationalized whiteness in the professional and personal spheres of participants. This suggests an important complementarity between teacher intervention practices emerging from social psychology, and the introduction and engagement of critical anti-racist and anti-colonial texts in terms of teachers’ work for racial justice.

Abstract 1. Introduction The friends and colleagues of Prof. Dr. Tekin Dereli came together to celebrate his 72nd birthday and the 50th year of his mathematical physics career. The three-days event took place online over the Zoom on 26-28 November 2021. His scientific and scholarly achievements, his kindness as a colleague, his thoughtful guidance of students and his service to the physics community in Turkey as a whole and last but not the least his open and easy accessibility to anyone needing his expert counseling have been appreciated by all. ¨ We are grateful to the Turkish Academy of Sciences (TUBA) for sponsoring the online, open-access publication of the proceedings as a special issue in The Journal of Physics: Conference Series. 2. Biography of Tekin Dereli Tekin Dereli was born in Ankara in 1949 where he completed his early education at Ankara Science High School in 1967. He earned his Bachelor’s degree in physics with high honors in 1971 at the Middle East Technical University (METU), where he also completed his PhD in 1976, with a thesis entitled “Fermions in Yang-Mills Potentials”. He gave his habilitation in 1981 with a thesis on “Dynamics of Neutrinos in Gravitational Fields” (in Turkish). His academic career began at METU as an instructor in 1973, where he later became an associate professor. He was promoted to professorship in 1987 at Ankara University and then returned to METU in 1993. He was invited to Ko¸c University as Professor of Physics in 2001 where he worked till 2021. Tekin Dereli held various research positions abroad, being always on-leave from METU. These include a visiting scientist position at Yale University during 1974-1975 under the hosting of Feza Gürsey and a research associate position at Brandeis University during 1976-1977 under the hosting of Stanley Deser. He collaborated with Peter C. Aichelburg as Einstein-Memorial Foundation Fellow at the Institute for Theoretical Physics, University of Vienna during 1977-1978. He was SRC Research Associate at Lancaster University between 1979-1981 where a long and fruitful collaboration with Robin W. Tucker has begun. He had been an Associate Member of ICTP between 1986-1991 and Alexander von Humboldt Foundation Fellow at Karlsruhe University during 1988-1989 under the hosting of Julius Wess. Tekin Dereli’s research interests cover a broad range of subjects. He published papers on magnetic monopoles in Yang-Mills gauge field theories, supersymmetry and supergravity, the role of quaternions and octonions in physics. He studied Clifford algebras and spin structures associated with the space-time. He worked on generalised theories of gravity, both in higher and lower dimensions than four, emphasizing their differential geometric gauge structure. In particular he investigated various aspects of black hole and gravitational wave solutions. Furthermore he constructed higher dimensional cosmological models. Tekin Dereli also worked on dualities in physics and mathematics in general and deformation quantisation in the context of the Landau problem. List of Scientific Bibliography of Tekin Dereli (1975-2021), Theses Supervised by Tekin Dereli, Alphabetical List of Contributors, Organising Committee are available in this pdf.

Rodman, Sean. Dead Run. Victoria, BC: Orca Book Publishers, 2012. Print.I have no fear. I’m tensed and ready, like a coiled spring. I know that the stakes in this race are high. But I am not afraid. I’m totally focused. Nothing exists except the starting signal. And the bike beneath me. This is how Sean Rodman introduces us to his seventeen-year old protagonist, Sam. The first-person, present-tense narration locates the reader right there, right now, sharing Sam's excitement, his tension, his hopes and dreams. The trip through this fast and furious 120-page book keeps you on the edge of your seat, always wondering what's around the next corner. Sam hasn’t had a lot of breaks. His Mom took off a few years ago, and his dad works the night shift at a warehouse. He knows his only ride out of a dead-end life will be on the back of his racing bike. So when he lands a job as a bicycle courier, and his boss Viktor just happens to be a former gold-medal-winning Olympic cyclist, Sam thinks he’s hit pay dirt. Viktor agrees to coach him, but in exchange, Sam has to deliver strange packages to empty warehouses, after hours. He suspects he’s involved in something illegal, but his drive to cross the finish line first blinds him to other choices. Even when his girlfriend Robin assures him that he always has a choice, he just can’t seem to navigate a clear path through the obstacles. Will the choices he makes lead him to the finish line? Or will he just be finished? Dead Run, one of the Orca Soundings series for reluctant teen readers, was written specifically for struggling, reluctant teen readers. But you’d never know it! Sean Rodman has worked in schools around the world and his understanding of teen readers is evident. Rodman’s succinct sentences and short, snappy paragraphs perfectly capture the fast-paced action and sense of urgency that drive the plot forward. Although flawed, Sam’s character is both convincing and likable. I found myself cheering for him right to the bitter end. Sam's plight is one most teen readers can relate to, and the book's resolution is both fair and fitting. This book has definite appeal for male readers, especially if they are into cycling. An excellent selection for a public or school library collection. Highly Recommended: 4 out of 4 stars Reviewer: Terri Hayes Terri Hayes is a teacher and student, currently completing a Master of Education in Teacher-Librarianship at the University of Alberta. Terri has been a voracious reader ever since her introduction to Dick & Jane at the age of six. Luckily, the quality of books for children has improved tremendously since those days, and now, one of her primary goals is to instill that same love of reading in her students. When she’s not scouring the local library for her next great read, Terri can usually be found reading to her grandchildren or hopping a plane to some destination she’s read about in a book.

In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016-present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast and/or setting. “Revivals” and “remakes” both seek to capitalise on nostalgia for a specific notion of the past and access the (presumed) existing audience of the earlier series (Mittell; Rebecca Williams; Johnson).Reboots operate around two key pleasures. First, there is the pleasure of revisiting and/or reimagining characters that are “known” to audiences. Whether continuations or remakes, reboots are invested in the audience’s desire to see familiar characters. Second, there is the desire to “fix” and/or recuperate an earlier series. Some reboots, such as the Charmed remake attempt to recuperate the whiteness of the original series, whereas others such as Gilmore Girls: A Life in the Year (2017) set out to fix the ending of the original series by giving audiences a new “official” conclusion.The Roseanne reboot is invested in both these pleasures. It reunites the original cast for a short-lived, but impactful nine-episode tenth season. There is pleasure in seeing Roseanne (Roseanne Barr), Dan (John Goodman), Jackie (Laurie Metcalf), Becky (Lecy Goranson [seasons one to six, ten], Sarah Chalke [seasons six to nine]), Darlene (Sara Gilbert), and DJ (Michael Fishman) back in the Conner house with the same well-worn couch and afghan. The (attempted) recuperation is of author-star Barr, whose recent politics are in stark contrast to the working-class second-wave feminist politics of her nineties’ persona. This article is particularly interested in the second pleasure, because both the original series and the reboot situate the voice of Barr as central to the series’ narrative and politics.Despite achieving the highest ratings of any US sitcom in the past three years (O’Connell), on 29 May 2018, ABC announced that it was cancelling the Roseanne reboot. This decision came about in the wake of a racist tweet, where Barr compared a black woman (high-ranking Obama aide Valerie Jarrett) to an ape. Barr’s tweet and the cancellation of Roseanne, highlight the limits of nostalgia and Roseanne/Barr’s particular brand of white feminism. While whiteness and a lack of racial awareness are (and always have been) at the centre of Barr’s performance of feminism, the political landscape has shifted since the 1990s, with the rise of third and fourth-wave feminisms and intersectional activism. As such in the contemporary landscape, there is the expectation that white feminist figures take on and endorse anti-racist stances.This article argues that the reboot’s attempt to capitalise on nineties nostalgia exposes the limits of Roseanne/Barr’s feminism, as well as the limits of nostalgia. The feminist legacy of nineties-era Roseanne cannot and does not recuperate Barr’s star-persona. Also, the reboot and its subsequent cancellation highlight how the feminism of the series is embodied by Barr and her whiteness. This article will situate Roseanne and Barr within a feminist tradition on US television, before exploring how the reboot operates and circulates differently to the original series.From Roseanne (1988-1997) to Roseanne (2018)In its original form, Roseanne holds the distinction of being one of the most highly discussed and canonised feminist-leaning television series of all time, alongside The Mary Tyler Moore Show (1970-1977), Cagney and Lacey (1981-1988), and Buffy the Vampire Slayer (1997-2004). Roseanne also enabled and informed many popular feminist-leaning contemporary series, including Girls (2012-2017), Mom (2013-present), Better Things (2016-present), and Dietland (2018). Although it may seem anachronistic today, Roseanne and Barr helped define what it means to be a feminist and speak feminist politics on US television.Roseanne depicts the lives of the Conner family, headed by parents Roseanne and Dan. They live in the fictional blue-collar town of Lanford, Illinois with their three children Becky, Darlene, and DJ. Both Roseanne and Dan experience precarious employment and embark on numerous (mostly failed) business ventures throughout the series’ run. The reboot catches up with the Conner family in 2018, after Roseanne has experienced a health scare and single mom Darlene has moved into her parents’ house with her two children Harris (Emma Kenney) and Mark (Ames McNamara). In the new season, Roseanne and Dan’s children are experiencing similar working conditions to their parents in the 1990s. Becky works at a Mexican restaurant and is eager to act as surrogate mother to earn $50,000, Darlene is recently unemployed and looking for work, and DJ has just returned from military service.A stated objective of reviving Roseanne was to address the contentious US political landscape after the election of President Donald J. Trump (VanDerWerff). Barr is a vocal supporter of President Trump, as is her character in the reboot. The election plays a key role in the new season’s premise. The first episode of season 10 establishes that the titular Roseanne has not spoken to her sister Jackie (who is a Hillary Clinton supporter) in over a year. In both its nineties and 2018 incarnations, Roseanne makes apparent the extent to which feminist politics are indebted to and spoken through the author-star. The series is based on a character that Barr created and is grounded in her life experience. Barr and her character Roseanne are icons of nineties televisual feminism. While the other members of the Conner family are richly drawn and compelling, Roseanne is the centre of the series. It is her voice and perspective that drives the series and gives it its political resonance. Roseanne’s power in the text is authorised by Barr’s stardom. As Melissa Williams writes: “For nearly a decade, Barr was one of the most powerful women in Hollywood” (180).In the late 1980s and into the 1990s, Roseanne (and Barr) represented a new kind of feminist voice on US television, which at that stage (and still today) was dominated by middle-class women. Unlike Mary Richards (Mary Tyler Moore), Claire Huxtable (Phylicia Rashad), or Murphy Brown (Candice Bergen), Roseanne did not have a stable job and her family’s economic situation was often precarious. Roseanne/Barr adopted and used a feminism of personality popularised on television by Mary Tyler Moore and Lucille Ball. Unlike her foremothers, though, Roseanne/Barr was not slender, feminine, or interested in being likeable to men. Roseanne did not choose to work outside of the home, which marked her as different from many of US television’s other second-wave feminists and/or mothers. As Rachael Horowitz writes: “Roseanne’s feminism was for women who have to work because bills must get paid, who assert their role as head of the house despite the degrading work they often do during the day to pay for their kids’ food and clothes” (9).According to Kathleen Rowe, Barr is part of a long line of “female grotesques” whose defining features are excess and looseness (2-3). Rowe links Barr’s fatness or physical excess with her refusal to shut up and subversive speech. The feminism of Roseanne is contained within and expressed through Barr’s unruly white body (and voice). Barr’s unruliness and her unwillingness to follow the social conventions of politeness and decorum are tied to her (perceived) feminist politics.Understandings of Barr’s stardom, however, have shifted considerably in the years since the publication of Rowe’s analysis. While Barr is still “unruly,” her unruliness is no longer located in her body (which has been transformed to meet more conventional standards of western beauty), but rather in her Twitter presence, which is pro-Israel, pro-Trump, and anti-immigration. As Roxane Gay writes of the reboot: “Whatever charm and intelligence she [Barr] brought to the first nine seasons of her show, a show I very much loved, are absolutely absent in her current persona, particularly as it manifests on Twitter.”Feminist Voice and Stardom on US TVRoseanne performs what Julie D’Acci calls “explicit general feminism,” which is defined by “dialogue and scenes that straightforwardly addressed discrimination against women in both public and private spheres, stories structured around topical feminist causes, and the use of unequivocal feminist language and slogans” (147). However, the feminist politics of Roseanne and Barr are (and never were) straightforward or uncomplicated.Studies of feminism on US television have primarily focused on comedies that feature female television stars who function as advocates for feminism and women’s issues (Spigel; Rabinovitz; D’Acci). Much of the critical discussion of feminist voice in US female-led television identifies the feminist intervention as taking place at the level of performance (Dow; Spigel; Spangler). Comedic series such as I Love Lucy (1951-1957), Murphy Brown (1988-1998, 2018-present), and Grace Under Fire (1993-1998), and dramatic series’, such as Cagney and Lacey and Buffy the Vampire Slayer, privilege the articulation of feminist ideas through performance and character.Roseanne is not a series that derives its comedy from a clash of different perspectives or a series where politics are debated and explored in a nuanced a complex way. Roseanne promotes a distinct singular perspective – that of Roseanne Barr. In seasons one to nine, the character Roseanne is rarely persuaded to think differently about an issue or situation or depicted as “wrong.” The series centres Roseanne’s pain and distress when Becky elopes with Mark (Glenn Quinn), or when Jackie is abused by her boyfriend Fisher (Matt Roth), or when Darlene accidently gets pregnant. Although those storylines are about other characters, Roseanne’s emotions are central. Roseanne/Barr’s perspective (as fictional character and media personality) informs the narrative, sensibility, and tone. Roseanne is not designed to contain multiple perspectives.Roseanne is acutely aware of its place in the history of feminist voice and representations of women on US television. Television is central to the series’ articulation of feminism and feminist voice. In season seven episode “All About Rosey,” the series breaks the fourth wall (as it does many times throughout its run), taking the audience behind the scenes where some of US television’s most well-known (and traditional) mothers are cleaning the Conner’s kitchen. June Cleaver (Barbara Billingsley) from Leave It to Beaver (1957-1963), Joan Nash (Pat Crowley) from Please Don’t Eat the Daisies (1965-1967), Ruth Martin (June Lockhart) from Lassie (1958-1964), Norma Arnold (Alley Mills) from The Wonder Years (1988-1993), and Louise Jefferson (Isabel Sanford) from The Jeffersons (1975-1985) at first sit in judgment of Barr and her character Roseanne, claiming she presents “wrong image” for a TV mother. However, Roseanne/Barr eventually wins over the TV mothers, declaring “the important thing is on my show, I’m the boss and father knows squat” (7.19). It is in contrast to more traditional television mothers that Roseanne/Barr’s feminist voice comes into focus.In the ninth and final season of Roseanne’s initial run, the series (arguably) becomes a parody of its former self. By this point in the series, “Barr was seen as the sole cause of the show’s demise, as a woman who was ‘imploding,’ ‘losing the plot,’ or ‘out of control’” (White 234). White argues that depicting the working-class Conners’ social and economic ascension to upper-class diminishes the distinction between Barr and her character (243). White writes that in the series’ finale, the “line between performer and character is irrevocably blurred; it is unclear whether the voice we are hearing is that of Roseanne Conner or Roseanne Barr” (244). This blurring between Roseanne and Barr becomes particularly contentious in season 10.Rebooting Roseanne: Season 10Season 10 redacts and erases most of the events of season nine, which itself was a fantasy, as revealed in the season nine finale. As such, the reboot is not a simple continuation, because in the season nine finale it is revealed that Dan suffered a fatal heart attack a year earlier. The final monologue (delivered in voice-over by Barr) “reveals” that Roseanne has been writing and editing her experiences into a digestible story. The “Conners winning the lottery” storyline that dominated season nine was imagined by Roseanne as an elaborate coping strategy after Dan’s death. Yet in the season 10 reboot, Dan is revealed to be alive, as is Darlene and David’s (Johnny Galecki) daughter Harris, who was born during the events of season nine.The limits of Roseanne/Barr’s feminism within the contemporary political landscape come into focus around issues of race. This is partly because the incident that incited ABC to cancel the reboot of Roseanne was racially motivated, and partly because Roseanne/Barr’s feminism has always relied on whiteness. Between 1997 and 2018, Barr’s unruliness has become less associated with empowering working-class women and more with railing against minorities and immigrants. In redacting and erasing the events of season nine, the reboot attempts to step back the conflation between Roseanne and Barr with little success.In the first episode of season 10, “Twenty Years to Life”, Roseanne is positioned as the loud-mouthed victim of circumstance and systemic inequality – similar to her nineties-persona. Yet in 2018, Roseanne mocks same things that nineties’ Roseanne took seriously, including collective action, community building, and labour conditions. Roseanne claims: “It is not my fault that I just happen to be a charismatic person that’s right about everything” (10.01). Here, the series attempts to make light of a now-outdated understanding of Barr’s persona, but it comes off as tone-deaf and lacking self-awareness.Roseanne has bigoted tendencies in both the 1990s and in 2018, but the political resonance of those tendencies and their relationships to feminisms and nostalgia differs greatly from the original series to the reboot. This is best illustrated by comparing season seven episode “White Men Can’t Kiss” and season 10 episode “Go Cubs.” In the former, Roseanne is appalled that she may have raised a racist son and insists DJ must kiss his black classmate Geena (Rae’Ven Larrymore Kelly) in the school play. Towards the end of this episode, Geena’s father comes by the restaurant where Roseanne and Jackie are closing up. When the tall black man knocks on the locked door, Roseanne refuses to let him inside. She appears visibly afraid. Once Roseanne knows he is Geena’s father, she lets him in and he confronts her about her racist attitude. Roseanne (and the audience) is forced to sit in the discomfort of having her bigotry exposed. While there are no material consequences for Roseanne or DJ’s racism, within the context of the less intersectional 1990s, this interaction does not call into question Roseanne or Barr’s feminist credentials.In season 10, Roseanne tackles similar issues around race, ignorance, and bigotry, but it plays out very differently. In the reboot’s seventh episode, Roseanne suspects her Muslim refugee neighbours Fatima (Anne Bedian) and Samir (Alain Washnevky) are terrorists. Although Roseanne is proven wrong, she is not forced to reckon with her bigotry. Instead, she is positioned as a “hero” later in the episode, when she berates a supermarket cashier for her racist treatment of Fatima. Given what audiences know about Barr’s off-screen politics, this does not counteract the impression of racism, but compounds it. It also highlights the whiteness of the politics embodied by Roseanne/Barr both on-screen and off. Although these are two very different racial configurations (anti-blackness and Islamophobia), these episodes underline the shifting reception and resonance of the feminism Roseanne/Barr embodies.ConclusionIn June 2018, shortly after the cancellation of the Roseanne reboot, ABC announced that it was developing a spin-off without Barr called The Conners (2018-present). In the spin-off Roseanne is dead and her family is dealing with life after Roseanne/Roseanne (Crucchiola). Here, Roseanne suffers the same fate as Dan in season nine (she dies off-screen), but now it is Barr who is fictionally buried. While The Conners attempts to rewrite the story of the Conner family by rejecting Barr’s racist views and removing her financial and creative stake in their stories, Barr cannot be erased or redacted from Roseanne or the story of the Conner family, because it is her story.The reboot and its cancellation illuminate how Barr and Roseanne’s feminist voice has not evolved past its white second-wave roots. The feminism of Roseanne is embodied by Barr in all her unruliness and whiteness. Roseanne/Barr/Roseanne has not taken on the third and fourth-wave critiques of second-wave feminisms, which emphasise the limits of white feminisms. The failure of the Roseanne reboot reveals that the pleasure and nostalgia of seeing the Conner family back together is not enough. Ultimately, Roseanne is without intersectionality, and thus cannot (and should not) be recognised as feminist in the contemporary political landscape.ReferencesBetter Things. Cr. Pamela Adlon and Louis C.K. 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Introduction Magic has a long and controversial history grafted through the occult, entertainment, and cultural mythology. Its agency, when thought of as a mechanism of storytelling, reconciles an oscillation between natural and unnatural phenomena in as much as magic has historically been weaponised against “society’s most marginal members” (Marshall). Yet there is no substantial investigation of magic in metamodern theory that considers the nature of magical power a critical component of a metamodern affect in contemporary art. As such, this article will argue that magic in this regard positions the idea into the affectual state within two structures of experience. While metamodern thought prescribes an ontological approach through what Vermeulen prompts as a structure of feeling (Vermeulen 2017), this article proposes a more complex assessment of affect in metamodernism by adding a ‘structure of reason’ where both assessments of an oscillation between singularity and relativism are determined from magic. In this, where a structure of feeling is assessed through an ontological approach to interpret an emotional affect, a structure of reason uses an epistemological approach to establish a knowledge-based affect. Further, this article proposes the affectual considerations of magic as a magical power from affect to invite new ways to consider both reason and feelings within the subject, most notably through recent contributions of UK artist Damien Hirst and Australian artist Shaun Wilson. From witches to vampires, and sorcerers to wizards, these actors of magic, across the state, institution, and local partisan, have historically conjured fear and trepidation (Flint), and fascination (Leddington): most recently in popular cinema, literature, and gaming of magical realism. Yet the comprehension of magic in contemporary society, from films to books to fashion, has integrated, on the one hand, a commercialisation of branding magic through popular culture, and, on the other hand, the socialising of magic, whether festive or occult-based national holidays, celebrations, cosplay, and other socially orientated gatherings. These, of course, hark back to the narrational elements of folklore firmly integrated within cultural social practice. Yet how can magic and affect be thought of as acting together in contemporary art outside of associations from the occult and unnatural powers? Affectual discussions after modernism from Deleuze, Foucault, and Derrida, and after postmodernism from Gibbons, van der Akker, and Vermeulen, connect a similarity by way of agreement that affect is a relational phenomenon prompted by experience. Whether this be a postmodern, post-structuralist, deconstructionist, or even a post-postmodern context, magic as a condition of affect offers a way to understand affect from a different perspective than previously debated. However, there are several considerations for magic in affect that this article will address throughout that affords a suitability for metamodernism than, say, other branches of modernity such as postmodernism, which structurally lacks the ability for the arts to consider magic as an affectual experience in ways that metamodernism can accommodate. Herein exist three variations of magic for metamodernism: the magician who engages such power as an affectual actor; the presence of a magical power as an affectual state; and the condition of a magical power as an affectual experience. In this sense, magic is a term that this article will argue is about the condition of a magical power in metamodern affect, as represented in Figure 1. As relativism and singularity surmount an affectual structure, magic is argued to be a conduit between affect and an assessment of a metamodern oscillation, which is between an ontology and an epistemology. Fig. 1: A diagram of Metamodern Affect and Magic. (Used with permission) Furthermore, the inclusion of magic into the modelling of metamodern affect as a formalism achieves two key points. The first is to reconfigure the term from its semantic heritage to otherwise be part of an affectual process. The second is to examine this process to understand magic as a condition of affect, which enables what kind of assessment such mechanisms will determine the affectual structure through experience. If, say, magic was thought of as an agent of experience from an oscillation, then magic in this sense functions as the effect of an oscillation, but not as a starting point or, to be precise, an unrelated stand-alone mechanism. For magic to exist in this modelling proposal, it needs to be a condition from an oscillation to a structured assessment of experience. If accepted debates (Gibbons) about affect after postmodernism indicate that a structure of feeling, and, for that matter, metamodernism, is indicative of how an assessment of feelings can be derived through lived experience, an epistemological reading gives an assessment of reason through experience that, in art, enables the viewer to justify emotions through logic to form an understanding of knowledge from experience. Debates across other fields, such as psychology, philosophy, anthropology, and critical theory, have located magic in these three affectual areas paramount to emotions, non-reality, and reason. R.G. Collingwood, for example, argued that “magic is the evocation of emotions needed for practical life” (Collingwood 77). Collingwood’s “magic in the basic phenomenological sense” is one that “refers to any practice in which we evoke and sustain emotions for a practical purpose” (Greaves 277). Likewise, Sartre also referenced two key terms, which differed between “magic” and “magical image”, and contrasted between images imprinted through imagination, which he describes as “caught in its own snare” (Sartre 76-77). Similarly, the Sartrean perspective of magic identifies as the acts of imagination to be enacted through reality in a sense of totality from freedom. Other perspectives, such as both Patrick and Chin’s discussion of magical realism and Morton’s causality of realist magic as an object-oriented ontology, or OOO for short, typifies the extent of recent academic debates surrounding magic favouring ontological structures. Yet for metamodernism, work such as Kapferer’s claim that “magic, sorcery and witchcraft are at the epistemological centre of anthropology” (Kapferer 1) offers insight into considering both ontological and epistemological structures in a metamodern affect, where his debate gives a nod to how a structure of reason can offer artists a way to create work with magic as a condition that detaches from archetypal representations of magic; that is to say, causal narrative associations such as ‘a witch cast a spell’ or ‘the apple made Snow White sleep’, thus discussed in mainstream thought about magic. Moreover, an epistemological and ontological reading of magic reconciles the differentiation of the agent, the effect, and the condition through an affectual experience. An example of an ontological assessment will be considered in recent works of the former Young British Artist (YBA) Damian Hirst, who mines an ontological approach to art through a type of aesthetic-driven meta-romanticism. As Vermeulen describes the YBAs as “concerned first and foremost with dominant discourses of the present, such as capitalism, consumerism, patriarchy, institutional racism, simulation and mediation” (Vermeulen, “Snap!”), Hirst, the leader of the movement from the early days of his 1988 student exhibition Freeze, imbued issues of life and death, mortality, consumerism, and irony in his art none more postmodern than his 1999 goliath sculpture Hymn, an upscaled bronze “exact replica of Humbrol Limited’s Young Scientist Anatomy Set” (Davis). Yet an affectual turn in art gestated since the 2000s warrants a different reading of Hirst's work outside of a late postmodern assessment of the “end of history” (Fukuyama). His return to painting in the late 2010s through the Veil and Cherry Blossom series abandoned the once critique of consumerism and the ironic to become what Hirst describes as the need to “make paintings that were a celebration” (Hirst). In particular, within postmodern art, there are no capabilities of ‘celebration’ in assessing the subject, and this is what this article argues as the affectual turn for Hirst to create dialogue of an oscillation from a metamodern ontology and, thus, an affectual condition of magic. Prior to the recognised debates of Metamodernism in the 2010s, assessment of Hirst’s work was described as “post-romanticism” (Moscovici), while Luke White’s Marxist considerations in 2009 argued that “Hirstean sublime marks the return of the disavowed violence inherent to capital” (White 2), further adding that “it is subject, not to an ontology, but to a Derridean hauntology” (White 59). Yet neither of these comments address what we now understand as a metamodern oscillation, and thus remain in contrast to the turn of Hirst in later series, making the point that there are two eras of Hirst – before the affectual turns of 2015 and afterwards. While the staples of critique about Hirst’s work continue to focus on, mainly, financial conversations and the artist's personal wealth, these considerations, in fact, have nothing to do with the artefacts produced as subjective art forms, and as such will be ignored altogether. In the context of metamodernism, the Hirst critique as retrograde protests about his wealth and success are more like the whining about a perceived banality of late postmodern conceptual art than they are about a critique of the artefacts themselves. Moreover, this article considers the dearth of arts critique about Hirst’s work since the late 1980s as limited at best in establishing commentary about affect – ranging from arguments from a Marxist, critical theory, phenomenological, and postmodern perspective – and instead argues that a metamodern reading of his art forms provides a more sober contextualisation of the subject, and by and for the subject. Insofar as magic has a place in this debate, the access of experience by the subject from oscillation contextualises an affectual condition, placing the viewer of Hirst’s recent art as both the magician and the witness to magic from an affectual experience. Hirst’s 2021 Sea Paintings series of photo-realistic monochromatic oil on canvas paintings splattered with free-throw gestural marks depict representations of photographs of specific coastal sites in Britain. On reading these works, there is a direct relationship with the wider seascape tradition in painting, especially familiar in examples of maritime romanticism. Fig. 2: Damian Hirst, Okta. (Used with permission) The melancholic drama of seascapes such as Turner’s Snow Storm – Steam Boat of a Harbour’s Mouth, August Friedrich Kessler’s Seascape 1866, and Ivan Aivazovsky’s Shipwreck all play into a history of schools of thought that propel Hirst into the same kind of historical ontology. The cataclysm of nature’s power over human activity enacts a commonality among seascape traditions, where the Sea Paintings series remove human form to continue the tragedy and drama of the seascape's formalism. When considered through oscillation, of drama and isolation, absence and presence, and history and post-history, these meta-references loaded within the seascape tradition impact on the experience from magic to derive an ontological assessment as a structure of feeling. By virtue of the tradition it represents, Sea Paintings are a deeply ontological experience where both the magical power as an affectual state and a magical condition as an affectual experience play out as a process embedded between the subject and the viewer. This demonstrates a way to consider magic as a procedural step in defining the experience of contemporary art as a metamodern exchange from oscillation to a structure of feeling. Fig. 3: Shaun Wilson, The Black Period Cantos XIII. (Used with permission) In similarity, an epistemological assessment from magic to a structure of reason is considered in Shaun Wilson’s 2022 monochromatic The Black Period Cantos video artworks. They represent part of the wider series The Black Period, which includes video and painting art forms as digital combines of both physical and non-fungible token artworks of the same image. “All [of these] exist as a multimodal mechanism, but simultaneously function independently of each other’s influence without dominance” (Wilson, “Affordances” 3). Each Canto takes their subject from the ongoing slow cinema series 51 Paintings Suite, which recreates the poses of characters from black plague-era German religious paintings as a collective of twenty short-form videos, composited with roundel and rectangle shapes reconfigured from individual paintings from other The Black Period series artefacts. Like the Sea Paintings, echoes of romanticism form the compositional subject but are contrasted by the intervention of the roundel and diptych paintings as if ‘block heads’ of the depicted characters. The epistemological reading of this assessment is supported by the artist’s statement “to contribute to current Metamodern debates by creating a structure of reason through an epistemological approach to metamodern affect” (Wilson). The contested artworks forgo an ontological structure of feeling to instead create a structure of reason. This article argues that the difference in reading such an assessment is prompted by the interventions of the roundel and rectangle shapes, which contrast with the surrounding cinematic frame. While Hirst also uses interventions of paint splatters randomly flung at the Sea Paintings, these interventions still warrant a structure of feeling. First, the contrast between these gestural marks and the photo-realistic backgrounds is of the same aesthetic, and second, by the intentions of the artist “to make paintings that were a celebration” (Hirst). Learning from this, aesthetic disruption is a determining factor of magic when connecting to either a structure of feeling or reason. These disruptions in The Back Period Cantos enable magic to be assessed at an epistemological level, where the properties of reason enable a jolt for the viewer out of romanticism and into a state of reason. If, say, the cinematic backgrounds were void of colour field disruptions, the emotive response to such images then would lend itself ontologically to a romanticism, given that much of the composition and characters reposed from the German source paintings imbue the hallmark ontological signposts of sincerity, tragedy, and, in the case of the German Romanticism school of painting, reference material to medieval representation. Yet by the disruptions of the colour field images at a disruptive sublimity of aesthetic consideration, and the meta-references of the shapes being appropriations of the physical enamel on linen paintings made in the wider The Black Period series, the presence of meta references in the compositions moves away from feelings as an ontology, but instead to epistemological reason and knowledge by this contrasted aesthetic merger. Here, magic derives an affectual structure to reason based on aesthetic, contrasting in as much as it does by the introduction of meta disruptions. Conclusion This article has discussed the metamodern affect in terms of a process that builds on existing debates about ways to experience art through the subject. It has established two key points. First, that magic is a term that moves away from its semantic history to be a mechanism that prescribes both ontological and epistemological assessments of metamodern affect to experience art. Second, that these assessments are derived from a condition of metamodern affect, represented in the recent art of Damien Hirst and Shaun Wilson. These mentioned artefacts are discussed in a way that has demonstrated a reading of these artworks that connects metamodernism to an ever-evolving understanding of how the subject can be assessed, and thought about when considering feelings and reasons to inform the subject through creative practice. Where existing metamodern literature has focussed on ontological readings of this process, especially through a structure of feeling, this article has expanded such debate by also considering a structure of reason in these assessments. Simultaneously, such assessments are proposed to include magic as a central condition from oscillation, which signifies a more complex and broader understanding of how affectual structures in metamodernism can process the experience of art. Magic in this sense becomes a condition of metamodern affect, like a magical power, yet without the mechanical mythology of unnatural phenomena or the agency of magical beings. The broader implications for magic when used in this type of semantic still respect the historical legacy of its heritage, while simultaneously distancing this history by a plausible theoretical application used to model metamodern thought. The assessment by which magic has been discussed throughout this article brings about an understanding of its history and rational application, capable of considering a robust way to explain contemporary art through emotive and rational structures that otherwise would be disparate in both thinking about and approaches to art. Metamodernism in this regard provides a contemporary debate in oscillation by which magic has been employed to amplify these differences without dominance or influence from one or the other. Magic, when thought of as a mediator from this condition, becomes a useful mechanism to engage with that this article considers enabling a better way of assessing art in contemporary times. The oscillation of relativism and singularity as ‘before affect’ and the affectual structures as ‘after affect’ are regulated by magic, which the working model of metamodern affect in Figure 1 demonstrated through a grounded conceptuality. Looking beyond such would certainly invite further discussion into other affectual structures for the metamodern, in what future discussion could derive from other philosophical branches for metamodernism, including phenomenology, axiology, and ethics that I will further explore in future research. The inclusion of magic into metamodern thought brings a new way to understand magic, which, whilst still a condition of experience, detaches from its historical understandings and assumptions. Viewers of metamodern art, in this sense, are both the magicians and witnesses of magical powers through affect. Both identities engage the structure of experience by using magic as a procedural step in this condition. What this signifies is a new way to understand magic and art within metamodern affect. In the work of Hirst and Wilson, there are numerous connections to affectual magic, as previously discussed, that integrate ways of assessing affect to create a more enriching way to experience these artefacts. Readings of Sea Paintings situate magic in the ontological experience from an assessment of a structure of feeling based on the ontology of the British and German seascape traditions. Readings of The Black Period Cantos demonstrated the use of affectual magic as an epistemological assessment of a structure of reason from the interventions of colour field abstractions and meta references disrupting the romanticised cinematic subject. These prescribed an understanding of metamodern affect that can bring about a different way to embody the relational integration between an audience and metamodern art. The art forms in this process can then be considered by affectual structures, which opens further debate into the role of affect in art and the experience that these art forms bring to the viewer by and from magic. References Aivazovsky, Ivan. Shipwreck. Saint Petersburg: Russian Museum, 1854. Chin, Gabriel Patrick Wei-Hao. “Feeling-Things: An Ethics of Object-Oriented Ontology in the Magic Realism of Murakami Haruki and Don DeLillo.” University of Sussex, 9 July 2020. 7 Aug. 2023 <https://hdl.handle.net/10779/uos.23477147.v1>. Collingwood, Robin George. The Principles of Art. Oxford: Oxford UP. 1958. Davis, Amy. “The Artist as Thief or Innovator? Damien Hirst’s Hymn.” Melbourne Art Class, 20 Sep. 2018. 2 Aug. 2023 <https://melbourneartclass.com/the-artist-as-thief-or-as-innovator-damien-hirsts-hymn/>. Descartes, Rene. Discourse on Method and Meditations on First Philosophy. 4th ed. Trans. Donald A. Creww. Cambridge: Hackett, 1998. Flint, Valerie I.J. The Rise of Magic in Early Medieval Europe. Princeton UP, 1991. Fukuyama, Francis. The End of History and the Last Man. Reissued ed. New York: Free Press, 1992. Gagosian Gallery. “In the Studio: Damien Hirst’s Veil Paintings.” 4 July 2020. 2 Aug. 2023 <https://gagosian.com/quarterly/2020/07/04/interview-damien-hirst-veil-paintings/>. Greaves, Tom. “Magic, Emotion and Practical Metabolism: Affective Praxis in Sartre and Collingwood.” Journal of the British Society for Phenomenology 53.3 (2022): 276-297. Gibbons, Alison. “Contemporary Autofiction and Metamodern Affect”. Metamodernism: Historicity, Affect and Depth after Postmodernism. Eds. Robin van der Akker, Alison Gibbons, and Timotheus Vermeulen. London: Rowman & Littlefield, 2017. Hirst, Damien. Hymn. Private Collection. 1999. ———. Okta. Science Limited. 2021. ———. Sea Paintings. 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London: Methuen, 1976. Turner, William. Snow Storm – Steam Boat of a Harbour’s Mouth. Tate. 1842. Uzoigwe, Elias Ifeanyi E. “A Comparative Analysis of Descartes’ and Spinoza’s Notions of Intuition.” Jurnal Ilmu Sosiologi Dialektika 9.1 (2021). Vermeulen, Timotheus, “Depth.” Metamodernism: Historicity, Affect and Depth after Postmodernism. Eds. Robin van der Akker, Alison Gibbons, and Timotheus Vermeulen. London: Rowman & Littlefield, 2017. ———. “Snap!” Zabludowicz Collection: 20 Years. Eds. Elizabeth Neilson, et al. London: Zabluedowicz Collection, 2015. 84-88. White, Luke. Damien Hirst and the Legacy of the Sublime in Contemporary Art and Culture. PhD dissertation. Middlesex University, 2009. Wilson, Shaun. “The Affordances of Digital Aesthetics.” Screen Thought Journal 6 (2022): 1-13. 12 July 2023 <https://www.screenthoughtjournal.net/_files/ugd/0d1f4b_40e257a0f037402e86516f0fd6454614.pdf>. ———. The Black Period. Exhibition catalogue. Bakers Road Entertainment, 2023. ———. The Black Period Cantos XIII. Collection of the Artist. 2022. ———. The 51 Paintings Suite. Private Collection. 2022.

Introduction Many examinations of magic and witchcraft in film and television focus on the gender dynamics depicted and what these can reveal about attitudes to women and power in the eras in which they were made. For example, Campbell, in Cheerfully Empowered: The Witch-Wife in Twentieth Century Literature, Television and Film draws from scholarship such as Greene's Bell, Book and Camera, Gibson's Witchcraft Myths in American Culture, and Murphy's The Suburban Gothic in American Popular Culture to suggest connections between witch-wife narratives and societal responses to feminism. Campbell explores both the allure and fear of powerful women, who are often tamed (or partially tamed) by marriage in these stories. These perspectives provide important insights into cultural imaginings of witches, and this paper aims to use anthropological perspectives to further analyse rituals, spells, and cosmologies of screen stories of magic and witchcraft, asking how these narratives have engaged with witchcraft trials, symbols of women as witches, and rituals and myths invoking goddesses. Buffy the Vampire Slayer, a television series that ran for seven seasons (1997-2003), focusses on a young woman, The Slayer, who vanquishes vampires. As Abbott (1) explains, the vampires in seasons one and two are ruled by a particularly old and powerful vampire, The Master, and use prophetic language and ancient rituals. When Buffy kills The Master, the vampiric threat evolves with the character of Spike, a much younger vampire who kills The Master's successor, The Anointed One, calling for “a little less ritual and a little more fun” ('School Hard'). This scene is important to Abbott's thesis that what makes Buffy the Vampire Slayer such an effective television program is that the evil that she battles is not a product of an ancient world but the product of the real world itself. Buffy has used the past four years to painstakingly dismantle and rebuild the conventions of the vampire genre and work toward gradually disembedding the vampire/slayer dichotomy from religious ritual and superstition … what we describe as ‘evil’ is a natural product of the modern world. (Abbott 5) While distinguishing the series from earlier books and films is important, I suggest that, nonetheless, ritual and magic remain central to numerous plots in the series. Moreover, Child argues that Buffy the Vampire Slayer disrupts the male gaze of classical Hollywood films as theorised by Mulvey, not only by making the central action hero a young woman, but by offering rich, complex, and developmental narrative arcs for other characters such as Willow: a quiet fellow student at Buffy's school who initially uses her research skills with books, computers, and science to help the group. Willow’s access to knowledge about magic through Buffy's Watcher, Giles, and his library, together with her growing experience fighting with demons, leads her to teach herself witchcraft, and she and her growing magical powers, including the ability to conjure Greek goddesses such as Hecate and Diana, become central to multiple storylines in the series (Krzywinska). Corcoran, who explores teen witches in American popular culture in some depth, reflects on Willow's changes and developments in the context of problematic 'post-feminist' films of 1990s. Corcoran suggests these films offer viewers tropes of empowerment in the form of the 'makeover' of witch characters, who transform, but often in individualised ways that elude more fundamental questions of societal structures of race, class, and gender. Offering one of the most fluid and hybrid examples, Willow not only embraces magic as a conduit for power and self-expression but, as the seasons progress, she occupies a host of identificatory categories. Moving from shy high school 'geek' to trainee witch, from empowered sorceress to dark avenger, Willow regularly makes herself over in accordance with her fluctuating selfhood (Corcoran). Corcoran also notes how Willow's character brings together skills in both science and witchcraft in ways that echo world views of early modern Europe. This connects her apparently distinct selves and, I suggest, also demonstrates how the show engages with magic as real within its internal cosmology. Fairy Tale Witches This liberating, fluid, and transformative depiction of witches is not, however, the only one. Early in season one, the show reflects tropes of witchcraft found in fairy tale and fantasy films such as Snow White and The Wizard of Oz. Both films are deeply ambivalent in their portraits of fascinating powerful witches, who are, however, also defined by being old, ugly, and/or deeply jealous of and threatening towards younger women (Zipes). The episode “Witch” reproduces these patriarchal rivalries, as the witch of the episode title is the mother of a classmate of Buffy, called Amy, who has used magic to swap bodies with her daughter in an attempt to recapture her lost glory as a famous cheerleader. There are debates around the symbolism of witches and crones, especially those in fairytales, and whether they can be re-purposed. For example, Rountree in 'The New Witch of the West' and Embracing the Witch and the Goddess has conducted interviews and participant observation with feminist witches in New Zealand who use both goddess and witch symbols in their ritual practice and feminist understandings of themselves and society. By embracing both the witch and the goddess, feminist witches disrupt what they regard as false divisions and dichotomies between these symbols and the pressures of the divided self that they argue have been imposed upon women by patriarchy. In these conceptions, the crone is not only a negative symbol, but can be re-evaluated as one of three aspects of the goddess (maiden, mother, and crone), depicting the cycles of all life and also enabling women to embrace the darker aspects of their own natures and emotions (Greenwood; Rountree 'New Witch'; Walker). Witch Trials That said, Germaine, examining witches in folk horror films such as The Witch and The Wicker Man, advises caution about witch images. Drawing from Hutton's The Witch, she explores grotesque images of the witch from the early modern witch trials, arguing that horror cinema can subvert older ideas about witches, but it also reveals their continued power. Indeed, horror cinema has forged the witch into a deeply ambiguous figure that proves problematic for feminism and its project to subvert or otherwise destabilize misogynist symbols. (Germaine 22) Purkiss's examination of early modern witchcraft trials in The Witch in History also questions many assumptions about the period. Contrary to Rountree's 'The New Witch of the West' (222), Purkiss argues that there is no evidence to suggest that healing and midwifery were central concerns of witch hunters, nor were those accused of witchcraft in this period regarded as particularly sexually liberated or lesbian. Moreover, the famous Malleus Maleficarum, a text that is “still the main source for the view that witch-hunting was woman-hunting” was, in fact, disdained by many early modern authorities (Purkiss 7-8). Rather, rivalries and social tensions in communities combined with broader societal politics to generate accusations: a picture that is more in line with Stewart and Strathern's cross-cultural study, Witchcraft, Sorcery, Rumors and Gossip, of the relationship between witchcraft and gossip. In the Buffy the Vampire Slayer episode “Gingerbread”, Amy has matured and has begun to engage with magic herself, as has Willow. The witch trial of the episode is not, however, triggered by this, but is rather initiated by Buffy and her mother finding the bodies of two dead children. Buffy's mother Joyce quickly escalates from understandable concern to a full-on assault on magical practice and knowledge as she founds MOO (Mothers Opposed to the Occult), who raid school lockers, confiscate books from the school library, and eventually try to burn them and Buffy, Willow, and Amy. The episode evokes fairy tales because the 'big bad' is a monster who disguises itself as Hansel and Gretel. As Giles explains, fairy tales can sometimes be real, and in this case, the monster feeds a community its worst fears and thrives off the hatred and chaos that ensues. However, his references to European Wicca covens are somewhat misleading. Hutton, in The Triumph of the Moon, explains that Wicca was founded in the 1950s in England by Gerald Gardner, and claims it to be a continuation of older pagan witch traditions that have largely been discredited. The episode therefore tries to combine a comment on the irrationality and dangers of witch hunts while also suggesting that (within the cosmology of the show) magic is real. Buffy's confrontation with her mother illustrates this. Furious about the confiscation of the library's occult collection, Buffy argues that without the knowledge they contain, young people are not more protected, but rather rendered defenceless, arguing that “maybe next time the world gets sucked into hell, I won't be able to stop it because the anti-hell-sucking book isn't on the approved reading list!” Thus, she simultaneously makes a general point about knowledge as a defence against the evils of the world, while also emphasising how magic is not merely symbolic for her and her friends, but a real, practical, problem and a combatant tool. Spells Spells take considerable skill and practice to master as they are linked to strong emotions but also need mental focus and clarity. Willow's learning curve as a witch is an important illustrator of this principle, as her spells do not always do what she had intended, or rather, she is not always wise to her own intentions. These ideas are also found in anthropological examples (Greenwood). Malinowski, an anthropologist of the Trobriand Islands, theorised that spells and magical objects have their origins in gestures and words that express the emotional states and intentions of the spellcaster. Over time, these became refined and codified in a society, becoming traditional spells that can amplify, focus, and direct the magician's will (Malinowski). In the episode “Witch”, Giles demonstrates the relationship between spells and intention as, casting a spell to reverse Amy's mother's switching of their bodies, he shouts in a commanding voice 'Release!' Willow also hones skills of concentration and directing her will through the practice of pencil floating, a seemingly small magical technique that nonetheless saves her life when she is captured by enemies and narrowly escapes being bitten by a vampire by floating a pencil and staking him with it in the episode “Choices”. The pencil is also used in another episode to illustrate the importance of focus and emotional balance. Willow explains to Buffy that she is honing these skills as she gently spins a pencil in the air, but as the conversation turns to Faith (a rogue Slayer who has hurt Willow's friends), she is distracted and the pencil spins wildly out of control before flying into a tree (“Dopplegangland”). In another example, Willow tries to conjure lights that will guide her out of difficulty in a haunted house, but, unable to make up her mind about where the lights should take her, she is plagued by them multiplying and spinning in multiple directions like a swarm of insects, thereby acting as an illustrator of her refracted metal state (“Fear Itself”). The series also explores the often comical consequences when love spells are cast with unclear motives. In the episode “Bewitched Bothered and Bewildered”, Buffy's friend Xander persuades Amy to cast a love spell on Cordelia who has just broken up with him. Amy warns him that for love spells, the intention should be pure, and is worried that Xander only wants revenge on Cordelia. Predictably, the spell goes wrong, as Cordelia is immune to Xander but every other woman that comes into proximity with him is overcome with obsession for him. Fleeing hordes of women, Xander and Cordelia have the space to talk, and impressed with his efforts to try to win her back, Cordelia rekindles the relationship, defying her traditional friendship circle. In this way, the spell both does not and does work, perhaps because, although Xander thinks he wants Cordelia to be enchanted, in fact what he really wants is her genuine affection and respect. Another example of spells going amiss is in the episode “Something Blue”, when Willow responds to a break-up by reverting to magic. Despondent over her boyfriend Oz leaving town, she wants to accelerate her grieving process and heal more quickly, and casts a spell to have her will be done in order to try to make that happen. The spell, however, does not work as expected but manifests her words about other things when she speaks with passion, rendering Giles blind when she says he does not see (meaning he does not understand her plight), and in another instance of the literal interpretation of Willow’s word choices causes Buffy and the vampire Spike to stop fighting, fall in love, and become an engaged couple. The episode therefore suggests the power of words to manifest unconscious intentions. Words may also, in the Buffyverse, have power in themselves. Overbey and Preston-Matto explore the power of words in the series, using the episode “Superstar” in which Xander speaks some Latin words in front of an open book that responds by spontaneously bursting into flames. They argue that the materiality of language in Buffy the Vampire Slayer [means that] words and utterances have palpable power and their rules must be respected if they are to be wielded as weapons in the fight against evil. (Overbey and Preston Matto 73) However, in drawing upon Searle's Speech Acts they emphasise the relationship between speech acts and meaning, but there are also examples that the sounds in themselves are efficacious, even if the speaker does not understand them – for example, when Willow tries to do the ritual to restore Angel’s soul to him and explains to Oz that it does not matter if he understands the related chant as long as he says it (“Becoming part 2”). The idea that words in themselves have power is also present in the work of Stoller, an ethnographer and magical apprentice to Songhay sorcerers living in the Republic of Niger. He documents a complex and very personal engagement with magic that he found fascinating but dangerous, giving him new powers but also subjecting him to magical attacks (Stoller and Olkes). This experience helped to cultivate his interest in the often under-reported sensuous aspects of anthropology, including the power of sound in spells, which he argues has an energy that goes beyond what the word represents. Moreover, skilled magicians can 'hear' things happening to the subtle essence of a person during rituals (Stoller). Seeing Other Realities Sight is also key to numerous magical practices. Greenwood, for example, has done participant observation with UK witches, including training in the arts of visualisation. Linked to general health benefits of meditation and imaginative play, such practices are also thought to connect adepts to 'other worlds' and their associated powers (Greenwood). Later seasons of Buffy the Vampire Slayer also depict skills in meditation and concentration, such as in the episode “No Place Like Home”, in which Buffy, worried about her sick mother, uses a spell supposedly created by a French sixteenth-century sorcerer called 'pull the curtain back' to try to see if her mother’s illness is caused by a spell. She uses incense and a ritual circle of sand to put herself into a trance and in that altered state of consciousness sees that her sister, Dawn, was not born to her mother, but has been placed into her family by magic. In another example, in the episode “Who are You?”, Willow has begun a relationship with fellow witch Tara and wants to introduce her to Buffy. However, the rogue Slayer, Faith, has escaped and switched bodies with Buffy, and Tara realises that something is wrong. She suggests doing a spell with Willow to investigate by seeing beyond the physical world and travelling to the nether realm using astral projection. This rather beautiful scene has been interpreted as a symbolic depiction of their sexual relationship (Gibson), but it is also suggesting that, within the context of the series, alternate dimensions, and spells to transport practitioners there, are not purely symbolic. Conclusion The idea that magic, monsters, and demons in the series Buffy the Vampire Slayer act to some extent as metaphors for the challenges that young people face growing up in America is well known (Little). While this is certainly true, at least some of the multiple examples of magic in the series have clear resemblances to witchcraft in numerous social worlds. This depth is potentially exciting for viewers, but it also makes the show's more negative and ambiguous tropes more troubling. Willow and Tara's relationship can be interpreted as showing their independence and rejection of patriarchy, but Willow identifying as lesbian later in the series obscures her earlier relationships with men and her potential identification as bi-sexual, suggesting a need on the part of the show's writers to “contain her metamorphic selfhood” (Corcoran 158-159). Moreover, the identity of lesbians as witches in a vampire narrative is fraught with potentially homophobic associations and stereotypes (Wilts), and one of the few positive depictions of a lesbian relationship on television was ruined by the brutal murder of the Tara character and Willow's subsequent out-of-control magical rampage, bringing the storyline back in line with murderous clichés (Wilts; Gibson). Furthermore, storylines where Willow cannot control her powers, or they are seen as an addiction to evil, make an uncomfortable comment on women and power more generally: a point which Corcoran highlights in relation to Nancy's story in The Craft. Ultimately, representations of magic and witchcraft are representations of power, and this makes them highly significant for societal understandings of power relations, particularly given the complex relationships between witch-hunting and misogyny. The symbols of woman-as-witch have been re-appropriated by fans of witch narratives and feminists, and perhaps most intriguingly, by people who regard magical power as not only symbolic power but as a way to tap into subtle forces and other worlds. Buffy the Vampire Slayer offers something to all of these groups, but all too often reverts to patriarchal tropes. Audiences (some of whom may be magicians) await what film and television witches come next. 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London: Bloomsbury, 2023. “Choices.” Buffy the Vampire Slayer. Created by Joss Whedon. Season 3, episode 19. Mutant Enemy Productions, 1999. Corcoran, Miranda. Teen Witches: Witchcraft and Adolescence in American Popular Culture. Cardiff: U of Wales P, 2022. The Craft. Dir. by Andrew Fleming. Columbia Pictures, 1996. “Dopplegangland.” Buffy the Vampire Slayer. Created by Joss Whedon. Season 3, episode 16. Mutant Enemy Productions, 1999. “Fear Itself.” Buffy the Vampire Slayer. Created by Joss Whedon. Season 4, episode 4. Mutant Enemy Productions, 1999. Germaine, Choé. “’Witches, ‘Bitches’ or Feminist Trailblazers? The Witch in Folk Horror Cinema.” Revenant (4 Mar. 2019): 22-42. Gibson, Marion. Witchcraft Myths in American Culture. Oxon: Routledge, 2007. “Gingerbread.” Buffy the Vampire Slayer. Created by Joss Whedon. Season 3, episode 11. Mutant Enemy Productions, 1999. Greene, Heather. Bell, Book, and Camera: A Critical History of Witches in American Film and TV. Jefferson: McFarland and Company, 2018. Greenwood, Susan. Magic, Witchcraft, and the Otherworld: An Anthropology. Oxford: Berg, 2000. Hutton, Ronald. The Triumph of the Moon: A History of Modern Pagan Witchcraft. Oxford: Oxford UP, 1999. ———. The Witch: A History of Fear from Ancient Times to the Present. New Haven: Yale UP, 2017. Krzywinska, Tanya. “Hubble-Bubble, Herbs and Grimoires: Magic, Manicheanism, and Witchcraft in Buffy.” Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer. Eds. Rhonda V. Wilcox and David Lavery. Lanham, NY: Rowman & Littlefield, 2002. Little, Tracy. “High School Is Hell: Metaphor Made Literal in Buffy the Vampire Slayer.” Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale. Ed. James B. South. Chicago: Open Court, 2003. Malinowski, Bronislaw. “Magic, Science and Religion.” Magic, Science and Religion and Other Essays. London: Souvenir Press, 1982 [1925]. 17-92. Mulvey, Laura. “Visual Pleasures and Narrative Cinema.” Feminist Film Theory: A Reader. Ed Sue Thornham. Edinburgh: Edinburgh UP, 2003 [1975]. Murphy, Bernice M. The Suburban Gothic in American Popular Culture. New York: Palgrave Macmillan, 2009. “No Place Like Home.” Buffy the Vampire Slayer. Created by Joss Whedon. Season 5, episode 5. Mutant Enemy Productions, 2000. Overbey, Karen E., and Lahney Preston-Matto. CStaking in Tongues: Speech Act as Weapon in Buffy.” Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer. Eds. Rhonda Wilcox and David Lavery. Lanham, NY: Rowman & Littlefield, 2002. Purkiss, Diane. The Witch in History: Early Modern and Twentieth-Century Representations. London: Routledge, 2005 [1996]. Roundtree, Kathryn. ”The New Witch of the West: Feminists Reclaim the Crone.” The Journal of Popular Culture 30 (1997): 211-229. Roundtree, Kathryn. Embracing the Witch and the Goddess: Feminist Ritual Makers in New Zealand. London: Routledge, 2004. Searle, John R. Speech Acts: An Essay in the Philosophy of Language. Cambridge: Cambridge UP, 1970. “Something Blue.” Buffy the Vampire Slayer. Created by Joss Whedon. Season 4, episode 9. Mutant Enemy Productions, 1999. Snow White and the Seven Dwarfs. Dir. by David Hand, Perce Pearce, William Cottrell, Larry Morey, Wilfred Jackson, and Ben Sharpsteen. Walt Disney, 1937. Stoller, Paul. The Taste of Ethnographic Things: The Senses in Anthropology. Philadelphia: U of Pennsylvania P. Stoller, Paul, and Cheryl Olkes. In Sorcery’s Shadow: A Memoir of Apprenticeship among the Songhay of Niger. Chicago: U of Chicago P, 1987. Stewart, Pamela J., and Andrew Strathern. Witchcraft, Sorcery, Rumors and Gossip. Cambridge: Cambridge UP, 2004. “Superstar.” Buffy the Vampire Slayer. Created by Joss Whedon. Season 4, episode 17. Mutant Enemy Productions, 2000. The Wicker Man. Dir. by Robin Hardy. British Lion Film Corporation, 1973. The Witch. Dir. by Robert Eggers. A24, 2015 The Wizard of Oz. Dir. Victor Fleming. Metro Goldwyn-Mayer, 1939. Walker, Barbara. The Crone: Women of Age, Wisdom and Power. San Francisco: Harper & Row, 1985. Wilts, Alissa. “Evil, Skanky, and Kinda Gay: Lesbian Images and Issues.” Buffy Goes Dark: Essays on the Final Two Seasons of Buffy the Vampire Slayer on Television. Eds Lynne E. Edwards, Elizabeth L. Rambo, and James B. South. Jefferson: McFarland, 2009. “Who Are You.” Buffy the Vampire Slayer. Created by Joss Whedon. Season 4, episode 16. Mutant Enemy Productions, 2000. “Witch.” Buffy the Vampire Slayer. Created by Joss Whedon. Season 1, episode 3. Mutant Enemy Productions, 1997. Zipes, Jack. The Irresistible Fairy Tale: The Cultural and Social History of a Genre. New Jersey: Princeton UP, 2013.

Introduction Most developed countries, including Australia, have a strong focus on national, state and local strategies for emergency management and response in the face of disasters and crises. This framework can include coping with catastrophic dislocation, service disruption, injury or loss of life in the face of natural disasters such as major fires, floods, earthquakes or other large-impact natural events, as well as dealing with similar catastrophes resulting from human actions such as bombs, biological agents, cyber-attacks targeting essential services such as communications networks, or other crises affecting large populations. Emergency management frameworks for crisis and disaster response are distinguished by their focus on the domestic context for such events; that is, how to manage and assist the ways in which civilian populations, who are for the most part inexperienced and untrained in dealing with crises and disasters, are able to respond and behave in such situations so as to minimise the impacts of a catastrophic event. Even in countries like Australia that demonstrate a strong public commitment to cultural pluralism and social cohesion, ethno-cultural diversity can be seen as a risk or threat to national security and values at times of political, natural, economic and/or social tensions and crises. Australian government policymakers have recently focused, with increasing intensity, on “community resilience” as a key element in countering extremism and enhancing emergency preparedness and response. In some sense, this is the result of a tacit acknowledgement by government agencies that there are limits to what they can do for domestic communities should such a catastrophic event occur, and accordingly, the focus in recent times has shifted to how governments can best help people to help themselves in such situations, a key element of the contemporary “resilience” approach. Yet despite the robustly multicultural nature of Australian society, explicit engagement with Australia’s cultural diversity flickers only fleetingly on this agenda, which continues to pursue approaches to community resilience in the absence of understandings about how these terms and formations may themselves need to be diversified to maximise engagement by all citizens in a multicultural polity. There have been some recent efforts in Australia to move in this direction, for example the Australian Emergency Management Institute (AEMI)’s recent suite of projects with culturally and linguistically diverse (CALD) communities (2006-2010) and the current Australia-New Zealand Counter-Terrorism Committee-supported project on “Harnessing Resilience Capital in Culturally Diverse Communities to Counter Violent Extremism” (Grossman and Tahiri), which I discuss in a longer forthcoming version of this essay (Grossman). Yet the understanding of ethno-cultural identity and difference that underlies much policy thinking on resilience remains problematic for the way in which it invests in a view of the cultural dimensions of community resilience as relic rather than resource – valorising the preservation of and respect for cultural norms and traditions, but silent on what different ethno-cultural communities might contribute toward expanded definitions of both “community” and “resilience” by virtue of the transformative potential and existing cultural capital they bring with them into new national and also translocal settings. For example, a primary conclusion of the joint program between AEMI and the Australian Multicultural Commission is that CALD communities are largely “vulnerable” in the context of disasters and emergency management and need to be better integrated into majority-culture models of theorising and embedding community resilience. This focus on stronger national integration and the “vulnerability” of culturally diverse ethno-cultural communities in the Australian context echoes the work of scholars beyond Australia such as McGhee, Mouritsen (Reflections, Citizenship) and Joppke. They argue that the “civic turn” in debates around resurgent contemporary nationalism and multicultural immigration policies privileges civic integration over genuine two-way multiculturalism. This approach sidesteps the transculturational (Ortiz; Welsch; Mignolo; Bennesaieh; Robins; Stein) aspects of contemporary social identities and exchange by paying lip-service to cultural diversity while affirming a neo-liberal construct of civic values and principles as a universalising goal of Western democratic states within a global market economy. It also suggests a superficial tribute to cultural diversity that does not embed diversity comprehensively at the levels of either conceptualising or resourcing different elements of Australian transcultural communities within the generalised framework of “community resilience.” And by emphasising cultural difference as vulnerability rather than as resource or asset, it fails to acknowledge the varieties of resilience capital that many culturally diverse individuals and communities may bring with them when they resettle in new environments, by ignoring the question of what “resilience” actually means to those from culturally diverse communities. In so doing, it also avoids the critical task of incorporating intercultural definitional diversity around the concepts of both “community” and “resilience” used to promote social cohesion and the capacity to recover from disasters and crises. How we might do differently in thinking about the broader challenges for multiculturalism itself as a resilient transnational concept and practice? The Concept of Resilience The meanings of resilience vary by disciplinary perspective. While there is no universally accepted definition of the concept, it is widely acknowledged that resilience refers to the capacity of an individual to do well in spite of exposure to acute trauma or sustained adversity (Liebenberg 219). Originating in the Latin word resilio, meaning ‘to jump back’, there is general consensus that resilience pertains to an individual’s, community’s or system’s ability to adapt to and ‘bounce back’ from a disruptive event (Mohaupt 63, Longstaff et al. 3). Over the past decade there has been a dramatic rise in interest in the clinical, community and family sciences concerning resilience to a broad range of adversities (Weine 62). While debate continues over which discipline can be credited with first employing resilience as a concept, Mohaupt argues that most of the literature on resilience cites social psychology and psychiatry as the origin for the concept beginning in the mid-20th century. The pioneer researchers of what became known as resilience research studied the impact on children living in dysfunctional families. For example, the findings of work by Garmezy, Werner and Smith and Rutter showed that about one third of children in these studies were coping very well despite considerable adversities and traumas. In asking what it was that prevented the children in their research from being negatively influenced by their home environments, such research provided the basis for future research on resilience. Such work was also ground-breaking for identifying the so-called ‘protective factors’ or resources that individuals can operationalise when dealing with adversity. In essence, protective factors are those conditions in the individual that protect them from the risk of dysfunction and enable recovery from trauma. They mitigate the effects of stressors or risk factors, that is, those conditions that predispose one to harm (Hajek 15). Protective factors include the inborn traits or qualities within an individual, those defining an individual’s environment, and also the interaction between the two. Together, these factors give people the strength, skills and motivation to cope in difficult situations and re-establish (a version of) ‘normal’ life (Gunnestad). Identifying protective factors is important in terms of understanding the particular resources a given sociocultural group has at its disposal, but it is also vital to consider the interconnections between various protective mechanisms, how they might influence each other, and to what degree. An individual, for instance, might display resilience or adaptive functioning in a particular domain (e.g. emotional functioning) but experience significant deficits in another (e.g. academic achievement) (Hunter 2). It is also essential to scrutinise how the interaction between protective factors and risk factors creates patterns of resilience. Finally, a comprehensive understanding of the interrelated nature of protective mechanisms and risk factors is imperative for designing effective interventions and tailored preventive strategies (Weine 65). In short, contemporary thinking about resilience suggests it is neither entirely personal nor strictly social, but an interactive and iterative combination of the two. It is a quality of the environment as much as the individual. For Ungar, resilience is the complex entanglements between “individuals and their social ecologies [that] will determine the degree of positive outcomes experienced” (3). Thinking about resilience as context-dependent is important because research that is too trait-based or actor-centred risks ignoring any structural or institutional forces. A more ecological interpretation of resilience, one that takes into a person’s context and environment into account, is vital in order to avoid blaming the victim for any hardships they face, or relieving state and institutional structures from their responsibilities in addressing social adversity, which can “emphasise self-help in line with a neo-conservative agenda instead of stimulating state responsibility” (Mohaupt 67). Nevertheless, Ungar posits that a coherent definition of resilience has yet to be developed that adequately ‘captures the dual focus of the individual and the individual’s social ecology and how the two must both be accounted for when determining the criteria for judging outcomes and discerning processes associated with resilience’ (7). Recent resilience research has consequently prompted a shift away from vulnerability towards protective processes — a shift that highlights the sustained capabilities of individuals and communities under threat or at risk. Locating ‘Culture’ in the Literature on Resilience However, an understanding of the role of culture has remained elusive or marginalised within this trend; there has been comparatively little sustained investigation into the applicability of resilience constructs to non-western cultures, or how the resources available for survival might differ from those accessible to western populations (Ungar 4). As such, a growing body of researchers is calling for more rigorous inquiry into culturally determined outcomes that might be associated with resilience in non-western or multicultural cultures and contexts, for example where Indigenous and minority immigrant communities live side by side with their ‘mainstream’ neighbours in western settings (Ungar 2). ‘Cultural resilience’ considers the role that cultural background plays in determining the ability of individuals and communities to be resilient in the face of adversity. For Clauss-Ehlers, the term describes the degree to which the strengths of one’s culture promote the development of coping (198). Culturally-focused resilience suggests that people can manage and overcome stress and trauma based not on individual characteristics alone, but also from the support of broader sociocultural factors (culture, cultural values, language, customs, norms) (Clauss-Ehlers 324). The innate cultural strengths of a culture may or may not differ from the strengths of other cultures; the emphasis here is not so much comparatively inter-cultural as intensively intra-cultural (VanBreda 215). A culturally focused resilience model thus involves “a dynamic, interactive process in which the individual negotiates stress through a combination of character traits, cultural background, cultural values, and facilitating factors in the sociocultural environment” (Clauss-Ehlers 199). In understanding ways of ‘coping and hoping, surviving and thriving’, it is thus crucial to consider how culturally and linguistically diverse minorities navigate the cultural understandings and assumptions of both their countries of origin and those of their current domicile (Ungar 12). Gunnestad claims that people who master the rules and norms of their new culture without abandoning their own language, values and social support are more resilient than those who tenaciously maintain their own culture at the expense of adjusting to their new environment. They are also more resilient than those who forego their own culture and assimilate with the host society (14). Accordingly, if the combination of both valuing one’s culture as well as learning about the culture of the new system produces greater resilience and adaptive capacities, serious problems can arise when a majority tries to acculturate a minority to the mainstream by taking away or not recognising important parts of the minority culture. In terms of resilience, if cultural factors are denied or diminished in accounting for and strengthening resilience – in other words, if people are stripped of what they possess by way of resilience built through cultural knowledge, disposition and networks – they do in fact become vulnerable, because ‘they do not automatically gain those cultural strengths that the majority has acquired over generations’ (Gunnestad 14). Mobilising ‘Culture’ in Australian Approaches to Community Resilience The realpolitik of how concepts of resilience and culture are mobilised is highly relevant here. As noted above, when ethnocultural difference is positioned as a risk or a threat to national identity, security and values, this is precisely the moment when vigorously, even aggressively, nationalised definitions of ‘community’ and ‘identity’ that minoritise or disavow cultural diversities come to the fore in public discourse. The Australian evocation of nationalism and national identity, particularly in the way it has framed policy discussion on managing national responses to disasters and threats, has arguably been more muted than some of the European hysteria witnessed recently around cultural diversity and national life. Yet we still struggle with the idea that newcomers to Australia might fall on the surplus rather than the deficit side of the ledger when it comes to identifying and harnessing resilience capital. A brief example of this trend is explored here. From 2006 to 2010, the Australian Emergency Management Institute embarked on an ambitious government-funded four-year program devoted to strengthening community resilience in relation to disasters with specific reference to engaging CALD communities across Australia. The program, Inclusive Emergency Management with CALD Communities, was part of a wider Australian National Action Plan to Build Social Cohesion, Harmony and Security in the wake of the London terrorist bombings in July 2005. Involving CALD community organisations as well as various emergency and disaster management agencies, the program ran various workshops and agency-community partnership pilots, developed national school education resources, and commissioned an evaluation of the program’s effectiveness (Farrow et al.). While my critique here is certainly not aimed at emergency management or disaster response agencies and personnel themselves – dedicated professionals who often achieve remarkable results in emergency and disaster response under extraordinarily difficult circumstances – it is nevertheless important to highlight how the assumptions underlying elements of AEMI’s experience and outcomes reflect the persistent ways in which ethnocultural diversity is rendered as a problem to be surmounted or a liability to be redressed, rather than as an asset to be built upon or a resource to be valued and mobilised. AEMI’s explicit effort to engage with CALD communities in building overall community resilience was important in its tacit acknowledgement that emergency and disaster services were (and often remain) under-resourced and under-prepared in dealing with the complexities of cultural diversity in emergency situations. Despite these good intentions, however, while the program produced some positive outcomes and contributed to crucial relationship building between CALD communities and emergency services within various jurisdictions, it also continued to frame the challenge of working with cultural diversity as a problem of increased vulnerability during disasters for recently arrived and refugee background CALD individuals and communities. This highlights a common feature in community resilience-building initiatives, which is to focus on those who are already ‘robust’ versus those who are ‘vulnerable’ in relation to resilience indicators, and whose needs may require different or additional resources in order to be met. At one level, this is a pragmatic resourcing issue: national agencies understandably want to put their people, energy and dollars where they are most needed in pursuit of a steady-state unified national response at times of crisis. Nor should it be argued that at least some CALD groups, particularly those from new arrival and refugee communities, are not vulnerable in at least some of the ways and for some of the reasons suggested in the program evaluation. However, the consistent focus on CALD communities as ‘vulnerable’ and ‘in need’ is problematic, as well as partial. It casts members of these communities as structurally and inherently less able and less resilient in the context of disasters and emergencies: in some sense, as those who, already ‘victims’ of chronic social deficits such as low English proficiency, social isolation and a mysterious unidentified set of ‘cultural factors’, can become doubly victimised in acute crisis and disaster scenarios. In what is by now a familiar trope, the description of CALD communities as ‘vulnerable’ precludes asking questions about what they do have, what they do know, and what they do or can contribute to how we respond to disaster and emergency events in our communities. A more profound problem in this sphere revolves around working out how best to engage CALD communities and individuals within existing approaches to disaster and emergency preparedness and response. This reflects a fundamental but unavoidable limitation of disaster preparedness models: they are innately spatially and geographically bounded, and consequently understand ‘communities’ in these terms, rather than expanding definitions of ‘community’ to include the dimensions of community-as-social-relations. While some good engagement outcomes were achieved locally around cross-cultural knowledge for emergency services workers, the AEMI program fell short of asking some of the harder questions about how emergency and disaster service scaffolding and resilience-building approaches might themselves need to change or transform, using a cross-cutting model of ‘communities’ as both geographic places and multicultural spaces (Bartowiak-Théron and Crehan) in order to be more effective in national scenarios in which cultural diversity should be taken for granted. Toward Acknowledgement of Resilience Capital Most significantly, the AEMI program did not produce any recognition of the ways in which CALD communities already possess resilience capital, or consider how this might be drawn on in formulating stronger community initiatives around disaster and threats preparedness for the future. Of course, not all individuals within such communities, nor all communities across varying circumstances, will demonstrate resilience, and we need to be careful of either overgeneralising or romanticising the kinds and degrees of ‘resilience capital’ that may exist within them. Nevertheless, at least some have developed ways of withstanding crises and adapting to new conditions of living. This is particularly so in connection with individual and group behaviours around resource sharing, care-giving and social responsibility under adverse circumstances (Grossman and Tahiri) – all of which are directly relevant to emergency and disaster response. While some of these resilient behaviours may have been nurtured or enhanced by particular experiences and environments, they can, as the discussion of recent literature above suggests, also be rooted more deeply in cultural norms, habits and beliefs. Whatever their origins, for culturally diverse societies to achieve genuine resilience in the face of both natural and human-made disasters, it is critical to call on the ‘social memory’ (Folke et al.) of communities faced with responding to emergencies and crises. Such wellsprings of social memory ‘come from the diversity of individuals and institutions that draw on reservoirs of practices, knowledge, values, and worldviews and is crucial for preparing the system for change, building resilience, and for coping with surprise’ (Adger et al.). Consequently, if we accept the challenge of mapping an approach to cultural diversity as resource rather than relic into our thinking around strengthening community resilience, there are significant gains to be made. For a whole range of reasons, no diversity-sensitive model or measure of resilience should invest in static understandings of ethnicities and cultures; all around the world, ethnocultural identities and communities are in a constant and sometimes accelerated state of dynamism, reconfiguration and flux. But to ignore the resilience capital and potential protective factors that ethnocultural diversity can offer to the strengthening of community resilience more broadly is to miss important opportunities that can help suture the existing disconnects between proactive approaches to intercultural connectedness and social inclusion on the one hand, and reactive approaches to threats, national security and disaster response on the other, undermining the effort to advance effectively on either front. This means that dominant social institutions and structures must be willing to contemplate their own transformation as the result of transcultural engagement, rather than merely insisting, as is often the case, that ‘other’ cultures and communities conform to existing hegemonic paradigms of being and of living. In many ways, this is the most critical step of all. A resilience model and strategy that questions its own culturally informed yet taken-for-granted assumptions and premises, goes out into communities to test and refine these, and returns to redesign its approach based on the new knowledge it acquires, would reflect genuine progress toward an effective transculturational approach to community resilience in culturally diverse contexts.References Adger, W. Neil, Terry P. Hughes, Carl Folke, Stephen R. Carpenter and Johan Rockström. “Social-Ecological Resilience to Coastal Disasters.” Science 309.5737 (2005): 1036-1039. ‹http://www.sciencemag.org/content/309/5737/1036.full> Bartowiak-Théron, Isabelle, and Anna Corbo Crehan. “The Changing Nature of Communities: Implications for Police and Community Policing.” Community Policing in Australia: Australian Institute of Criminology (AIC) Reports, Research and Policy Series 111 (2010): 8-15. Benessaieh, Afef. “Multiculturalism, Interculturality, Transculturality.” Ed. A. Benessaieh. Transcultural Americas/Ameriques Transculturelles. Ottawa: U of Ottawa Press/Les Presses de l’Unversite d’Ottawa, 2010. 11-38. Clauss-Ehlers, Caroline S. “Sociocultural Factors, Resilience and Coping: Support for a Culturally Sensitive Measure of Resilience.” Journal of Applied Developmental Psychology 29 (2008): 197-212. Clauss-Ehlers, Caroline S. “Cultural Resilience.” Encyclopedia of Cross-Cultural School Psychology. Ed. C. S. Clauss-Ehlers. New York: Springer, 2010. 324-326. Farrow, David, Anthea Rutter and Rosalind Hurworth. Evaluation of the Inclusive Emergency Management with Culturally and Linguistically Diverse (CALD) Communities Program. Parkville, Vic.: Centre for Program Evaluation, U of Melbourne, July 2009. ‹http://www.ag.gov.au/www/emaweb/rwpattach.nsf/VAP/(9A5D88DBA63D32A661E6369859739356)~Final+Evaluation+Report+-+July+2009.pdf/$file/Final+Evaluation+Report+-+July+2009.pdf>.Folke, Carl, Thomas Hahn, Per Olsson, and Jon Norberg. “Adaptive Governance of Social-Ecological Systems.” Annual Review of Environment and Resources 30 (2005): 441-73. ‹http://arjournals.annualreviews.org/doi/pdf/10.1146/annurev.energy.30.050504.144511>. Garmezy, Norman. “The Study of Competence in Children at Risk for Severe Psychopathology.” The Child in His Family: Children at Psychiatric Risk. Vol. 3. Eds. E. J. Anthony and C. Koupernick. New York: Wiley, 1974. 77-97. Grossman, Michele. “Resilient Multiculturalism? Diversifying Australian Approaches to Community Resilience and Cultural Difference”. Global Perspectives on Multiculturalism in the 21st Century. Eds. B. E. de B’beri and F. Mansouri. London: Routledge, 2014. Grossman, Michele, and Hussein Tahiri. Harnessing Resilience Capital in Culturally Diverse Communities to Counter Violent Extremism. Canberra: Australia-New Zealand Counter-Terrorism Committee, forthcoming 2014. Grossman, Michele. “Cultural Resilience and Strengthening Communities”. Safeguarding Australia Summit, Canberra. 23 Sep. 2010. ‹http://www.safeguardingaustraliasummit.org.au/uploader/resources/Michele_Grossman.pdf>. Gunnestad, Arve. “Resilience in a Cross-Cultural Perspective: How Resilience Is Generated in Different Cultures.” Journal of Intercultural Communication 11 (2006). ‹http://www.immi.se/intercultural/nr11/gunnestad.htm>. Hajek, Lisa J. “Belonging and Resilience: A Phenomenological Study.” Unpublished Master of Science thesis, U of Wisconsin-Stout. Menomonie, Wisconsin, 2003. Hunter, Cathryn. “Is Resilience Still a Useful Concept When Working with Children and Young People?” Child Family Community Australia (CFA) Paper 2. Melbourne: Australian Institute of Family Studies, 2012.Joppke, Christian. "Beyond National Models: Civic Integration Policies for Immigrants in Western Europe". West European Politics 30.1 (2007): 1-22. Liebenberg, Linda, Michael Ungar, and Fons van de Vijver. “Validation of the Child and Youth Resilience Measure-28 (CYRM-28) among Canadian Youth.” Research on Social Work Practice 22.2 (2012): 219-226. Longstaff, Patricia H., Nicholas J. Armstrong, Keli Perrin, Whitney May Parker, and Matthew A. Hidek. “Building Resilient Communities: A Preliminary Framework for Assessment.” Homeland Security Affairs 6.3 (2010): 1-23. ‹http://www.hsaj.org/?fullarticle=6.3.6>. McGhee, Derek. The End of Multiculturalism? Terrorism, Integration and Human Rights. Maidenhead: Open U P, 2008.Mignolo, Walter. Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking. Princeton: Princeton U P, 2000. Mohaupt, Sarah. “Review Article: Resilience and Social Exclusion.” Social Policy and Society 8 (2009): 63-71.Mouritsen, Per. "The Culture of Citizenship: A Reflection on Civic Integration in Europe." Ed. R. Zapata-Barrero. Citizenship Policies in the Age of Diversity: Europe at the Crossroad." Barcelona: CIDOB Foundation, 2009: 23-35. Mouritsen, Per. “Political Responses to Cultural Conflict: Reflections on the Ambiguities of the Civic Turn.” Ed. P. Mouritsen and K.E. Jørgensen. Constituting Communities. Political Solutions to Cultural Conflict, London: Palgrave, 2008. 1-30. Ortiz, Fernando. Cuban Counterpoint: Tobacco and Sugar. Trans. Harriet de Onís. Intr. Fernando Coronil and Bronislaw Malinowski. Durham, NC: Duke U P, 1995 [1940]. Robins, Kevin. The Challenge of Transcultural Diversities: Final Report on the Transversal Study on Cultural Policy and Cultural Diversity. Culture and Cultural Heritage Department. Strasbourg: Council of European Publishing, 2006. Rutter, Michael. “Protective Factors in Children’s Responses to Stress and Disadvantage.” Annals of the Academy of Medicine, Singapore 8 (1979): 324-38. Stein, Mark. “The Location of Transculture.” Transcultural English Studies: Fictions, Theories, Realities. Eds. F. Schulze-Engler and S. Helff. Cross/Cultures 102/ANSEL Papers 12. Amsterdam and New York: Rodopi, 2009. 251-266. Ungar, Michael. “Resilience across Cultures.” British Journal of Social Work 38.2 (2008): 218-235. First published online 2006: 1-18. In-text references refer to the online Advance Access edition ‹http://bjsw.oxfordjournals.org/content/early/2006/10/18/bjsw.bcl343.full.pdf>. VanBreda, Adrian DuPlessis. Resilience Theory: A Literature Review. Erasmuskloof: South African Military Health Service, Military Psychological Institute, Social Work Research & Development, 2001. Weine, Stevan. “Building Resilience to Violent Extremism in Muslim Diaspora Communities in the United States.” Dynamics of Asymmetric Conflict 5.1 (2012): 60-73. Welsch, Wolfgang. “Transculturality: The Puzzling Form of Cultures Today.” Spaces of Culture: City, Nation World. Eds. M. Featherstone and S. Lash. London: Sage, 1999. 194-213. Werner, Emmy E., and Ruth S. Smith. Vulnerable But Invincible: A Longitudinal Study of\ Resilience and Youth. New York: McGraw Hill, 1982. NotesThe concept of ‘resilience capital’ I offer here is in line with one strand of contemporary theorising around resilience – that of resilience as social or socio-ecological capital – but moves beyond the idea of enhancing general social connectedness and community cohesion by emphasising the ways in which culturally diverse communities may already be robustly networked and resourceful within micro-communal settings, with new resources and knowledge both to draw on and to offer other communities or the ‘national community’ at large. In effect, ‘resilience capital’ speaks to the importance of finding ‘the communities within the community’ (Bartowiak-Théron and Crehan 11) and recognising their capacity to contribute to broad-scale resilience and recovery.I am indebted for the discussion of the literature on resilience here to Dr Peta Stephenson, Centre for Cultural Diversity and Wellbeing, Victoria University, who is working on a related project (M. Grossman and H. Tahiri, Harnessing Resilience Capital in Culturally Diverse Communities to Counter Violent Extremism, forthcoming 2014).

Since September 11, Muslims in Australia have experienced a heightened level of religiously and racially motivated vilification (Human Rights and Equal Opportunity Commission). These fears were poignantly expressed in a letter to the Editor of The West Australian newspaper from a Muslim woman shortly after the London terror attacks: All I want to say is that for those out there who might have kamikaze ideas of doing such an act here in Australia, please think of others (us) in your own community. The ones who will get hurt are your own, especially we the women who are an obvious target in the public and have to succumb to verbal abuse most of the time. Dealing with abuse and hatred from some due to 9/11 and Bali is not something I want to go through again. (21) The atmosfear of terror finds many expressions among the Muslim communities in Australia: the fear of backlash from some sectors of the wider community; the fear of subversion of Islamic identity in meeting the requirements of a politically defined “moderate” Islam; the fear of being identified as a potential terrorist or “person of interest” and the fear of potentially losing the rights bestowed on all other citizens. This fear or fears are grounded in the political and the media response to terrorism that perpetuates a popular belief that Muslims, as a culturally and religiously incompatible “other”, pose a threat to the Australian collective identity and, ostensibly, to Australia’s security. At the time of publication, for example, there was mob violence involving 5,000 young people converging on Sydney’s Cronulla beach draped in Australian flags singing Waltzing Matilda and Advance Australia Fair as well as chanting “kill the Lebs”, “no more Lebs” (Lebanese). The mob was itself brought together by a series of SMS messages, appealing to participants to “help support Leb and Wog bashing day” and to “show solidarity” against a government-identified “threat to Aussie identity” (The West Australian). Since September 11 and the ensuing war on terror, a new discourse of terrorism has emerged as a way of expressing how the world has changed and defining a state of constant alert (Altheide). “The war on terror” refers as much to a perpetual state of alertness as it does to a range of strategic operations, border control policies, internal security measures and public awareness campaigns such as “be alert, not alarmed”. According to a poll published in The Sydney Morning Herald in April 2004, 68 per cent of Australians believed that Australia was at threat of an imminent terrorist attack (Michaelsen). In a major survey in Australia immediately after the September 11 attacks Dunn & Mahtani found that more than any other cultural or ethnic group, Muslims and people from the Middle East were thought to be unable to fit into Australia. Two thirds of those surveyed believed that humanity could be sorted into natural categories of race, with the majority feeling that Australia was weakened by people of different ethnic origins. Fifty-four per cent of those surveyed, mainly women, said they would be concerned if a relative of theirs married a Muslim. The majority of the Muslim population, not surprisingly, has gone into a “siege mentality” (Hanna). The atmosfear of terror in the Western world is a product of the media and political construction of the West as perpetually at threat of a terrorist attack from a foreign, alien, politically defined “other”, where “insecurity…is the new normal” (Massumi 31). Framed in a rhetoric that portrays it as a battle for the Western values of democracy and freedom, the “war on terror” becomes not just an event in space and time but a metonym for a new world order, drawing on distinctions between “us” and “them” and “the West” and “others” (Osuri and Banerjee) and motivating collective identity based on a construction of “us” as victims and “them” as the objects of fear, concern and suspicion. The political response to the war on terror has inculcated an atmosfear of terror where Australian Muslims are identified as the objects of this fear. The fear of terrorism is being modulated through government and the popular media to perpetuate a state of anxiety that finds expression in the heightened levels of concern and suspicion over a perceived threat. In the case of the war on terror, this threat is typically denoted as radical Islam and, by inference, Australian Muslims. In his exposition of political fear, Corey Robin notes that a central element of political fear is that it is often not read as such – rendering it alien to analysis, critical debate and understanding. Nowhere is this more salient than in the rhetoric on the war on terror characterised by the familiar invocation of terms like democracy and freedom to make distinctions between “the West and the rest” and to legitimise references to civilised and uncivilised worlds. In his speech delivered at the United Nations Security Council Ministerial Session on Terrorism on 20 January 2003, Colin Powell invoked the rhetoric of a clash of civilisations and urged, “we must rid the civilised world of this cancer … We must rise to the challenge with actions that will ride the globe of terrorism and create a world in which all God’s children can live without fear”. It is this construction of the war on terror as a global battle between “the West and the rest” that enables and facilitates the affective response to political fear – a reaffirmation of identity and membership of a collective. As Robin states: Understanding the objects of our fear as less than political allows us to treat them as intractable foes. Nothing can be done to accommodate them: they can only be killed or contained. Understanding the objects of our fear as not political also renews us as a collective. Afraid, we are like the audience in a crowded theatre confronting a man falsely shouting fire: united, not because we share similar beliefs of aspiration but because we are equally threatened. (6) This response has found expression in the perception of Muslims as an alien, culturally incompatible and utterly threatening other, creating a state of social tension where the public’s anxiety has been and continues to be directed at Australian Muslims who visibly represent the objects of the fear of terror. The Australian Government’s response to the war on terror exemplifies what Brian Massumi terms “affective modulation” whereby the human response to the fear of terror, that of a reinforcement and renewal of collective identity, has been modulated and transformed from an affective response to an affective state of anxiety – what the authors term the atmosfear of terror. Affect for Massumi can be inscribed in the flesh as “traces of experience” – an accumulation of affects. It is in this way that Massumi views affect as “autonomous” (Megan Watkins also makes this argument, and has further translated Massumi's notions into the idea of pedagogic affect/effect). In the Australian context, after more than four years of collected traces of experiences of images of threat, responses to terrorism have become almost reflexive – even automated. Affective modulation in the Australian context relies on the regenerative capacity of fear, in Massumi’s terms its “ontogenetic powers” (45) to create an ever-present threat and maintain fear as a way of life. The introduction of a range of counter-terrorism strategies, internal-security measures, legislative amendments and policies, often without public consultation and timed to coincide with “new” terror alerts is testimony to the affective machinations of the Australian government in its response to the war on terror. Virilio and Lotringer called “pure war” the psychological state that happens when people know that they live in a world where the potential for sudden and absolute destruction exists. It is not the capacity for destruction so much as the continual threat of sudden destruction that creates this psychology. Keith Spence has stated that in times of crisis the reasoned negotiation of risk is marginalised. The counter-terrorism legislation introduced in response to the war on terror is, arguably, the most drastic anti-libertarian measures Australia has witnessed and constitutes a disproportionate response to Australia’s overall risk profile (Michaelsen). Some of these measures would once have seemed an unthinkable assault on civil liberties and unreasonably authoritarian. Yet in the war on terror, notes Jessica Stern, framed as a global war of good versus evil, policies and strategies that once seemed impossible suddenly become constructed as rationale, if not prudent. Since September 11, the Australian government has progressively introduced a range of counter-terrorism measures including over 30 legislative amendments and, more recently, increased powers for the police to detain persons of interest suspected of sedition. In the wake of the London bombings, the Prime Minister called a summit with Muslim representatives from around the nation. In the two hours that they met, the summit developed a Statement of Principles committing members of Muslim communities to combat radicalisation and pursue “moderate” Islam. As an affective machination, the summit presents as a useful political tool for modulating the existing anxieties in the Australian populace. The very need for a summit of this nature and for the development of a Statement of Principles (later endorsed by the Council of Australian Governments or COAG) sends a lucid message to the Australian public. Not only are Australian Muslims responsible for terrorism but they also have the capacity to prevent or minimise the threat of an attack in Australia. Already the focus of at least a decade of negative stereotyping in the popular Australia media (Brasted), Australian Muslims all too quickly and easily became agents in the Government’s affective tactics. The policy response to the war on terror has given little consideration to the social implications of sustaining a fear of terrorism, placing much emphasis on security- focused counter-terrorism measures rather than education and dialogue. What governments and communities need to address is the affective aspects of the atmosfear of terror. Policy makers can begin by becoming self-reflexive and developing an understanding of the real impact of fear and the affective modulation of this fear. Communities can start by developing an understanding of how policy induced fear is affecting them. To begin this process of reflection, governments and communities need to recognise fear of terrorism as a political tool. Psychological explanations for fear or trauma are important, especially if we are to plan policy responses to them. However, if we are to fight against policy-induced fear, we need to better understand and recognise affective modulation as a process that is not reducible to individual psychology. Viewed from the perspective of affect, the atmosfear of terror reveals an attempt to modulate public anxiety and sustain a sense of Australia as perpetually at threat from a culturally incompatible and irreconcilable “other”. References Altheide, David. L. “Consuming Terrorism.” Symbolic Interaction 27.3 (2004): 289–308. Brasted, Howard, V. “Contested Representations in Historical Perspective: Images of Islam and the Australian Press 1950-2000”. In A. Saeed & S. Akbarzadeh, Muslim Communities in Australia. Sydney: U of NSW P, 2001. Dunn, K.M., and M. Mahtani. “Media Representations of Ethnic Minorities.” Progress in Planning 55.3 (2001): 63–72. Dunn, K.M. “The Cultural Geographies of Citizenship in Australia.” Geography Bulletin 33.1 (2001): 4–8. “Genesis of Cronulla’s Ugly Sunday Began Years Ago.” The West Australian 2005: 11. Green, Lelia. “Did the World Really Change on 9/11?” Australian Journal of Communication 29.2 (2002): 1–14. Hanna, D. 2003. “Siege Mentality: Current Australian Response.” Salam July-Aug. (2003): 12–4. Human Rights and Equal Opportunity Commission. Ismaa – Listen: National Consultations on Eliminating Prejudice against Arab and Muslim Australians. Sydney: Human Rights and Equal Opportunity Commission, 2004. Kerbaj, Richard. “Clerics Still Preaching Hatred of West.” The Australian 3 Nov. 2005. Kinnvall, Catarina. “Globalization and Religious Nationalism: Self, Identity, and the Search for Ontological Security.” Political Psychology 25.5 (2004): 741. “Letters to the Editor.” The West Australian 25 July 2005: 21. Massumi, Brian. “Fear (The Spectrum Said).” Positions 13.1 (2005): 31–48. Massumi, Brian. “The Autonomy of Affect.” In P. Patton, ed., Deleuze: A Critical Reader. Cambridge, Mass.: Blackwell, 1996. “Meeting with Islamic Community Leaders, Statement of Principles.” 23 Aug. 2005. http://www.pm.gov.au/news/media_releases/media_Release1524.html> Michaelsen, Christopher. “Antiterrorism Legislation in Australia: A Proportionate Response to the Terrorist Threat?” Studies in Conflict and Terrorism 28.4 (2005): 321–40. Osuri, Goldie, and Subhabrata Bobby Banerjee. “White Diasporas: Media Representations of September 11 and the Unbearable Whiteness of Being in Australia.” Social Semiotics 14.2 (2004): 151–71. Powell, Colin. “Ridding the World of Global Terrorism: No Countries or Citizens are Safe.” Vital Speeches of the Day 69.8 (2003): 230–3. Robin, Corey. Fear: The History of a Political Idea. New York: Oxford UP, 2004. Spence, Keith. “World Risk Society and War against Terror.” Political Studies 53.2 (2005): 284–304. Stern, Jessica. “Fearing Evil.” Social Research 71.4 (2004): 1111–7. “Terrorism Chronology.” Parliament of Australia Parliamentary Library. http://www.aph.gov.au/library/intguide/law/terrorism.htm> Tomkins, Silvan. Affect, Imagery and Consciousness. New York: Springer Publishing, 1962. Virilio, Paul, and Sylvere Lotringer. Pure War. New York: Semio-text(e), 1997. Watkins, Megan. “Pedagogic Affect/Effect: Teaching Writing in the Primary Years of School.” Presented at Redesigning Pedagogy: Research, Policy, Practice Conference. Singapore: National Institute of Education, 31 May 2005. Citation reference for this article MLA Style Aly, Anne, and Mark Balnaves. "The Atmosfear of Terror: Affective Modulation and the War on Terror." M/C Journal 8.6 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0512/04-alybalnaves.php>. APA Style Aly, A., and M. Balnaves. (Dec. 2005) "The Atmosfear of Terror: Affective Modulation and the War on Terror," M/C Journal, 8(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0512/04-alybalnaves.php>.

No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of seriality into comprehending the play of persona in contemporary culture. From a brief overview of the intersection of persona and seriality as well as a review of the deployment of seriality in popular culture, the article focuses on the character/ person-actor relationship to demonstrate how seriality produces persona. The French term for character—personnage—will be used to underline the clear relations between characterisation, person, and persona which have been developed by the recent work by Lenain and Wiame. Personnage, through its variation on the word person helps push the analysis into fully understanding the particular and integrated configuration between a public persona and the fictional role that an actor inhabits (Heinich).There are several qualities related to persona that allow this movement from the fictional world to the everyday world to be profitable. Persona, in terms of origins, in and of itself implies performance and display. Jung, for instance, calls persona a mask where one is “acting a role” (167); while Goffman considers that performance and roles are at the centre of everyday life and everyday forms and patterns of communication. In recent work, I have use persona to describe how online culture pushes most people to construct a public identity that resembles what celebrities have had to construct for their livelihood for at least the last century (“Persona”; “Self”). My work has expanded to an investigation of how online persona relates to individual agency (“Agency”) and professional postures and positioning (Barbour and Marshall).The fictive constructions then are intensified versions of what persona is addressing: the fabrication of a role for particular directions and ends. Characters or personnages are constructed personas for very directed ends. Their limitation to the study of persona as a dimension of public culture is that they are not real; however, when one thinks of the actor who takes on this fictive identity, there is clearly a relationship between the real personality and that of the character. Moreover, as Nayar’s analysis of highly famous characters that are fictitious reveals, these celebrated characters, such as Harry Potter or Wolverine, sometime take on a public presence in and of themselves. To capture this public movement of a fictional character, Nayar blends the terms celebrity with fiction and calls these semi-public/semi-real entities “celefiction”: the characters are famous, highly visible, and move across media, information, and cultural platforms with ease and speed (18-20). Their celebrity status underlines their power to move outside of their primary text into public discourse and through public spaces—an extra-textual movement which fundamentally defines what a celebrity embodies.Seriality has to be seen as fundamental to a personnage’s power of and extension into the public world. For instance with Harry Potter again, at least some of his recognition is dependent on the linking or seriating the related books and movies. Seriality helps organise our sense of affective connection to our popular culture. The familiarity of some element of repetition is both comforting for audiences and provides at least a sense of guarantee or warranty that they will enjoy the future text as much as they enjoyed the past related text. Seriality, though, also produces a myriad of other effects and affects which provides a useful background to understand its utility in both the understanding of character and its value in investigating contemporary public persona. Etymologically, the words “series” and seriality are from the Latin and refer to “succession” in classical usage and are identified with ancestry and the patterns of identification and linking descendants (Oxford English Dictionary). The original use of the seriality highlights its value in understanding the formation of the constitution of person and persona and how the past and ancestry connect in series to the current or contemporary self. Its current usage, however, has broadened metaphorically outwards to identify anything that is in sequence or linked or joined: it can be a series of lectures and arguments or a related mark of cars manufactured in a manner that are stylistically linked. It has since been deployed to capture the production process of various cultural forms and one of the key origins of this usage came from the 19th century novel. There are many examples where the 19th century novel was sold and presented in serial form that are too numerous to even summarise here. It is useful to use Dickens’ serial production as a defining example of how seriality moved into popular culture and the entertainment industry more broadly. Part of the reason for the sheer length of many of Charles Dickens’ works related to their original distribution as serials. In fact, all his novels were first distributed in chapters in monthly form in magazines or newspapers. A number of related consequences from Dickens’ serialisation are relevant to understanding seriality in entertainment culture more widely (Hayward). First, his novel serialisation established a continuous connection to his readers over years. Thus Dickens’ name itself became synonymous and connected to an international reading public. Second, his use of seriality established a production form that was seen to be more affordable to its audience: seriality has to be understood as a form that is closely connected to economies and markets as cultural commodities kneaded their way into the structure of everyday life. And third, seriality established through repetition not only the author’s name but also the name of the key characters that populated the cultural form. Although not wholly attributable to the serial nature of the delivery, the characters such as Oliver Twist, Ebenezer Scrooge or David Copperfield along with a host of other major and minor players in his many books become integrated into everyday discourse because of their ever-presence and delayed delivery over stories over time (see Allen 78-79). In the same way that newspapers became part of the vernacular of contemporary culture, fictional characters from novels lived for years at a time in the consciousness of this large reading public. The characters or personnages themselves became personalities that through usage became a way of describing other behaviours. One can think of Uriah Heep and his sheer obsequiousness in David Copperfield as a character-type that became part of popular culture thinking and expressing a clear negative sentiment about a personality trait. In the twentieth century, serials became associated much more with book series. One of the more successful serial genres was the murder mystery. It developed what could be described as recognisable personnages that were both fictional and real. Thus, the real Agatha Christie with her consistent and prodigious production of short who-dunnit novels was linked to her Belgian fictional detective Hercule Poirot. Variations of these serial constructions occurred in children’s fiction, the emerging science fiction genre, and westerns with authors and characters rising to related prominence.In a similar vein, early to mid-twentieth century film produced the film serial. In its production and exhibition, the film serial was a déclassé genre in its overt emphasis on the economic quality of seriality. Thus, the film serial was generally a filler genre that was interspersed before and after a feature film in screenings (Dixon). As well as producing a familiarity with characters such as Flash Gordon, it was also instrumental in producing actors with a public profile that grew from this repetition. Flash Gordon was not just a character; he was also the actor Buster Crabbe and, over time, the association became indissoluble for audiences and actor alike. Feature film serials also developed in the first half-century of American cinema in particular with child actors like Shirley Temple, Mickey Rooney and Judy Garland often reprising variations of their previous roles. Seriality more or less became the standard form of delivery of broadcast media for most of the last 70 years and this was driven by the economies of production it developed. Whether the production was news, comedy, or drama, most radio and television forms were and are variation of serials. As well as being the zenith of seriality, television serials have been the most studied form of seriality of all cultural forms and are thus the greatest source of research into what serials actually produced. The classic serial that began on radio and migrated to television was the soap opera. Although most of the long-running soap operas have now disappeared, many have endured for more than 30 years with the American series The Guiding Light lasting 72 years and the British soap Coronation Street now in its 64th year. Australian nighttime soap operas have managed a similar longevity: Neighbours is in its 30th year, while Home and Away is in its 27th year. Much of the analyses of soap operas and serials deals with the narrative and the potential long narrative arcs related to characters and storylines. In contrast to most evening television serials historically, soap operas maintain the continuity from one episode to the next in an unbroken continuity narrative. Evening television serials, such as situation comedies, while maintaining long arcs over their run are episodic in nature: the structure of the story is generally concluded in the given episode with at least partial closure in a manner that is never engaged with in the never-ending soap opera serials.Although there are other cultural forms that deploy seriality in their structures—one can think of comic books and manga as two obvious other connected and highly visible serial sources—online and video games represent the other key media platform of serials in contemporary culture. Once again, a “horizon of expectation” (Jauss and De Man 23) motivates the iteration of new versions of games by the industry. New versions of games are designed to build on gamer loyalties while augmenting the quality and possibilities of the particular game. Game culture and gamers have a different structural relationship to serials which at least Denson and Jahn-Sudmann describe as digital seriality: a new version of a game is also imagined to be technologically more sophisticated in its production values and this transformation of the similitude of game structure with innovation drives the economy of what are often described as “franchises.” New versions of Minecraft as online upgrades or Call of Duty launches draw the literal reinvestment of the gamer. New consoles provide a further push to serialisation of games as they accentuate some transformed quality in gameplay, interaction, or quality of animated graphics. Sports franchises are perhaps the most serialised form of game: to replicate new professional seasons in each major sport, the sports game transforms with a new coterie of players each year.From these various venues, one can see the centrality of seriality in cultural forms. There is no question that one of the dimensions of seriality that transcends these cultural forms is its coordination and intersection with the development of the industrialisation of culture and this understanding of the economic motivation behind series has been explored from some of the earliest analyses of seriality (see Hagedorn; Browne). Also, seriality has been mined extensively in terms of its production of the pleasure of repetition and transformation. The exploration of the popular, whether in studies of readers of romance fiction (Radway), or fans of science fiction television (Tulloch and Jenkins; Jenkins), serials have provided the resource for the exploration of the power of the audience to connect, engage and reconstruct texts.The analysis of the serialisation of character—the production of a public personnage—and its relation to persona surprisingly has been understudied. While certain writers have remarked on the longevity of a certain character, such as Vicky Lord’s 40 year character on the soap opera One Life to Live, and the interesting capacity to maintain both complicated and hidden storylines (de Kosnik), and fan audience studies have looked at the parasocial-familiar relationship that fan and character construct, less has been developed about the relationship of the serial character, the actor and a form of twinned public identity. Seriality does produce a patterning of personnage, a structure of familiarity for the audience, but also a structure of performance for the actor. For instance, in a longitudinal analysis of the character of Fu Manchu, Mayer is able to discern how a patterning of iconic form shapes, replicates, and reiterates the look of Fu Manchu across decades of films (Mayer). Similarly, there has been a certain work on the “taxonomy of character” where the serial character of a television program is analysed in terms of 6 parts: physical traits/appearance; speech patterns, psychological traits/habitual behaviours; interaction with other characters; environment; biography (Pearson quoted in Lotz).From seriality what emerges is a particular kind of “type-casting” where the actor becomes wedded to the specific iteration of the taxonomy of performance. As with other elements related to seriality, serial character performance is also closely aligned to the economic. Previously I have described this economic patterning of performance the “John Wayne Syndrome.” Wayne’s career developed into a form of serial performance where the individual born as Marion Morrison becomes structured into a cultural and economic category that determines the next film role. The economic weight of type also constructs the limits and range of the actor. Type or typage as a form of casting has always been an element of film and theatrical performance; but it is the seriality of performance—the actual construction of a personnage that flows between the fictional and real person—that allows an actor to claim a persona that can be exchanged within the industry. Even 15 years after his death, Wayne remained one of the most popular performers in the United States, his status unrivalled in its close definition of American value that became wedded with a conservative masculinity and politics (Wills).Type and typecasting have an interesting relationship to seriality. From Eisenstein’s original use of the term typage, where the character is chosen to fit into the meaning of the film and the image was placed into its sequence to make that meaning, it generally describes the circumscribing of the actor into their look. As Wojcik’s analysis reveals, typecasting in various periods of theatre and film acting has been seen as something to be fought for by actors (in the 1850s) and actively resisted in Hollywood in 1950 by the Screen Actors Guild in support of more range of roles for each actor. It is also seen as something that leads to cultural stereotypes that can reinforce the racial profiling that has haunted diverse cultures and the dangers of law enforcement for centuries (Wojcik 169-71). Early writers in the study of film acting, emphasised that its difference from theatre was that in film the actor and character converged in terms of connected reality and a physicality: the film actor was less a mask and more a sense of “being”(Kracauer). Cavell’s work suggested film over stage performance allowed an individuality over type to emerge (34). Thompson’s semiotic “commutation” test was another way of assessing the power of the individual “star” actor to be seen as elemental to the construction and meaning of the film role Television produced with regularity character-actors where performance and identity became indissoluble partly because of the sheer repetition and the massive visibility of these seriated performances.One of the most typecast individuals in television history was Leonard Nimoy as Spock in Star Trek: although the original Star Trek series ran for only three seasons, the physical caricature of Spock in the series as a half-Vulcan and half-human made it difficult for the actor Nimoy to exit the role (Laws). Indeed, his famous autobiography riffed on this mis-identity with the forceful but still economically powerful title I am Not Spock in 1975. When Nimoy perceived that his fans thought that he was unhappy in his role as Spock, he published a further tome—I Am Spock—that righted his relationship to his fictional identity and its continued source of roles for the previous 30 years. Although it is usually perceived as quite different in its constitution of a public identity, a very similar structure of persona developed around the American CBS news anchor Walter Cronkite. With his status as anchor confirmed in its power and centrality to American culture in his desk reportage of the assassination and death of President Kennedy in November 1963, Cronkite went on to inhabit a persona as the most trusted man in the United States by the sheer gravitas of hosting the Evening News stripped across every weeknight at 6:30pm for the next 19 years. In contrast to Nimoy, Cronkite became Cronkite the television news anchor, where persona, actor, and professional identity merged—at least in terms of almost all forms of the man’s visibility.From this vantage point of understanding the seriality of character/personnage and how it informs the idea of the actor, I want to provide a longer conclusion about how seriality informs the concept of persona in the contemporary moment. First of all, what this study reveals is the way in which the production of identity is overlaid onto any conception of identity itself. If we can understand persona not in any negative formulation, but rather as a form of productive performance of a public self, then it becomes very useful to see that these very visible public blendings of performance and the actor-self can make sense more generally as to how the public self is produced and constituted. My final and concluding examples will try and elucidate this insight further.In 2013, Netflix launched into the production of original drama with its release of House of Cards. The series itself was remarkable for a number of reasons. First among them, it was positioned as a quality series and clearly connected to the lineage of recent American subscription television programs such as The Sopranos, Six Feet Under, Dexter, Madmen, The Wire, Deadwood, and True Blood among a few others. House of Cards was an Americanised version of a celebrated British mini-series. In the American version, an ambitious party whip, Frank Underwood, manoeuvres with ruthlessness and the calculating support of his wife closer to the presidency and the heart and soul of American power. How the series expressed quality was at least partially in its choice of actors. The role of Frank Underwood was played by the respected film actor Kevin Spacey. His wife, Clare, was played by the equally high profile Robin Warren. Quality was also expressed through the connection of the audience of viewers to an anti-hero: a personnage that was not filled with virtue but moved with Machiavellian acuity towards his objective of ultimate power. This idea of quality emerged in many ways from the successful construction of the character of Tony Soprano by James Gandolfini in the acclaimed HBO television series The Sopranos that reconstructed the very conception of the family in organised crime. Tony Soprano was enacted as complex and conflicted with a sense of right and justice, but embedded in the personnage were psychological tropes and scars, and an understanding of the need for violence to maintain influence power and a perverse but natural sense of order (Martin).The new television serial character now embodied a larger code and coterie of acting: from The Sopranos, there is the underlying sense and sensibility of method acting (see Vineberg; Stanislavski). Gandolfini inhabited the role of Tony Soprano and used the inner and hidden drives and motivations to become the source for the display of the character. Likewise, Spacey inhabits Frank Underwood. In that new habitus of television character, the actor becomes subsumed by the role. Gandolfini becomes both over-determined by the role and his own identity as an actor becomes melded to the role. Kevin Spacey, despite his longer and highly visible history as a film actor is overwhelmed by the televisual role of Frank Underwood. Its serial power, where audiences connect for hours and hours, where the actor commits to weeks and weeks of shoots, and years and years of being the character—a serious character with emotional depth, with psychological motivation that rivals the most visceral of film roles—transforms the actor into a blended public person and the related personnage.This blend of fictional and public life is complex as much for the producing actor as it is for the audience that makes the habitus real. What Kevin Spacey/Frank Underwood inhabit is a blended persona, whose power is dependent on the constructed identity that is at source the actor’s production as much as any institutional form or any writer or director connected to making House of Cards “real.” There is no question that this serial public identity will be difficult for Kevin Spacey to disentangle when the series ends; in many ways it will be an elemental part of his continuing public identity. This is the economic power and risk of seriality.One can see similar blendings in the persona in popular music and its own form of contemporary seriality in performance. For example, Eminem is a stage name for a person sometimes called Marshall Mathers; but Eminem takes this a step further and produces beyond a character in its integration of the personal—a real personnage, Slim Shady, to inhabit his music and its stories. To further complexify this construction, Eminem relies on the production of his stories with elements that appear to be from his everyday life (Dawkins). His characterisations because of the emotional depth he inhabits through his rapped stories betray a connection to his own psychological state. Following in the history of popular music performance where the singer-songwriter’s work is seen by all to present a version of the public self that is closer emotionally to the private self, we once again see how the seriality of performance begins to produce a blended public persona. Rap music has inherited this seriality of produced identity from twentieth century icons of the singer/songwriter and its display of the public/private self—in reverse order from grunge to punk, from folk to blues.Finally, it is worthwhile to think of online culture in similar ways in the production of public personas. Seriality is elemental to online culture. Social media encourage the production of public identities through forms of repetition of that identity. In order to establish a public profile, social media users establish an identity with some consistency over time. The everydayness in the production of the public self online thus resembles the production and performance of seriality in fiction. Professional social media sites such as LinkedIn encourage the consistency of public identity and this is very important in understanding the new versions of the public self that are deployed in contemporary culture. However, much like the new psychological depth that is part of the meaning of serial characters such as Frank Underwood in House of Cards, Slim Shady in Eminem, or Tony Soprano in The Sopranos, social media seriality also encourages greater revelations of the private self via Instagram and Facebook walls and images. We are collectively reconstituted as personas online, seriated by the continuing presence of our online sites and regularly drawn to reveal more and greater depths of our character. In other words, the online persona resembles the new depth of the quality television serial personnage with elaborate arcs and great complexity. Seriality in our public identity is also uncovered in the production of our game avatars where, in order to develop trust and connection to friends in online settings, we maintain our identity and our patterns of gameplay. At the core of this online identity is a desire for visibility, and we are drawn to be “picked up” and shared in some repeatable form across what we each perceive as a meaningful dimension of culture. Through the circulation of viral images, texts, and videos we engage in a circulation and repetition of meaning that feeds back into the constancy and value of an online identity. Through memes we replicate and seriate content that at some level seriates personas in terms of humour, connection and value.Seriality is central to understanding the formation of our masks of public identity and is at least one valuable analytical way to understand the development of the contemporary persona. This essay represents the first foray in thinking through the relationship between seriality and persona.ReferencesBarbour, Kim, and P. David Marshall. “The Academic Online Constructing Persona.” First Monday 17.9 (2012).Browne, Nick. “The Political Economy of the (Super)Text.” Quarterly Review of Film Studies 9.3 (1984): 174-82. Cavell, Stanley. “Reflections on the Ontology of Film.” Movie Acting: The Film Reader. Ed. Wojcik and Pamela Robertson. 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Ethan Thompson and Jason Mittell. New York: New York University Press, 2013. 22-29.Marshall, P. David. “The Cate Blanchett Persona and the Allure of the Oscar.” The Conversation (2014). 4 April 2014.Marshall, P. David “Persona Studies: Mapping the Proliferation of the Public Self.” Journalism 15.2 (2014): 153-70.Marshall, P. David. “Personifying Agency: The Public–Persona–Place–Issue Continuum.” Celebrity Studies 4.3 (2013): 369-71.Marshall, P. David. “The Promotion and Presentation of the Self: Celebrity as Marker of Presentational Media.” Celebrity Studies 1.1 (2010): 35-48.Marshall, P. David. Celebrity and Power: Fame in Contemporary Culture. 2nd Ed. Minneapolis: University of Minnesota Press, 2014.Martin, Brett. Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad. London: Faber and Faber, 2013.Mayer, R. “Image Power: Seriality, Iconicity and the Mask of Fu Manchu.” Screen 53.4 (2012): 398-417.Nayar, Pramod K. Seeing Stars: Spectacle, Society, and Celebrity Culture. New Delhi; Thousand Oaks, California: Sage Publications, 2009.Nimoy, Leonard. I Am Not Spock. Milbrae, California: Celestial Arts, 1975.Nimoy, Leonard. I Am Spock. 1st ed. New York: Hyperion, 1995.Radway, Janice A. Reading the Romance: Women, Patriarchy, and Popular Literature. Chapel Hill: University of North Carolina Press, 1984.Stanislavski, Constantin. Creating a Role. New York: Routledge, 1989 (1961).Thompson, John O. “Screen Acting and the Commutation Test.” Movie Acting: The Film Reader. Ed. Pamela Robertson Wojcik. London: Routledge, 2004 (1978). 37-48.Tulloch, John, and Henry Jenkins. Science Fiction Audiences: Watching Doctor Who and Star Trek. London; New York: Routledge, 1995.Vineberg, Steve. Method Actors: Three Generations of an American Acting Style. New York; Toronto: Schirmer Books, 1991.Wills, Garry. John Wayne’s America: The Politics of Celebrity. 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In 2019, Netflix released the first season of its highly anticipated show The Witcher. Based on the books of Polish author Andrzej Sapkowski, the fantasy show tells the intersecting stories of the Witcher Geralt of Rivia (Henry Cavill), the princess of Cintra Ciri (Freya Allan), and sorceress Yennefer of Vengerberg (Anya Chalotra), who is commonly referred to as a ‘mage’. Although not as popular among critics as its original book incarnations and adapted game counterparts, the show went on to achieve an 89% audience score on Rotten Tomatoes and was subsequently renewed for more seasons. Although the general success of the show is clear among viewers, The Witcher was not without its detractors, who accused creator Lauren Hissrich of developing a woke series with a feminist agenda (Worrall), especially because of her desire to emphasise strong female characters (Crow). The latter is, of course, a direction that the Netflix series inherited from the video game version of The Witcher – especially The Witcher 3: Wild Hunt – even if the portrayal is often considered to be biased and “problematic” (Heritage). Supporting the view that the show focusses on the character trajectories of independent and capable women is the analysis offered by Worrow (61), who attests that “the female representations in season one of The Witcher offer prominent female characters who are imbued with agency, institutional power and well-developed narrative arcs”. Although Worrow’s analysis offers a clear critical account of Yennefer’s story arc – among the other female characters – what it does not consider is the relationship between women and magic, which has historically seen the mistreatment and ostracising of women as practitioners, and which tacitly informs representation in The Witcher by providing a gendered view of magical power. In response to this, the purpose of our article is to consider how Yennefer’s pursuit of magic both maintains and challenges gender stereotypes, particularly as they pertain to sorceresses and witches. The analysis will focus primarily on the episodes of Season One. Through the course of Season One, audiences are introduced to the character of Yennefer as she transitions from a deformed woman into a ‘beautiful’ sorceress. Alienated by her community because of a hunched back and cleft palate, Yennefer remains mistreated until she exhibits magical tendencies – or “the ability to conduct Chaos” (Guimarães). This is an aptitude that will later be revealed to be a direct outcome of her Elvin heritage (Worrow). Having gained the attention of Tissaia (MyAnna Buring), the Rectress of the magical school Aretuza, Yennefer is purchased from her family and relocated to Aretuza to train as a mage. Initially, Yennefer struggles with the magic training, where magic itself is referred to as “chaos”. In particular, she specifically finds it hard to “control [her] chaos”, as the series puts it, because of her emotional tendencies. After a short period of time, however, Yennefer develops into a strong, talented sorceress who is later instrumental in the final battle of Season One against the Nilfgaardian forces that are at war with the city-state of Cintra (Chitwood); the conflict with the kingdom of Nilfgaard is a central plot development in The Witcher, running across multiple seasons of the series. Throughout Season One, audiences view Yennefer’s character development, as she sheds her kind, naïve personality in favour of becoming an agent of chaos, who is fully immersed in the political intrigue that influences the Continent – the broader geographical land where the events of The Witcher take place. What It Means to Be a Sorceress For the purpose of this article, we will be using the terms “sorceress” and “witch” interchangeably (Stratton). It is important to mention here that several strands of anthropological research contend that the two terms are not synonymous, with “sorcery” referring to the ability to “manipulate supernatural forces for malicious or deviant purposes” (Moro, 2); the term “witch”, on the other hand, would preferably be used for “people suspected of practising, either deliberately or unconsciously, socially prohibited forms of magic“ (Moro, 1). Nonetheless, historians and sociologists have long equated the two because of their prepotency to describe magic users who channel power for productive and nefarious purposes (Godsend; Lipscomb). We cite our understanding of these important terminologies in the latter critical area, seeing the important social, cultural, and political interconnections concomitantly held by the terms “sorceress” and “witch” in the context of magical practices within The Witcher series. ‘Mage’, for its part, seems to be used in the series as a gender-neutral term, openly recalling a well-known narrative trajectory from both fantasy novels and games. Regardless of whether they were deemed witches, sorceresses, mages, or enchantresses, and despite historical records that prove the contrary, practitioners of magic, as such, have predominantly been gendered as female (Godwin; Stratton). Such a misconception has meant that stereotypes and representations of magic and witchcraft in popular culture have continued to show a penchant for depicting witches not only as female but also as powerful and intimidating beings that continuously challenge hegemonic power structures (Burger & Mix; Stratton). Historically, and especially so in the Western context, individuals labelled as witches and sorceresses have been ostracised, in some instances eradicated through mass killings, to ostensibly contain their power and remove the threat of the evil they inevitably embodied and represented (Johnson). This established historical framework is tacitly embedded in the narrative structure of The Witcher, with examples such as Yennefer often being portrayed as out of control because of her magical powers. The series, however, acknowledges unspoken historical truths and reinforces its own canon, as it is made clear throughout that men can also be magic users; indeed, the show includes a variety of male druids, sorcerers, and mages. Where a potential gender divide exists, however, is in reference to the Brotherhood of Sorcerers, who seemingly control the activities and powers of magical practitioners. Although there is a female equivalent in Sapkowski’s novels, called the Lodge of Sorceresses, the first season of The Witcher does not openly engage with it. Such an omission could be construed as a gender concern in the Netflix show, as a patriarchal group seemingly oversees the activities of mages. As Worrow argues, the show implies that “The Brotherhood controls and legitimizes the use of magic” (66), and by being referred to as a ‘brotherhood’, creates a gender imbalance within the series. This interpretation is not unexpected, bearing in mind that gender studies scholars have consistently pointed out how structural inequalities exist, even in fictitious offerings. In social, cultural, and media contexts alike, these offerings subordinate women in favour of maintaining ideologies that advantage hegemonic masculinity (Connell; Butler). Where the stereotypes of women diverge in The Witcher, however, is in the general characterisation of these powerful witches and sorceresses as empathetic and compassionate individuals. Across the history of representation, witches have been portrayed as cruel, evil, manipulative, and devious, making witches one of the most recognisable tropes of evil women in storytelling, from fairy tales to film, TV, novels, and games (Zipes). While a number of notable exceptions exist – one should only think here of Practical Magic, both in its book and film adaptations (1995/1998), as examples of texts exploring the notion of the good witch – the representational stereotype of witches as wicked and malevolent creatures has held centrally true. A witch’s activities are generally focussed on controlling and bringing misfortune upon others, in favour of their own gain (Moro). As Schimmelpfennig puts it, the recurrent image of the witch is that of someone who is “envious” of others: “nobody loves, likes, or pities her. She seems to have brought disaster upon herself and lives on the margins of society, [often] visualised by her residence in the woods” (31). The common perception, as cemented in fictional contexts, has been that witches have nefarious and villainous intents, and their magical actions (especially) are perpetually motivated by this. Although she was initially alienated by both her magical and non-magical communities, Yennefer’s character development does not adhere exactly to the broadly established characterisation of witches. Admittedly, she does act in morally ambiguous ways. For example, in the episode “Bottled Appetites”, her desire to have children leads her to attempt to control a jinn regardless of the dangerous costs to herself and others. And yet, in the following episode, "Rare Species", Yennefer changes her mind about trying to slay a dragon whose magical properties could help her, and instead works with Geralt to defend the Dragon and its family from Reavers. She also confronts injustices by helping to defend the territory of Sodden Hill which is threatened by Nilfgaardian forces ("Much More"). Rather than being purely evil, as witches have long been considered to be, Yennefer offers a more nuanced and relatable depiction, as both a witch and, arguably, a woman character. The moral complexity of Yennefer as a magical figure, then, not only makes for compelling viewing – with such magical characters often being an expected presence in mainstream programming (Greene) – but her continued growth, and the attention given to her identity development by showrunners, challenge gender stereotypes. On screen, female characters have often been treated as auxiliaries to their male counterparts (Taber et al.); they have fulfilled roles as mother, lover, or damsel in distress, reducing any potential for growth (Nairn). The Witcher Season One gives Yennefer her own arc and, in doing so, becomes a series that elevates the status of women rather than treating them as, to borrow Simone de Bauvoir’s famous words, ‘the second sex’. Power & Empowerment Differentiating Yennefer from the stereotypes of female characters, and witches/sorceresses more specifically within the broader popular media and culture landscape, is her obvious agency within The Witcher series. Gammage et al. argue that agency can be understood as “the capacity for purposive action, the ability to make decisions and pursue goals free from violence, retribution, and fear, but it also includes a cognitive dimension” (6). Throughout The Witcher, Yennefer does not act subserviently and will even oppose the will of those around her. For example, in the episode “Before the Fall”, she gives advice to young girls training to be mages to ignore the instructions of their tutors and "to think for themselves" (26:19-26:20). She follows up by later telling the young mages about how Aretuza takes away their opportunity to bear children, to ensure the mages stay loyal to the cause. As she puts it: "Even if you do everything right, follow their rules, that's still no guarantee you will get what you want" (29:42-29:51). This exposes her character as not tied to traditional patriarchal notions of subservience. And while personal motivations may laterally aid the conception of witches as egotistical, her actions still stand out as being propelled by individual agency. Female characters on screen have often been portrayed as submissive and passive, and this includes iconic on-screen witches from Samantha in Bewitched to the titular character in Sabrina the Teenage Witch. It is not uncommon to see good witches in popular media and culture, in particular, as still defined by male relationships in terms of cultural and social value (for instance, Sally Owens in Practical Magic, and Wanda Maximoff in the Marvel Cinematic Universe). As Godwin puts it, these characters embody the expected gender roles of a patriarchal society, with storylines, for example, that favour love potions or keeping house. As far as The Witcher is concerned, being submissive and passive is often in direct contrast with Yennefer’s preferences. For example, in “Betrayer Moon”, she intentionally ignores the decision of the Brotherhood to act as the mage in Nilfgaard by intentionally catching the eye of the King of Aedirn: the King then asks for Yennefer to be his mage. Fringilla (Mimi Ndiweni), who was supposed to be the mage in Aedirn, is forced to go to Nilfgaard instead. Yennefer's behaviour not only defies The Brotherhood in favour of her own interests but also demonstrates her unwillingness to conform to the expectations placed on her. Such depictions of Yennefer acting with agency make her, arguably, relatable to audiences. Female characters and witches such as Yennefer become emblematic of independent, competent women who use magic to take control of their own destiny (Burger and Mix) and can be praised for opposing “oppressive societal norms” and instead advocating for “independent thought” (Godwin 92). It is possible to argue here that what drives Yennefer appears to be her sense of Otherness, as an intrinsic difference that is central to her being, both physically and emotionally. Although initially her othered nature is seemingly the product of her deformities and ethnic background (with elves being socially, culturally, and politically ostracised on the Continent), she openly admits to feeling othered throughout the series, even after her physical disfigurement is cured by magic. Her individualised agency makes her inevitably stand out and becomes a marker of difference. This representation is not dissimilar to the feelings expressed by women across First, Second, and Third-wave Feminism (Butler; Connell). Indeed, Worrow observes that “The Witcher encodes female characters with power as ‘other’, enhancing this otherness through magical abilities” (61). It would seem that, in essence, the show surreptitiously gives voice to the plight of minority groups through the hard work, dedication, and determination of Yennefer as an Othered character, as she struggles and defies expectations in pursuit of her goal of becoming a powerful sorceress. Her independence and agency tell a story of empowerment because, like other fictional witches of the last decade in the twenty-first century, Yennefer “refuses to pretend to be someone or something they are not, eschewing the lie to instead embody the truth of themselves, their identity's, and their unapologetic strength” (Burger and Mix 14). This profoundly diverges from other representations where being the ‘other’ was seen as a justification for punishment, marginalisation, or mistreatment, and amply seen across the historicised media spectrum, from Disney films to horror narratives and beyond. Nonetheless, although it appears as if Yennefer has agency and is empowered, there is the argument that she is a conduit of magic, and as such, lacks real power and influence without a capacity to control the chaos. As Godwin contends, witches are often limited in their capacity to be influential and to have true autonomy by the fact that they do not possess magic but are often seemingly controlled by it. At various times in Season One, Yennefer struggles to control the chaos magic. For example, while being beaten up, she inadvertently portals for the first time. During her magical training, she can't manage a number of magical tasks ("Four Marks"). Here, the suggestion is that she is not completely free to act as she chooses because it can produce unintentional consequences or no consequences at all; this conceptual enslavement to magic as the source of her power and individuality seemingly dilutes some of her agency. Furthermore, instances of her trying to control the chaos within the show also conform to stereotypes of women being ruled by emotions and prone to hysterical outbursts (Johnson). Aesthetics & Sexuality Stereotypically, and in keeping with fictional tropes in literature, media, and film, witches have been described as “mature” women, “with bad skin, crooked teeth, foul breath, a cackling laugh, and a big nose with a wart at the end of it” (Henderson 66). Classic examples include the witches depicted in the works of the Brothers Grimm, Disney’s instances of Madam Mim in The Sword in the Stone and the transformed Evil Queen in Snow White and the Seven Dwarfs (1937), the witches of Roald Dahl’s eponymous novel (1983), and (even more traditionally and iconically) the hags of Shakespeare’s Macbeth (1623). Yet, more recently the witch aesthetic has altered significantly in the media spectrum with an increased focus on young, alluring, and enchanting women, such as Rowan Fielding in Mayfair Witches (2023 –), Sabrina Spellman of The Chilling Adventures of Sabrina (2018–2020), Freya Mikealson of The Originals (2013–2018), and of course, Yennefer in The Witcher. These examples emphasise that female magic users, much like a significant ratio of female characters in popular culture, are sexualised, with the seductive nature of the witch taking precedence and, in some cases, detracting from the character's agency as she becomes objectified for the male gaze (Mulvey). The hiring of actress Chaltora as Yennefer, although designed to challenge racialised beauty standards (Kain), does not dispel the treatment of women as sex objects as she is filmed nude during some magic rituals and in intimate scenes. Importantly, and as briefly mentioned above, when Yennefer’s back story is told, she is introduced as a young woman with physical deformities. As part of her ascension to a sorceress, she is required to undergo a physical transformation to make her beautiful, as conventional beauty and allure appear to be requirements for mages. As Worrow (66) attests, she is seen “undergoing an invasive, painful, magical metamorphosis which remakes her in the image of classical feminine beauty”. Unsurprisingly, the makeover received backlash for being ableist (Calder), but the magical change also enforced stereotypical views of women needing to be “manicured and coiffed” (Eckert, 530) to have relevancy and value. Yennefer’s beautifying procedure could also be interpreted as paralleling current cultural currents in contemporary society, where cosmetic interventions and physical transformations, often in the form of plastic surgery, are encouraged for women to be accepted. Indeed, Yennefer is shown as being much more accepted by human and mage communities alike after her transformation, as both her political and magical influence grows. In these terms, the portrayal of Yennefer maintains rather than challenges gender norms, making for a disappointing turn in the plotline of The Witcher. The decision to submit to the transformation also came at a cost to Yennefer. She was forced to forfeit her uterus and by extension her potential to become a mother. Such a storyline conforms to Creed’s long-standing perspective that “when a woman is represented as monstrous it is almost always in relation to her mothering and reproductive functions” (118). Here, even after achieving the expected beauty standards, Yennefer is still treated as abject because she can no longer “fulfil the function dictated by patriarchal and phallocentric hegemony” (Worrow 68), which further contributes to the widespread ideological perspective that women’s roles are to be nurturing and child-rearing (Bueskens). Of course, motherhood remains a contentious topic for Yennefer as, although she made the decision to forgo her uterus in pursuit of power and beauty, she later comes to regret that decision. In the episode “Rare Specifies”, Yennefer admits to Geralt that she feels loss and sadness over her inability to reproduce, which contributes to the complexity and inner turmoil of her character, while equally reinforcing the perception that women should be mothers. Her initial independence and choice are undermined by her attempts to regain her uterus and later, in Season 3, by her adopting the role of mother figure to Ciri. Conclusion In many respects, the story arc of sorceress Yennefer of Vengerberg conforms to what McRobbie describes as female individualism, and Gill considers post-feminist. That is, Yennefer has choice and agency. She makes decisions out of a sense of entitlement, and privileges her desire for power, beauty, and freedom, sometimes above all else. Much like other post-feminist icons, Yennefer is empowered and challenges gender stereotypes that charge women with being passive and submissive. Yet, despite the fact that 60% of the writing credits are held by women on The Witcher (Worrow), Yennefer’s character is still objectified. Although the male gaze might not always be privileged, there are examples where her sexuality is exploited; by being portrayed as physically attractive, desirable, and promiscuous, she still conforms to gender norms about ideal beauty standards. The sexuality of her character maintains perceptions of witches and sorceresses as seducers, and while she is not cavorting with Satan, as many witches have historically claimed to be (Stratton), her depiction maintains the adage that sex sells – at least as far as media production goes. Ultimately, the character of Yennefer in The Witcher appears to be an attempt to respond to a tacit cultural desire for strong female characters with relatable storylines, without ostracising male fans. Despite the desire to include empowered female characters in the show, however, Yennefer is also depicted as a continuously unhappy and unfulfilled character, as her value becomes entangled with notions of motherhood. The balancing of these competing adages continues to simultaneously maintain and challenge stereotypes of witches and sorceresses, as representational exemplifications of women’s experiences in media and culture. References “Before a Fall.” The Witcher. Created by Lauren Hissrich. Season 1, episode 7. Netflix. Little Schmidt Productions, 2019. “Betrayer Moon.” The Witcher. Created by Lauren Hissrich. Season 1, episode 3. Netflix. Little Schmidt Productions, 2019. “Bottled Appetites.” The Witcher. Created by Lauren Hissrich. Season 1, episode 5. Netflix. Little Schmidt Productions, 2019. Bueskens, Petra. Modern Motherhood and Women’s Dual Identities: Rewriting the Sexual Contract. London: Routledge, 2018. Burger, Alissa, and Stephanie Mix. “Something Wicked This Way Comes? Power, Anger, and Negotiating the Witch in American Horror Story, Grimm and Once Upon a Time.” Buffy to Batgirl: Essays on Female Power, Evolving Femininity and Gender Roles in Science Fiction. Eds. Julie M. Still and Zara T. Wilkinson. North Carolina: McFarland, 2019. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 2006. Calder, Lily. “Still a Trope, Still Tired: Ableism in ‘The Witcher’.” <https://medium.com/@paperstainedink/still-a-trope-still-tired-ableism-in-the-witcher-9570eef962fb>. Chitwood, Adam. “’The Witcher’ Season 1 Recap: The Refresher You Need Before Watching Season 2.” The Wrap, 17 Dec. 2021. 5 Aug. 2023 <https://www.thewrap.com/the-witcher-season-1-recap/>. Connell, Raewyn. Masculinities. Los Angeles: University of California Press, 1995. Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. Routledge, 1993. Crow, David. “The Witcher: Netflix Series Brings Magic and Feminism to Fantasy.” Den of Geek, 23 July 2019. 5 Aug. 2023 <https://www.denofgeek.com/tv/the-witcher-netflix-series-magic-feminism-fantasy/>. De Beauvoir, Simone. The Second Sex. France: Vintage, 1949. Eckert, Penelope. “The Problem with Binaries: Coding for Gender and Sexuality.” Language and Linguistics Compass 8.11 (2014): 529-535. “Four Marks.” The Witcher. Created by Lauren Hissrich. Season 1, episode 2. Netflix. Little Schmidt Productions, 2019. Gammage, Sarah, Nalia Kabeer, and Yana van der Meulen Rodgers. “Voice and Agency: Where Are We Now?” Feminist Economics 22.1 (2016): 1-29. Gill, Rosalind. “Postfeminist Media Culture: Elements of a Sensibility.” European Journal of Cultural Studies 10.2 (2007): 147-166. Godsend, Chris. The History of Magic: From Alchemy to Witchcraft, from the Ice Age to the Present. London: Penguin, 2020. Godwin, Victoria L. “Love and Lack: Media, Witches, and Normative Gender Roles.” Media Depictions of Brides, Wives, and Mothers. Ed. Alena Amato Ruggerio. Lanham: Lexington Books, 2012. Greene, Heather. Lights, Camera, Witchcraft: A Critical History of Witches in American Film and Television. Woodbury: Llewellyn Worldwide, 2021. Guimarães, Elisa. “The Witcher: Yennefer’s Magic Explained – How Does It Work & Where Does It Come From?” Collider, 30 Dec 2021. 5 Aug. 2023 <https://collider.com/the-witcher-yennefer-magic-explained/>. Henderson, Lizanne. Witchcraft and Folk Belief in the Age of Enlightenment: Scotland 1670-1740. Hampshire: Palgrave MacMillan, 2016. Heritage, Frazer. “Magical Women: Representations of Female Characters in the Witcher Video Game Series.” Discourse, Context & Media 49 (2022). <https://doi.org/10.1016/j.dcm.2022.100627>. Hudspeth, Christoper. “What Happens in ‘The Witcher’ Season One? Let’s Go Back to the Continent.” Netflix Tudum, 23 June 2023. 5 Aug. 2023 <https://www.netflix.com/tudum/articles/the-witcher-season-1-recap>. Johnson, Forrest. “Reanimating Witchcraft: Creating a Feminist Embodied Experience in Marvel’s Scarlet Witch.” The Superhero Multiverse: Readapting Comic Book Icons in Twenty-First-Century Film and Popular Media. Ed. Lorna Piatti-Farnell. Lanham: Lexington Books, 2022. Kain, Erik. “’The Witcher’ Casting Director Says Yennefer Casting Was to ‘Challenge Beauty Standards’ Which Is Completely Insane.” Forbes, 27 July 2023. 5 Aug. 2023 <https://www.forbes.com/sites/erikkain/2023/07/27/the-witcher-casting-director-says-yennefer-casting-was-to-challenge-beauty-standards-which-is-completely-insane/?sh=23ceb8bf55f1>. Lipscombe, Elizabeth. A History of Magic, Witchcraft and the Occult. London: Dorling Kindersley Publishing, 2020. McRobbie, Angela. “Post-Feminism and Popular Culture.” Feminist Media Studies 4.3 (2004): 255-264. Moro, Pamela A. “Witchcraft, Sorcery and Magic.” The International Encyclopedia of Anthropology. Eds. Hilary Callan and Simon Coleman. New Jersey: Wiley-Blackwell, 2018. “Much More.” The Witcher. Created by Lauren Hissrich. Season 1, episode 8. Netflix. Little Schmidt Productions, 2019. Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16.3 (1975): 6-18. Nairn, Angelique. “Super-Heroine Objectification: The Sexualization of Black Widow across Comic and Film Adaptations.” The Superhero Multiverse: Readapting Comic Book Icons in Twenty-First-Century Film and Popular Media. Ed. Lorna Piatti-Farnell. Lanham: Lexington Books, 2022. “Rare Species.” The Witcher. Created by Lauren Hissrich. Season 1, episode 6. Netflix. Little Schmidt Productions, 2019. Rotten Tomatoes. The Witcher. 8 Aug. 2023. <https://www.rottentomatoes.com/tv/the_witcher/s01>. Stratton, Kimberly B. “Interrogating the Magic-Gender Connection.” Daughters of Hecate: Women and Magic in the Ancient World. Eds. Kimberly B. Stratton and Dayna S. Kalleres. New York: Oxford UP, 2014. Taber, Nancy, Vera Woloshyn, Caitlin Munn, and Laura Lane. “Exploring Representations of Super Women in Popular Culture.” Adult Learning 25.4 (2014): 142-150. Talukdar, Indrayudh. “How Did Yennefer Turn into a Motherly Figure for Ciri in ‘The Witcher’ Season 3?” Film Fugitives, 30 June 2023. 5 Aug. 2023 <https://fugitives.com/the-witcher-season-3-character-yennefer-explained-2023-fantasy-series/>. The Witcher. Created by Lauren Hissrich. Netflix, 2019-present. Worrall, William. “Netflix’s The Witcher Finds Universal Acclaim on Twitter Despite Criticism over ‘Feminist Agenda’.” CCN, 23 Sep. 2020. 5 Aug. 2023 <https://www.ccn.com/netflix-the-witcher-finds-universal-acclaim-twitter/>. Worrow, Kirsty. “’Pretty Ballads Hide Bastard Truths’: Patriarchal Narratives and Female Power in Netflix’s The Witcher.” Gender and Female Villains in 21st Century Fairy Tale Narratives: From Evil Queens to Wicked Witches. Eds. Natalie Le Clue and Janelle Vermaak-Griessel. Bingley: Emerald, 2022. Zipes, Jack. The Irresistible Fairy Tale: The Cultural and Social History of a Genre. New Jersey: Princeton UP, 2013.

The numismatic collection of the Banat Museum in Timişoara includes two rare bronze medals dedicated to members of the well known Weifert family from Pančevo (Serbia). One is a medal dedicated to Ignaz Weifert on his 64th anniversary by his son Georg Weifert, crafted by the Austrian engraver Anton Schar (1845 – 1903). The second one is dedicated to Georg Weifert on his 44th anniversary, created by the Austrian engraver Franz Xaver Pawlik (1865 – 1906). They were purchased in 1907 by the Banat Museum from Fejér József, antiquarian in Budapest, for the sum of 22 crowns. The medals were given inventory numbers 731 and 732 in the old register of the collections. The medal dedicated to Ignaz Weifert (1826 – 1911) is made of bronze, patinated (55.5 mm; inventory no 136; Pl. I.1 – 2). It is generally but wrongly dated in 1870. Given the marked date (MDCCCLXX), one considers that it had been realized on the occasion of Ignaz Weifert’s 20th year of industrial activity. Actually, one thousand eight hundred seventy represents the year of establishment for the Weifert brewery in Belgrade. There are several arguments in favor of a correct dating of the coin (i.e. 1890): the age of Ignaz Weifert, marked on the obverse of the medal (LXIV), as he fulfilled 64 in the year 1890. Secondly, the medal is mentioned among the works of the engraver Anton Schar from 1890 (in the same year Schar had also realized a plaque, 136 mm in diameter, with the portrait of Ignaz Weifert). More so, Felix Milleker affirmed in his study on the Weifert family that in December 1890 Georg Weifert dedicated a medal to his father Ignaz, crafted by the Austrian engraver Anton Schar (Milleker 1925, 11).The second medal, dedicated to Georg Weifert (1850 – 1937) on his 44th anniversary is made of bronze, has 52.2 mm in diameter (inventory no 84; Pl. III.1 – 2) and was created by Franz Xaver Pawlik in 1894. The same engraver had molded a medal dedicated to Ignaz and Georg Weifert in 1903, in two variants: 25 mm and 140 mm in diameter. We know about the existence of a 25 mm medal as part of a private collection in Timişoara. Originally from north Austria, the Weiferts settled in Banat during the first half of the 18th century, initially in Vršac, where from a certain Georg Weifert (1798 – 1887) moved to Pančevo. Here he became one of the prominent local merchants and, from 1841, the owner of the brewery (established in 1722). In 1849 the elder son of Georg, Ignaz Weifert (Ignjat Vajfert in Serbian) assumed the control of the brewery, after previously following a course of beer making in Munich (Bavaria). After expansion and modernization, the family business thrived and the Weifert brewery in Pančevo became one of the most important enterprises of the kind from Banat (Pl. II.1). In 1870 Ignaz expanded the business by building a new brewery in Belgrade, first in Serbia in time, on the Smutekovac Hill (nowadays Topčider). His son, Georg Weifert (Đorđe Vajfert in Serbian) took over its control in 1872. The Weifert brewery from Pančevo remained in care of Ignaz and his son Hugo. The one to become General Governor of the National Bank of Serbia, mighty industrialist and pioneer of modern mining in Serbia, Georg Weifert (Pl. IV) was born on June 15, 1850 in Pančevo. After elementary and secondary studies in Pančevo, he studied at the Commercial School in Budapest. Between 1869 and 1872 he followed the technology courses in brew at the Agricultural School in Weihenstephan, near Munich. He was 22 when he took his father’s brewery from Belgrade, which he modernized and turn into one of the most largest and modern of its kind from the Balkans (Pl. II.2). The Weifert beer became the most sought beer in Serbia. As one of the most rich and inuential person in Serbia, he is remembered as a great philanthropist, Maecenas for numerous institutions, cultural and charitable societies. He was awarded the highest Serbian and also French, Romanian or other orders. For decades he held the most important positions in the Serbian and Yugoslav Masonic lodges. He was married to Marie Gassner but had no ospring. In 1923, on the occasion of celebrating 50 years of marriage, he financed the building of St. Ana Church in Pančevo, in memory of his mother Anna. In the same year he was elected honorary citizen of his home city. He died aged 87 on January 12, 1937, at his villa on Vojvode Putnika Street. He was buried on January 16 in the Catholic cemetery in Pančevo, left of the portal built in 1924 on his expenses. The name Weifert is also associated with the well-known numismatic collection owned by this family, of which three members were passionate collectors: Ignaz and his sons, Hugo and Georg. The one who settle the collection (around 1878) was Hugo (1852 – 1885). After his early death in 1885, aged only 33, the collection passed to his father Ignaz, who continued to gather coins. In 1911, after the death of Ignaz, the numismatic collection passed to Georg Weifert. All three of them had been members of the Numismatic Society in Vienna: Hugo from 1879, Ignaz from 1885 and Georg from 1889. Although the members of Weifert family collected all kind of Greek and Roman coins, it seems that Hugo was the one passionate for medals concerning Belgrade, Ignaz paid special attention to Viminacium issued coins while Georg was interested in 4th century AD Roman coins. The numismatic collection held antique coins: Greek, Celtic and Roman, Byzantine coins, medieval Serbian ones, taler from Central Europe, medals concerning Belgrade etc. The Republican and Imperial Roman coins dated to 1st – 5th c. AD compose the largest part of the collection, including numerous rarities. There are also Roman colonial coins issued by the cities in the Balkans, especially Viminacium and from Asia Minor. Today we hold no longer information on the ending place of these coins, except for the golden Late Roman solidi found in the spring of 1879 near Borča, that are to be considered among the most valuable pieces of the collection. The PMS COL VIM type coins, issued between 239 and 255 AD in Viminacium (today Stari Kostolac, Serbia) are also important, although the collection does not comprise the complete series and all the variants. One can notice the interest of the Weiferts in collecting this monetary type and the existence of a special relation of the Weifert family with the area of the antique Viminacium (Kostolac). The first coins that entered the Weifert collection came from this area, where Georg held a coal mine and locals often brought him coins for his collection. In two cases, both on the medal dedicated to Georg Weifert in 1894 and on the one dedicated to Ignaz and Georg Weifert in 1903 (the 25 mm variant), realized by Pawlik, there are representations of reverse type of the Roman coins of PMS COL VIM type. The Weifert numismatic collection had been aected by the turmoil of WW I. The rare golden coins held in Belgrade were saved by Georg and taken to France. The rest of the numismatic collection, held in Pančevo, was taken to Vienna by his nephew Adolf Gramberg, where from it came back in 1925, completely disorganized. Unfortunately, the collection of medieval Serbian coins and medals concerning Belgrade that could not be saved disappeared during the war. Georg Weifert donated this valuable collection holding over 14,000 antique coins to the University of Belgrade on September 9, 1923. It had been taken over only in 1929 by Professors Miloje M. Vasić and Nikola Vulić, as representatives of the University, following its arranging by Balduin Saria, custodian of the National Museum in Belgrade and Georg Elmer, a nephew of Hugo Weifert, custodian of the Numismatic Cabinet of Kunsthistorisches Museum in Vienna. After World War II, the Weifert numismatic collection had been handed over to the National Museum in Belgrade, where is kept today.This donation made by Georg Weifert was not a singular act. Ignaz Weifert had donated over time numerous coins, antiquities and maps to the High Gymnasium in Pančevo and the Museum in Vršac. Georg had also donated in 1931 his collection of historic documents (photographs, lithographs, plans and maps) to the City Museum of Belgrade. The medals from the collection of the Banat Museum in Timişoara dedicated to the Weiferts are a testimony for a family that played an important role in the economical history of Banat and Serbia. Its name remains associated with a beer brand especially appreciated over time and for the numismatists with one of the most important collections from the end of the 19th century and beginning of the 20th century.

The ProjectThe Hand Up Linkage project focuses on the family as a communication context through which to explore the dynamics of intergenerational welfare dependency. In particular, it explores ways that creative life-course interventions might allow children in welfare dependent families to construct alternative realities for themselves and alternative views of their future. Formed through an alliance between a key Western Australian social welfare not-for-profit organisation, St Vincent de Paul WA (SVDPWA and also, in the context of volunteers, ‘Vinnies’), and Edith Cowan University, the project aims to address the organisation’s vision to provide “a hand up” (St Vincent 1) rather than ‘a hand out’, so that people can move forward with their lives without becoming dependent upon welfare. Prior to the start of the research, SVDPWA already had a whole of family focus in its outreach to poverty-impacted families including offering homework clubs and school holiday children’s camps run by their youth services division. Selected families supported by SVDPWA have been invited to participate in an in-depth interview for the project (Seidman), partly so that researchers can help identify “turning points” (King et al.) that might disrupt the communication of welfare dependency and inform more generalised intervention strategies; but also in order to explore the response to creative interventions within the children’s daily lives, including investigation of how strategies the child (and family) employed might help them to imagine alternative realities and futures for themselves. This paper closely examines the way that one 10 year old child from a non-English-speaking background family has employed alternative ways of viewing her life, through the camp program provided by the Linkage Partner St Vincent de Paul WA, and through reading novels such as Harry Potter and the Lemony Snicket Unfortunate Incidents series. Such activities help fuel hope for a different future which, in Snyder’s view has “two main components: the ability to plan pathways to desired goals despite obstacles, and agency or motivation to use those pathways” (Carr 96).The FamilyKani is a 10 year old girl living in a migrant sole parent family. The parents had moved to Australia from Bangladesh on student visas when Kani was 5 years old, however due to domestic violence the mother had recently separated from her husband, first into a women’s refuge then into private rental accommodation. The mother is in protracted negotiations with the Department of Immigration for permanent residency, which she had to recommence due to her separation. There are also family court negotiations for child custody and which restrict her leaving Australia. She receives no government benefits and minimal child support, works fulltime and pays full childcare fees for Kani’s 3 year old brother Adil and full primary school fees for Kani at a local religious school, given that Kani had experienced bullying and social aggression in previous schools. Kani was referred to SVDPWA by the women’s refuge and she began attending SVDPWA Kids’ Camps thereafter. (NB: Whilst the relevant specifics of this description are accurate, non-relevant material has been added or changed to protect the child’s and family’s identity.)Creative Life-Course InterventionsThe creative engagement that Kani experienced in the Hand Up project is constructed as one component in a larger model of creativity which includes “intrapersonal insights and interpretations, which often live only within the person who created them,” (Kaufman and Beghetto 4). Such an approach also acknowledges Csikszentmihalyi’s work on the concept of “flow”, whereby optimal experiences can result from positive absorption in a creative activity. Relevant Australian research such as the YouthWorx project has identified participatory engagement in creativity as one means of engaging with young people at risk (Hopkins; Podkalicka). The creative interventions in the Hand Up project take two forms; one is the predesigned and participatory creative activities delivered as part of the SVDPWA Kids’ Camp program. The second is a personalised intervention, identified by way of an in-depth interview with the child and parent, and is wholly dependent on the interests expressed by the child, the ability for the family to engage in that activity, and the budget restraints of the project.Reading as an Alternative RealityA key creative intervention embedded in the Hand Up Linkage project is determined by the interests expressed by the child during their in-depth interview. Also taken into account is the ability for the family to engage in that activity. For example, Kani’s mother works fulltime at a location which is an hour by public transport from home and does not have a car or driver’s license, so the choice of creative opportunity was restricted to a home-based activity or a weekend activity accessible by public transport. A further restriction is the limited budget available for this intervention in the project, along with an imperative that such interventions should be equitable between families and within families, and be of benefit to all the children in addition to the interviewed child. Fortunately, transport was not an issue because Kani expressed her interest very emphatically as books and reading. When asked what she liked doing most in life, Kani replied: “Reading. I like reading like big books, like really thick books and stuff. I have like 30 in my room. Like those really big books. And I'm starting to read Harry Potter now. Okay, the books that I like reading is Harry Potter, the entire set Roald Dahl books and the Baudelaire Orphans by Lemony Snicket. I like reading David Walliams. I like Little Women” (Kani). Her excitement in listing these books further animated the interview and was immediately emphasised because Kani took the interviewer (second author) and her mother into her room to demonstrate the truth of her statement. When asked again at the close of the interview “what’s a favourite thing that makes you feel good inside?” Kani’s answer was “Family and reading”. The energy and enthusiasm with which Kani talked about her reading and books made these the obvious choice as her creative intervention. However, participation in book-related courses or after-school activities was restricted by Kani’s mother’s transportation limitations. Taking into account how the financial constraints of her sole parent family impacted upon their capacity to buy books, and the joy that Kani clearly experienced from having books of her own, it was decided that a book voucher would be provided for her at a local bookstore easily accessible by bus. The research team negotiated with the bookstore to try to ensure that Kani could choose a book a month until the funds were expended so that the intervention would last most of the coming six months.What Kani was expressing in her love of books was partly related to the raw material they provide that help her to imagine the alternative reality of the fictional worlds she loved reading about. Kani’s passionate engagement in these alternative realities reflects theories of narrative immersion in one’s chosen medium: “One key element of an enjoyable media experience is that it takes individuals away from their mundane reality and into a story world. We call the process of becoming fully engaged in a story transportation into a narrative world” (Green et al. 311–12). Kani said: “Reading is everything, yeah. Like getting more books and like those kind of things and making me read more... ‘cause I really love reading, it’s like watching a movie. Do you know ... have you watched Harry Potter? … the book is nothing like the movie, nothing, they’ve missed so many parts so the book is more enjoyable than the movie. That’s why I like reading more. ‘Cause like I have my own adventures in my head.” This process of imagining her own adventures in her head echoes Green and Brock’s explanation of the process of being transported into alternative realities through reading as a result of “an integrative melding of attention, imagery, and feelings” (701).Constructing Alternative Realities for Herself and an Alternative Possible FutureLike many 10 year olds, Kani has a challenging time at school, exacerbated by the many school moves brought about by changes in her family circumstances. Even though she is in a school which supports her family’s faith, her experience is one of being made to feel an outsider: “all the boys and the girls in our class are like friends, they’re like ... it’s a group. But I’m not in their group. I have my friends in other classes and they’re [my classmates are] not happy with it, that’s why they tease me and stuff. And like whenever I play with my friends they’re like ... yeah”. The interviewer asked her what she liked about her special friends. “They’re fun. Creative like, enjoyable, yeah, those kind of things …they have lots of cool ideas like plans and stuff like that.” As Hawkins et al. argue, the capacity to develop and maintain good relationships with peers (and parents) is a key factor in helping children be resilient. It is likely that Kani also shares her creativity, ideas and plans with her friendship group as part of her shared contribution to its existence.A domestication of technology framework (Silverstone et al.) can be useful as part of the explanation for Kani’s use of imaginative experience in building her social relationships. Silverstone et al. argue that technology is domesticated via four interlocking activities: ‘appropriation’ (where it embraced, purchased, taken into the household), ‘objectification’ (where a physical space is found for it), ‘incorporation’ (the spaces through which it is inserted into the everyday activities of the household or users) and ‘conversion’ (whereby the experience and fact of the technology use – or lack of use – becomes material through which family members express themselves and their priorities to the social world beyond the home). Arguably, Kani ‘converts’ her engagement with books and associated imaginative experiences into social currency through which she builds relationships with the like-minded children with whom she makes friends. At the same time, those children feed into her ideas of what constitutes a creative approach to life and help energise her plans for the future.Kani’s views of her future (at the age of 10) are influenced by the traditional occupations favoured by high achieving students, and by the fact that her parents are themselves educational high achievers, entering Australia on student visas. “I want to be a doctor … my cousin wants to be a doctor too. Mum said lawyer but we want to be a doctors anywhere. We want to be a ...me and my cousin want to be doctors like ...we like being doctors and like helping people.” Noting the pressures on the household of the possible fees and costs of high school, Kani adds “I need to work even harder so I get a scholarship. ‘Cause like my mum can’t pay for like four terms, you know how much money that will be? Yeah.” Kani’s follow-on statement, partly to justify why she wants “a big house”, adds some poignancy to her reference to a cousin (one of many), who still lives in Bangladesh and whom Kani hasn’t seen since 2011. “Like I want to live with my mum and like yeah and like I live with my cousin too because like I have a cousin ... she’s a girl, yeah? And like yeah, she’s in Bangladesh, I haven’t seen her for very long time so yeah.” In the absence of her extended family overseas, Kani adds her pets to those with whom she shares her family life: “And my mum and my uncle and then our cat Dobby. I named it [for Harry Potter’s house elf] ...and the goldfish. The goldfish are Twinkle, Glitter, Glow and Bobby.”Kani’s mum notes the importance of an opportunity to dream a future into existence: “maybe she’s too young or she hasn’t really kind of made up her mind as yet as to what she wants to do in life but just going out and just you know doing stuff and just giving them the opportunity”. The SVDPWA Kids’ Camp is an important part of this “they [the refuge] kind of told us like ‘there’s this child camp’. … I was like yeah, sure, why not?” Providing Alternative Spaces at the SVDPWA Kids’ CampThe SVDPWA Kids’ Camps themselves constitute a creative intervention in offering visions of alternative realities to their young participants. Their benefit is delivered via anticipation, as well as the reality of the camp experience. As Kani said “I forget all about the things that’s just past, like all the hard things, you know like I go through and stuff and it just makes me forget it and it makes me like think about camp, things we’re going to do at camp”. The Kids’ Camps take place three times a year and are open to children aged between 8 and 13, with follow-on Teen Camps for older age groups. Once a child is part of the program she or he can continue to participate in successive camps while they are in the target age group. Consisting of a four day activity-based experience in a natural setting, conducted by Vinnies Youth and staffed by key SVDPWA employees and Youth volunteers, the camps offer children a varied schedule of activities in a safe and supported environment, with at least one volunteer for every two child participants. The camps are specifically made available to children from disadvantaged families and are provided virtually free to participants. (A nominal $10 enrolment fee is applied per child). Kani was initially reticent about attending her first camp. She explained: “I was shy, scared because I sleep with my mum so it’s different sleeping without Mum. I know it’s kind of embarrassing ‘cause, sleeping with my mum like, but I just get scared at night”. Kani went on to explain how the camp facilitators were able to allay her fears “I knew I was safe. And I had people I could talk to so yeah ...like the leader”. As one Vinnies Youth volunteer explains, the potential of offering children like Kani time out from the pressures of everyday life is demonstrated when “towards the end of every camp we always see that progression of, they came out of their shell … So I think it’s really just a journey for everyone and it’s understandable if they did feel stuck. It’s about what we can do to help them progress forward” (VY1). Kani was empowered to envision an alternative idea of herself at camp, one which was unexpectedly intuited by the research interviewer.When the interviewer closed the interview by expressing that it had been lovely to talk to Kani as she was “such a bundle of energy”, Kani grinned and replied “Do you know the warm fuzzies, yeah? [When positive thoughts about others are exchanged at the SVDPWA Kids’ Camp]. The bundle ... all the leaders say I’m a bundle of happiness”. The Kids’ Camp provided Kani with a fun and positive alternative reality to the one she experienced as a child handling the considerable challenges experienced by social isolation, domestic violence and parental separation, including the loss of her home, diminished connection to her overseas extended family, legal custody issues, and several school changes. Taking the role of cultural intermediary, by offering the possibility of alternative realities via their camp, SVDPWA offered Kani a chance that supported her work on creating a range of enticing possible futures for herself. This was in contrast to some commercial holiday camp experiences which might more centrally use their “cultural authority as shapers of taste and … new consumerist dispositions” (Nixon and Du Gay 497). Even so, Kani’s interview made clear that her experience with the SVDPWA Kids’ Camps were only part of the ways in which she was crafting a range of possible visions for her adult life, adding to this her love of books and reading, her fun, creative friends, and her vision for a successful future which would reunite her with her distant cousin and offer security to her mother. ConclusionUnderstandably, Kani at 10 lacks the critical insight required to interpret how her imaginative and creative life provides the raw materials from which she crafts her visions for the future. Further, the interviewer is careful not to introduce words like ‘creative’ into her work with the participant families, so that when Kani used it to talk about her friends she did so drawing upon her own store of descriptions and not as a result of having recently been reminded of creativity as a desirable attribute. The interview with this young person indicates, however, how greatly she values the imaginative and cultural inputs into her life and how she converts them in ways which help ensure access to further such creative currency. Apart from referencing her reading in the naming of her cat, Kani’s vision for herself reflects both the conventional idea of success (“a doctor”) and a very specific idea of her future living as an adult in house large enough to include her mum and her cousin.Kani’s love of reading, her pleasure in books, her choice of friends and her aspirations to scholarly excellence all offer her ways to escape the restricted options available to families who seek support from organisations such as SVDPWA. At the same time the Kids’ Camps themselves, like Kani’s books, provide an escape from the difficulties of the present. Kani’s appropriation of the cultural raw materials that she draws into her life, and her conversion of these inputs into a creative, social currency, offers her an opportunity to anticipate a better future, and some tools she can use to help bring it into existence.ReferencesCarr, A. Positive Psychology: The Science of Happiness and Human Strengths. 2nd ed. Hove, UK: Routledge, 2011.Csikszentmihalyi, M. Creativity: Flow and the Psychology of Discovery and Invention. New York: HarperCollins, 1996.Green, M., and T. Brock. “The Role of Transportation in the Persuasiveness of Public Narratives.”. Journal of Personality and Social Psychology 79 (2000): 701–21.———, T. Brock, and G. Kaufman. “Understanding Media Enjoyment: The Role of Transportation into Narrative Worlds." Communication Theory 14.4 (2004): 311–27.Hawkins, J.D., R. Kosterman, R.F. Catalano, K.G. Hill, and R.D. Abbott. “Promoting Positive Adult Functioning through Social Development Intervention in Childhood: Long-Term Effects from the Seattle Social Development Project.” Archives of Pediatrics & Adolescent Medicine 159.1 (2005): 25. Hopkins, L. “YouthWorx: Increasing Youth Participation through Media Production.” Journal of Sociology 47.2 (2011): 181–197. doi: 10.1177/1440783310386827.Kani. In-depth interview, de-identified, 2016.Kaufman, J. C., and R.A. Beghetto. “Beyond Big and Little: The Four C Model of Creativity.” Review of General Psychology 13.1 (2009): 1–12. <http://dx.doi.org/10.1037/a0013688>. King, G., T. Cathers, E. Brown, J.A. Specht, C. Willoughby, J.M. Polgar, and L. Havens. “Turning Points and Protective Processes in the Lives of People with Chronic Disabilities.” Qualitative Health Research 13.2 (2003): 184–206.Nixon, S., and P. Du Gay. “Who Needs Cultural Intermediaries?” Cultural Studies 16.4 (2002): 495–500.Podkalicka, A. “Young Listening: An Ethnography of YouthWorx Media’s Radio Project.” Continuum 23.4 (2009): 561–72.St Vincent de Paul Society (WA). St Vincent de Paul Society, Annual Report 2013. Perth, WA: St Vincent de Paul Society (WA), 2013. 5 Jan 2017 <http://www.vinnies.org.au/icms_docs/169819_Vinnies_WA_2012_Annual_Report.pdf>.Seidman, I. Interviewing as Qualitative Research: A Guide for Researchers in Education and the Social Sciences. New York: Teachers College Press, Columbia University, 2006.Silverstone, R., E. Hirsch, and D. Morley. “Information and Communication Technologies and the Moral Economy of the Household.” Consuming Technologies: Media and Information in Domestic Spaces. Eds. R. Silverstone and E. Hirsch. London: Routledge, 1992. 9–17.Snyder, C.R. Handbook of Hope. Orlando, FL: Academic Press, 2000.VY1. In-depth interview with Vinnies Youth volunteer, de-identified, 2016.

News and Announcements1) Canadian Children's Book News, Spring 2015 IssueIn recognition of the TD Canadian Children's Book Week and its theme "Hear Our Stories: Celebrating First Nations, Métis and Inuit Literature," this issue explores several facets of this vibrant part of children's literature. It includes a profile of author David Alexander Robertson and a look at the publishers and market for First Nations, Métis, and Inuit stories.2) TD Canadian Children's Book Week (May 2- May 9, 2015) is the single most important national event celebrating Canadian children’s books and the importance of reading. More than 28,000 children, teens, and adults participate in activities held in every province and territory across the country. Hundreds of schools, public libraries, bookstores, and community centres host events as part of this major literary festival. It is organized by the Canadian Children’s Book Centre, in partnership with the Storytellers of Canada/Conteurs du Canada.3) Free Comic Book Day (May 2, 2015) takes place annually on the first Saturday in May. It is a single day when participating comic book specialty shops and public libraries across North America and around the world give away comic books absolutely free to anyone who comes into their shops! For more information: http://www.freecomicbookday.com/Home/1/1/27/9924) Canadian Authors for Indies Day (May 2, 2015)Authors across Canada support independent bookstores by volunteering as guest book sellers. To see who may be in your local indie book store, go to http://www.authorsforindies.com/5) Storytellers of Canada/Conteurs du Canada conference: Where Languages Meet (July 2-5, 2015). This year’s conference is in Lévis, Quebec where a rich storytelling tradition awaits. La Maison Natale Louis Fréchette – birthplace of one of Quebec’s most celebrated poets – hosts the SC-CC conference which proudly brings a range of vibrant programming in both official languages storytellers and listeners. http://www.storytellers-conteurs.ca/en/conference/storytellers-conference-2015.html6) Words in 3 Dimensions Conference 2015: Intersections (May 22 to 24, 2015)Held at the Chateau Lacombe Hotel in Edmonton for this second edition, the conference connects writers, editors, publishers, and agents from across Canada. This weekend focuses on how and where a writer’s work with words intersects with other disciplines. http://www.wordsin3d.com/7) The 2015 Storytelling World Resource Awards (storytellingworld.com/2015/) includes the following Canadian titles :Stories for Pre-Adolescent Listeners: Not My Girl: the True Sotry of a Daughter's Cultural Adjustmentsby Christy Jordan-Fenton and Margaret Pokiak-Fenton (Annick Press)Stories for Adolescent Listeners: Hope Springs: a Story of Complassion and understanding by Eric Walters (Tundra Books)8) IBBY Canada (International Board on Books for Young People, Canadian section). Stop, Thief!, illustrated by Pierre Pratt and written by Heather Tekavec (Kids Can Press, 2014), is the winner of the Elizabeth Mrazik-Cleaver Canadian Picture Book Award. Pierre was also nominated [again] by IBBY Canada for the prestigious Hans Christian Andersen Award.” www.ibby-canada.org/elizabeth-mrazik-cleaver-pratt/And now, a plethora of shortlist announcements:1) The 2015 Alberta Literary Awards ShortlistWinners will be announced and awards presented at the Alberta Literary Awards Gala on Saturday, May 23, 2015. The celebration will take place at the Chateau Lacombe Hotel (10111 Bellamy Hill Road) in Edmonton alongside the 2015 Words in 3 Dimensions Conference: Intersections (see above).A full list of award categories and nominees can be found at http://writersguild.ca/2015-alberta-literary-awards-shortlist/2) R. Ross Annett Award for Children's Literature (www.bookcentre.ca/awards/r_ross_annett_award_childrens_literature) Victor Lethbridge– You're Just Right (Tatanka Books)Leanne Shirtliffe– The Change Your Name Store (Sky Pony Press)Richard Van Camp– Little You (Orca Book Publishers) 3) 2014 Science in Society Book Awards Shortlists. Two annual book awards honour outstanding contributions to science writing. One is for books intended for children ages 8-12; the other for book aimed at the general public. Winners will be announced on Canada Book Day, April 23, 2015. http://sciencewriters.ca/awards/book-awards/Zoobots by Helaine Becker, Kids Can Press.Starting from Scratch by Sarah Elton, Owl Kids Books.It’s Catching by Jennifer Gardy, Owl Kids Books.The Fly by Elise Gravel, Penguin Random House.If by David J. Smith, Kids Can Press.4) 2015 Atlantic Book Awards ShortlistThe full shortlist for the eight different book prizes comprising the 2015 Atlantic Book Awards can be found www.atlanticbookawards.ca. Below are the nominees for the Ann Connor Brimer Award for Children’s Literature and the Lillian Shepherd Award for Excellence in Illustration. Winners will be announced Thursday, May 14, 2015.Ann Connor Brimer Award for Children’s LiteratureJack, the King of Ashes by Andy Jones (Running Goat Books & Broadsides)Flame and Ashes: The Great Fire Diary of Triffie Winsor (Dear Canada series) by Janet McNaughton (Scholastic Canada Ltd.)The End of the Line by Sharon E. McKay (Annick Press Ltd.)Lillian Sheperd Award for Excellence in IllustrationSydney Smith (nominee) Music is for Everyone by Jill Barber (Nimbus Publishing)Michael Pittman (nominee) Wow Wow and Haw Haw by George Murray(Breakwater Books)Nancy Rose (nominee) The Secret Life of Squirrels by Nancy Rose (Penguin Canada)5) Newfoundland and Labrador Book Award shortlist.During even-numbered years, these awards honour fiction and children’s/young adult fiction books; odd-numbered years recognise poetry and non-fiction. The winners will be announced May 27, 2015. This year’s list of finalists for the Newfoundland and Labrador Non-fiction Award are all first-time authors (http://wanl.ca/literary_awards)Alan Doyle for Where I Belong: From Small Town to Great Big Sea (Doubleday Canada)Janet Merlo for No One to Tell: Breaking My Silence on Life in the RCMP (Breakwater Books)Andrew Peacock for Creatures of the Rock (Doubleday Canada)Three acclaimed Newfoundland poets are shortlisted for the E.J. Pratt Poetry Award:Michael Crummey for Under the Keel(House of Anansi Press)Mary Dalton for Hooking (Véhicule Press)Carmelita McGrath for Escape Velocity (Goose Lane Editions)6) 2015 Information Book Award Shortlist announced by the Children’s Literature Roundtables of Canada. Voting Deadline: Saturday October 31, 2015.Any Questions? by Marie-Louise Gay.(Groundwood Books). A Brush Full of Colour: The World of Ted Harrison. by Margriet Ruurs & Katherine Gibson (Pajama Press).Do You Know Komodo Dragons? by Alain M. Bergeron, Michel Quintin, and Sampar. Illustrations by Sampar. Translated by Solange Messier (Fitzhenry & Whiteside).Dreaming in Indian: Contemporary Native American Voices. edited by Lisa Charleyboy and Mary Beth Leatherdale (Annick Press). Not My Girl. by Christy Jordan-Fenton and Margaret Pokiak-Fenton. Illustrated by Gabrielle Grimard (Annick Press). The Rat. by Elise Gravel (Tundra Books). Shapes in Math, Science and Nature: Squares, Triangles and Circles. by Catherine Sheldrick Ross. Illustrated by Bill Slavin (Kids Can Press). Take Shelter: At Home Around the World. by Nikki Tate and Dani Tate-Stratton (Orca Books). Tastes Like Music: 17 Quirks of the Brain and Body. by Maria Birmingham. Illustrated by Monika Melnychuk (Owl Kids). We All Count: A Book of Cree Numbers. by Julie Flett (Native Northwest).For more information about voting and submissions please contact the Information Book Award Chair, Kay Weisman at weismankay@gmail.com7) IBBY Canada (International Board on Books for Young People, Canadian section).Stop, Thief! illustrated by Pierre Pratt and written by Heather Tedavec (Kids Can Press, 2014) is the winner of the Elizabeth Mrazik-Cleaver Canadian Picture Book Award. Pierre was also nominated [again] by IBBY Canada for the prestigious ans Chrisitan Andersen Award. (www.ibby-canada.org/elizabeth-mrazik-cleaver-pratt/)-----Presented by Gail de Vos. Gail is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and commic books and graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.