Journal articles on the topic 'Top bottom vers'

Résumé. La régionalisation de l'action publique est l'une des évolutions les plus marquantes des États européens depuis les années 1970. Cette évolution présente une opportunité pour examiner, dans le contexte européen, les théories de la compétition interrégionale. C'est ce que cet article se propose de faire à partir de la comparaison de deux cas les plus différents : les politiques d'éducation en France, un État anciennement centralisé où les régions disposent de compétences relativement étroites, et en Allemagne, un État fédéral où les régions possèdent des compétences étendues. L'article montre que ni une course vers le bas, ni une course vers le haut ne s'enclenchent. C'est au contraire une course vers le milieu qui caractérise les relations compétitives entre les régions françaises et allemandes, respectivement, où les gouvernements régionaux tentent de montrer qu'ils font comme les autres afin d'éviter le blâme des électeurs et de l'État central.Abstract. The regionalization of public policy is one of the most remarkable transformations European states have undergone since the 1970s. Through an examination of this particular development, the article explores theories of interregional competition in two very different cases: education policy in France, a decentralized unitary state where regional governments are entrusted with limited policy competences in this field, and Germany, a federal state where regions have exclusive responsibility over secondary education. The paper shows that, in both cases, interregional competition lends itself neither to a race to the bottom nor a race to the top, but rather to a race to the middle. Regional governments aim, in fact, to demonstrate that they adopt similar policies to other regions so as to avoid being blamed by both the electorate and the central state.

The paper discusses the problem of semantic evolution of the language units. It focuses on the semantics and collocation of the inchoative verbs: nachatisja, pochatisja, zachatisja, nastati, nastupiti, vozniknuti, pojavitisja in the Middle Russian writing. The research is based on the historical modules of the Russian National Corpus, historical dictionaries and card indices of the Dictionary of the Russian Language of the 11 th – 17 th centuries. The primary parameter for comparing inchoative verbs is the taxonomic class of a noun used as the main participant in the situation. The author argues that, in earlier period, the main inchoative verbs were verbs with the root -chn- and the verb nastati; their collocation was much wider than in contemporary Russian (they could collocate with almost any class of a noun). The high-code verb vozniknuti co-occurred with nouns that categorize such types of objects that can "rise", i.e., appear moving from bottom to top. On the contrary, the verb nastupiti co-occurred with nouns denoting entities and phenomena, which cover a large space and move horizontally. The verb pojavitisja collocated with the nouns of various phenomena, which can be perceived by senses. The verbs nastupiti, pojavitisja, vozniknuti are noted to have expanded their collocation gradually, taking over some meanings of the verbs nachatisja and nastati, which tended to narrow their collocation. Other verbs with the root -chn- ceased to be used.

AbstractIn this paper, we introduce our ongoing project about synonymy in bilingual context. This project aims at exploring semantic ‘equivalence’ of verb senses of generally different verbal lexemes in a bilingual (Czech-English) setting. Specifically, it focuses on their valency behavior within such equivalence groups. We believe that using bilingual context (translation) as an important factor in the delimitation of classes of synonymous lexical units (verbs, in our case) may help to specify the verb senses, also with regard to the (semantic) roles relation to other verb senses and roles of their arguments more precisely than when using monolingual corpora. In our project, we work “bottom-up”, i.e., from an evidence as recorded in our corpora and not “top-down”, from a predefined set of semantic classes.

The article describes the semantic structure of one of the most polysemantic motion verbs in Turkic languages, namely the verb čïq= ~ sïx= and the correlating Tuvan verb ün=. The secondary meanings of these verbs in South- ern Siberian Turkic languages (Altai, Khakas, Tuvan) are analyzed in comparison with Kipchak languages. The verb čïq= ~ sïx= has been actively developing its meaning since it was fixed in the ancient Turkic monuments. This verb was found to possess similar meanings in various Turkic languages. At the same time, čïq= ~ sïx= is combined with different words in these languages. Regional values or values specific to specific languages are also detected. The languages under consideration are divided according to the action values expressed by constructions with the verb čïq= and its analogs: the beginning in the Turkic languages of Siberia and the completion, exhaustion of action in non-Siberian languages. It may be a manifestation of Mongolian influence on the Siberian languages, since the semantics of initialization is characteristic of the Mongolian gar=, the semantic structure of which is almost similar to the Turkic čïq= and ün=. The secondary meanings of the verb considered reflect the representations of linguistic groups associated with such concepts as top / bottom, previous / subsequent (in time). The semantics of čïq= ~ sïx= and ün= reflects the spatial-temporal aspect of the Turkic world view. These verbs combine the meanings of various vectors of direction (horizontally and vertically), as well as motions taking place on various spatial-temporal intervals, including the opposite ones: the manifestation of an object / the beginning of an action (to appear / to begin; to begin, to start some activity); the action during some space-time interval (to overcome any space / to overcome any period; to happen, to occur); the disappearance of an object / the completion of an action (to disappear / to come to an end; to finish, to complete some activity).

ABSTRACTResistive switching behaviors in Aloe vera films are being explored for nonvolatile memory applications. A simple structure in which the Aloe vera films sandwiched in between a top and bottom electrode are used. The switching behaviors of the devices in which the Aloe vera film is dried at different temperatures and the roles of top electrode materials (Al and Ag) are investigated. Current density–voltage measurements reveal that filamentary conduction is the dominant conduction process inducing resistive switching characteristics in Aloe vera films. Device with Al-top electrode requires a forming voltage higher than devices with Ag-top electrode, due to the tendency of oxide formation of these materials. The resistive switching behaviors are highly reproducible, as demonstrated by the data retention performance over an interval of 104 s and endurance capability of over 100 cycles.

Abstract Tocharian possesses a highly complex verbal system and has played a major role in theories about the PIE verb in recent decades. While it is certainly true that Tocharian deserves the highest attention for theories about the protolanguage, not every trait of its verbal system has to be explained by direct top-down developments and not every trait can be directly transferred onto the proto-language. The paper discusses the Tocharian causative stems and argues that an inner-Tocharian development for the system of causatives is more likely than deriving the various stems from respective PIE stems directly.

<p>This paper argues that the idea of Construction Morpho(phono)logy (henceforth CM) in the sense of Booij (2010) works well in the analysis of many register-specific expressions in Japanese. Japanese is often (unofficially) said to be morpho-syntactically “less constructional” than languages like English. This kind of remark seems to stem in part from the apparent rarity of constructional template-based innovation like the one cited in (1a), in which the otherwise intransitive verb <em>sneeze</em> occurs in a transitive sentence frame with the help of the well-known “caused-motion construction” given in (1b). What seems to be its Japanese equivalent is clearly ungrammatical, as shown in (1c).</p><p style="text-align-left;padding-left: 15px; padding-bottom: 0px; margin-bottom: 0px; padding-top: 0px; margin-top: 0px;">1a. Fred sneezed the napkin off the table. (Goldberg 1995:156)<br />1b. The caused-motion construction in English (Goldberg 1995:152)</p><p style="ext-align-left;padding-left: 30px; padding-bottom: 0px; margin-bottom: 0px; padding-top: 0px; margin-top: 0px;">syntax: [SUBJ [V OBJ OBL]]<br /> semantics: ‘X CAUSE Y to MOVE z’</p><p style="text-align-left;padding-left: 15px; padding-bottom: 0px; margin-bottom: 0px; padding-top: 0px; margin-top: 0px;">1c. *Hureddo-ga teeburu-kara napukin-o kusyami-si-ta.</p><p style="ext-align-left;padding-left: 30px; padding-bottom: 0px; margin-bottom: 0px; padding-top: 0px; margin-top: 0px;">F-NOM table-from napkin-ACC sneeze-do-PST<br /> ‘Fred sneezed the napkin off the table.’</p><p>In this study, however, it will be shown that the language has a rich constructional architecture at least at the word level.</p>

<!--[if gte mso 10]> <mce:style><! /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Vanlig tabell"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} > <! [endif] > <p class="MsoNormal"><span lang="EN-US">This paper discusses different types of zero-derived de-verbal nominals with a focus on result nominals, simple event nominals and complex event nominals. I argue that zero-derived nominals should be treated on a par with overtly derived nominals. I claim that verbs that have related zero-derived nominals have nominal gender features in their lexical entries in addition to verbal features, like Proc and Res, and that merging a gender feature on top of an event-structure representation results in a nominal. To capture the fact that verbal entries can be inserted in both nominal and verbal contexts, I apply the principle of underattachment, or underassociation, that allows lexical entries to be inserted in the syntax even when not all of the features in the lexical entry are present in the syntax (see e.g. Ramchand 2008 and Caha 2009). In verbal contexts, no gender feature is inserted, and in some of the nominal contexts, only a subset of the verb&rsquo;s event features are present. I further argue that the only function of overt nominalizing suffixes is to lexicalize a gender feature. If the lexical entry of a verb already contains a gender feature, no overt nominalizing suffix needs to be inserted. </span><-->

The issue of compositionality is applied to the modelling of the mental lexicon in terms of neural networks as described in Fortescue (2009). The approach is illustrated by applying it to the analysis of a semantically complex verb, conquer, illustrating the need to draw upon top-down (social, stylistic) as well as bottom-up (sensory) affordances in modelling such lexical items. Thereafter, a collocation that requires the mutual adjustment of the semantics of its individual components is analysed. Finally, adjectives of temperature crucially involving “limbic” affordances are treated. In all instances, the relevance of universal conceptual “primitives” to the processes of paraphrase and (co)composition will be seen to be highly restricted.

Twelve subjects, 6 bilateral vestibular-loss (3 well compensated and 3 poorly compensated) and 6 controls, attempted to maintain balance during anterior-posterior sinusoidal surface translation at 6 different frequencies. For frequencies ≤ 0.25 Hz well compensated and control subjects rode the platform by fixing the head and upper-trunk with respect to the support surface, and for frequencies ≥ 0.75 Hz, these subjects fixed their head/upper-trunk in space. Poorly compensated vestibular subjects showed large head and center of mass variability and were unable to balance at frequencies requiring a head fixed in space pattern. All vestibular subjects were less stable with vision than the controls. Without vision, vestibular subjects experienced more falls than the controls at all frequencies, with falls observed in 61% trials and 16% information is important in stabilizing head and upper-trunk motion in space. Visual and somatosensory information can compensate, in part, for vestibular-loss. The results are discussed in light of models that characterize postural control in a vestibular/visual top-down and somatosensory bottom-up manner.

Purpose Automatic interpretation of Nominal Compounds is a crucial issue for many applications, for example, sentence understanding, machine translation, question-answering system and so forth. Many automatic interpretation models of Nominal Compounds use the strategies based on verbs or rules to obtain the interpretation of compounds. However, the performances of these models are still limited. The purpose of this paper is to propose an effective approach for automatic interpretation of Chinese nominal compounds. Design/methodology/approach The authors propose a top-down and bottom-up model based on rules and large-scale corpus for automatic interpretation of Nominal Compounds. Findings Experimental results demonstrate that the proposed model outperforms the state-of-the-art automatic interpretation model. Originality/value The paper is an up-to-date study of automatic interpretation for Nominal Compounds. It can help people understand the meaning of Nominal Compounds in reading. With a better understanding of Nominal Compounds, we can discover more hidden knowledge in them.

This review focusses attention on a ragged edge of our knowledge of self-motion perception, where understanding ends but there are experimental results to indicate that present approaches to analysis are inadequate. Although self-motion perception displays processes of "top-down" construction, it is typically analyzed as if it is nothing more than a deformation of the stimulus, using a "bottom-up" and input/output approach beginning with the transduction of the stimulus. Analysis often focusses on the extent to which passive transduction of the movement stimulus is accurate. Some perceptual processes that deform or transform the stimulus arise from the way known properties of sensory receptors contribute to perceptual accuracy or inaccuracy. However, further constructive processes in self-motion perception that involve discrete transformations are not well understood. We introduce constructive perception with a linguistic example which displays familiar discrete properties, then look closely at self-motion perception. Examples of self-motion perception begin with cases in which constructive processes transform particular properties of the stimulus. These transformations allow the nervous system to compose whole percepts of movement; that is, self-motion perception acts at a whole-movement level of analysis, rather than passively transducing individual cues. These whole-movement percepts may be paradoxical. In addition, a single stimulus may give rise to multiple perceptions. After reviewing self-motion perception studies, we discuss research methods for delineating principles of the constructed perception of self-motion. The habit of viewing self-motion illusions only as continuous deformations of the stimulus may be blinding the field to other perceptual phenomena, including those best characterized using the mathematics of discrete transformations or mathematical relationships relating sensory modalities in novel, sometimes discrete ways. Analysis of experiments such as these is required to mathematically formalize elements of self-motion perception, the transformations they may undergo, consistency principles, and logical structure underlying multiplicity of perceptions. Such analysis will lead to perceptual rules analogous to those recognized in visual perception.

PurposeOften, it is assumed that teams are better at solving problems than individuals working independently. However, recent work in engineering, design and psychology contradicts this assumption. This study aims to examine the behavior of teams engaged in data science competitions. Crowdsourced competitions have seen increased use for software development and data science, and platforms often encourage teamwork between participants.Design/methodology/approachWe specifically examine the teams participating in data science competitions hosted by Kaggle. We analyze the data provided by Kaggle to compare the effect of team size and interaction frequency on team performance. We also contextualize these results through a semantic analysis.FindingsThis work demonstrates that groups of individuals working independently may outperform interacting teams on average, but that small, interacting teams are more likely to win competitions. The semantic analysis revealed differences in forum participation, verb usage and pronoun usage when comparing top- and bottom-performing teams.Research limitations/implicationsThese results reveal a perplexing tension that must be explored further: true teams may experience better performance with higher cohesion, but nominal teams may perform even better on average with essentially no cohesion. Limitations of this research include not factoring in team member experience level and reliance on extant data.Originality/valueThese results are potentially of use to designers of crowdsourced data science competitions as well as managers and contributors to distributed software development projects.

<p class="MsoNormal" style="margin-top: 0cm; margin-right: 28.3pt; margin-bottom: 12.0pt; margin-left: 1.0cm; text-align: justify;"><span style="font-size: 10.0pt;" lang="EN-US">Clauses headed by <em>if</em> and <em>when</em> are very often considered syntactically and semantically equivalent.&nbsp; Nevertheless, in this paper we show that the type of predicate has an impact both on the grammaticality and the interpretation of the subordinate clause in Spanish. Theses clauses provide evidence for the proposal that stage-level predicates involve an extra-argument that individual-level predicates lack. Following Kratzer (1995), we assume that this is extra-argument is a spatio-temporal argument. While stage-level predicates in the subordinate clause are perfectly grammatical, individual-level predicates yield to ungrammatical sentences, unless an indefinite or a kind-referring NP is involved. &nbsp;Kratzer&acute;s Prohibition against vacuous quantification provides a sound account for the asymmetry between the two types of predicates.&nbsp; In addition, a stative verb in the <em>when</em> clause is grammatical, but it forces an epistemic reading. When both predicates are individual-level predicates in the subordinate and the main clause, the <em>if</em> clause may can take a factual reading while the <em>when</em> clause is ungrammatical unless there is some kind of operator involved through a generic, a kind-referring NP or an indefinite pronoun.</span></p>

Modern pedagogy is moving away from traditional transmissive approaches, and it is extensively embracing constructive theory of learning. A prominent practical embodiment of this paradigm shift is a method called Constructive Alignment (CA). This approach focuses on learners’ actions and starts from a clear communication of the Intended Learning Outcomes (ILOs) of the focal unit. ILOs are made of content, a context, and an Educational Goal Verb (EGV). According to the Bloom Taxonomy, the EGV is the core of an ILO and refers to the action the learners are expected to be able to master after completing the educational unit. The ILO is then aligned to the course activity using the EGV (i.e., EGVs are enacted through Teaching and Learning Activities (TLAs) and verified through Assessment Tasks (ATs)). Despite the ILO definition being extensively investigated and described, the extant literature has poorly explored how to devise suitable TLAs and ATs, lacking comprehensive contributions that identify and describe the different kinds of TLAs and ATs available to course designers. In view of the above gap, the authors searched and reviewed the literature (scientific papers (i.e., top-down, deductive approach)) and practices in higher education (university websites and blogs (i.e., bottom-up, inductive approach)) to identify all the possible sources of TLA and AT descriptions available. The results propose standardized templates that support the course design process, providing extensive descriptions of TLA and AT based on the best practices identified. The proposed templates include the core dimensions that proved to be suitable for designing traditional and remote-learning activities. Finally, the examples provided in the paper show how to use these templates on a few kinds of selected on-campus and digital TLAs and ATs from the educational units identified in the Erasmus+ MAESTRO project, which is based on Industry 4.0 technological enablers and their application in support of manufacturing sustainability.

Abstract Abstract 2846 Background: PRV-1 mRNA is overexpressed in most patients with polycythemia vera (PV) and a part of patients with essential thrombocythemia (ET). It is well known that PRV-1 expression levels correlate with JAK2 V617F mutation. While it was reported that JAK2 V617F clones can be significantly reduced or become undetectable by treatment with hydroxyurea (HU)[Girodon et al. Heamatologica 93:1723, 2008].The change of PRV-1 expression after treatment of myeloproliferative neoplasm (MPN) has been examined in only several small-scale studies with inconclusive results. Although PRV-1 overexpression is not included in the diagnostic criteria for MPN, it can be a potentially important biomarker in making diagnosis and predicting outcome. However, its clinical utility has not been fully investigated. Methods: From 1999 to 2011, 309 cases of PV and 451 cases of ET were registered in Chang Gung Memorial Hospital. The diagnosis was reclassified according to the 2008 WHO system. Among them, 203 cases of PV and 228 cases of ET were examined for PRV-1 overexpression and formed the basis of this study. Evolution from ET to PV during clinical follow-up (ET-PV) was observed in 41 patients and 16 of them have PRV-1 data available. Quantification of PRV-1 mRNA was performed by the real-time polymerase chain reaction with TaqMan assay on peripheral blood granulocytes. Data from fifty healthy donors served as normal controls. The results were compared between MPN subgroups (ET vs. PV vs. ET-PV) and correlated with JAK2 V617F allele burden, white blood cell counts, platelet counts and clinical thrombosis or bleeding events. PRV-1 mRNA expression levels of patients before and after HU treatment were compared. In addition, the pre-HU and post-HU data were analyzed in pairs to evaluate the impact of HU therapy on PRV-1 mRNA expression. Results: Levels of PRV-1 expression were significantly different between controls and ET ( P<0.01), and between ET and PV ( P<0.001). ET-PV patients' pre-HU PRV-1 expression was comparable to other PV (P>0.05) but significantly higher than ET patients (P<0.01). PRV-1 overexpression, defined as pre-treatment PRV-1 /GAPDH ratio greater than 1.13, was found in 127 PV and 46 ET patients, which translated into 90.7% sensitivity and 75.3% specificity in differentiating PV from ET. When the post-HU PRV-1 /GAPDH ratio was used for differential diagnosis between PV and ET, the sensitivity was 90.5% and specificity 71.4%. PRV-1 expression levels were proportional to JAK2 V617F allele burden (r2=0.065, P=0.004). White blood cell counts were proportional to PRV-1 expression for both PV and ET (P<0.001 for PV, P<0.0001 for ET). The PRV-1 expression levels were divided into 4 quartiles, the top quartile had a risk ratio of 6.55 for developing thrombosis compared with the bottom quartile (95% CI 2.01–21.32, P=0.0008). In either PV or ET group, no difference was found between pre-HU and post-HU PRV-1 expression (P=0.579 for PV; P=0.253 for ET and P=0.143 for both subtypes combined). In analysis of the paired matched pre-HU and post-HU samples, there was no significant change of PRV-1 expression after HU treatment in any subtype (N=21, P=0.613 for PV; N=14, P=0.463 for ET and N=35, P=0.794 for both subtypes combined). Pre-treatment levels of PRV-1 expression were highly correlated with levels after HU (r2=0.20, P=0.007). Using 1.13 as the cut-off for definition of overexpression, the pre-HU and post-HU PRV-1 expression status was concordant in 72% of cases. The results of PRV-1 expression status largely unaffected by HU therapy have important clinical relevance in differential diagnosis when dealing with MPN patients who already received partial treatment. Conclusions: PRV-1 expression level is a useful predictor of risk of thrombosis, highly correlated with JAK2 V617F mutant levels and may serve as a surrogate marker for classification and prognostication of MPN. Disclosures: No relevant conflicts of interest to declare.

<p class="MsoNormal" style="margin-top: 0cm; margin-right: 25.15pt; margin-bottom: .0001pt; margin-left: 1.0cm; text-align: justify; text-justify: inter-ideograph;"><span style="font-size: 10.0pt; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; mso-fareast-font-family: &quot;ＭＳ 明朝&quot;; mso-fareast-theme-font: minor-fareast; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-GB">This paper investigates the structure of transitive sentences that contain a non-doubling reflexive clitic such as <em>Juan <strong>se </strong>lav&oacute; todos los platos</em> and <em>Mar&iacute;a <strong>se</strong> ley&oacute; un libro</em>. Though these are traditionally labelled unselected (non-core) agreeing datives or aspectual datives, I argue that this label obscures a relevant difference between two classes of constructions. <span style="font-variant: small-caps;">agentive reflexive clitic</span> (= ARC) constructions are characterized by a uniform set of effects on the external argument (= it must be an agent) and the aspectual interpretation of the VP (= it must be an accomplishment). On the other hand, <span style="font-variant: small-caps;">transitive se clitic</span> (= TSC) constructions do not impose any type of uniform restrictions on the kind of external argument they take or on the aspectual interpretation of the VP. I propose that the difference between these two constructions may be captured by treating <span style="font-variant: small-caps;">se </span>in the ARC construction as the realization of a special <em>v</em>_DO head, based on an idea in Folli &amp; Harley (2005), while <span style="font-variant: small-caps;">se</span> in the TSC construction is generated in the complement position of the verb and incorporates into V, forming a complex predicate, following work by De Cuyper (2006), MacDonald (2004, 2008) and MacDonald &amp; Huidobro (2010). It is shown that many of the empirical and theoretical disagreements that plague the literature on the role of non-doubling <span style="font-variant: small-caps;">se</span> in transitive sentences have a simple solution given the new division established here</span></p>

<p>The aim of this research was to determine whether there is a difference between productivity and individuality skills of creativity of the students who hasn't changed their homeroom teacher with the same skills of the students who has changed their homeroom teacher. The population of the study consisted of the 5th grade students having primary education in Turkey in 2008-2009 Education Year. The sampling of the research was 85 students, 41 of whom are the students of A Primary School and 44 of whom are the students of B Primary School. In this research survey model was used and The Scale of "Productivity of Association" was used to collect data. The data collected was analized through SPSS 15.0 software using t-test and Pearson correlation. Results are discussed.</p><p> </p><p><strong>Özet</strong></p><p><strong></strong>Bu araştırmada, ilköğretim birinci kademede öğretmen değiştirmeyen ve değiştiren öğrencilerin yaratıcılık kapsamında verimlilik ve özgünlük becerileri arasındaki farklılık incelenmiştir. Araştırmanın evrenini, 2008-2009 eğitim-öğretim yılında, A ili ilköğretim 5. sınıf öğrencileri oluşturmaktadır. Araştırmanın örneklemini ise A İlköğretim Okulu 5-A sınıfı öğrencilerinden 41 öğrenci, B İlköğretim Okulu 5-E sınıfı öğrencilerinden 44 öğrenci olmak üzere toplam 85 öğrenci oluşturmaktadır. Bu araştırma tarama modeline göre düzenlenmiştir. Araştırmada veri toplama aracı olarak tek sözcükle "Çağrışım Verimliliği Ölçeği" kullanılmıştır. Elde edilen verilerin çözümlenmesinde SPSS 15.0 paket programı kullanılarak, veriler üzerinde t-testi ve Pearson korelasyon analizleri yapılmıştır. Sonuçlar tartışılmıştır. </p><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> <o:TargetScreenSize>800x600</o:TargetScreenSize> </o:OfficeDocumentSettings> </xml><![endif]--><div style="mso-element: frame; mso-element-frame-hspace: 7.05pt; mso-element-wrap: around; mso-element-anchor-vertical: paragraph; mso-element-anchor-horizontal: margin; mso-element-left: center; mso-element-top: 20.7pt; mso-height-rule: exactly;"><table cellspacing="0" cellpadding="0" align="center"><tbody><tr><td style="padding-top: 0cm; padding-right: 7.05pt; padding-bottom: 0cm; padding-left: 7.05pt;" align="left" valign="top"><p class="MsoNormal" style="mso-element: frame; mso-element-frame-hspace: 7.05pt; mso-element-wrap: around; mso-element-anchor-vertical: paragraph; mso-element-anchor-horizontal: margin; mso-element-left: center; mso-element-top: 20.7pt; mso-height-rule: exactly;"><span style="color: black;" lang="EN-US">The aim of this research was to determine whether there is a difference between productivity and individuality skills of creativity<span style="mso-spacerun: yes;"> </span>of the students who hasn’t changed their homeroom teacher with the same skills of the students who has changed their homeroom teacher.</span><span lang="EN-US"> The population of the study consisted of the 5th grade students having primary education in Turkey in 2008-2009 Education Year. The sampling of the research<span style="mso-spacerun: yes;"> </span>was 85 students, 41 of whom are the students of<span style="mso-spacerun: yes;"> </span>A Primary School<span style="mso-spacerun: yes;"> </span>and 44 of whom are the students of<span style="mso-spacerun: yes;"> </span>B Primary School. In this research survey model was used<span style="mso-spacerun: yes;"> </span>and The Scale of “Productivity of Association” was used to collect data. The data collected was analized through<span style="mso-spacerun: yes;"> </span>SPSS 15.0 software using <em><span style="color: black; font-weight: normal; mso-bidi-font-weight: bold;">t-test</span></em><strong style="mso-bidi-font-weight: normal;"></strong><span style="color: black;">and<strong style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></strong><em><span style="font-weight: normal; mso-bidi-font-weight: bold;">Pearson correlation. 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Neuroimage, 15, 45-57.

<p><strong>Abstract.</strong> Harry Beck’s map of the London Underground is iconic, seemingly to the point that attempts to create a new map are almost doomed to failure from the outset. It is the template for many subsequent subway maps and the subway map that is used in London today. Many alternatives have emerged but most rework the basic idea and reconfigure around a style (e.g. London underground styled as a Vignelli New York subway map), structure (e.g. focusing on geometric shapes such as circles or hexagons on which to hang the network) or memes (e.g. use of the map for alternative datasets) [1, 3]. </p><p>Yet the network has grown in ways that Beck might never have imagined [4]. There are many more lines and stations in 2019 than there were some 86 years ago. The congested areas are different than they were. The spaces in-between have morphed. Yet the basic principles upon which Beck fashioned his map have remained unchanged [2]. Lines are horizontal, vertical and at 45º angles. Stations are shown as short ticks, interchanges as circles and connectors. The modern map is cluttered and, arguably, not the best way to help people navigate a complex city. </p><p>Here, we’ve started from scratch. The only nod to the current map is in the colours we use to denote the lines, and the typeface. Both are utterly intertwined with the design that has been a trademark for the map. These are the elements we keep. For the rest, we sketch out a new map, and define our parameters as we go along; as we sketch out a new map. One of Beck’s key tenets was that the above ground detail was relatively unimportant for the traveler. Whilst this still resonates, one might argue that people’s navigation is between places above ground [4]. For instance, they might wish to travel between the London Eye and London Zoo. Yet the closest stations do not bear the names of those destinations, and many more suffer similarly. We wanted to make a map that had space for above ground detail too. To provide visual anchors to assist in navigation between points of interest and not just stations with, often, names that might seem rather abstract, particularly to the visitor. </p><p>Most re-workings of the map are digital and have an entirely digital workflow. They often start with the current map and simply tweak it. This in itself may be a constraining factor on exploring new designs. Instead, we have gone back to the drawing board, quite literally, and constructed a peg board. This provides a blank canvas and a framework to reconstruct the linear cartogram in an iterative sense, laying down lines and then modifying their position as additions are made. It’s an inherently manual process, physically sketching as Beck did in his original diagrams [2, 6, Figure 1]. </p><p>The peg board is constructed of 800 nails laid out in a regular 1 inch grid. Coloured thread is used to lay down the lines. The task of building the new map, physically, took around 20 hours. What emerged was a map that bears familiarity to the current map yet which veers markedly from its structure. Key aspects of the new map are: </p><ul><li>a closer match to geographical relationships between stations; </li><li>reorientation of lines to more closely follow their geographical route; </li><li>several horizontal parallel lines that anchor the map; </li><li>replacement of the historic flask shape for the Circle line, replaced by a diamond to represent part of the Northern line as a key visual shape in the map; increased exaggeration of the central area and relative reduction of the extremities </li><li>the River Thames is drawn geographically.</li> </ul><p>The peg board was photographed in high resolution and then imported into ArcGIS Pro and georeferenced. A set of styles was developed to provide repeatable digital assets from which to create the map. The reference image of the peg board therefore became a way to trace (digitize) the reconstructed map using the real geography and the River Thames as geographical elements. </p><p>A minimum of 1 inch was kept between each adjacent interchange at a minimum. While other stations are located between them, this space was increased where necessary. Many lines are now illustrated in parallel since their true location underground is largely irrelevant to navigation. This allows considerably more space on the map to emerge, in which the above ground points of interest would be located. To accommodate this new approach, a new approach to symbology was designed for individual stations and interchanges. By positioning all station detail within the line itself, the map also becomes cleaner and additional white space for labels and point of interest symbology emerges. </p><p>A preliminary version of the new map has been created. It takes a traditional planimetric form that provides a reorganized, cleaner result but which also allows for the inclusion of more detail to help people navigate between points of interest instead of between stations. The inclusion of additional detail has been achieved by using an isometric projection. This equalizes scale across the map so the background (top of the map) does not suffer from being seen smaller than detail in the foreground (bottom of the map). This technique has been used to huge success in maps made by Herman Bollman and Constantine Anderson of New York City [7]. The intent here is to render the network in an isometric form and position 3D symbols of important landmarks and points of interest into the map. The size of the landmarks is scaled to allow minimum occlusion of linework. In isometric view, there’s an opportunity to explore alternative label placement too. </p><p>In a previous paper [1, p358] we concluded by commenting that “We’d like to encourage a return to thought, experimentation, drawing and testing as a way of discovery and the search for the next great map style. Beck made a cartographic icon for one purpose – to navigate the London Underground; a perfect map made at a perfect place and time. We need new, fresh and challenging maps.” This is our attempt to contribute to efforts in this regard. </p><p>Our new map undoubtedly shares some characteristics with Beck’s original and also with many other versions. This is largely due to the fact that it’s the same underlying network. Any solution that seeks to create a diagrammatic version of a transport network will share characteristics and a lineage that extends back to Beck, and others that went before [8]. Yet our map differs from many. Firstly, there’s a greater emphasis on the in-between spaces and the above-ground context which we assert is relevant to an individual’s wayfinding. Secondly, we’re unconstrained from pre-defined design approaches that fit the map to a shape or shapes. Physically sketching (via the peg board) has allowed the map to form organically which we believe overcomes some of the limitations we may have if we over-prescribe graphical demands on structure. Finally, we believe we’ve made a map that adds a new approach by borrowing from other cartographic work that lends a different aesthetic to the mapping of a transport network. The isometric form of the map portrays the network in a way we’ve not seen. </p><p>Once a final version of the map is complete, our next step is to undergo user testing to explore whether the map has utility beyond an academic and practical exercise. Whether it provides enough utility to offer a genuine alternative is something we are keen to understand, though there have been plenty of very good original designs that have, to our minds, also been far superior to what currently exists [8, 9, 10]. But is the current map so deeply engrained in the psyche of our understanding of transport maps, and in particular, the image of the London Underground map, that this new approach is also doomed to nothing more than an interesting exercise? </p><p>What we share is another new design for an old map to contribute to current debates about the enduring legacy of Beck and the need to at least re-think the nature of the map for a modern city and network user [11, 12]. We should welcome your comments.</p>

<p><strong>Abstract </strong></p><p class="MsoNormal" style="margin-top: 6.0pt; margin-right: 0cm; margin-bottom: 6.0pt; margin-left: 0cm; text-align: justify; line-height: 115%;"><span style="font-size: 10.5pt; line-height: 115%; font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman';" lang="EN-US">This study sought to investigate the concept of wellness in high school students and in particular whether such variables as gender, age and life satisfaction impact on adolescent wellness. Data were collected from a sample of 240 high school students. Each of these subjects completed a basic demographic form along with the Adolescent Form of the Wellness Star Scale and Life Satisfaction Scale. Data were analyzed with descriptive analysis, t-test and oneway ANOVA. Results of these analyses failed to reveal significant differences between groups based on the variables of age, gender and life satisfaction about total wellness. The results suggested meaningful differences in social and physical subscales between genders. According to results, females have higher score on social subscale while males have higher score on physical subscale. The results also suggested a meaningful difference in social subscale among age groups. The finding showed that social subscale scores of students become lower with the increase in age. At the same time, no meaningful differences were found among different life satisfaction level in terms of subdimension of wellness. The findings were further examined in light of recent research and implications for counseling with adolescent subjects are discussed. </span></p><p><strong><br /></strong></p><p><strong>Öz</strong></p><p>Bu çalışmada, ortaöğretim öğrencilerinin iyilik hallerinin, yaş, cinsiyet ve yaşam doyumu değişkenlerine göre değişip değişmediği sorusuna yanıt aranmıştır. Toplam 240 ortaöğretim öğrencisinden İyilik Hali Yıldızı Ölçeği-Ergen Formu, Yaşam Doyumu Ölçeği ve kişisel bilgi formu aracılığı ile veri toplanmıştır. Elde edilen veriler betimsel analizler, t testi ve tek yönlü varyans analizi aracılığı ile değerlendirilmiştir. Araştırmanın sonuçlarına göre farklı cinsiyet, yaş ve farklı yaşam doyumu düzeyine sahip gruplar arasında iyilik halinden alınan toplam puanlar açısından anlamlı fark bulunmamıştır. Öte yandan cinsiyetler arasında fiziksel ve sosyal iyilik hali alt boyutlarından alınan puanlarda anlamlı fark olduğu bulunmuştur. Bulgular incelendiğinde erkeklerin fiziksel iyilik hali, kız öğrencilerin ise sosyal iyilik hali puanlarının daha yüksek olduğu bulunmuştur. Diğer bulgu yaş grupları açısından yalnızca sosyal iyilik hali puanının farklılaştığı ve yaş arttıkça sosyal iyilik hali alt boyutundan alınan puanların düştüğü yönündedir. Yaşam doyum düzeyleri farklı olan öğrencilerin alt boyutlarından alınan puanları arasında anlamlı fark bulunmamıştır. Bulgular alanyazına bağlı olarak tartışılmış ve ergenlerle yapılan psikolojik danışma hizmetleri için bazı öneriler sunulmuştur.</p><p class="MsoNormal" style="margin-top: 6.0pt; margin-right: 0cm; margin-bottom: 6.0pt; margin-left: 0cm; text-align: justify; line-height: 115%;"><span style="font-size: 10.5pt; line-height: 115%; font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman';" lang="EN-US">This study sought to investigate the concept of wellness in high school students and in particular whether such variables as gender, age and life satisfaction impact on adolescent wellness. Data were collected from a sample of 240 high school students. Each of these subjects completed a basic demographic form along with the Adolescent Form of the Well</span><span class="MsoCommentReference"><span style="font-size: 8.0pt; line-height: 115%;" lang="EN-US"><!--[if !supportAnnotations]--><a id="_anchor_1" class="msocomanchor" name="_msoanchor_1" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_1">[G1]</a><!--[endif]--><span style="mso-special-character: comment;"> </span></span></span><span style="font-size: 10.5pt; line-height: 115%; font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman';" lang="EN-US">ness Star Scale and Life Satisfaction Scale.<span style="mso-spacerun: yes;"> </span>Data were<a style="mso-comment-reference: G_8; mso-comment-date: 20180329T1909;"> analyzed with descriptive analysis, t-test and</a></span><span style="mso-comment-continuation: 8;"><span class="MsoCommentReference"><span style="font-size: 8.0pt; line-height: 115%;" lang="EN-US"><!--[if !supportAnnotations]--><a id="_anchor_2" class="msocomanchor" name="_msoanchor_2" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_2">[G2]</a><!--[endif]--><span style="mso-special-character: comment;"> </span></span></span></span><span class="MsoCommentReference"><span style="font-size: 8.0pt; line-height: 115%;" lang="EN-US"><!--[if !supportAnnotations]--><a id="_anchor_3" class="msocomanchor" name="_msoanchor_3" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_3">[G3]</a><!--[endif]--><span style="mso-special-character: comment;"> </span></span></span><span style="font-size: 10.5pt; line-height: 115%; font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman';" lang="EN-US"> oneway ANOVA. Results of these analyses failed to reveal significant differences between groups based on the variables of age, gender and life satisfaction about total wellness. The results suggested meaningful differences in social and physical subscales between genders. According to results, females have higher score on social subscale while males have higher score on physical subscale. The results also suggested a meaningful difference </span><span class="MsoCommentReference"><span style="font-size: 8.0pt; line-height: 115%;" lang="EN-US"><!--[if !supportAnnotations]--><a id="_anchor_4" class="msocomanchor" name="_msoanchor_4" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_4">[G4]</a><!--[endif]--><span style="mso-special-character: comment;"> </span></span></span><span style="font-size: 10.5pt; line-height: 115%; font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman';" lang="EN-US">in social subscale<a style="mso-comment-reference: G_9; mso-comment-date: 20180329T1909;"> among age groups. The finding showed that </a></span><span class="MsoCommentReference"><span style="font-size: 8.0pt; line-height: 115%;" lang="EN-US"><!--[if !supportAnnotations]--><a id="_anchor_5" class="msocomanchor" name="_msoanchor_5" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_5">[G5]</a><!--[endif]--><span style="mso-special-character: comment;"> </span></span></span><span style="font-size: 10.5pt; line-height: 115%; font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman';" lang="EN-US">social subscale scores of students become lower with the increase in age</span><span class="MsoCommentReference"><span style="font-size: 8.0pt; line-height: 115%;" lang="EN-US"><!--[if !supportAnnotations]--><a id="_anchor_6" class="msocomanchor" name="_msoanchor_6" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_6">[G6]</a><!--[endif]--><span style="mso-special-character: comment;"> </span></span></span><span style="font-size: 10.5pt; line-height: 115%; font-family: 'Calibri','sans-serif'; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman';" lang="EN-US">. At the same time, no meaningful differences were<a style="mso-comment-reference: G_11; mso-comment-date: 20180329T1909;"><span style="mso-comment-continuation: 10;"> found among different life satisfaction level in terms of subdimension of wellness. The findings were further examined in light of recent research and implications for counseling with adolescent subjects are discussed.<span style="mso-spacerun: yes;"> </span></span></a></span><span style="mso-comment-continuation: 10;"><span class="MsoCommentReference"><span style="font-size: 8.0pt; line-height: 115%;" lang="EN-US"><!--[if !supportAnnotations]--><a id="_anchor_7" class="msocomanchor" name="_msoanchor_7" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_7">[G7]</a><!--[endif]--><span style="mso-special-character: comment;"> </span></span></span></span><span class="MsoCommentReference"><span style="font-size: 8.0pt; line-height: 115%;" lang="EN-US"><!--[if !supportAnnotations]--><a id="_anchor_8" class="msocomanchor" name="_msoanchor_8" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_8">[G8]</a><!--[endif]--><span style="mso-special-character: comment;"> </span><!--[if !supportAnnotations]--><a id="_anchor_9" class="msocomanchor" name="_msoanchor_9" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_9">[G9]</a><!--[endif]--><span style="mso-special-character: comment;"> </span><!--[if !supportAnnotations]--><a id="_anchor_10" class="msocomanchor" name="_msoanchor_10" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_10">[G10]</a><!--[endif]--><span style="mso-special-character: comment;"> </span><!--[if !supportAnnotations]--><a id="_anchor_11" class="msocomanchor" name="_msoanchor_11" href="file:///C:/Users/Bilgisayar-PC/Desktop/Dergi%20Mart%202018/Dergi%20Mart%202018/TT.edited.docx#_msocom_11">[G11]</a><!--[endif]--><span style="mso-special-character: comment;"> </span></span></span></p><div style="mso-element: comment-list;"><!--[if !supportAnnotations]--><hr class="msocomoff" align="left" size="1" width="33%" 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Nous discutons dans cet article ce que pourrait être l’étude de l’algèbre abstraite à l’Université dans le paradigme du questionnement du monde. Ceci nous amène à distinguer des approches « top-down » et « bottom-up » de l’enseignement des structures algébriques et à considérer des praxéologies particulières en algèbre abstraite que nous nommons « praxéologies structuralistes ». À partir de notre modèle épistémologique de référence, nous soutenons le point de vue qu’un questionnement du monde en algèbre abstraite doit s’apparenter à un parcours d’étude et de recherche qui présente une bonne vitalité des dialectiques fondamentales particulier-général et objets-structures. Nous illustrons ce point de vue sur un exemple présentant un usage innovant d’une retranscription d’échanges sur un forum et nous discutons la pertinence et les difficultés d’une telle approche

AbstractProgramming artificial intelligence (AI) to make fairness assessments of texts through top-down rules, bottom-up training, or hybrid approaches, has presented the challenge of defining cross-cultural fairness. In this paper a simple method is presented which uses vectors to discover if a verb is unfair (e.g., slur, insult) or fair (e.g., thank, appreciate). It uses already existing relational social ontologies inherent in Word Embeddings and thus requires no training. The plausibility of the approach rests on two premises. That individuals consider fair acts those that they would be willing to accept if done to themselves. Secondly, that such a construal is ontologically reflected in Word Embeddings, by virtue of their ability to reflect the dimensions of such a perception. These dimensions being: responsibility vs. irresponsibility, gain vs. loss, reward vs. sanction, joy vs. pain, all as a single vector (FairVec). The paper finds it possible to quantify and qualify a verb as fair or unfair by calculating the cosine similarity of the said verb’s embedding vector against FairVec—which represents the above dimensions. We apply this to Glove and Word2Vec embeddings. Testing on a list of verbs produces an F1 score of 95.7, which is improved to 97.0. Lastly, a demonstration of the method’s applicability to sentence measurement is carried out.

AbstractThe concept of ‘constructions’ covers the range from fully unanalyzed or “frozen” units to abstract and productive schemas that can be used to form new utterances, even with verbs that usually have a different valency (coercion). The dynamic nature of the construction as well as its functional grounding makes the construction particularly suitable for describing and explaining the course of language acquisition. Distributional analyses of the linguistic structures used across development as well as experimental tests on the productivity of these structures are the methodological means to assess the degree of freedom of constructions used at each point in development. In the earliest stages of development children rely heavily on bottom up processes and generalize only slowly. But with growing productivity they are able to generate new utterances top down.

This paper addresses the question of the existence and manifestation of Root Infinitives (RI) in the acquisition of a creole language, Jamaican Creole (JC). It examines JC children’s omission of progressive and prospective aspectual markers in the clausal map in order to determine if early JC includes a root infinitive stage. It shows that non-target-consistent bare verb structures in child JC have distributional properties which have been claimed to be hallmarks of RI: in particular, they occur in declaratives (and in yes-no questions), but not in wh-questions, and they typically co-occur with null subjects, whereas subjects are typically overt in clauses with fully specified aspectual markers. It shows that these properties are expected under a truncation approach (Rizzi, 1993/4; De Lisser et al., 2016), and briefly compares truncation and other approaches to RI. Additionally, the paper compares the properties of truncation and the “growing trees” approach introduced in Friedmann, Belletti and Rizzi (this volume), according to which learners’ productions start with minimal structures in a bottom up fashion, and then higher zones get added on top of the structure as development proceeds, following the hierarchical organization uncovered by cartographic work. Finally, the paper discusses the similarities and differences between the two ideas, and argues that they are compatible, and possibly reflect different stages in language development.

AbstractPurposeChanges in the world show that the role, importance, and coherence of SSH (social sciences and the humanities) will increase significantly in the coming years. This paper aims to monitor and analyze the evolution (or overlapping) of the SSH thematic pattern through three funding instruments since 2007.Design/methodology/approachThe goal of the paper is to check to what extent the EU Framework Program (FP) affects/does not affect research on national level, and to highlight hot topics from a given period with the help of text analysis. Funded project titles and abstracts derived from the EU FP, Slovenian, and Estonian RIS were used. The final analysis and comparisons between different datasets were made based on the 200 most frequent words. After removing punctuation marks, numeric values, articles, prepositions, conjunctions, and auxiliary verbs, 4,854 unique words in ETIS, 4,421 unique words in the Slovenian Research Information System (SICRIS), and 3,950 unique words in FP were identified.FindingsAcross all funding instruments, about a quarter of the top words constitute half of the word occurrences. The text analysis results show that in the majority of cases words do not overlap between FP and nationally funded projects. In some cases, it may be due to using different vocabulary. There is more overlapping between words in the case of Slovenia (SL) and Estonia (EE) and less in the case of Estonia and EU Framework Programmes (FP). At the same time, overlapping words indicate a wider reach (culture, education, social, history, human, innovation, etc.). In nationally funded projects (bottom-up), it was relatively difficult to observe the change in thematic trends over time. More specific results emerged from the comparison of the different programs throughout FP (top-down).Research limitationsOnly projects with English titles and abstracts were analyzed.Practical implicationsThe specifics of SSH have to take into account—the one-to-one meaning of terms/words is not as important as, for example, in the exact sciences. Thus, even in co-word analysis, the final content may go unnoticed.Originality/valueThis was the first attempt to monitor the trends of SSH projects using text analysis. The text analysis of the SSH projects of the two new EU Member States used in the study showed that SSH's thematic coverage is not much affected by the EU Framework Program. Whether this result is field-specific or country-specific should be shown in the following study, which targets SSH projects in the so-called old Member States.

OPSOMMING In 'n wêreld deurdrenk met geweld - beide subjektief en objektief beskou - tref mens protes as 'n teken van gemeenskaplike ontevredenheid aan. Die beweegrede onderliggend aan protesaksie word egter gereeld misken vir wat dit in werklikheid is, naamlik solidariteit met diegene wat onreg ly. Daar was die afgelope twee dekades plaaslik en internasionaal 'n skerp toename in openbare protes, met 'n gepaardgaande toename in teorieë wat oor die oorsake hiervan bespiegel. Ondanks 'n verskeidenheid voorstellings is dit nietemin steeds onduidelik "waaroor ons praat wanneer ons van protes praat", in die mate waarin die grondbeginsels van protes slegs binne beperkte epistemologiese gemeenskappe (en nie in die algemeen nie) oorweeg word. Hierdie artikel besin oor die aard van protes as 'n politieke handeling wat op 'n kontinuum wat wissel van opposisiepolitiek tot burgeroorlog lê. Hierdie kontinuum verskaf 'n gegradeerde beskouing wat uitdrukkings van ontevredenheid orden volgens die erns van die uitkoms. Voorts bied die artikel 'n abstrakte voorstelling van die onderskeie afdelings van protesvorming as sodanig, waaronder griewe, gebare en taktiese maatreëls. Van nader beskou, blyk hieruit dat protes getipeer kan word as 'n openbare uitdrukking van 'n niehegemoniese, etiese verbintenis tot geregtigheid, 'n optrede wat moed en koördinasie verg, en waarvan die uitkoms altyd onvoorspelbaar is; dit wil sê, 'n daad van liefde. Ten slotte word die episode van openbare geweld en plunder in Julie 2021 in Suid-Afrika aan die hand van die voorgestelde raamwerk ondersoek en bespreek. Trefwoorde: sosiale bewegings, protes en onrus, niehegemoniese openbare groepsgedrag, maatskaplike groepsvorming, direkte politieke handelinge, openbare geweld, psigoanalise ABSTRACT The protest event. In a world steeped in ambient violence, public protest is a vital signal of shared discontent. The essential compulsion at the heart of protest, however, is conventionally not recognised for what it is i continue: solidarity with those suffering injustices. A sharp rise in public protests has been perceived since the early 2000s. Thousands of column inches dedicated to reporting on protests are rivalled in volume only by the reams of academic theories produced around causes. Despite this overabundance of discourses, it often remains unclear what protest, at heart, constitutes. That is, what are we talking about when we talk about protest, and why does this question matter? While stewards of the state often portray protests (and protesters) as "the problem", we have long understood protests as weapons of the weak, at once signalling desperation and civil discontent. In this paper I reflect on the nature of protest as a direct political action that is situated on a continuum that ranges from opposition politics to civil war. By visualising this continuum, I recapitulate how political actions can be represented within three schemas of recognition (by official political parties and agents); reintegration (into official politics); or revolution (i.e., the obliteration of certain political institutions with the aim of establishing an alternative utopia). While there is overlap between the three, we see that actions that are not revolutionary are not necessarily opposed to maintaining the present social order, while those not interested in recognition may be considered as political projects. Based upon these principles, I develop the argument that protest is, in a certain sense, a "continuation of politics by other means", evoking Von Clausewitz in this regard. : protest is, however, not merely politics by other means, but nobler. While protest, a form of direct political action, is an indication of events, policies, or conditions that are experienced as repression, neglect, or injustice, it is simultaneously both a contextually rational response, and a reactive counterweight, a necessary checking of social communication channels, or part of an emancipatory project, enacted to change a prevailing violation and establish what is anticipated to be a more humane or just social order. In this mode, courage and coordination are exerted to better the beneficiaries' quality of life, not to lower the quality of life of another. Thus understood, protest is not merely altruism, but an outflow of care and compassion towards another. Put differently, protest is vitally animated by, and thus an act of, love Next, I justify approaching protest as an ethical commitment by considering the constituent parts of protest formation in the abstract. These parts, which also represent a nonlinear sequence of sorts, include grievances, gestures, and tactics, and may give rise to protest "arcs" (or episodes). I develop an argument to show how individual concerns, invoked amid background violence, snowball into shared grievances, which may be catalysed by a trigger event into the idea of a response, which in turn may precipitate a set of tactics. Referring to Jacques Lacan's "three orders" typology, the idea of the response (or gesture) and the planned action, map onto the Imaginary and Symbolic orders, respectively. The resultant event, contingent and unpredictable (especially with regard to the emergent tumult), is best understood in terms of the Real. Once more, but now approached "from the bottom-up" (as opposed to my former top-down classification-driven argument), my treatment of these constituent parts reveals protest to be, first and foremost, a manifestation of a nonhegemonic ethical commitment to justice, requiring courage and coordination, and whose outcome is always contingent; underscoring the essential quality of love. Keywords: social movements, protest and unrest, non-hegemonical public collective behaviour, social group forming, direct political acts, public violence, psychoanalysis

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Re-Framing Participation in the Architecture Studio Recently, within design literature, significant attention has been given to collaboration across different disciplines (see for instance, Nicolini et al.; Carlile), as well as consideration of the breakdown of traditional disciplinarity and the corresponding involvement of users in co-generation (Sanders and Stappers, “Co-Creation” 11–12) through the development and deployment of structured methods and toolkits (Sanders et al., “Framework”; Sanders and Stappers, “Probes”). Relatively less attention has been paid to the workings of the “communities of practice” (Wenger) operating within the disciplinary domain of architecture. The discourse around concept design in architecture has tended to emphasise individualist approaches driven by personal philosophies, inspirations, imitation of a more experienced designer, and emphasis on latent talent or genius (for instance, Moneo). This can be problematic because without a shared language and methods there are limited opportunities for making meaning to facilitate participation between collaborators in architectural studio settings. It is worth asking then: are there things that “Architecture” might learn from “Design” about the deployment of structured methods, and might this interdisciplinary exchange promote participatory practices in studio-based cultures? We address this question by connecting and building on two important concepts relevant to design methods, meta-design as described in the open design literature (De Mul 36–37), and design frames as described by Schön and formalised by Dorst (‘Core’; Frame; see also Weedon). Through this combination, we propose a theory of participation by making shared meaning in architectural design. We animate our theoretical contribution through a design toolkit we have developed, refined, and applied over several years in typologically focused architectural design studios in Australian university contexts. One important contribution, we argue, is to the area of design theory-building, by taking two previously unrelated concepts from the design methods literature. We draw them together using an example from our own design practices to articulate a new term and concept for making shared meaning in design. The other contribution made is to the translation of this concept into the context of studio-based architectural practice, a setting that has traditionally struggled to accept structured methods. The existence of other form-metaphor design tools available for architecture and the theoretical basis of their development and connection to design literature more broadly has not always been clearly articulated (see for example Di Mari and Yoo; Lewis et al.). The rationale for giving an account of the construction and deployment of our own toolkit is to illustrate its theoretical contribution while providing the basis for future field testing and translation (including by other researchers), noting the established trajectory of this kind of work in the design literature (see, for example, Hoolohan and Browne; Visser et al.; Vaajakallio and Mattelmäki; Sanders and Stappers, “Co-Creation” and ”Probes”). In line with this issue’s thematic and epistemological agenda, we adopt what Cross identifies as “designerly ways of knowing” (223), and is at least partly a reflection on a practice in which we engage with our own disciplines and research interests to propose and deploy design thinking as a kind of critical “reflection-in-action” (Robertson and Simonsen 2). Meta-Framing: Combining Meta-Design and Framing Meta-design is a term used in open design literature to describe approaches aimed toward orchestration of a project in such a way that people are afforded the agency to become effective co-designers, regardless of their pre-existing skills or design-specific knowledge (De Mul 36). According to a meta-design approach, design is conceived of as a shared project of mutual learning instead of an individualistic expression of singular genius. Through the establishment of shared protocols and formats, what Ehn (1) calls “infrastructuring”, individuals with even very limited design experience are provided scaffolds that enable them to participate in a design project. One important way in which meta-design helps “create a pathway through a design space” is through the careful selection and adoption of shared guiding metaphors that provide common meanings between co-designers (De Mul 36). The usefulness of metaphors is also recognised in the context of design frames, the second concept on which we build our theory. Conceptualised as “cognitive shortcuts” for making “sense of complex situations” (Haase and Laursen 21), design frames were first conceived of by Schön (132) as a rational approach to design, one guided by “epistemological norms”. Frames have subsequently been further developed within the design methods literature and are defined as a system of counterfactual design decision-making that uses metaphors to provide a rationale for negotiating ill-structured problems. According to Dorst, frames involve: the creation of a (novel) standpoint from which a problematic situation can be tackled … . Although frames are often paraphrased by a simple metaphor, they are in fact very complex sets of statements that include the specific perception of a problem situation, the (implicit) adoption of certain concepts to describe the situation, a ‘working principle’ that underpins a solution and the key thesis: IF we look at the problem situation from this viewpoint, and adopt the working principle associated with that position, THEN we will create the value we are striving for. (525) Despite Schön choosing to illustrate his original conception of framing through the example of a student’s architectural design project, there has been limited subsequent consideration of framing in architectural studio contexts—an exception being Eissa in 2019. This may be because formalised design methods have tended to be treated with suspicion within architectural culture. For instance, Christopher Alexander’s Pattern Language is one such “highly systemised design process” (Dawes and Ostwald 10) that despite its potential to guide participatory design has had an “uneven reception” (Bhatt 716) within architecture itself. One way architecture as a disciplinary domain and as a profession has attempted to engage with design method is through typology, which is one of the few persistent and recurring notions in architectural discourse (Bandini; Grover et al.). As a system of classification, typology categorises “forms and functions as simply and unequivocally as possible” (Oechslin 37). In addition to being used as a classification system, typology has also been positioned as “a process as much as an object”, one with the potential for an “active role in the process of design” (Lathouri 25). Type and typology have been conceptualised as a particular way of projecting architecture’s “disciplinary agency” (Jacoby 936), and this goes some way to explaining their enduring value. A potentially valid criticism of framing is that it can tend toward “design fixation”, when a pre-existing assumption “inadvertently restricts the designers’ imagination” (Crilly). Similarly, typology-as-method—as opposed to a classification tool—has been criticised for being relatively “inflexible” or “reductive” (Shane 2011) and responsible for perpetuating “conservative, static norms” (Jacoby 932) if applied in a rote and non-reflexive way. We deal with these concerns in the discussion of the deployment of our Typekit below. We are drawing here on our experience teaching in the first two years of undergraduate architecture degrees in Australian university settings. As well as being equipped with a diversity of educational, social, linguistic, and cultural backgrounds, students typically have divergent competencies in the domain-specific skills of their discipline and a limited vocabulary for making shared meaning in relation to an architectural proposal. The challenge for studio-based collaborative work in such a context is developing shared understandings and a common language for working on a design project to enable a variety of different design solutions. The brief for a typical studio project will specify a common site, context, and program. Examples we have used include a bathhouse, fire station, archive, civic centre, and lifesaving club. There will then be multiple design solutions proposed by each studio participant. Significantly we are talking about relatively well-structured problems here, typically a specific building program for a specified site and user group. These are quite unlike the open-ended aims of “problem frames” described in the design thinking literature “to handle ill-defined, open-ended, and ambiguous problems that other problem-solving methodologies fail to handle” (Haase and Laursen 21). However, even for well-structured problems, there is still a multitude of possible solutions possible, generated by students working on a particular project brief. This openness reduces the possibility of making shared meaning and thus hinders participation in architectural design. Designing the Typekit The Typekit was developed heuristically out of our experiences teaching together over several years. As part of our own reflective practice, we realised that we had begun to develop a shared language for describing projects including that of students, our own, precedents and canonical works. Often these took the form of a simple formal or functional metaphor such as “the building is a wall”; “the building is an upturned coracle”; or “the building is a cloud”. While these cognitive shortcuts proved useful for our communication there remained the possibility for this language to become esoteric and exclusionary. On the other hand, we recognised the potential for this approach to be shared beyond our immediate “interpretive community” (Fish 485) of two, and we therefore began to develop a meta-design toolkit. Fig. 1: Hybrid page from the Typekit We began by developing a visual catalogue of formal and functional metaphors already present within the panoply of constructed contemporary architectural projects assembled by surveying the popular design media for relevant source material. Fig. 2: Classification of contemporary architectural built work using Typekit metaphors We then used simple line drawings to generate abstract representations of the observed building metaphors adopting isometry to maintain a level of objectivity and a neutral viewing position (Scolari). The drawings themselves were both revelatory and didactic and by applying what Cross calls “designerly ways of knowing” (Cross 223) the toolkit emerged as both design artefact and output of design research. We recognised two fundamentally different kinds of framing metaphors in the set of architectural projects we surveyed, rule-derived and model-derived—terms we are adapting from Choay’s description of “instaurational texts” (8). Rule-derived types describe building forms that navigate the development of a design from a generic to a specific form (Baker 70–71) through a series of discrete “logical operators” (Choay 134). They tend to follow a logic of “begin with x … perform some operation A … perform some operation B … end up with y”. Examples of such operations include add, subtract, scale-translate-rotate, distort and array. Model-derived framing metaphors are different in the way they aim toward an outcome that is an adapted version of an ideal initial form. This involves selecting an existing type and refining it until it suits the required program, site, and context. Examples of the model-derived metaphors we have used include the hedgehog, caterpillar, mountain, cloud, island, and snake as well as architectural Ur-types like the barn, courtyard, tent, treehouse, jetty, and ziggurat. The framing types we included in the Typekit are a combination of rule-derived and model-derived as well as useful hybrids that combined examples from different categories. This classification provides a construct for framing a studio experience while acknowledging that there are other ways of classifying formal types. Fig. 3: Development of isometric drawings of metaphor-frames After we developed a variety of these line drawings, we carried out a synthesis and classification exercise using a version of the KJ method. Like framing, KJ is a technique of abduction developed for dealing objectively with qualitative data without a priori categorisation (Scupin; Kawakita). It has also become an established and widely practiced method within design research (see, for instance, Hanington and Martin 104–5). Themes were developed from the images, and we aimed at balancing a parsimony of typological categories with a saturation of types, that is to capture all observed types/metaphors and to put them in as few buckets as possible. Fig. 4: Synthesis exercise of Typekit metaphors using the KJ method (top); classification detail (bottom) Deploying the Typekit We have successfully deployed the Typekit in architectural design studios at two universities since we started developing it in 2018. As a general process participants adopt a certain metaphor as the starting point of their design. Doing so provides a frame that prefigures other decisions as they move through a concept design process. Once a guiding metaphor is selected, it structures other decision-making by providing a counterfactual logic (Byrne 30). For instance, if a building-as-ramp is chosen as the typology to be deployed this guides a rationale as to where and how it is placed on the site. People should be able to walk on it; it should sit resolutely on the ground and not be floating above it; it should be made of a massive material with windows and doors appearing to be carved out of it; it can have a green occupiable roof; quiet and private spaces should be located at the top away from street noise; active spaces such as a community hall and entry foyer should be located at the bottom of the ramp … and so on. The adoption of the frame of “building-as-ramp” by its very nature is a crucial and critical move in the design process. It is a decision made early in the process that prefigures both “what” and “how” types of questions as the project develops. In the end, the result seems logical even inevitable but there are many other types that could have potentially been explored and these would have posed different kinds of questions and resulted in different kinds of answers during the process. The selection of a guiding metaphor also allows students to engage with historical and contemporary precedents to offer further insights into the development—as well as refinement—of their own projects within that classification. Even given the well-structured nature of the architectural project, precedents provide useful reference points from which to build domain-specific knowledge and benchmarks to measure the differences in approaches still afforded within each typological classification. We believe that our particular meta-framing approach addresses concerns about design fixation and balances mutual learning with opportunities for individual investigation. We position framing less about finding innovative solutions to wicked problems to become more about finding ways for a group of people to reason together through a design problem process by developing and using shared metaphors. Thus our invocation of framing is aligned to what Haase and Laursen term “solution frames” meaning they have an “operational” meaning-making agenda and provide opportunities for developing shared understanding between individuals engaged in a given problem domain (Haase and Laursen 20). By providing a variety of opportunities within an overarching “frame of frames” there are opportunities for parallel design investigation to be undertaken by individual designers. Meta-framing affords opportunities for shared meaning-making and a constructive discourse between different project outcomes. This occurs whether adopting the same type to enable questions including “How is my building-as-snake different from your building-as-snake?”, “Which is the most snake-like?”, or different types (“In what ways is my building-as-ramp different to your building-as-stair?”) By employing everyday visual metaphors, opportunities for “mutual learning between mutual participants” (Robertson and Simonsen 2) are enhanced without the need for substantial domain-specific architectural knowledge at a project’s outset. We argue that the promise of the toolkit and our meta-framing approach more generally is that it actually multiples rather than forecloses opportunities while retaining a shared understanding and language for reasoning through a project domain. This effectively responds to concerns that typology-as-method is a conservative or reductive approach to architectural design. It is important to clarify the role of our toolkit and its relationship to our theory-building agenda. On the basis of the findings accounted for here we do claim to draw specific conclusions about the efficacy of our toolkit. We simply did not collect experimental data relevant to that task. We can, however, use the example of our toolkit to animate, flesh out, and operationalise a model for collaboration in architectural design that may be useful for teaching and practicing architecture in collaborative, team-based contexts. The contribution of this account, therefore, is theoretical. That is, the adaptation of concepts from design literature modified and translated into a new domain to serve new purposes. The Promise of Meta-Framing through Typology Through our work, we have outlined the benefits of adopting formalised design methods in architecture as a way of supporting participation, including using toolkits for scaffolding architectural concept design. Meta-framing has shown itself to be a useful approach to enable participation in architectural design in a number of ways. It provides coherence of an idea and architectural concept. It assists decision-making in any given scenario because a designer can decide which out of a set of choices makes more sense within the “frame” adopted for the project. The question becomes then not “what do I like?” or “what do I want?” but “what makes sense within the project frame?” Finally and perhaps most importantly it brings a common understanding of a project that allows for communication across a team working on the same problem, supporting a variety of different approaches and problem-solving logics a voice. By combining methodologies and toolkits from the design methods literature with architecture’s domain-specific typological classifications we believe we have developed an effective and adaptive model for scaffolding participation and making shared meaning in architecture studio contexts. References Baker, Geoffrey H. Design Strategies in Architecture: An Approach to the Analysis of Form. Taylor and Francis, 2003. Bandini, Micha. “Typology as a Form of Convention.” AA Files 6 (1984): 73–82. Bhatt, Ritu. “Christopher Alexander’s Pattern Language: An Alternative Exploration of Space-Making Practices.” Journal of Architecture 15.6 (2010): 711–29. Byrne, Ruth M.J. The Rational Imagination: How People Create Alternatives to Reality. MIT P, 2005. Carlile, Paul R. “Transferring, Translating, and Transforming: An Integrative Framework for Managing Knowledge across Boundaries”. Organization Science 15.5 (2004): 555–68. Choay, Françoise. The Rule and the Model: On the Theory of Architecture and Urbanism. MIT P, 1997 [1980]. Crilly, Nathan. “Methodological Diversity and Theoretical Integration: Research in Design Fixation as an Example of Fixation in Research Design?” Design Studies 65 (2019): 78–106. Cross, Nigel. “Designerly Ways of Knowing”. Design Studies 3.4 (1982): 221–27. Dawes, Michael J., and Michael J. Ostwald. “Christopher Alexander’s A Pattern Language: Analysing, Mapping and Classifying the Critical Response.” City, Territory and Architecture 4.1 (2017): 1–14. De Mul, Jos. “Redesigning Design”. In Open Design Now: Why Design Cannot Remain Exclusive, eds. Bas Van Abel, Lucas Evers, Roel Klaassen, and Peter Troxler. BIS Publishers, 2011. 34–39. Di Mari, Anthony, and Nora Yoo. Operative Design. BIS Publishers, 2012. Dorst, Kees. “The Core of ‘Design Thinking’ and Its Application”. Design Studies 32.6 (2011): 521–32. <https://doi.org/10.1016/j.destud.2011.07.006>. ———. Frame Innovation: Create New Thinking by Design. Design Thinking, Design Theory. MIT P, 2015. Ehn, Pelle. “Participation in Design Things.” In Proceedings of the Participatory Design Conference 2008. Bloomington, Indiana, 2008. 92–101 Eissa, Doha. “Concept Generation in the Architectural Design Process: A Suggested Hybrid Model of Vertical and Lateral Thinking Approaches.” Thinking Skills and Creativity 33 (2019). Fish, Stanley E. “Interpreting the ‘Variorum’.” Critical Inquiry 2.3 (1976): 465–85. Grover, Robert, Stephen Emmitt, and Alex Copping. “The Language of Typology.” Arq 23.2 (2019): 149–56. <https://doi.org/10.1017/S1359135519000198>. Haase, Louise Møller, and Linda Nhu Laursen. “Meaning Frames: The Structure of Problem Frames and Solution Frames”. Design Issues 35.3 (2019): 20–34. <https://doi.org/10.1162/desi_a_00547>. Hanington, Bruce, and Bella Martin. Universal Methods of Design: 100 Ways to Research Complex Problems, Develop Innovative Ideas, and Design Effective Solutions. Rockport Publishers, 2012. Hoolohan, Claire, and Alison L Browne. “Design Thinking for Practice-Based Intervention: Co-Producing the Change Points Toolkit to Unlock (Un)Sustainable Practices.” Design Studies 67 (2020): 102–32. Jacoby, Sam. “Typal and Typological Reasoning: A Diagrammatic Practice of Architecture.” Journal of Architecture 20.6 (2015): 938–61. <https://doi.org/10.1080/13602365.2015.1116104>. Kawakita, Jiro. “The KJ Method and My Dream towards the ‘Heuristic’ Regional Geography.” Japanese Journal of Human Geography 25.5 (1973): 493–522. Lathouri, Marina. “The City as a Project: Types, Typical Objects and Typologies.” Architectural Design 81.1 (2011): 24–31. Lewis, Paul, Marc Tsurumaki, and David J Lewis. Manual of Section. Princeton Architectural P, 2016. Moneo, José Rafael. Theoretical Anxiety and Design Strategies in the Work of Eight Contemporary Architects. MIT P, 2004. Nicolini, Davide, Jeanne Mengis, and Jacky Swan. “Understanding the Role of Objects in Cross-Disciplinary Collaboration”. Organization Science (Providence, R.I.) 23.3 (2012): 612–29. Oechslin, Werner. “Premises for the Resumption of the Discussion of Typology.” Assemblage 1 (1986): 37–53. Panzano, Megan. “Foreword.” In Operative Design: A Catalogue of Spatial Verbs, by Anthony Di Mari and Nora Yoo. Amsterdam: BIS Publishers, 2012. 6–7. Robertson, Toni, and Jesper Simonsen. “Participatory Design: An Introduction”. In Routledge International Handbook of Participatory Design, eds. Toni Robertson and Jesper Simonsen. Taylor and Francis, 2012. 1–18. Sanders, Elizabeth B.-N., Eva Brandt, and Thomas Binder. “A Framework for Organizing the Tools and Techniques of Participatory Design.” Proceedings of the 11th Biennial Participatory Design Conference. ACM, 2010. 195–98. DOI: 10.1145/1900441.1900476. Sanders, Elizabeth B.-N., and Pieter Jan Stappers. “Co-Creation and the New Landscapes of Design.” Co-Design 4.1 (2008,): 5–18. ———. “Probes, Toolkits and Prototypes: Three Approaches to Making in Codesigning.” CoDesign 10.1 (2014): 5–14. Schön, Donald A. “Problems, Frames and Perspectives on Designing.” Design Studies 5.3 (1984): 132–36. <https://doi.org/10.1016/0142-694X(84)90002-4>. Scolari, Massimo. Oblique Drawing: A History of Anti-Perspective. MIT P, 2012. Scupin, Raymond. “The KJ Method: A Technique for Analyzing Data Derived from Japanese Ethnology.” Human Organization, 1997. 233–37. Shane, David Grahame. "Transcending Type: Designing for Urban Complexity." Architectural Design 81.1 (2011): 128-34. Vaajakallio, Kirsikka, and Tuuli Mattelmäki. “Design Games in Codesign: As a Tool, a Mindset and a Structure.” CoDesign 10.1 (2014): 63–77. <https://doi.org/10.1080/15710882.2014.881886>. Visser, Froukje Sleeswijk, Pieter Jan Stappers, Remko van der Lugt, and Elizabeth B.N. Sanders. “Contextmapping: Experiences from Practice.” CoDesign 1.2 (2005): 119–49. Weedon, Scott. “The Core of Kees Dorst’s Design Thinking: A Literature Review.” Journal of Business and Technical Communication 33.4 (2019): 425–30. <https://doi.org/10.1177/1050651919854077>. Wenger, Etienne. Communities of Practice : Learning, Meaning, and Identity. Learning in Doing. Cambridge UP, 1988. Yaneva, Albena. The Making of a Building: A Pragmatist Approach to Architecture. Peter Lang, 2009.

Sphincter I hope my good old asshole holds out 60 years it's been mostly OK Tho in Bolivia a fissure operation survived the altiplano hospital -- a little blood, no polyps, occasionally a small hemorrhoid active, eager, receptive to phallus coke bottle, candle, carrot banana & fingers -- Now AIDS makes it shy, but still eager to serve -- out with the dumps, in with the condom'd orgasmic friend -- still rubbery muscular, unashamed wide open for joy But another 20 years who knows, old folks got troubles everywhere -- necks, prostates, stomachs, joints -- Hope the old hole stays young till death, relax -- March 15, 1986, 1:00 PM, Allen Ginsberg Lucky to the end, Allen Ginsberg (1926-97) achieved his first and final wish. Despite the constipation mentioned occasionally in his later poems, the anus of the grand gay father of the Beats remained relatively healthy until his death while other vital organs failed. Ginsberg, who had also described the erectile misfunction of his penis in mid-to-late career poems, died from a heart attack brought on by liver cancer. While the poet fleshed out references to the male anus in at least fifty of his poems, his "Sphincter" comprises the chronological climax in the development of both his anal and erotic verse. The poem was written just months after the beginning of the global media demonisation of Hollywood star Rock Hudson who was found in late 1985 to be both gay and to have died from AIDS complications. Ginsberg's timely "Sphincter" reflects on the poet's survival as an anally-active gay man through both the pre-AIDS and AIDS eras. While criticism of the (homo)eroticism in Ginsberg's verse ranges from utter denial to near hagiography, overall the significance of his musings on male ani has been avoided. The rather anal-retentive Thomas Merrill claims that, "even sophisticated readers of Ginsberg's poetry are apt to be put off, perhaps bored by, his obsession not only with four-letter words, but with the clinical, strikingly nonerotic descriptions of his homosexuality" (24). For the far less uptight John Tytell, on the other hand, "Ginsberg has always reveled in the divinity of his own sexuality, his homosexuality, adorning his own physical propensities and urging the life of the body on his readers" (245). However, "Sphincter" which is an intensely erotic (albeit anti-Romantic) poem, contains none of the expletives (apart from "asshole") nor divine associations used repeatedly by the poet elsewhere to represent the (homo)eroticised male body, and his anus in particular. Six decades of anal health and recovery aside, Ginsberg packs a suggestive lot into his "Sphincter" with the list of objects wielded during the pre-AIDS period as the means to his erotic end. The term "phallus" -- while suggesting the penis and allo-erotic activity -- may also mean dildoes with certain tactile qualities and anus-fitting shapes and sizes ideal for auto-erotic delight. Indeed, the "coke bottle, candle, carrot/banana & fingers" -- with their smooth to slightly rough texture, stiff to pliable constituency, hard to semi-hard density, and rounded pointedness -- offer more reliable potential for sustained anal stimulation than the occasionally tumescent penis. These objects may answer the decades-old queries in "Iron Horse" (1966): "What can I shove up my ass?" and "Oh if only somebody'd come in &/shove som'in up that ass a mine" (432). The bottle and candle are appropriated from a passage in Ginsberg's signature poem, "Howl" (1955), about the "best [male] minds" (126) of the poet's generation, "who copulated ecstatic and insatiate with a bottle of beer a sweetheart a/package of cigarettes a candle . . . and ended fainting on the wall with/a vision of ultimate cunt and come..." (128). In his "Sphincter", Ginsberg reminisces about the pleasurable insertion into his anus of such props to heterosexual romance. The coke (rather than beer) bottle signifies the contemporary product probably most commodified along with youthful images of (compulsory) heterosexuality in global mass media advertising. Through sodomy with that iconic item of American capitalist cultural imperialism, the poet's jingle valorises his rectum as one of the most fitting and wonderfully subversive "things" that "go better with coke!" As items usually for oral insertion rather than anal penetration, the carrot and banana (and bottle) here play on a subtle metaphor of "receptive"-anus-as-"active"-mouth. Allusions to the (frequently 'cock-hungry') oral-anal configuration of the anus denatus are more explicit in other Ginsberg poems. In "Journal Night Thoughts" (1961) the poet awaits as "a cock throbs I lie still my/mouth in my ass" (271). Ginsberg asks his sexual partner in "Please Master" (1968) to "make me wriggle my rear to eat up the prick trunk", and describes his anus as his "hairmouth" (494). In "Sweet Boy, Gimme Yr Ass" (1974) he desires a young man's "soft mouth asshole" (613). While containing "phallus" and "fingers", there is no tongue nor other oral referent in the rather clean "Sphincter". By contrast, "Iron Horse" (1966) includes the growly request: "Sweet Prince --/open yr ass to my mouth" (433-4). Ginsberg's Pre-AIDS poems frequently celebrate the joining of the uncondomed penis, anus and body fluids in sensational detail. In "This Form of Life Needs Sex" (1961) "joy" comes to mean the very act of joining male anus with penis: "You can joy man to man but the Sperm/comes back in a trickle at dawn/in a toilet on the 45th floor" (285). "Please Master" (1968) includes the demand, "fuck me more violent ... & throb thru five seconds to spurt out your semen heat over & over" (495). In "Love Comes" (1981) the period of the sex act and whether condoms are used is not stated: "I relaxed my inside/loosed the ring in my hide ... He continued to beat/his meat in my meat" (11). The memorial "'What You Up To?'" (1982) recaptures his most scatological unsafe copulation: "That white boy ... one night in 1946/he fucked me naked in the ass/till I smelled brown excrement/staining his cock" (29). While "Sphincter" marks the chronological peak in the development of Ginsberg's erotic poetry, the unbroken line, "unashamed wide open for joy", comprises the structural and thematic climax within the poem itself. This current of anal-erotic joy traces back to "Howl" (1955) with its passage about those men, "who let themselves be fucked in the ass by saintly motorcyclists/and screamed with joy" (128). Ginsberg has said that he wrote "joy" here instead of the expected "pain" as a reaction to the "James Dickey film Deliverance where [receptive anal sex] is supposed to be the worst thing in the world" (Young 103). In the inter-male rape scene in the 1972 film version of Dickey's 1970 novel, actions indicate that one man uses his penis to penetrate the anus of another who is held at gunpoint and ordered to squeal like a pig throughout the assault. Prior to this the raped man is taunted with female names. The consensual 'safe' gay anal joy exhibited by Ginsberg's "Sphincter" counters such homo-, gyno- and porcine-phobic violence. While the anal-erotic jouissance in poems that preceded "Sphincter" was overshadowed at times by non-reproductive aims and scatological themes, "Sphincter" delivers the explicit message that consensual protected anus-around-penis eroticism (particularly for actively "receptive" men) creates penultimate emotional and physical pleasure. The "phallus/coke bottle, candle, carrot/banana & fingers" leave any specified penis out of the pre-AIDS picture. By contrast, "Now" as Ginsberg states "[in the mid-Eighties age of] AIDS", at a time when auto-eroticism, digital/dildo stimulation and other penetrations without penis mean the safest anal sex, the poet himself celebrates contact with the safe sex penis -- "the condom'd/orgasmic friend" -- for which he is "unashamed wide open for joy". The preceding phrase, "out with the dumps", refers to the expulsing of two combined types of "dumps". Firstly, the mental depression about the end of skin-to-skin anus-penis sex and secondly, defecated matter which brings not only physical relief but an anus open to penetration. Unlike "Sphincter", later poems do not specify whether sexual encounters are 'safe' or 'unsafe'. In "The Guest" (1992) the question of whether condoms are used is open but the consensual status of the encounter is stressed: "I ask permission, he says 'yes,'/I pull his hips up, hold his breast,/spurt my loves deep in his bum" (78). Other poems such as "Violent Collaborations" (written with Peter Hale, 1992) humorously relish sadomasochistic and coprophilic pleasure: "Fuck me & fist me/in your army enlist me/Poop on me when you're at ease" (92). Again there is no specification that condoms are used nor that there is 'unsafe' contact. With its "shy" but "eager" anus and "condom'd/orgasmic friend", "Sphincter" marks not so much an end to 'unsafe' sex as an end to the specification of 'safe' sex in Ginsberg's poetry. No Ginsberg poem specifically addresses his penis (and/or testicles) in the way that "Sphincter" is devoted to his anus. In his poetry he does not epitomise himself as any libidinous body part other than his anal hole. In "Please Master" (1968) the poet conflates his anus with his selfhood when exclaiming: "touch your cock head to my wrinkled self-hole/... please please master fuck me again" (494-5), and "Please call me ... a wet asshole" (495). In Ginsberg's "Sphincter" moreover, his anus synecdochically represents not only his whole person but a type of gay Everyman. His sphincter is "active" and "receptive", "old" and "young", "shy" and "unashamed", and "rubbery" and "muscular". These antithetical qualities also characterise the male body idealised in gay culture (in reaction to media images of decaying 'plague victims') during the AIDS-era. This body is sexually 'versatile' (as both 'bottom' and 'top'), boyish-looking but sexually mature, introspective but assertively 'out', and physically toned but flexible. The "rubbery muscular" qualities of Ginsberg's anus are focal, because -- apart from the "blood" and "hemorrhoid" which evoke colours and shapes -- "Sphincter" contains no other physical representations of his anal orifice nor any of the myriad hyperbolic metaphorisations found in his earlier visceral verses. Anal-roseate associations appear in "A Methedrine Vision in Hollywood" (1965) and "Hiway Poesy" (1966). In the first there is wind of the floral: "one-eyed sparkle, giant glint, any tiny fart/or rose-whiff before roses were/Thought Impossible" (381). In the second, the anus-as-flower manifests through ambiguous layers. The word "rose" may be read as noun, adjective or verb: "Oh that I were young again and the skin in my anus folds/rose" (386). "Kaddish" (1959) draws on topographical metaphors: "a mortal avalanche, whole mountains of homosexuality, Matter-/horns of Cock, Grand Canyons of Asshole" (214). Manifestations of the anus as a cosmic portal or eye appear in several poems, but not in "Sphincter". Ginsberg draws on Yogic beliefs to cast the anus as the source of the enlightening kundalini in "Iron Horse" (1966): "Muladhara sphincter up thru/mind aura/Sahasrarapadma promise/another universe" (435). In the only reference to the anus in the copious footnotes to his Collected Poems, the editors explain 'Muladhara Sphincter' simplisticly as "anal chakra (one of seven bodily centers of spirit energy in Orient [sic] yoga practice)", while 'Sahasrarapadma' is described in detail as "Seventh chakra, 'thousand-petal lotus' at skulltop" (781). Ginsberg, however, seems to have placed his stress on these first and last chakras more equally or in reverse. In "Scatalogical Observations" (1997) he declares, "The Ass knows more than the mind knows" (85-6). In "Journal Night Thoughts" (1961) the poet's anus comprises a universal 'third eye' through which he comes to 'know' and 'see'. This anus/eye in the formulation of "the eye in the center of the moving/mandala -- the/eye in the hand/the eye in the asshole" (267) is later eroticised as "I prostrate my sphincter with my eyes in/the pillow" (271). As we have seen, Ginsberg's erotic poetry frequently features imagery of the sexual orifice that is beyond any man's individual scope and culturally most proscribed from public view. While many passages in his verse evoke the male anus as a subject worthy of versification and visualisation, Ginsberg's "Sphincter" comprises an ode which literally and literarily presents the poet's anus to the audience as a poetic vision in itself. The succinctly anti-analphobic and anti-homophobic "Sphincter" finely balances critical aspects of the ars poetica. Devoid of signature tropes such as the anus/mouth, anus/I and anus/eye, "Sphincter" with its relative lack of euphemism and clever mix of metonymy and metaphor nonetheless merges antithetical themes to relay a profound spiritual message. The poet's ode to his ageing anus matter-of-factly and humorously revels in memories of auto- and allo-erotic 'phallo-morphous' perversity and celebrates the anal-erotic joy in being 'fucked safely' as a personal and political act. As this millennium closes, we could do worse in our 'anal-retentive' culture than following one of the century's wisest poetic ends: "till death, relax". References Deliverance. Dir. John Boorman. U.S.A.: Warner Bros., 1972. Dickey, James. Deliverance. Boston, MA: Houghton Mifflin, 1970. Ginsberg, Allen. Collected Poems 1947-1980. New York: Viking Penguin, 1985. ---. Cosmopolitan Greetings: Poems 1986-1992. London: Penguin, 1994. ---. Death and Fame: Poems 1993-1997. London: Penguin, 1999. ---. White Shroud: Poems 1980-1985. New York: Harper and Row, 1986. Merrill, Thomas F. Allen Ginsberg. Boston, MA: Twayne, 1988. Tytell, John. Naked Angels: The Lives and Literature of the Beat Generation. New York: McGraw-Hill, 1976. Young, Allen. "Allen Young Interviews Allen Ginsberg." 1973. Gay Sunshine Interviews. Ed. Winston Leyland. San Francisco: Gay Sunshine Press, 1978: 96-128. Citation reference for this article MLA style: Simon-Astley Scholfield. "A Poetic End: Allen Ginsberg's 'Sphincter'." M/C: A Journal of Media and Culture 2.8 (1999). [your date of access] <http://www.uq.edu.au/mc/9912/sphincter.php>. Chicago style: Simon-Astley Scholfield, "A Poetic End: Allen Ginsberg's 'Sphincter'," M/C: A Journal of Media and Culture 2, no. 8 (199x), <http://www.uq.edu.au/mc/9912/sphincter.php> ([your date of access]). APA style: Simon-Astley Scholfield. (1999) A poetic end: Allen Ginsberg's "Sphincter". M/C: A Journal of Media and Culture 2(8). <http://www.uq.edu.au/mc/9912/sphincter.php> ([your date of access]).

IntroductionFirmly located within the discourse of visible culture as the lofty preserve of art exhibitions and museum artefacts, the noun “curate” has gradually transformed into the verb “to curate”. Williams writes that “curate” has become a fashionable code word among the aesthetically minded to describe a creative activity. Designers no longer simply sell clothes; they “curate” merchandise. Chefs no longer only make food; they also “curate” meals. Chosen for their keen eye for a particular style or a precise shade, it is their knowledge of their craft, their reputation, and their sheer ability to choose among countless objects which make the creative process a creative activity in itself. Writing from within the framework of “curate” as a creative process, this article discusses how the state banquet for Queen Elizabeth II, hosted by Irish President Mary McAleese at Dublin Castle in May 2011, was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity. The paper will focus in particular on how the menu for the banquet was created and how the banquet’s brief, “Ireland on a Plate”, was fulfilled.History and BackgroundFood has been used by nations for centuries to display wealth, cement alliances, and impress foreign visitors. Since the feasts of the Numidian kings (circa 340 BC), culinary staging and presentation has belonged to “a long, multifaceted and multicultural history of diplomatic practices” (IEHCA 5). According to the works of Baughman, Young, and Albala, food has defined the social, cultural, and political position of a nation’s leaders throughout history.In early 2011, Ross Lewis, Chef Patron of Chapter One Restaurant in Dublin, was asked by the Irish Food Board, Bord Bía, if he would be available to create a menu for a high-profile banquet (Mahon 112). The name of the guest of honour was divulged several weeks later after vetting by the protocol and security divisions of the Department of the Taoiseach (Prime Minister) and the Department of Foreign Affairs and Trade. Lewis was informed that the menu was for the state banquet to be hosted by President Mary McAleese at Dublin Castle in honour of Queen Elizabeth II’s visit to Ireland the following May.Hosting a formal banquet for a visiting head of state is a key feature in the statecraft of international and diplomatic relations. Food is the societal common denominator that links all human beings, regardless of culture (Pliner and Rozin 19). When world leaders publicly share a meal, that meal is laden with symbolism, illuminating each diner’s position “in social networks and social systems” (Sobal, Bove, and Rauschenbach 378). The public nature of the meal signifies status and symbolic kinship and that “guest and host are on par in terms of their personal or official attributes” (Morgan 149). While the field of academic scholarship on diplomatic dining might be young, there is little doubt of the value ascribed to the semiotics of diplomatic gastronomy in modern power structures (Morgan 150; De Vooght and Scholliers 12; Chapple-Sokol 162), for, as Firth explains, symbols are malleable and perfectly suited to exploitation by all parties (427).Political DiplomacyWhen Ireland gained independence in December 1921, it marked the end of eight centuries of British rule. The outbreak of “The Troubles” in 1969 in Northern Ireland upset the gradually improving environment of British–Irish relations, and it would be some time before a state visit became a possibility. Beginning with the peace process in the 1990s, the IRA ceasefire of 1994, and the Good Friday Agreement in 1998, a state visit was firmly set in motion by the visit of Irish President Mary Robinson to Buckingham Palace in 1993, followed by the unofficial visit of the Prince of Wales to Ireland in 1995, and the visit of Irish President Mary McAleese to Buckingham Palace in 1999. An official invitation to Queen Elizabeth from President Mary McAleese in March 2011 was accepted, and the visit was scheduled for mid-May of the same year.The visit was a highly performative occasion, orchestrated and ordained in great detail, displaying all the necessary protocol associated with the state visit of one head of state to another: inspection of the military, a courtesy visit to the nation’s head of state on arrival, the laying of a wreath at the nation’s war memorial, and a state banquet.These aspects of protocol between Britain and Ireland were particularly symbolic. By inspecting the military on arrival, the existence of which is a key indicator of independence, Queen Elizabeth effectively demonstrated her recognition of Ireland’s national sovereignty. On making the customary courtesy call to the head of state, the Queen was received by President McAleese at her official residence Áras an Uachtaráin (The President’s House), which had formerly been the residence of the British monarch’s representative in Ireland (Robbins 66). The state banquet was held in Dublin Castle, once the headquarters of British rule where the Viceroy, the representative of Britain’s Court of St James, had maintained court (McDowell 1).Cultural DiplomacyThe state banquet provided an exceptional showcase of Irish culture and design and generated a level of preparation previously unseen among Dublin Castle staff, who described it as “the most stage managed state event” they had ever witnessed (Mahon 129).The castle was cleaned from top to bottom, and inventories were taken of the furniture and fittings. The Waterford Crystal chandeliers were painstakingly taken down, cleaned, and reassembled; the Killybegs carpets and rugs of Irish lamb’s wool were cleaned and repaired. A special edition Newbridge Silverware pen was commissioned for Queen Elizabeth and Prince Philip to sign the newly ordered Irish leather-bound visitors’ book. A new set of state tableware was ordered for the President’s table. Irish manufacturers of household goods necessary for the guest rooms, such as towels and soaps, hand creams and body lotions, candle holders and scent diffusers, were sought. Members of Her Majesty’s staff conducted a “walk-through” several weeks in advance of the visit to ensure that the Queen’s wardrobe would not clash with the surroundings (Mahon 129–32).The promotion of Irish manufacture is a constant thread throughout history. Irish linen, writes Kane, enjoyed a reputation as far afield as the Netherlands and Italy in the 15th century, and archival documents from the Vaucluse attest to the purchase of Irish cloth in Avignon in 1432 (249–50). Support for Irish-made goods was raised in 1720 by Jonathan Swift, and by the 18th century, writes Foster, Dublin had become an important centre for luxury goods (44–51).It has been Irish government policy since the late 1940s to use Irish-manufactured goods for state entertaining, so the material culture of the banquet was distinctly Irish: Arklow Pottery plates, Newbridge Silverware cutlery, Waterford Crystal glassware, and Irish linen tablecloths. In order to decide upon the table setting for the banquet, four tables were laid in the King’s Bedroom in Dublin Castle. The Executive Chef responsible for the banquet menu, and certain key personnel, helped determine which setting would facilitate serving the food within the time schedule allowed (Mahon 128–29). The style of service would be service à la russe, so widespread in restaurants today as to seem unremarkable. Each plate is prepared in the kitchen by the chef and then served to each individual guest at table. In the mid-19th century, this style of service replaced service à la française, in which guests typically entered the dining room after the first course had been laid on the table and selected food from the choice of dishes displayed around them (Kaufman 126).The guest list was compiled by government and embassy officials on both sides and was a roll call of Irish and British life. At the President’s table, 10 guests would be served by a team of 10 staff in Dorchester livery. The remaining tables would each seat 12 guests, served by 12 liveried staff. The staff practiced for several days prior to the banquet to make sure that service would proceed smoothly within the time frame allowed. The team of waiters, each carrying a plate, would emerge from the kitchen in single file. They would then take up positions around the table, each waiter standing to the left of the guest they would serve. On receipt of a discreet signal, each plate would be laid in front of each guest at precisely the same moment, after which the waiters would then about foot and return to the kitchen in single file (Mahon 130).Post-prandial entertainment featured distinctive styles of performance and instruments associated with Irish traditional music. These included reels, hornpipes, and slipjigs, voice and harp, sean-nόs (old style) singing, and performances by established Irish artists on the fiddle, bouzouki, flute, and uilleann pipes (Office of Public Works).Culinary Diplomacy: Ireland on a PlateLewis was given the following brief: the menu had to be Irish, the main course must be beef, and the meal should represent the very best of Irish ingredients. There were no restrictions on menu design. There were no dietary requirements or specific requests from the Queen’s representatives, although Lewis was informed that shellfish is excluded de facto from Irish state banquets as a precautionary measure. The meal was to be four courses long and had to be served to 170 diners within exactly 1 hour and 10 minutes (Mahon 112). A small army of 16 chefs and 4 kitchen porters would prepare the food in the kitchen of Dublin Castle under tight security. The dishes would be served on state tableware by 40 waiters, 6 restaurant managers, a banqueting manager and a sommélier. Lewis would be at the helm of the operation as Executive Chef (Mahon 112–13).Lewis started by drawing up “a patchwork quilt” of the products he most wanted to use and built the menu around it. The choice of suppliers was based on experience but also on a supplier’s ability to deliver perfectly ripe goods in mid-May, a typically black spot in the Irish fruit and vegetable growing calendar as it sits between the end of one season and the beginning of another. Lewis consulted the Queen’s itinerary and the menus to be served so as to avoid repetitions. He had to discard his initial plan to feature lobster in the starter and rhubarb in the dessert—the former for the precautionary reasons mentioned above, and the latter because it featured on the Queen’s lunch menu on the day of the banquet (Mahon 112–13).Once the ingredients had been selected, the menu design focused on creating tastes, flavours and textures. Several draft menus were drawn up and myriad dishes were tasted and discussed in the kitchen of Lewis’s own restaurant. Various wines were paired and tasted with the different courses, the final choice being a Château Lynch-Bages 1998 red and a Château de Fieuzal 2005 white, both from French Bordeaux estates with an Irish connection (Kellaghan 3). Two months and two menu sittings later, the final menu was confirmed and signed off by state and embassy officials (Mahon 112–16).The StarterThe banquet’s starter featured organic Clare Island salmon cured in a sweet brine, laid on top of a salmon cream combining wild smoked salmon from the Burren and Cork’s Glenilen Farm crème fraîche, set over a lemon balm jelly from the Tannery Cookery School Gardens, Waterford. Garnished with horseradish cream, wild watercress, and chive flowers from Wicklow, the dish was finished with rapeseed oil from Kilkenny and a little sea salt from West Cork (Mahon 114). Main CourseA main course of Irish beef featured as the pièce de résistance of the menu. A rib of beef from Wexford’s Slaney Valley was provided by Kettyle Irish Foods in Fermanagh and served with ox cheek and tongue from Rathcoole, County Dublin. From along the eastern coastline came the ingredients for the traditional Irish dish of smoked champ: cabbage from Wicklow combined with potatoes and spring onions grown in Dublin. The new season’s broad beans and carrots were served with wild garlic leaf, which adorned the dish (Mahon 113). Cheese CourseThe cheese course was made up of Knockdrinna, a Tomme style goat’s milk cheese from Kilkenny; Milleens, a Munster style cow’s milk cheese produced in Cork; Cashel Blue, a cow’s milk blue cheese from Tipperary; and Glebe Brethan, a Comté style cheese from raw cow’s milk from Louth. Ditty’s Oatmeal Biscuits from Belfast accompanied the course.DessertLewis chose to feature Irish strawberries in the dessert. Pat Clarke guaranteed delivery of ripe strawberries on the day of the banquet. They married perfectly with cream and yoghurt from Glenilen Farm in Cork. The cream was set with Irish Carrageen moss, overlaid with strawberry jelly and sauce, and garnished with meringues made with Irish apple balsamic vinegar from Lusk in North Dublin, yoghurt mousse, and Irish soda bread tuiles made with wholemeal flour from the Mosse family mill in Kilkenny (Mahon 113).The following day, President McAleese telephoned Lewis, saying of the banquet “Ní hé go raibh sé go maith, ach go raibh sé míle uair níos fearr ná sin” (“It’s not that it was good but that it was a thousand times better”). The President observed that the menu was not only delicious but that it was “amazingly articulate in terms of the story that it told about Ireland and Irish food.” The Queen had particularly enjoyed the stuffed cabbage leaf of tongue, cheek and smoked colcannon (a traditional Irish dish of mashed potatoes with curly kale or green cabbage) and had noted the diverse selection of Irish ingredients from Irish artisans (Mahon 116). Irish CuisineWhen the topic of food is explored in Irish historiography, the focus tends to be on the consequences of the Great Famine (1845–49) which left the country “socially and emotionally scarred for well over a century” (Mac Con Iomaire and Gallagher 161). Some commentators consider the term “Irish cuisine” oxymoronic, according to Mac Con Iomaire and Maher (3). As Goldstein observes, Ireland has suffered twice—once from its food deprivation and second because these deprivations present an obstacle for the exploration of Irish foodways (xii). Writing about Italian, Irish, and Jewish migration to America, Diner states that the Irish did not have a food culture to speak of and that Irish writers “rarely included the details of food in describing daily life” (85). Mac Con Iomaire and Maher note that Diner’s methodology overlooks a centuries-long tradition of hospitality in Ireland such as that described by Simms (68) and shows an unfamiliarity with the wealth of food related sources in the Irish language, as highlighted by Mac Con Iomaire (“Exploring” 1–23).Recent scholarship on Ireland’s culinary past is unearthing a fascinating story of a much more nuanced culinary heritage than has been previously understood. This is clearly demonstrated in the research of Cullen, Cashman, Deleuze, Kellaghan, Kelly, Kennedy, Legg, Mac Con Iomaire, Mahon, O’Sullivan, Richman Kenneally, Sexton, and Stanley, Danaher, and Eogan.In 1996 Ireland was described by McKenna as having the most dynamic cuisine in any European country, a place where in the last decade “a vibrant almost unlikely style of cooking has emerged” (qtd. in Mac Con Iomaire “Jammet’s” 136). By 2014, there were nine restaurants in Dublin which had been awarded Michelin stars or Red Ms (Mac Con Iomaire “Jammet’s” 137). Ross Lewis, Chef Patron of Chapter One Restaurant, who would be chosen to create the menu for the state banquet for Queen Elizabeth II, has maintained a Michelin star since 2008 (Mac Con Iomaire, “Jammet’s” 138). Most recently the current strength of Irish gastronomy is globally apparent in Mark Moriarty’s award as San Pellegrino Young Chef 2015 (McQuillan). As Deleuze succinctly states: “Ireland has gone mad about food” (143).This article is part of a research project into Irish diplomatic dining, and the author is part of a research cluster into Ireland’s culinary heritage within the Dublin Institute of Technology. The aim of the research is to add to the growing body of scholarship on Irish gastronomic history and, ultimately, to contribute to the discourse on the existence of a national cuisine. If, as Zubaida says, “a nation’s cuisine is its court’s cuisine,” then it is time for Ireland to “research the feasts as well as the famines” (Mac Con Iomaire and Cashman 97).ConclusionThe Irish state banquet for Queen Elizabeth II in May 2011 was a highly orchestrated and formalised process. From the menu, material culture, entertainment, and level of consultation in the creative content, it is evident that the banquet was carefully curated to represent Ireland’s diplomatic, cultural, and culinary identity.The effects of the visit appear to have been felt in the years which have followed. Hennessy wrote in the Irish Times newspaper that Queen Elizabeth is privately said to regard her visit to Ireland as the most significant of the trips she has made during her 60-year reign. British Prime Minister David Cameron is noted to mention the visit before every Irish audience he encounters, and British Foreign Secretary William Hague has spoken in particular of the impact the state banquet in Dublin Castle made upon him. Hennessy points out that one of the most significant indicators of the peaceful relationship which exists between the two countries nowadays was the subsequent state visit by Irish President Michael D. Higgins to Britain in 2013. This was the first state visit to the United Kingdom by a President of Ireland and would have been unimaginable 25 years ago. The fact that the President and his wife stayed at Windsor Castle and that the attendant state banquet was held there instead of Buckingham Palace were both deemed to be marks of special favour and directly attributed to the success of Her Majesty’s 2011 visit to Ireland.As the research demonstrates, eating together unites rather than separates, gathers rather than divides, diffuses political tensions, and confirms alliances. It might be said then that the 2011 state banquet hosted by President Mary McAleese in honour of Queen Elizabeth II, curated by Ross Lewis, gives particular meaning to the axiom “to eat together is to eat in peace” (Taliano des Garets 160).AcknowledgementsSupervisors: Dr Máirtín Mac Con Iomaire (Dublin Institute of Technology) and Dr Michael Kennedy (Royal Irish Academy)Fáilte IrelandPhotos of the banquet dishes supplied and permission to reproduce them for this article kindly granted by Ross Lewis, Chef Patron, Chapter One Restaurant ‹http://www.chapteronerestaurant.com/›.Illustration ‘Ireland on a Plate’ © Jesse Campbell BrownRemerciementsThe author would like to thank the anonymous reviewers for their feedback and suggestions on an earlier draft of this article.ReferencesAlbala, Ken. The Banquet: Dining in the Great Courts of Late Renaissance Europe. 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