Journal articles on the topic 'VIJAYA BANK'

Government of India with its vision to create globally competitive banks has initiated the consolidation of smaller PSB’s in bigger entities. The merger of five regional banks with State Bank of India and merger of two Public Sector Banks (PSBs) Dena and Vijaya with Bank of Baroda in recent past (2019) followed by mega consolidation plan of merging ten public sector banks into four banks is an indication of direction of the wind is going to blow for Indian banking industry. This policy of consolidation is an important tool used by banks for corporate restructuring and is in line with reformist agenda pursued by Govt of India (GOI) since 1990. These entities are to receive recapitalization funds from GOI to boost their net-worth strengthening their capital base. The present research is conducted to understand the objectives and statistics behind these mergers.

Banking Industry in India witnessed a large-scale merger in recent times, which was earlier often sought out solution in the corporates to improve the efficiency and profitability. Bank mergers and acquisitions are more often witnessed across Europe and America. We have witnessed few acquisitions/mergers in the past few decades after liberalization. Present situation of mergers in the Banking Industry is primarily due to the failure of some banks with respect to recovery of loans. This would result in incurring losses and failing to meet the liquidity needs of the deposits side. There have been mergers both in Public Sector Banks and Private Sector Banks. It is also observed that some private banks have been acquired by public sector banks in the interest of depositors and investors.This research paper focuses on and analyses the factors that lead to the merger of Bank of Baroda, E-Vijaya Bank and E-Dena Bank. The possible advantages and disadvantages are inferred. Seven years financial data before the merger decision of the three banks is collected for this analysis. Data analysis is done using the financial tools such as Ratio Analysis and Trend Analysis. Various ratios indicating the health of Advances side of the bank and its profitability are calculated. The trend of NPAs and the recovery patterns are studied. The suitability of merger decision with its after effects are proposed to be concluded.

Merger has become an efficient tool to cop up with financial difficulties in all the industries. In past few years Indian banking Industry is going through so many merger and the recent merger which has been taken place is of bank of Baroda, Dena Bank and Vijaya Bank. This study has been conducted to know the effectiveness of Merger to cope up which financial distress in these selected banks in terms of their Non-Performing Assets. The study has two objectives one is to understand the concept of Non-Performing Assets of Indian banks and second is to examine the impact of merger on financial performance of selected Indian public sector banks. For the analysis for factors i.e. Gross NPA, Net NPA, Percentage of Gross NPA, Percentage of Net NPA and Net Profit or Loss have been considered for the period of ten financial years which was divided into before and after merger period as the merger of selected banks was took place in 2019. The results of the study show that there is a significance difference between the before merger performance and after merger performance of the selected banks.

The banking industry has been essential to the economy’s development. Mergers and acquisitions are one of the best ways for banks to expand. The government merged banks when banks had more non-performing assets (NPA), less efficiency for work, no global reach, less profitable situation, or had other unimportant features. The government decided to combine three public sector banks in 2019, namely Vijaya Bank, Dena Bank, and Bank of Baroda (BOB). BOB rose to become India’s third-largest bank following the merger. In order to analyze the position of the bank, the study covered various indicators like Gross & Net NPA, operational profit, net profit, capital adequacy ratio (CAR), return on assets (ROA), return on equity (ROE), earning per share (EPS), deposits & advances. Charts are used to analyze these factors, and data from the two years before and two years after the banks’ merger has been used. Secondary sources such as annual reports, websites, various publications, etc. has been used to get the data. After the two-year merger, operating profits rose by 40.11% and 52.96%, while net profits rose by 25.81% and 91.01%, demonstrating improved efficiency. Since gross NPA exceed net NPA, banks had control the NPA such that inefficiency became efficiency. Deposits and advances have both climbed, and the CAR has as well, indicating that there is enough capital on hand to handle losses. Since the merger, EPS, ROA, and ROE have all dramatically increased. According to the study, the bank’s performance of BOB improved after the merger.

The present research study focuses on the case study on non-performing assets. In order to analyse the case study on NPA,Vijay Mallya’s (the owner of Kingfisher Airlines) case study is taken into consideration. In this study we have covered the brief introduction on Vijay Mallya, His business in India, bank-wise amount borrowed by him, reason for downfall of business and conclusion. After studying the detail case study, recommendations are drowned based on the conclusion.

Low bone mass and micro architecture bone tissue degeneration that can cause fractures is the hallmarks of osteoporosis. The development of disease is influenced by numerous etiological factors, including physical, hormonal, dietary, and lifestyle factors. Low back discomfort, or Katishool, is one of them. Low back discomfort can have many different causes, including compression fractures, intervertebral disc prolapse (IVDP), lumbar spondylosis, spine tuberculosis, etc. At some point in their life, 39% of people report having low back pain, with females between the ages of 40 and 80 experiencing the condition more frequently. The reason of significant low back pain is one of the vertebral compression fractures (VCF). It is comparable to Katishool in Ayurveda. The care of fractures in modern science includes reduction, immobilization of the broken area, use of NSIAD, calcium supplements, etc. Numerous native substances that can aid in the healing of the fracture have been described in ancient treatises. In this instance, Ayurvedic treatments like Vijaya Extract, medicines and Kati Abhyangam are used to treat lower back pain.

Rapid quantification of starch present in fresh cassava tuber by electronic means requires a conductivity work at various points of the tuber. The dielectric parameters of different samples of cassava tuber (Manihot esculenta L.) at the S-band of the microwave frequencies were determined. Tubers of cassava varieties of CTCRI, H-226, H-97, Sree Harsha, Sree Prabha, Sree Rekha, Sree Jaya, Sree Sahya, Sree Vijaya, Sree Prakash, Sree Visakham and H-165 were subjected to the cavity perturbation technique. The range of S-band microwave frequency tested were 2247, 2440, 2684 and 2970 MHz. Tubers of the variety H-226 had significantly lower conductivity value was 0.02s/m and the variety H-165, 1.49s/m and are significantly different. The dielectric constant (real part) of tubers of the varieties, H-165 and H-226 were 34.82 and 14.97 respectively and were significantly different. The proximal part of the tuber had the lowest level of conductivity followed by the middle portion and then the distal portion being 0.60s/m, 0.65s/m and 0.69s/ m respectively. The dielectric constant decreases steadily with increase in frequency between 2.00-2.90GHz range for fresh cassava tubers and the dielectric loss factor follows the same pattern. The moisture content of different varieties of fresh cassava tuber, H-226, H-97, Sree Harsha, Sree Prabha, Sree Rekha, Sree Jaya, Sree Sahya, Sree Vijaya, Sree Prakash, Sree Visakham and H-165 ranged between 44.52% and 58.66% as analysed using the moisture analyser at 80 °C. The starch content values estimated by the chemical method for all the varieties of fresh tuber ranged between 20.78% and 35.94%. The difference in starch content of tuber between the proximal and the middle region was found to be 3% and that of the middle and distal region was found to be 2%. The conductivity values of fresh cassava tuber can be used for the development of a starch indicator based on moisture content.

U radu se predstavlja najstariji sačuvani sveščić zapisnika trogirskih komunalnih vijeća koji je Ivan Lučić datirao u 1316. i 1317. godinu. Uspoređujući sadržaj odluka u sveščiću s drugim poznatim izvorima, Lučićevim bilješkama i Svjedočanstvima o Trogiru, autori postavljaju tezu da rečeni sveščić zapisnika trogirskih komunalnih vijeća potječe iz 1314. i 1315., a ne iz 1316. i 1317. godine, te da svojim sadržajem završava neposredno pred rušenje trogirskoga franjevačkoga samostana i dolazak bana Mladena II. s vojskom pod grad u svibnju 1315. godine. Sukladno novoj kronologiji, autori razmatraju i politička zbivanja u Trogiru tijekom drugoga desetljeća 14. stoljeća.

In the sphere of drama, the name of Vijay Tendulkar does not require any introduction. In the galaxy of Indo-Anglo playwrights, Tendulkar is one of the most shining stars. Marathi Theatre is incomplete without the contribution made by Vijay Tendulkar. This Marathi literary figure is a multifaceted personality. He is the one who brought revolution in Marathi Theatre. An avant-garde playwright, Tendulkar has shown versatility by writing several works including one-act plays, children’s plays, short stories, essay collections etc. Vijay Tendulkar is the mouthpiece of the oppressed women in male dominant society. He has deep insight into human nature. He has proved in his plays that it is the male dominant society that does not allow woman to rise from the status of man’s foot. They are exploited, tortured, taunted both physically and emotionally. They are considered inferior to male human beings as male human beings are victims of their superiority complex. Even in some of the societies they are treated as bane while the male child is hailed as boon. His plays depict that women are treated as mere commodities. He has shown how the voice of women is suppressed when they try to voice their concerns against the cruelties. He makes a psychological study of human characters in his plays. An analytical approach to his plays reveals that women are deprived of the life they wish to live. The present research paper focuses on his four plays, to bring to light the enslaved and exploited position of women in society. In ‘Sakharam Binder’ and ‘Kamala’ he brings to light how women are enslaved and exploited. In ‘Silence! The Court is in Session’ and ‘Kanaydaan’ he ascertains the fact that it is male human being who is responsible for the exploitation of women.

Species of the genus Franklinothrips Back are predators and ant-mimics, with the first two abdominal segments narrow and sometimes pale (Mound & Marullo, 1996), and an illustrated identification key to the 15 known species was provided by Mound & Reynaud (2005). A further new species was described recently from northern India (Vijay Veer, 2010), and these species have been found in the tropical areas of Asia, Africa, Central and South America, the Caribbean, Australia, and the southern United States. Previous studies on the genus include a key to six species from North America (Stannard, 1952), a key to six New World species (Mound & Marullo, 1996), and to two species from Europe (zur Strassen, 2003). From the Oriental region, species have also been described by Okajima (1997), and Reyes (1994).

Pelabuhan adalah tempat yang terdiri dari daratan dan perairan di sekitarnya dengan batas-batas tertentu sebagai tempat kegiatan pemerintahan dan kegiatan ekonomi yang digunakan sebagai tempat bersandar, berlabuh, naik turun penumpang dan bongkar muat barang. Pelabuhan penumpang adalah prasarana transportasi laut untuk keperluan menaikan dan menurunkan penumpang serta pengaturan kedatangan dan pemberangkatan. PT. Pelabuhan Indonesia III Saat ini terus menerus mengalami perbaikan dari segi kuantitas maupun kualitas, dalam hal ini desain interior dapat berpengaruh sebagai daya tarik pendukung transportasi laut di Indonesia. Salah satunya dengan melalui redesain terminal penumpang Tanjung Emas dengan mengangkat citra kota Semarang melalui bangunan-bangunan Kolonial indis nya yang merupakan identitas dari kota Semarang dengan fasilitas pendukung kebutuhan penumpang di dalamnya. Karya desain ini menggunakan metode perancangan proses desain inovasi Vijay Kumar dengan tujuh mode aktivitas yakni memahami tujuan, mengetahui konteks, mengenal masyarakat, menyusun gagasan, mengeksplorasi konsep, menyusun solusi, dan merealisasikan penawaran.Desain terminal keberangkatan domestik Tanjung Emas akan mengambil bentuk arsitektural bangunan Lawang Sewu dan Bank Mandiri kota lama Semarang dan dipadukan dengan fasilitas-fasilitas modern di dalamnya

Background: Dysmenorrhea is characterized by intense uterine discomfort that radiates to the back and legs and occurs during menstruation. In medical interviews, women frequently fail to mention that they suffer from dysmenorrhea. Herbal supplements have been shown to be an exceptionally effective treatment option for menstrual issues. One of the most significant benefits of using herbal remedies is that they provide results for a long time without having any side effects for the consumer. Mint is a soothing plant that can be used without worry despite its invasive nature and propensity to spread. Its most common use includes providing relief from the discomfort associated with indigestion, cramps, menstrual cramps, flatulence, upset stomach, nausea, and vomiting as well as child colic. Method: Quantitative evaluative research approach and Quasi experimental research design were used. The study was conducted in the Swapna School of Nursing, Chaitanyapuri, Hyderabad, and Vijay Marie College of Nursing Begumpet, Hyderabad. Adolescent girls with dysmenorrhea who were studying in the Swapna School of Nursing, Chaitanyapuri, Hyderabad, and Vijay Marie College of Nursing Begumpet, Hyderabad, were selected as a sample size. Purposive sampling technique was used in this study. Results: The calculated paired t-test calculated value for experimental group is 5.9 and table value is 2.04 at 0.05% level of significance and 29 degree of freedom; hence, the calculated “t” value is greater than table value, indicating that the null hypothesis (H0 ) is rejected and research hypothesis (H1 ) is accepted. Conclusion: The study found that adolescents with dysmenorrhea who experienced major side effects responded favorably to the efficacy and pain reduction of the medication.

Status gizi, usia dan faktor ekonomi merupakan faktor internal pasien yang mempengaruhi frekuensi infeksi. Masyarakat masih belum mengetahui status gizinya dan tidak dapat memperbaikinya, dengan penyebab yang bervariasi baik dari keadaan ekonomi maupun dari kurangnya pengetahuan masyarakat tentang gizi. Faktor internal lain dalam frekuensi infeksi adalah usia, pada pasien yang lebih tua dari 70 tahun. Faktor usia di atas 70 dapat menurunkan pertahanan tubuh. Tujuan penelitian ini adalah untuk mengetahui faktor-faktor yang mempengaruhi kejadian infeksi post operasi di bangsal Vijaya Kusumah RSUD Kota Banjar. Penelitian ini menggunakan beberapa jenis penelitian korelasi. Populasi penelitian ini terdiri dari seluruh pasien pasca operasi dan sampel sebanyak 21 responden. Alat yang digunakan dalam penelitian ini adalah kuesioner, dan analisis data yang digunakan dalam penelitian ini adalah univariat dan bivariat. Hasil penelitian menunjukkan bahwa tidak ada pengaruh faktor status gizi terhadap kejadian infeksi post operasi, pengaruh faktor status gizi terhadap kejadian infeksi post operasi dan pengaruh faktor ekonomi terhadap kejadian infeksi post operasi. Akibatnya, faktor status gizi tidak mempengaruhi angka infeksi pasca operasi, tetapi faktor status gizi dan tingkat ekonomi ditemukan mempengaruhi angka infeksi pasca operasi. Hasil penelitian ini dimaksudkan untuk digunakan sebagai buku teks dan literatur untuk mengatasi masalah infeksi pasca operasi.Nutritional status, age and economic factors are internal patient factors that affect the frequency of infection. The community still does not know their nutritional status and cannot improve it, with various causes, both from economic conditions and from a lack of public knowledge about nutrition. Another internal factor in the frequency of infection is age, in patients older than 70 years. The age factor over 70 can lower the body's defenses. The purpose of this study was to determine the factors that influence the incidence of postoperative infection in the Vijaya Kusumah ward, Banjar City Hospital. This study uses several types of correlation research. The population of this study consisted of all postoperative patients and a sample of 21 respondents. The instrument used in this study was a questionnaire, and the data analysis used in this study was univariate and bivariate. The results showed that there was no influence of nutritional status factors on the incidence of postoperative infections, the influence of nutritional status factors on the incidence of postoperative infections and the influence of economic factors on the incidence of postoperative infections. As a result, nutritional status factors did not affect postoperative infection rates, but nutritional status factors and economic level were found to influence postoperative infection rates. The results of this study are intended to be used as a textbook and literature to address the problem of postoperative infection.

ABSTRACT Aim Presenting a rare complication of an odontogenic infection extending to the orbit. Background A 45-year-old male patient reported with periorbital swelling of eyelids, of the left eye, foul smelling nasal discharge and a pus draining sinus on the left lower eyelid area. Case description The patient gave history of pain in the left upper first molar tooth 1 week back. His intraoral examination showed poor oral hygiene with tenderness on percussion on the left maxillary first molar. Investigations showed possible extension of infection from left maxillary molar root to maxillary sinus and to the orbital floor. Conclusion A case of periapical infection of a maxillary left molar resulting in an orbital abscess is presented. Identification of odontogenic source of infections, institution of drainage, removal of offending teeth and appropriate antimicrobial therapy are mandatory in preventing loss of vision and cerebral extensions. The pathways of spread of the infection, treatment aspects, are discussed and complications are reviewed. How to cite this article Vijayan A, Sreejith VP, Ranjini, Ahamed G. Orbital Abscess arising from an Odontogenic Infection. J Contemp Dent Pract 2012;13(5):740-743.

The decision of the Delhi High Court in the matter of NTT DoCoMo Inc vs Tata Sons Limited and the settlement thereof in the year 2017 has attracted significant attention from all stakeholders. The case involves an analysis of the foreign direct investment policy and the regime regarding foreign investments in India and exits of foreign investors from companies in India. The dispute involves an interplay of interpretation of contracts and the role of the Reserve Bank of India. While the Foreign Exchange Management Act, 1999 does not permit “assured returns” to a foreign investor at the time of its exit, it appears that the arbitral tribunal, and the DHC took a favoured view when it came to NTT DoCoMo Inc. The decision of the DHC, upholding the foreign arbitral award for a contract that was in obvious violation of FEMA was quite startling. Unfortunately, this rationale was also used by the Supreme Court in the case of Vijay Karia & Others vs Prysiman Cavi E Sistemi SLR & Others, which further compounds this issue. The Apex Court accepted the view of DHC in the NTT Docomo case, and held that a violation of the provisions of the FEMA does not result in a “breach of public policy of India”. This paper aims to analyse and critiq the decisions taken by the arbitral tribunal, DHC and the Supreme Court in the case of NTT DoCoMo Inc vs Tata Sons Limite and Vijay Karia & Others vs Prysiman Cavi E Sistemi SLR & Others. Besides legality, these two cases also raise serious concerns regarding the quality of corporate governance of companies and the professional ethics of legal advisory services, which has been discussed further in this paper. In the author’s view, RBI, as a custodian of the foreign currency reserves and implementer of FEMA, is best placed to interpret the regulations and operational guidelines issued under FEMA. The decision in these two cases, where the parties have used the international arbitration clause to bye-pass the laws of India, has now provided a template for parties to enter into contracts with a deliberate intention to bypass the provisions of the law, and indulge in unethical practices. The paper tries to elucidate how these cases have set an incorrect precedent as regards assured returns in India. Keywords: “assured returns”, “international arbitration”, “Tata - NTT Docomo Dispute”, “pricing guidelines”

This project comes out of a conversation between Mohaiemen and Pajović, about the relative absence of Non-Aligned Movement co-founder Josip Broz Tito, from the three-channel film Two Meetings and a Funeral (2017, dir: Mohaiemen). In the film, a series of conversations between Vijay Prashad, Samia Zennadi, Atef Berredjem, Amirul Islam, and Zonayed Saki sketch out the shadow play of warring forces inside the Non-Aligned Movement, especially around the decolonizing nations of the Middle East, Africa, and Asia that found an option to look toward an "Islamic" supra-national identity. Because of that focus, the role of Central and Eastern Europe, especially that of Yugoslavia under Tito, is absent from the film. Pajović's text re-integrates the Yugoslav bloc into Two Meetings and a Funeral. While Pajović's text concludes with a hopeful view of the potential of the Non-Aligned Movement, Mohaiemen's images and superimposed quote from Tito express an ironic doubling back. Indira Gandhi's Indian coalition of 1971, while maneuvering for Bangladesh independence from Pakistan, encountered Tito's confident comment that such problems of “tribalism” were only happening in Asia. Yugoslavia had solved the “Balkan problem”– this was spoken confidently twenty years before Tito's nation would split apart during the Yugoslav Wars. The geopolitical struggles that Tito fails to see in 1971 are harbingers for the blind spots that would cause Non-Alignment's collapse.

For the first time the concept of store-consciousness appears in Laṅkāvatāra-sūtra. The beginning of the formation of the sūtra dates back to the 23d c. AD, that allows us to suppose that this concept one of the fundamental concepts in Yogācāra philosophy appeared long before the formation of the Yogācāra itself and, possibly, before the appearance of the Madhyamaka school historically the first Mahāyāna Buddhist philosophical school. Store-consciousness is the basis for seven empirical consciousnesses denoted as pravṛtti-vijāna evolving consciousness. Attaining of the enlightenment is the cessation of the activity of evolving consciousness, but the store-consciousness remains free from real and potential afflictions and dispositions determined by karma. In the sūtra the concept of store-consciousness is associated with the teaching on three own-beings, and this shows that basic Yogācāra notions are fully presented in the sūtra. The causes of evolving consciousness are: ignorance concerning real nature of the objects of the mind; affliction concerning saṃsāra; essence of consciousness consisting in the difference between subject and object; and attraction to forms that support saṃsāra

Libraries are institutions that provide access to a comprehensive collection of information and resources for educational, research, and recreational purposes. They serve as repositories of knowledge and offer numerous services to their communities. In this process, libraries play a paramount role in preserving and conserving library materials for future generations. The objectives of this paper were to investigate the significant Preservation and Conservation (PAC) initiatives of library materials from the ancient periods (3rd Century BC to 5th Century AD), the colonial period (1505 to 1948), and the post-independence period (1948 to date), to identify the gaps related to the current practices of PAC in Sri Lanka and to identify the issues related to PAC in Sri Lanka. This study focused on a qualitative research method. Relevant literature was found through secondary sources such as books, journal articles, conference papers, organizational reports and websites. The Department of National Museums (DNM), Department of National Archives (DNA) and National Library and Documentation Services Board (NLDSB) and Sri Lankan University Libraries (ULs), were purposively selected. The secondary resources were gathered from online and offline resources based on subject-related keywords. The published year was not considered during the process, and priority was given to Sri Lankan and foreign-authored publications on preservation and conservation of library materials in Sri Lanka. Literature was analyzed based on above mentioned three time frames selected for the study. The study identified growing trends in preservation and conservation practices from ancient to post-independence periods. Even though some evidence goes back to King Vijaya’s period (483 BC), official writing was started in 103–77 BC. Some writing materials, such as inscriptions, palm leaves, and golden plates, were used during this period. And they were preserved for future purposes. Later, in the colonial period, the Portuguese, Dutch and British developed writing materials and established positions such as Record keepers and Archivists. They introduced ‘paper’ in this period. Then, in the post-independence period, the DNM, DNA, NLDSB and ULs were identified as pioneering organizations that led the task of preserving. It was identified gaps between the literatures and existing literature only identified palm leaves as a main library material to be conserved and preserved. The main issues derived from the analysis were a lack of financial allocations, policies, laws and regulations, training, and research related to the field. The study pointed out the need for a separate preservation and conservation unit to handle the preservation activities in each library while establishing a distinct institute for Research and Development and to provide necessary training required to maintain the activities of preservation and conservation of library materials in the country.

Sawahlunto is one of the cities that is famous as a coal mining city during the Dutch East Indies. Sawahlunto is currently developing as an old city tour which is also multi-ethnic. In a city that has founded in 1888, there are many old buildings that appear in Sawahlunto as Dutch heritage. Some of them are designated as cultural heritage by the government in the field of tourism and at the same time declare Sawahlunto as a City of Cultured tourism. The reason for creating Sawahlunto tourism as a futuristic orientation is quite rational because this city is rich in the historical side of the Dutch Colonial heritage such as all historical buildings that stand firmly in the middle of the city of Sawahlunto which adds to the uniqueness of this city. The design of this historical tourism infographic in Sawahlunto aims to focus on historical buildings from the Dutch East Indies. This is because many historical buildings are still well maintained lately. Moreover, these buildings are the identity of Sawahlunto. The infographic design also adds historical information from the Dutch East Indies which elaborates on the historical value in Sawahlunto. The method used in this design is the S.W.O.T method. This method is used to find the effectiveness of the media to be designed so that the media is effective and communicative. This design is expected to be applied properly, so that visitors not only enjoy historical tourism, but visitors can find out the history and information of the places or buildings they visit. Keywords: sawahlunto, infographic, sign system, heritage. AbstrakSawahlunto merupakan salah satu kota yang terkenal sebagai kota pertambangan batu bara pada masa Hindia Belanda. Sawahlunto saat ini berkembang sebagai wisata kota tua yang juga multietnik. Di kota yang berdiri sejak tahun 1888, banyak sekali bangunan tua yang muncul di Sawahlunto sebagai peninggalan Belanda. Beberapa di antaranya ditetapkan sebagai cagar budaya oleh pemerintah di bidang pariwisata dan sekaligus mencanangkan Sawahlunto sebagai Kota Wisata Berbudaya. Alasan di ciptakannya pariwisata Sawahlunto sebagai orientasi futuristik cukup rasional karena kota ini kaya dengan sisi sejarah peninggalan Kolonial Belanda seperti keseluruhan bangunan bersejarah yang berdiri kokoh di tengah kota Sawahlunto yang menambah keunikan dari kota ini. Perancangan desain infografis wisata sejarah di Sawahlunto ini bertujuan untuk fokus pada bangunan bersejarah peninggalan Hindia Belanda. Hal ini dikarenakan banyaknya bangunan bersejarah yang masih terawat dengan baik belakangan ini. Apalagi gedung-gedung tersebut merupakan identitas Sawahlunto. Desain infografis juga menambah informasi sejarah peninggalan Hindia Belanda yang mengelaborasi nilai sejarah di Sawahlunto. Metode yang digunakan dalam perancangan ini adalah metode S.W.O.T metode ini digunakan untuk menemukan efektivitas media yang akan dirancang sehingga media tersebut efektif dan komunikatif. Perancangan ini diharapkan dapat diaplikasikan dengan baik, sehingga pengunjung tidak hanya menikmati wisata sejarah, namun pengunjung dapat mengetahui sejarah dan informasi dari tempat atau bangunan yang mereka kunjungi. Kata Kunci: sawahlunto, infografis, sistem tanda, warisan.Authors:Eko Purnomo : Universitas Negeri PadangRifqi Aulia Z : Universitas Negeri PadangAditya Hanum W : Universitas Negeri PadangDwi Mutia Sari : Universitas Negeri Padang References: Hayati, R. (2014). Pemanfaatan bangunan bersejarah sebagai wisata warisan budaya di Kota Makassar. Jurnal Jumpa, 1(01).Hergenhahn & Olson, Matthew H. (2008). Theoties of Learning. Jakarta: Kencana.Iskandar, M. S. (2011). Pembentukan persepsi visual pada iklan televisi. Jurnal Visualita DKV, 3(1), 1-21. Kartika Sony, Dharsono. (2007). Estetika. Bandung: Penerbit Rekayasa Sains.Kusumaningrum, Khomsiana. (2003). Skripsi: Trend Mode Remaja Dalam Iklan. Surakarta: Fakultas Ilmu Sosial dan Politik Universitas Sebelas Maret.L. Jason, R. Josh & C. Ross. (2014). Infografis: Kedasyatan Cara Bercerita Visual. Jakarta: PT. Gramedia Pustaka Utama.Pujiriyanto. (2005). Desain Grafis Komputer (Teori Grafis Komputer). Yogyakarta: Andi.Visual, I. (2007). Dari Toekang Reklame Sampai Komunikator Visual. Yogyakarta: Jalasutra.Puspita Sari, Vijar Maya. (2010). Tugas Akhir: Desain Komunikasi Visual Sebagai Strategi Perancangan Promosi Pariwisata Pantai Watukarung Kabupaten Pacitan. Surakarta: Fakultas Sastra dan Seni Rupa Universitas Sebelas Maret.Rustan, Surianto. (2010). Huruf Font Tipografi. Jakarta: Gramedia Pustaka Utama.Rustan, Surianto (2008). Layout Dasar dan Penerapanya. Jakarta: Gramedia Pustaka Utama.Santosa, Sigit. (2009). Creative Advertising. Jakarta: Penerbit PT. Elex Media Komputindo.Tjiptono, Fandy. (2000). Manajemen Jasa.Yogyakarta: Penerbit Andi.Tinarbuko, Sumbo. (2009). Semiotika Komunikasi Visual. Yogyakarta: Penerbit Jala Sutra.

Galloping levels of impaired assets slowly destroy the economy by throwing it into a major financial crisis. The current article studies recent trends and compositions of stressed assets among 45 selected Indian commercial banks. The non-parametric test (Kruskal–Wallis) is applied to know whether there exists any difference in the movement of gross non-performing assets ratios and net non-performing assets ratios (NNPAs) among bank groups and individual banks. The group-wise comparative study shows that a significant difference exists in the movement of NNPA ratio only between foreign banks and public sector banks and between private banks and public sector banks. Significant differences also exist among the individual banks in foreign and private bank groups. The Games–Howell post-hoc test finds that some pairs of banks have significant differences. The current financial downswing attributed to pandemic has increased the chances of fraudulency and sporadic default events and enhanced the problem of bad loans. Amalgamations of State Bank of India with its associates in 2017 and Bank of Baroda with Dena Bank and Vijaya Bank in 2019 have shown falls in stressed assets that possibly foreshow the future furtherance in asset quality of other four anchor banks that are merged with six banks, with effect from April 2020. JEL Codes: G21, G34

In every economy, banking sector plays a vital role and it is one of the fast growing sectors in India. In pursuit of gaining a competitive advantage, both private and public banks are making intense efforts to sustain and outperform each other. In the present scenario, banking sector is facing a lot of challenges such as changes in regulatory environment, evolution of online banking, significant financial consolidation etc. which in turn makes Indian financial industry to be highly competitive. In order to gain a competitive advantage and positive synergy, banks are adopting consolidation strategy to have an impact on the market. Mergers and acquisition not only give a synergy advantage but also open up various opportunities and, varied challenges, which may affect the efficiency of the banks, its employees and thereby its customers.

EEG refers to the recording of the brain’s spontaneous electrical activity over a short period of time, usually 20–40 minutes, as recorded from multiple electrodes placed on the scalp. In advance EEG signals used to be a first-line method for the diagnosis of tumors, stroke and other focal brain disorders. The structure generating the signal is not simply linear, but also involves nonlinear contributions [7, 8, 9].These non-stationary signals are may contain indicators of current disease, or even warnings about impending diseases. This work aims at providing new insights on the Electroencephalography (EEG) fragmentation problem using wavelets [2, 5]. The present work describes a computer model to provide a more accurate picture of the EEG signal processing via Wavelet Transform [16, 17, 18, 19]. The Matlab techniques have been uses which provide a system oriented scientific decision making modal [16, 17]. Within this practice the applied signal has been compared in a sequential order with dissimilar cases in attendance in the database. Special EEG signals have been considered from Physio bank [1] and Vijaya Medical Centre, Visakhapatnam, India. Analyze the signal under consideration and renowned the holder 100% truthfully.

Banks play a vital role in development of economy, industry and trade. The MSME has emerged as a highly vibrant and dynamic sector of the Indian economy by contributing to GDP. Women in India are well educated and have ample knowledge of business like how to setup business provide proper training for employees, recruitment and selection process, provide equal opportunities to employees both men and women, how to run a business, how to earn profit etc. To give a supporting hand, banks have introduced many schemes to fund them. This project involves the study of socio-economic impact of women owned enterprises in MSME section at Canara Bank with a special focus on MSME sector. This study is focusedon two schemes namely MSME VIJETA and STAND UP INDIA schemes which are provided to women entrepreneurs from bank. The project involves analytical study and was completed through a survey. Anova and Correlation were used to analyze the data and conclusion was drawn out the survey. Key words: women entrepreneurs, MSME, Canara Bank schemes, Socio-Economic development.

The main purpose of the present research was to study and compare various areas of family adjustment with regards to working women of different occupation and area of residence. The sample consisted of 180 working women (30 urban women teachers, 30 urban women doctor, 30 urban women bank employee, 30 rural women teachers, 30 rural women doctor and 30 rural women bank employee). Family adjustment inventory of working women by Vishwa Vijay Singh was used for data collection. To analyzed the obtained data two way analysis of variance was used. The results indicate that significant difference was found between urban and rural working women with regards to self adjustment, family adjustment, adjustment with children, and adjustment with husband. Significant difference was also found among women teacher, women doctor and woman bank employees with regards to adjustment with self , adjustment with family and adjustment with relatives. Significant interaction effect was found between area of residence and type of occupation with regards to adjustment with family, adjustment with children, adjustment with husband and adjustment with relatives.

Eeuwenlang heeft lichaamscultuur de mensen in de ban gehouden. Soms was ze bedoeld om de band tussen de stam- of clanleden aan te duiden door haardracht, klederdracht of lichaamsversiering, soms was ze bedoeld om functioneel de vijand af te schrikken of om standen- en kasteverschillen duidelijk te maken, soms weer was ze enkel esthetisch in bedoeling. Iin de huidige maatschappij is de voornaamste drijfveer van vele vormen van lichaamscultuur nog steeds het geldende schoonheidsideaal.

Globalna finansijska kriza, poznata kao do sada najozbiljnija kriza 21. vijeka, uticala je na ekonomije mnogih zemalja svijeta. Prije nastanka pomenute krize postojala je relativna stabilnost ekonomskog rasta, a inflacija je bila na zadovoljavajućem nivou. Međutim, pojavom krize, prvenstveno na hipotekarnom tržištu Sjedinjenih Američkih Država, pa potom i prelivanje krize na evropsko tržište, dovela je do poremećaja ne samo u makroekonomskom okruženju, nego i u finansijskom u kome posluju banke. Pomenuta kriza odrazila se i na kretanje bruto domaćeg proizvoda kao jednog od ekonomskih pokazatelja razvijenosti zemlje. U nastavku rada prikazano je i opisano kretanje bruto domaćeg proizvoda u Bosni i Hercegovini pod uticajem svjetske finansijsk krize.

The geometries, stabilities of VGen0/- (n = 9 - 13) clusters were systematically studied by the density functional theory (DFT) using the BP86 functional and LANL2DZ basis set. Several possible multiplicities of each cluster were tested to determine the most stable structure among the isomers. The average binding energy per atom, fragmentation energy, second order energy difference and HOMO-LUMO gaps were evaluated. The results indicated that the neutral and anionic clusters possess higher stability when n = 10 and 12. The vertical detachment energy (VDE) and adiabatic detachment energy (ADE) were also calculated for anionic cluster to investigate their stabilities. Among neutral clusters, VGe10 had both the highest vertical ionization potential (VIP) and chemical hardness. Keywords BP86/LANL2DZ, binding energy, VGen0/- clusters, structure of clusters References [1] Shunping Shi, Yiliang Liu, Chuanyu Zhang, Banglin Deng, Gang Jiang (2015). A Computational Investigation of Aluminum-doped Germanium Clusters by Density Functional Theory Study. Computational and Theoretical Chemistry, 1054, pp. 8-15[2] Wen-Jie Zhao, Yuan-Xu Wang (2009). Geometries, stabilities, and Magnetic Properties of MnGen (n = 2 – 16) Clusters: Density-functional Theory Investigations. Journal of Molecular Structure: THEOCHEM, 901 (1–3), pp. 18-23.[3] Shi Shun-Ping, Liu Yi-Liang, Deng Bang-Lin, Zhang Chuan-Yu, and Jiang Gang (2016). Density Functional Theory Study of The Geometrical and Electronic Structures of (n = 1 - 9) clusters. World Scientific Publishing Company, 30, pp. 1750022-1750039.[4] J.Stato, H.Kobayashi, K. Ikarashi, N.Saito, H.Nishiyama, and Y. Inoue (2004). Photocatalitic Activity for Water Decomposition of RuO2-Dispersed Zn2GeO4 with d10 Configuration. The Journal of Physical Chemistry B, 108 (14), pp. 4369-4375.[5] Daoxin Dai, Molly Piels, and John E. Bowers (2014). Monolithic Germanium/Silicon Photodetectors With Decoupled Structures: Resonant APDs and UTC Photodiodes. IEEE Journal of Selected Topics in Quantum Electronics, 20 (6), pp. 3802214-3802227.[6] Chia-Yun Chou, Gyeong S. Hwang (2014). On The Origin of The Significant Difference in Lithiation Behavior Between Silicon and Germanium. Journal of Power Sources, 263, pp. 252-258.[7] Siwen Zhang, Bosi Yin, Yang Jiao, Yang Liu, Xu Zhang, Fengyu Qu, Ahmad Umar, Xiang Wu (2014). Ultra-long Germanium Oxide Nanowires: Structures and Optical Properties. Journal of Alloys and Compounds, 606, pp. 149-153.[8] T. Herrmannsdörfer, V. Heera, O. Ignatchik, M. Uhlarz, A. Mücklich, M. Posselt, H. Reuther, B. Schmidt, K.-H. Heinig, W. Skorupa, M. Voelskow, C. Wündisch, R. Skrotzki, M. Helm, and J. Wosnitza (2009).Superconducting State in a Gallium-Doped Germanium Layer at Low Temperatures. Physical Review Letters, 102, pp. 217003-217006.[9] Vijay Kumar, and Yoshiyuki Kawazoe (2002). Metal-Encapsulated Caged Clusters of Germanium with Large Gaps and Different Growth Behavior than Silicon. Physical Review Letters, 88, pp. 235504-235507.[10] Xiao-Jiao Deng, Xiang-Yu Kong, Hong-Guang Xu, Xi-Ling Xu, Gang Feng, and Wei-Jun Zheng (2015). Photoelectron Spectroscopy and Density Functional Calculations of VGen- (n = 3 − 12) Clusters. The Journal of Physical Chemistry C, 119 (20), pp. 11048-11055.[11] John P. Perdew, Kieron Burke, and Matthias Ernzerhof (1996).Generalized Gradient Approximation Made Simple. Physical Review Letters, 77, pp. 3865-3868.[12] Chaouki Siouani, Sofiane Mahtout, Sofiane Safer, and Franck Rabilloud (2017).Structure, Stability and Electronic and Magnetic Properties of VGen (n = 1 - 19) Clusters. The Journal of Physical Chemistry A, 121 (18), pp. 3540-3554.[13] Jin Wang, and Ju-Guang Han (2006).A Theoretical Study on Growth Patterns of Ni-Doped Germanium Clusters.The Journal of Physical Chemistry B, 110 (15), pp. 7820-7827.[14] Debashis Bandyopadhyay and Prasenjit Sen (2010). Density Functional Investigation of Structure and Stability of Gen and GenNi (n = 1 − 20) Clusters: Validity of the Electron Counting Rule. The Journal of Physical Chemistry A, 114 (4), pp. 1835-1842[15] Soumaia Djaadi, Kamal Eddine Aiadi, and Sofiane Mahtout (2018). Frist Principles Study of Structural, electronic and magnetic properties of (n = 1 - 17) clusters. Journal of Semiconductors, 39 (4), pp. 42001-420013.[16] İskender Muz,Mustafa Kurban,Kazım Şanlıc (2018). Analysis of the Geometrical Properties and Electronic Structure of Arsenide Doped Boron Cluster: Ab-initio approach. Inorganica Chimica Acta, 474, pp. 66-72.[17] Axel D. Becke (1988). Density-functional exchange - energy approximation with correct asymptotic behavior.Physical Review A, 38, pp. 3098-3100.[18] Willard R. Wadt, P. Jeffrey Hay (1985). Ab initio effective core potentials for molecular calculations.Potentials for main group elements Na to Bi.The Journal of Chemical Physics, 82 (1), pp. 284-298.[19] Willard R. Wadt, P. Jeffrey Hay (1985). Ab initio effective core potentials for molecular calculations.Potentials for K to Au including the outermost core orbitals.The Journal of Chemical Physics, 82 (1), pp. 299-310.[20] Willard R. Wadt, P. Jeffrey Hay (1985). Ab initio effective core potentials for molecular calculations. Potentials for the transition metal atoms Sc to Hg. The Journal of Chemical Physics, 82 (1), pp. 270-283.[21] Gabriele Manca, Samia Kahla, Jean-Yves Saillard, Rémi Marchal, Jean-François Halet (2017). Small Ligated Organometallic Pdn Clusters (n = 4 - 12): A DFT Investigation. Journal of Cluster Science, 28 (2), pp. 853-868.[22] Tran Dieu Hang, Huynh Minh Hung, Lam Ngoc Thiem. Hue M. T. Nguyen (2015). Electronic structure and thermochemical properties of neutral and anionic rhodium clusters Rhn, n = 2 – 13. Evolution of structures and stabilities of binary clusters RhmM (M = Fe, Co, Ni; m = 1 – 6). Computational and Theoretical Chemistry, 1068, pp. 30–41.[23] Michael J. Frisch, et al. (2010). Gaussian 09, Revision C.01.Gaussian, Inc., Wallingford CT.

IntroductionAccording to Sigmund Freud (A General Introduction to Psychoanalysis 90), dreams can be seen as a “substitute for something else, unknown to the dreamer”. In Freud’s theory, dreams are regarded as a “depiction of the subconscious, a screen onto which the subconscious projects its suppressed desires and hallucinations about their fulfilment” (Khapaeva & Tweddle 6). It is likely due to these aspects that dreams and dreaming have become prevalent in contemporary literature, film and television, and an outlet for a greater examination of Freud’s work on the origins and nature of these "desires and hallucinations" (Eberwein). While considerable discussion exists on Freud’s psychoanalytical approach to dreams (Eberwein; Khapaeva & Tweddle; Moore Jr.), as well as the theoretical parallels between dreams and the mediums of storytelling, literature and film (Rheinschmiedt; Perlmutter; Khapeava & Tweddle), there has been limited research and representation of dreams in Gothic television. The Gothic is a “malleable notion” that is able to remould itself into various narrative forms and media (Piatti-Farnell & Brien 1), and is also “about the return of the past, of the repressed and denied, the buried secret that subverts and corrodes the present, whatever the culture does not want to know or admit” (Lloyd-Smith, 1). Given that in Freudian theory, dreams are generally regarded as a vehicle for the return of suppressed desires and the unconscious, dreams and nightmares themselves can be seen as inherently Gothic. Dreams and nightmares are often spaces where characters must confront the unfamiliar, the unknown, and the unseen future, and yet, these spaces also seem to contain aspects of the familiar, the known, and the previously seen past (Moore Jr.). Taking the inherent Gothic nature of dreams and nightmares into account, this article will critically examine the representation of dreams and nightmares in “Chapter Five: Dreams in a Witch House” in Netflix’s The Chilling Adventures of Sabrina (2018-present). At the end of the previous episode, “Chapter Four: Witch Academy”, Sabrina inadvertently frees the sleep demon, Batibat, from her prison. In Chapter five, Batibat, in an effort to force them to release her from the house, places Sabrina, Ambrose, Zelda and Hilda into a deep sleep curse where they are tortured in their dream-turned nightmares. The episode features a number of Gothic tropes and conventions, including the return of the repressed and the unconscious, the uncanny and the double, and the blurring of the boundaries between reality and fantasy. This article will primarily focus on Ambrose, whose dream sequence highlights how dreams in Gothic texts are often spaces where the boundaries between everyday reality and fantasy scenarios become blurred, producing uncanny interactions. This can be seen in Ambrose’s experience of a dream loop, where he is compelled to repeat his death over and over again; this repetition produces a blurring of the boundary between the past, present and future. Additionally, this article will discuss how the episode uses both the “aesthetics and the politics of horror and the Gothic” (Piatti-Farnell and Mercer 1), in order illustrate how the realisation of our deepest fears and anxieties in dreams and nightmares are both terrifying and horrifying. Uncanny Doubles and the Repressed Unconscious According to Royle, the uncanny is “concerned with the strange, weird, and mysterious, with a flickering sense (but not conviction) of something supernatural” (1). The uncanny is a crisis of the proper as it entails a critical disturbance of what is proper (including names, places, people), and is concerned with the familiar becoming unfamiliar. Royle argues that the uncanny is described in terms of making things uncertain and the sense that things are not as they have come to appear through habit and familiarity, which often challenges rationality or logic. According to Wheatley (3), Gothic television narratives often involve a “proclivity towards the structures and images of the uncanny” including repetitions, déjà vu, doppelgangers and the double, and severed body parts. Ambrose’s dream, in particular, support’s Wheatley’s claim that Gothic television has a proclivity towards the images of the uncanny, as it includes a number of key features of the uncanny, including repetitions, the double, and severed body parts, are used to evoke the terror of Ambrose’s pain and death. At the start of Ambrose’s dream, he is in the Spellman Mortuary with Hilda opening a body bag – upon opening the bag, the corpse is revealed to be Ambrose’s body. This revelation produces an uncanny effect, as the double operates as a figure of displacement in that it characteristically appears out of place to displace its host (Webber). This displacement of both self and time can be seen with Ambrose’s reaction, who struggles too come to terms with seeing his double on the Mortuary table. According to Babicka, the doppelganger is perceived as both self and other, and the uncanny element is the fact that they are both familiar and strange. The encounter with other selves opens up possibilities for the uncanny, as any attempt at “a reflexive grasp of this mutual imbrication of self … involves a potential for precisely those uncanny figurations that people experience from the Gothic” (Collins & Jervis 6). After the body on the Mortuary table is revealed to be Ambrose’s double, Ambrose questions his aunt Hilda about the corpse, asking “doesn’t he remind you of someone, Auntie?” Collins and Jervis’s claim that the doppelganger is perceived as both self and other is supported by this interaction, as Ambrose’s question indicates that he recognises the corpse as himself, but given that the corpse appears to be his double, he also regards it as other. Furthermore, the uncanny resemblance between Ambrose and the corpse evokes a sense of terror and awe in him. Morris (307) argues that the uncanny "derives its terror not from something external, alien, or unknown but … something that is strangely familiar and defeats our efforts to separate ourselves from it". Terror has the potential to freeze the mind and body, and derives from whatever evokes in us an apprehension of pain or death. This apprehension of pain and death can be seen with Ambrose, as open seeing the body, a close up shot of Ambrose reveals his shock and terror of his own mortality. Moreover, the existential threat of death which the double poses can be connected to a key theme within the Gothic and the uncanny – our compulsion to return to the repressed moment or act. According to Mishra (294), the double can be regarded as the uncanny harbinger of death, and "death is the always recurring or repeating presence that threatens the subject to which it compulsively returns". In Ambrose’s dream, while his double is a direct visualisation of his death, he cannot seem to remember or understand how is body came to be on the table, as its presence appears to avoid all rational logic. In his discussion of the Gothic and psychoanalysis, Punter (307) argues that we work "continuously to maintain a simulacrum of congruence between fantasy and reality". However, those boundaries frequently blur in the most routine of everyday events, such as daydreams or dissonance between what other people mean as opposed to what we want to hear. When we can’t fill in this gap in knowledge, Punter argues that this gap can call forth the uncanny which is produced when the distinction between imagination and reality is effaced. This dissonance between reality and fantasy can be seen with Ambrose’s reaction, as although his double’s corpse is right in front of him, he struggles to understand the gravity of the situation, and how he died. Unlike Ambrose’s dream, where the return of the repressed, his corpse, is a symbol of his desire to be free of house arrest, the return of the repressed in Sabrina’s dream is more literal as Harvey remembers a memory he had previously forgotten. Botting (107) argues that the uncanny is “easily produced when the distinction between imagination and reality is effaced and occurs when infantile complexes which have been repressed are once more revived by some impression”. The uncanny is the recurrence or return of the repressed – something which is familiar and old established in the mind and which has become alienated from it only through processes of repression. The return of repressed memories can be seen in Sabrina’s dream, where she reveals to her then-boyfriend, Harvey, her identity as half-witch and half-mortal. This revelation causes a moment of déjà vu for Harvey who, in the dream, remembers when Sabrina had cast a spell causing Harvey to forget about Sabrina’s identity. According to Royle (173), déjà vu can be defined as the "peculiar feeling or sensation that we have, in certain moments of situations, of having had exactly the same experience once before, or of having once before been in the same place". However, Royle argues that despite our best efforts, we never succeed in clearly remembering the previous occasion, and therefore the feeling of déjà vu corresponds to the recollection of an unconscious phantasy – we can never consciously remember it because it has never been conscious. In response to Sabrina’s revelation, Harvey asks “why am I suddenly having a strange sense of déjà vu?” Sabrina answers: “because I told you once, in the woods, and then I made you forget”. Harvey reveals that, despite Sabrina’s memory spell “a part of me remembers, even when you made me forget”. This revelation produces another uncanny moment where a repressed or ‘forgotten’ memory comes back to haunt the past. In Freud’s understanding of the uncanny, everything that was intended to remain a secret comes into the open, and the uncanny manifests itself when the repressed aspects buried in our unconscious suddenly return. By revealing her secret, the past event, the memory spell, suddenly returns and this forgotten moment causes Harvey anguish as he struggles to recollect the past experience. Repetition and Dream LoopsThe episode is segmented to focus on how the individual characters come to realise they are dreaming, before it brings them together. When first centred on Ambrose, we see him performing an autopsy on his double; after performing the operation, Ambrose is paid a visit by his coven’s High Priest, Father Blackwood, who informs him that he is no longer under house arrest. In this way, his dream initially appears to mirror the Freudian theory of dreams as simply being wish fulfilment; throughout the first season of The Chilling Adventures of Sabrina, Ambrose’s key storyline is his desire to leave the Spellman house and be free of his imprisonment. However, Ambrose’s wish is never fully actualised, as he is ultimately murdered by Batibat, and after his death, the episode jumps to the same close up shot of Ambrose and Hilda opening the body bag, like at the start of his dream. It appears that Ambrose is stuck in a time loop or a repetition of his own death, unable to leave the house forever – his greatest wish has become his greatest fear. Although it appears that Ambrose is ‘fated’ to die in his dream on a continuous loop, it is never clear when the loop actually begins, as at the beginning of the dream, we already see Ambrose’s corpse. Juranovszky argues that Gothic temporal loops play a key part in endeavours to establish sites of trauma re-enactment, and the aim of temporal confusion is to “evoke a disturbing sense of backward-pointing progress” which “allows for a reconsideration as well as a resolution of the past” (para 12). The re-enactment of Ambrose’s trauma, in this case his death, is seen in his dream, as he is stuck in an endless cycle of discovering his own corpse to only then be killed himself again. The temporality in the dream is non-linear as time flows in a circled repetition where Ambrose is at the Mortuary, is killed, and then the cycle repeats itself. Given that that dream loop begins at the Mortuary table, after Ambrose’s death, time itself in the dream is unclear as there is a blurring of the past, present, and future. Despite his awareness of being stuck in a loop of his own death, Ambrose is compelled to repeat the same action again and again until he relents and frees Batibat from the Spellman residence. This instance of repetition, where characters are compelled to act in a certain way, is a hallmark of the Gothic, and is one of the central characteristics of the uncanny (Lloyd-Smith). Lloyd-Smith argues that Gothic characters are often shown struggling in a web of repetitions caused by their unawareness of their unconscious drives and motives. However, in this case, Ambrose is shown struggling with the repetition of his own death, yet he is compelled to repeat such actions. Furthermore, the sequence highlights how dreams are a space outside of time, where the past and present are blurred. According to Perlmutter, “something happens to the narrative” when dream sequences in film and television begin, as “characters leave behind rational external reality and … cross over into a ‘between’ world where reality and imagination converge into hypothetical realms that are scrambled” and achronological” (128). Because of this blurring between reality and imagination, dreams in Gothic texts are often spaces where the past and future are highly contested, and are an extreme form of solitude outside of time. Ambrose’s home has become an unfamiliar place of torture, as although he is surrounded by familiar people and surroundings, it appears that he is stuck in solitude with little hope of escape. It is Ambrose’s awareness of being trapped in a time loop that results in his own death, and the realisation that he is trapped in existential solitude, as well as his inability to distinguish between nightmare and reality that makes his dream so terrifying. According to Piatti-Farnell and Mercer, “in our contemporary moment”, Gothic horror and terror “tend to merge and intersect, often forming hybrid visions”, that shifts between the two modes. Conventionally, terror has been “linked to fear triggered by indeterminate agents” (Cavallaro vii), and to hold characters and readers in anxious suspense about threats to life, safety, and sanity mostly out of sight or suggestions from a hidden past (Hogle). The claim that Gothic terror and horror often merge and intersect in contemporary texts can be supported by the revelation of the corpse on the Mortuary table. This revelation puts Ambrose in an anxious state, where he can only imagine the circumstances in which his double died. However, this terror of his mortality quickly shifts into horror when Ambrose realises that he is doomed to repeat his death in an endless cycle. Horror is usually triggered by “visible fear” (Cavallaro vii), and confronts characters “with the gross violence of physical or psychological dissolution, explicitly shattering the assumed norms … of everyday life with wildly shocking, and even revolting, consequences” (Hogle 3).This visualisation of fear and gross violence is explicitly shown when Ambrose performs an autopsy on his double for the second time, as he pleads “no … no … no … Auntie, please don’t leave me…” As Ambrose has encountered his death and entrapment in the Spellman residence, his fear of death has been realised as nothing remains for his imagination. The close up shot of Ambrose cutting into his own body can be considered as an instance of body horror, which Reyes argues, occurs when a “text generates fear from abnormal states of corporeality, or from an attack upon the body, we might find ourselves in front of an instance of body horror” (1). Reyes’s claim that body horror generates fear from an abnormal state of corporeality can be seen with Ambrose, as he is compelled to cut into his own body, knowing regardless of his actions, he will be killed by Batibat continuously, unless he relents and frees the demon from her trap. This compulsion to act creates a sense of horror, dread, and revulsion, which can be seen in a close up shot of Ambrose’s face, where he has an extremely visceral reaction to being stuck in his time loop, and being abandoned in solitude with no one to help him. While dreams in Freudian theory were considered as wish fulfilment, they can also be seen as a space where repressed and unconscious desires and fears manifest themselves. As seen in Ambrose’s dream, the return of these unconscious and repressed desires produced a number of uncanny and horrifying interactions. Ambrose’s growing realisation of being trapped in a nightmare loop of his death illustrate how dreams are Gothic because they disturb the boundary between the material world and fantasy. The use of Gothic horror and terror techniques and conventions in Ambrose’s dream demonstrate the horrifying nature of nightmares, not because it featured a single disturbing moment, but because Ambrose’s dream morphed from wish fulfilment to a narrative of his repressed and unconscious desires and fears. The inherent Gothic nature of dreams means they are highly effective and popularly used in literature, film, and television to evoke a sense of terror and horror because of the visceral reaction the return of the unconscious and repressed produces. ReferencesBabicka, Joanna. "Postmodern and Gothic Hybridity in Nick Cave's And the Ass Saw the Angel." The Gothic: Studies in History, Identity and Space. Ed. Katarzyna Wieckowska. Oxford: Inter-Disciplinary Press, 2012. 121-126.Botting, Fred. Limits of Horror: Technology, Bodies, Gothic. Manchester: Manchester UP, 2008.Cavallaro, Dani. The Gothic Vision: Three Centuries of Horror, Terror and Fear. London and New York: Continuum, 2002.“Chapter Four: Witch Academy.” The Chilling Adventures of Sabrina: Part One. Dir. Rob Seidenglanz. Netflix, 2018. “Chapter Five: Dreams in a Witch House.” The Chilling Adventures of Sabrina: Part One. Dir. Maggie Kiley. Netflix, 2018. Collins, Jo, and John Jervis. "Introduction." Uncanny Modernity: Cultural Theories, Modern Anxieties. Eds. Jo Collins and John Jervis. New York: Macmillan Limited, 2008.Eberwein, Robert T. Film and the Dream Screen: A Sleep and a Forgetting. Princeton: Princeton University Press, 1984.Freud, Sigmund. A General Introduction to Psychoanalysis. Trans. G. Stanley Hall. New York: Boni and Liveright, 1920. Freud, Sigmund. "The Uncanny." Fantastic Literature: A Critical Reader. Ed. David Sandner. Westport, Connecticut, and London: Praeger, 2004.Hogle, Jerrold E. "Introduction: The Gothic in Western Culture." The Cambridge Companion to Gothic Fiction. Ed. Jerrold E. Hogle. Cambridge: Cambridge UP, 2002.Juranovszky, Andrea. "Trauma Re-Enactment in the Gothic Loop: A Study on Structures of Circularity in Gothic Fiction." Inquiries Journal 6.5 (2014).Khapaeva, Dina, and Rosie Tweddle. Nightmare: From Literary Experiments to Cultural Project. Boston: Brill, 2012.Lloyd-Smith, Allan. American Gothic Fiction: An Introduction. New York: Bloomsbury, 2004.Mishra, Vijay. "The Gothic Sublime." A New Companion to the Gothic. Ed. David Punter. Oxford: John Wiley & Sons, 2012. 288-306. Moore Jr., Richard W. "Dreaming Change, Changing Dreams in the British Gothic Novel, 1765-1818." New York: Fordham University, 2018.Morris, David B. “Gothic Sublimity.” New Literary History 12.2 (1985). 299-319. Perlmutter, Ruth. "Memories, Dreams, Screens." Quarterly Review of Film and Video (2005).Piatti-Farnell, Lorna, and Donna Lee Brien. "Introduction: The Gothic Compass." New Directions in 21st-Century Gothic: The Gothic Compass. Eds. Lorna Piatti-Farnell and Donna Lee Brien. Routledge, 2015. 1-10. Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17.4 (2014): 4.Punter, David. "Introduction: The Ghost of a History." A New Companion to the Gothic. Ed. David Punter. John Wiley & Sons, 2012. 1-9. Rheinschmiedt, Otto, M. The Fictions of Dreams: Dreams, Literature, and Writing. London and New York: Routledge, 2017.Royle, Nicholas. The Uncanny. Manchester and New York: Manchester UP, 2003.Webber, Andrew J. The Doppelganger: Double Visions in German Literature. Oxford: Oxford UP, 1996.Wheatley, Helen. Gothic Television. Manchester and New York: Manchester UP, 2006.

Introduction Toys and games are important elements of child growth and development. When children play, they have fun. They also learn to perform and contest ideas making up their culture. The potential professional affiliations and skills offer an illustration of the roles that children learn about in the early years of their lives. Therefore, toys may serve as a site to research professional aspirations. In light of this, a question emerges: what do toys teach about professions and professionalism? As a feminist communication researcher, I study toys primarily intended for girls – the dolls in the American Girl collection. Even though the doll sets demand an excessively high price, this brand has a cultural significance for the girls and women growing up in the United States because of the historical and contemporary connections found in deeply researched stories and intricately designed accessories (Solly). The American Girl brand started in 1986. Mattel, the American toy conglomerate, has owned the American Girl brand since 1998 and describes the brand as helping "generations of girls find courage, build confidence, and spread kindness" ("American Girl"). The original American Girl dolls represented historical figures: for example, Melody Ellison from the era of the Civil Rights Movement of the 1960s and Kit Kittredge from the time of the Great Depression in 1934. In addition to historical personalities, the American Girl depicts contemporary girls, including the Girl of the Year line introduced annually. These dolls portray modern girls who have special talents or hobbies and who navigate their lives and experience adventures through the prism of their talents. For example, Joss Kendrick’s passion is surfing, Gabriela McBride loves dancing and poetry, and Grace Thomas is interested in baking. As a rule, the talents of the Girls of the Year align with professional work and can inspire future generations to choose specific professions or develop professional qualities. To narrow the subject, this essay examines the professional aspirations presented in the stories and media associated with the American Girl doll, Luciana Vega, released in 2018. Luciana is an aspiring 10-year-old astronaut and scientist who dreams to be the first person to walk on Mars. Luciana is unique because she is the first doll among contemporary characters to exclusively engage in science, technology, engineering, and math, or STEM (Strickland). This doll marks an attempt to address the high barrier for women and underrepresented groups to enter and remain in science, technology, engineering, and math fields. The former NASA chief scientist Ellen Stofan reflects on the importance of Luciana, saying that "a lot of girls are sometimes intimidated by STEM careers" and that characters like Luciana can let "girls of color around the world know they can be astronauts" (Strickland). Therefore, Luciana Vega contributes to the discourse about professions for contemporary girls and women. The focus on professional aspirations represented in toys stems from the research about professionalism, which implies a set of assumptions that are taken for granted yet ambiguous, conflicted – and rarely questioned (Cheney and Ashcraft). The criticism of neoliberalism from the feminist perspective helps examine professionalism critically. Neoliberal feminism celebrates the achievements of individual women in the format of corporate and personal enterprises at the expense of confirming privileges based on race, class, and sexuality (Rottenberg). The essay argues that the lessons about professions and professionalism offered by the American Girl focus on establishing only a symbolic association with professional engagement. The emphasis on personal development through teamwork, leadership, and creativity promotes gendered professional capital that has limited resources to address potential imposter phenomenon and workplace harassment. Dolls and Professional Aspirations Scholars who study toys and playthings associate them with opportunities to display and obtain social rules and cultural values. Gender, race, and class norms are part of cultural production in toys (Foss; Rosner, Playing). As a product of culture, toys and texts associated with them represent professional futures and offer lessons about organisational life, professional identities, and work relations. Kuhn and Wolter report that young people tend to follow gender stereotypes in professional planning even in progressive locations, yet this connection between professional aspirations, career choices, and existing expectations is rather weak, suggesting that parental influence, regional or local specificities, educational programming, and other social factors, such as toys and games, may impact individual choices. The American Girl brand promotes an active lifestyle, teaching children to understand who they are and to bring positive changes to their communities. The company does not explicitly mention preparation for careers and professional education. The company emphasises holistic development for girls, where professionalism and career aspirations may serve as implied targets. Barbour, Rolison, and Jensen argue that “individuals construct professional selves that originate in the early socialisation phases of professional training and are further developed as they are immersed in the rules, language, skills, and work of the profession” (137). As such, playing with dolls and engaging with the issues suggested by the toy brand may have an impact on future generations as they explore potential professions and careers and learn what it means to be a professional. The academic research about the American Girl has not discussed professionalism yet. Scholars focus on exploring historic representations to argue that the company romanticises nostalgia to foster consumerism (Rosner, “The American Girl”) or presents a simplified and whitewashed version of history (Marcus; Valdivia). Marshall argues that the American Girl version of girlhood “reflects a gendered pedagogy of consumption rather than any lessons about empowerment or US history” (95). Scholars nevertheless have already noted the affiliations of the American Girl doll characters with neoliberalism. Neoliberalism refers to an approach to political economy that favours free market, economic growth, and capital accumulation. In feminist research, neoliberalism can be understood as “a sensibility or set of themes that privilege market-friendly notions of individualism, responsibility, and capitalization” (Thornton 273). The American Girl brand strives to empower girls, yet the empowerment offered by the brand is wrapped in a neoliberal frame of thinking, calling for girl power, self-determination, and femininity without changing the system that supports gender and other forms of discrimination and inequality (Rybas and Rybas; Zaslow). The criticism of neoliberal feminism provides a framework to examine professional belonging projected for future iterations of work, professions, and talents. Reading Professions in the American Girl Texts If Luciana Vega’s character offers lessons about professions and professionalism for the fans who play with the doll and engage with her story, it is important to explore these texts. The texts associated with the American Girl brand range from books that have traditionally defined the brand to mobile apps, short videos, feature or animated movies, and social media snippets that have appeared in recent years. The books create narratives about the characters, while multimedia texts offer alternative formats for the narratives as well as promote activities and engagements inspired by the characters. These texts offer rich data to examine the implications of the character for professionalism and being a professional. Further analysis draws from the content created for the 2018 Doll of the Year: the book Luciana by Erin Teagan and videos on the official American Girl YouTube channel and collected into a playlist. Material objects and discursive constructions of practices associated with work produce professional identification and belonging. Being a professional relies on demonstrating special skills and knowledge in work contexts and maintaining professional identities (Caza and Creary; Caza, Vough, and Puranik). As with other professionals, the character experiences contradictions and dilemmas embedded in the tasks (Ahuja). She evokes professional skills and grows her professional potential through the problems and struggles that she deals with. Based on how the character and spokespersons address situations associated with work and how they communicate about their experiences, the analysis identifies lessons about professions and professionalism. Lessons about Professions and Professionalism First, the discussion of lessons about professionalism focusses on the material markers of being a scientist. How do the professionally defined objects, places, and activities signify Luciana’s belonging to the STEM sphere? At the Space Camp, the kids wear space and science clothes, and Luciana receives an official Space Camp flight suit upon check-in. The camp participants move from their habitats, with bunk beds for six campers, to the habitat common area, with screens streaming news from the international space station, and to the mission floor, with spacecrafts, greenhouses, and training equipment. Luciana finds her sense of belonging to the Space Camp through items signifying connections to space explorations. She wears a dress of “the colors of the nighttime sky—blue, red, purple, orange” (Teagan 4) and the star-shaped necklace. She also packs her “favorite pajamas from the planetarium” (Teagan 11) and “a pillow with the solar-system pillowcase” (Teagan 2). The items make her feel comfortable upon her arrival at the camp. The STEM-style objects can stimulate desires to purchase the toys and outfits, such as the lunar habitat, space suit, galaxy-patterned dress for the doll, or science kit, available from the American Girl brand. In addition to the merchandise and branded items, the projects completed by the camp participants are indicative of their professional belonging: The campers perform soil experiments and design robots. The narrative refers to specialised terms (types of rocks and rockets), equipment (goggles, beakers), and scientific routines (wearing safety goggles, labelling samples) to create a world focussed on science. These details show Luciana’s familiarity with the camp space and speak to her abilities needed to complete the activities. The videos posted on YouTube provide additional illustration to the narrative. The spokespersons in the promotional videos as well as guests and hosts in the TV studio during the reveal wear blue overalls and walk through the NASA Centre (“A Day in the Life of Luciana”; “Meet American Girl’s 2018”). These descriptions and demonstrations create excitement about space exploration and make the STEM fields seem attractive and available. However, the price tag of almost $1,500 in 2023 (“Space Camp”) for camp participation keeps the dream of flying to Mars a distant reality for families. The financial barrier, obviously, does not appear in the texts promoted by the American Doll brand. Such silence indicates that each family needs to decide for themselves to what extent they can participate in the world of STEM, and such considerations reinforce class-based stratifications. Further, the discussion focusses on the ways of thinking associated with professionalism. Adams argues that professionalism offers epistemologies that define "what is sayable, what is knowable, what is included, and what is excluded" (332). In other words, professionalism implies a system knowledge necessary for success in the neoliberal economy (Adams; Cheney and Ashcraft). What skills and epistemologies emerge in the texts associated with Luciana Vega? The set-up of Luciana’s story establishes her responsibility for the success. She participates in a week-long space camp without her parents and friends. Even though she has an opportunity to develop her interests and meet new friends, the narrative suggests that Luciana must push back her longing for her family and her worries about the adoption of her new sister to emphasise the camp projects and her dream to be an astronaut. The discourse about work and life balance is significant for the neoliberal feminist analysis because those who are successful can do it all (Rottberg; Thornton). Luciana takes responsibility for adapting to the camp environment and controlling her own development. Luciana’s competitive record illustrates her drive. She obtains an acceptance to join the camp after two rejections, and this achievement communicates her resilience and perseverance necessary for a neoliberal subject (Rottberg). Teamwork, leadership, and creativity are core skills expected from workers in the contemporary economy. Creativity defines neoliberal femininity as it aligns with passion, energy, and stamina (Rottberg; Thornton). Creativity is Luciana’s quality. Alex, one of the trainers, confirms her reputation by saying, "we need creative future astronauts just like you" (Teagan 6). Luciana’s ideas, however, may cause mistakes, as it happens during the building of a rover because she ignores the expectations about the rover’s weight. As the narrative develops, the team needs Luciana’s ideas, especially in designing a robot from junk parts, and the team acknowledges Luciana’s contributions. They note that Luciana has pretty good ideas and that making mistakes is normal. Ella, one of the teammates, concludes that "it’s the person who thinks a little differently from the rest who has the greatest chance of making a difference in this world" (Teagan 133). Even though Luciana’s creativity leads to various results, it is essential for her success as a professional. In addition to creativity, Luciana develops her teamwork and leadership skills. These qualities are required for the success of the camp mission and future professional endeavours. Alex, the camp trainer, says that "for an astronaut team is everything" (Teagan 118). To compete in the robotics challenge, Luciana becomes the captain of one of the teams, and she encourages her team to work in a cohesive and productive manner. The team chooses the name Red Rover by brainstorming and voting, yet the team fails to collaborate in the rover-building challenge because Luciana does not rely on the knowledge of her teammates. Red Rovers get disqualified from the competition, but Luciana leads her team in continuing their experiment, building a successful robot, and even helping the team whose project the girls have damaged. As a result, the team members develop a strong friendship bond and receive an award for building a unique robot. Luciana’s leadership is meaningful for professional aspirations in the neoliberal style because it juxtaposes her character against the other participants of the camp, which promotes the emphasis on taking responsibility for mistakes. Creativity, teamwork, and leadership permeate the simple activities inspired by the 2018 Doll of the Year: making star-shaped cookies, creating a purple hair streak, and organising a space-themed party (AG Life). The short episodes follow the style of videoblogs or reality TV shows created by and for teens and tweens. The five hosts are girls of Luciana’s age who perform activities and share knowledge in an easy-going manner imitating a conversation. Faber and Coulter critique girls’ digital production as an embodiment of neoliberal ideologies built on playful authenticity and the affective glamourisation of entrepreneurial logics. Making star-shaped cookies, creating a purple hair streak, and organising a space-themed party represent science and space exploration only by association, similar to the pyjamas from the planetarium or the star-shaped necklace. Together with the claims for expertise in the STEM sphere and the emerging skills required for success in professional spheres, Luciana experiences difficulties, such as the imposter phenomenon and work harassment. Imposters exhibit doubt in their achievements, think of their success as fraud, and diminish their success (Parkman). In the story, Luciana completes a difficult docking manoeuvre with her team successfully, yet she concludes that the task has been “barely” (Teagan 151) completed. She compares herself to other kids: “my belly was starting to turn. I hadn’t expected there to be so many genius kids here. Did they all want to be astronauts like I did?” (Teagan 29). Luciana doubts her leadership abilities and questions her creativity, suggesting that her existing skills are not enough. In one of the episodes, she almost gives up her captain role, hinting at a potential burn-out situation. She particularly struggles to build connections with Ella, one of her team members, yet she develops a relationship with her after a few trials. These experiences illustrate the challenging process of finding self and connecting with others in a professional context. The creators of Luciana Vega attempt to send a positive message to future experts in the field by welcoming diverse individuals. Luciana states that “astronauts come with hair in all shades and sizes and colors” (Teagan 32). However, the positive message is muffled because it serves as a reaction to a comment by another camp participant, James, who shares that he never saw astronauts with purple hair. The focus on the signature purple hair streak as a sign of diversity exemplifies a simplistic approach to intersectionality and diversity, a common criticism of the American Girl dolls (Marcus; Valdivia; Zaslow). In addition, the exchange about the purple streak in the girl’s hair highlights gender dynamics in the contemporary workplace, pointing at the possibility of workplace harassment. James adds that “it’s the like mom law” (Teagan 32), thus offending Luciana. In organisational contexts, harassers make offensive jokes and engage in insults, making the workplace environment hostile (Griffin), and Luciana encounters this experience. James clashes with Luciana and her team members throughout the narrative. What is important here is not only the professional rivalry that emerges in the narrative and is normalised in competitions, but the reactions that Luciana practices. She ignores the hurtful comments made by James during the spacewalk simulation exercise, yet she shares her resources to help him complete the task. Luciana’s team supports James’s team in the robot design task and transfers sponsorship to the boys’ team. Even though the story line introduces diversity to the workforce, it falls short of addressing instances of potential workplace harassment with force. Luciana seems not yet equipped to address the hostility exhibited by the fellow camp participant. She prioritises teamwork and camp mission at the expense of her own well-being. These emphases contributing to the gendered professional capital (Rottberg) essential for neoliberal progress. Conclusion The lessons about professions and professionalism offered by the American Girl are complex, if not contradictory. The presence of Luciana Vega in the competitively selected camp is promising, yet the STEM field remains difficult to access. The character experiences the imposter phenomenon even if she has extensive knowledge of science. Science-themed clothes, books, and accessories as well as science-inspired activities may promote an interest in the field. Teamwork, leadership, and creativity establish markers of professionalism and provide resources for cultivating professional epistemology. The current generation of girls and the future generations of women receive exposure to difficulties in developing leadership and teamwork skills and potential work harassment but may learn to address them through self-improvement or individual development. These lessons emphasise empowerment in the neoliberal frame of reference typical of the American Girl dolls. References “A Day in the Life of Luciana at Space Camp | Luciana Vega: Girl of the Year 2018.” American Girl. 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At one point in Victor Hugo’s novel, The Hunchback of Notre Dame, the archdeacon, Claude Frollo, looked up from a book on his table to the edifice of the gothic cathedral, visible from his canon’s cell in the cloister of Notre Dame: “Alas!” he said, “this will kill that” (146). Frollo’s lament, that the book would destroy the edifice, captures the medieval cleric’s anxiety about the way in which Gutenberg’s print technology would become the new universal means for recording and communicating humanity’s ideas and artistic expression, replacing the grand monuments of architecture, human engineering, and craftsmanship. For Hugo, architecture was “the great handwriting of humankind” (149). The cathedral as the material outcome of human technology was being replaced by the first great machine—the printing press. At this point in the third millennium, some people undoubtedly have similar anxieties to Frollo: is it now the book’s turn to be destroyed by yet another great machine? The inclusion of “post print” in our title is not intended to sound the death knell of the book. Rather, we contend that despite the enduring value of print, digital publishing is “present and active” and is changing the way in which research, particularly in the humanities, is being undertaken. Our approach has three related parts. First, we consider how digital technologies are changing the way in which content is constructed, customised, modified, disseminated, and accessed within a global, distributed network. This section argues that the transition from print to electronic or digital publishing means both losses and gains, particularly with respect to shifts in our approaches to textuality, information, and innovative publishing. Second, we discuss the Children’s Literature Digital Resources (CLDR) project, with which we are involved. This case study of a digitising initiative opens out the transformative possibilities and challenges of digital publishing and e-scholarship for research communities. Third, we reflect on technology’s capacity to bring about major changes in the light of the theoretical and practical issues that have arisen from our discussion. I. Digitising in a “post-print age” We are living in an era that is commonly referred to as “the late age of print” (see Kho) or the “post-print age” (see Gunkel). According to Aarseth, we have reached a point whereby nearly all of our public and personal media have become more or less digital (37). As Kho notes, web newspapers are not only becoming increasingly more popular, but they are also making rather than losing money, and paper-based newspapers are finding it difficult to recruit new readers from the younger generations (37). Not only can such online-only publications update format, content, and structure more economically than print-based publications, but their wide distribution network, speed, and flexibility attract advertising revenue. Hype and hyperbole aside, publishers are not so much discarding their legacy of print, but recognising the folly of not embracing innovative technologies that can add value by presenting information in ways that satisfy users’ needs for content to-go or for edutainment. As Kho notes: “no longer able to satisfy customer demand by producing print-only products, or even by enabling online access to semi-static content, established publishers are embracing new models for publishing, web-style” (42). Advocates of online publishing contend that the major benefits of online publishing over print technology are that it is faster, more economical, and more interactive. However, as Hovav and Gray caution, “e-publishing also involves risks, hidden costs, and trade-offs” (79). The specific focus for these authors is e-journal publishing and they contend that while cost reduction is in editing, production and distribution, if the journal is not open access, then costs relating to storage and bandwith will be transferred to the user. If we put economics aside for the moment, the transition from print to electronic text (e-text), especially with electronic literary works, brings additional considerations, particularly in their ability to make available different reading strategies to print, such as “animation, rollovers, screen design, navigation strategies, and so on” (Hayles 38). Transition from print to e-text In his book, Writing Space, David Bolter follows Victor Hugo’s lead, but does not ask if print technology will be destroyed. Rather, he argues that “the idea and ideal of the book will change: print will no longer define the organization and presentation of knowledge, as it has for the past five centuries” (2). As Hayles noted above, one significant indicator of this change, which is a consequence of the shift from analogue to digital, is the addition of graphical, audio, visual, sonic, and kinetic elements to the written word. A significant consequence of this transition is the reinvention of the book in a networked environment. Unlike the printed book, the networked book is not bound by space and time. Rather, it is an evolving entity within an ecology of readers, authors, and texts. The Web 2.0 platform has enabled more experimentation with blending of digital technology and traditional writing, particularly in the use of blogs, which have spawned blogwriting and the wikinovel. Siva Vaidhyanathan’s The Googlization of Everything: How One Company is Disrupting Culture, Commerce and Community … and Why We Should Worry is a wikinovel or blog book that was produced over a series of weeks with contributions from other bloggers (see: http://www.sivacracy.net/). Penguin Books, in collaboration with a media company, “Six Stories to Start,” have developed six stories—“We Tell Stories,” which involve different forms of interactivity from users through blog entries, Twitter text messages, an interactive google map, and other features. For example, the story titled “Fairy Tales” allows users to customise the story using their own choice of names for characters and descriptions of character traits. Each story is loosely based on a classic story and links take users to synopses of these original stories and their authors and to online purchase of the texts through the Penguin Books sales website. These examples of digital stories are a small part of the digital environment, which exploits computer and online technologies’ capacity to be interactive and immersive. As Janet Murray notes, the interactive qualities of digital environments are characterised by their procedural and participatory abilities, while their immersive qualities are characterised by their spatial and encyclopedic dimensions (71–89). These immersive and interactive qualities highlight different ways of reading texts, which entail different embodied and cognitive functions from those that reading print texts requires. As Hayles argues: the advent of electronic textuality presents us with an unparalleled opportunity to reformulate fundamental ideas about texts and, in the process, to see print as well as electronic texts with fresh eyes (89–90). The transition to e-text also highlights how digitality is changing all aspects of everyday life both inside and outside the academy. Online teaching and e-research Another aspect of the commercial arm of publishing that is impacting on academe and other organisations is the digitising and indexing of print content for niche distribution. Kho offers the example of the Mark Logic Corporation, which uses its XML content platform to repurpose content, create new content, and distribute this content through multiple portals. As the promotional website video for Mark Logic explains, academics can use this service to customise their own textbooks for students by including only articles and book chapters that are relevant to their subject. These are then organised, bound, and distributed by Mark Logic for sale to students at a cost that is generally cheaper than most textbooks. A further example of how print and digital materials can form an integrated, customised source for teachers and students is eFictions (Trimmer, Jennings, & Patterson). eFictions was one of the first print and online short story anthologies that teachers of literature could customise to their own needs. Produced as both a print text collection and a website, eFictions offers popular short stories in English by well-known traditional and contemporary writers from the US, Australia, New Zealand, UK, and Europe, with summaries, notes on literary features, author biographies, and, in one instance, a YouTube movie of the story. In using the eFictions website, teachers can build a customised anthology of traditional and innovative stories to suit their teaching preferences. These examples provide useful indicators of how content is constructed, customised, modified, disseminated, and accessed within a distributed network. However, the question remains as to how to measure their impact and outcomes within teaching and learning communities. As Harley suggests in her study on the use and users of digital resources in the humanities and social sciences, several factors warrant attention, such as personal teaching style, philosophy, and specific disciplinary requirements. However, in terms of understanding the benefits of digital resources for teaching and learning, Harley notes that few providers in her sample had developed any plans to evaluate use and users in a systematic way. In addition to the problems raised in Harley’s study, another relates to how researchers can be supported to take full advantage of digital technologies for e-research. The transformation brought about by information and communication technologies extends and broadens the impact of research, by making its outputs more discoverable and usable by other researchers, and its benefits more available to industry, governments, and the wider community. Traditional repositories of knowledge and information, such as libraries, are juggling the space demands of books and computer hardware alongside increasing reader demand for anywhere, anytime, anyplace access to information. Researchers’ expectations about online access to journals, eprints, bibliographic data, and the views of others through wikis, blogs, and associated social and information networking sites such as YouTube compete with the traditional expectations of the institutions that fund libraries for paper-based archives and book repositories. While university libraries are finding it increasingly difficult to purchase all hardcover books relevant to numerous and varied disciplines, a significant proportion of their budgets goes towards digital repositories (e.g., STORS), indexes, and other resources, such as full-text electronic specialised and multidisciplinary journal databases (e.g., Project Muse and Proquest); electronic serials; e-books; and specialised information sources through fast (online) document delivery services. An area that is becoming increasingly significant for those working in the humanities is the digitising of historical and cultural texts. II. Bringing back the dead: The CLDR project The CLDR project is led by researchers and librarians at the Queensland University of Technology, in collaboration with Deakin University, University of Sydney, and members of the AustLit team at The University of Queensland. The CLDR project is a “Research Community” of the electronic bibliographic database AustLit: The Australian Literature Resource, which is working towards the goal of providing a complete bibliographic record of the nation’s literature. AustLit offers users with a single entry point to enhanced scholarly resources on Australian writers, their works, and other aspects of Australian literary culture and activities. AustLit and its Research Communities are supported by grants from the Australian Research Council and financial and in-kind contributions from a consortium of Australian universities, and by other external funding sources such as the National Collaborative Research Infrastructure Strategy. Like other more extensive digitisation projects, such as Project Gutenberg and the Rosetta Project, the CLDR project aims to provide a centralised access point for digital surrogates of early published works of Australian children’s literature, with access pathways to existing resources. The first stage of the CLDR project is to provide access to digitised, full-text, out-of-copyright Australian children’s literature from European settlement to 1945, with selected digitised critical works relevant to the field. Texts comprise a range of genres, including poetry, drama, and narrative for young readers and picture books, songs, and rhymes for infants. Currently, a selection of 75 e-texts and digital scans of original texts from Project Gutenberg and Internet Archive have been linked to the Children’s Literature Research Community. By the end of 2009, the CLDR will have digitised approximately 1000 literary texts and a significant number of critical works. Stage II and subsequent development will involve digitisation of selected texts from 1945 onwards. A precursor to the CLDR project has been undertaken by Deakin University in collaboration with the State Library of Victoria, whereby a digital bibliographic index comprising Victorian School Readers has been completed with plans for full-text digital surrogates of a selection of these texts. These texts provide valuable insights into citizenship, identity, and values formation from the 1930s onwards. At the time of writing, the CLDR is at an early stage of development. An extensive survey of out-of-copyright texts has been completed and the digitisation of these resources is about to commence. The project plans to make rich content searchable, allowing scholars from children’s literature studies and education to benefit from the many advantages of online scholarship. What digital publishing and associated digital archives, electronic texts, hypermedia, and so forth foreground is the fact that writers, readers, publishers, programmers, designers, critics, booksellers, teachers, and copyright laws operate within a context that is highly mediated by technology. In his article on large-scale digitisation projects carried out by Cornell and University of Michigan with the Making of America collection of 19th-century American serials and monographs, Hirtle notes that when special collections’ materials are available via the Web, with appropriate metadata and software, then they can “increase use of the material, contribute to new forms of research, and attract new users to the material” (44). Furthermore, Hirtle contends that despite the poor ergonomics associated with most electronic displays and e-book readers, “people will, when given the opportunity, consult an electronic text over the print original” (46). If this preference is universally accurate, especially for researchers and students, then it follows that not only will the preference for electronic surrogates of original material increase, but preference for other kinds of electronic texts will also increase. It is with this preference for electronic resources in mind that we approached the field of children’s literature in Australia and asked questions about how future generations of researchers would prefer to work. If electronic texts become the reference of choice for primary as well as secondary sources, then it seems sensible to assume that researchers would prefer to sit at the end of the keyboard than to travel considerable distances at considerable cost to access paper-based print texts in distant libraries and archives. We considered the best means for providing access to digitised primary and secondary, full text material, and digital pathways to existing online resources, particularly an extensive indexing and bibliographic database. Prior to the commencement of the CLDR project, AustLit had already indexed an extensive number of children’s literature. Challenges and dilemmas The CLDR project, even in its early stages of development, has encountered a number of challenges and dilemmas that centre on access, copyright, economic capital, and practical aspects of digitisation, and sustainability. These issues have relevance for digital publishing and e-research. A decision is yet to be made as to whether the digital texts in CLDR will be available on open or closed/tolled access. The preference is for open access. As Hayles argues, copyright is more than a legal basis for intellectual property, as it also entails ideas about authorship, creativity, and the work as an “immaterial mental construct” that goes “beyond the paper, binding, or ink” (144). Seeking copyright permission is therefore only part of the issue. Determining how the item will be accessed is a further matter, particularly as future technologies may impact upon how a digital item is used. In the case of e-journals, the issue of copyright payment structures are evolving towards a collective licensing system, pay-per-view, and other combinations of print and electronic subscription (see Hovav and Gray). For research purposes, digitisation of items for CLDR is not simply a scan and deliver process. Rather it is one that needs to ensure that the best quality is provided and that the item is both accessible and usable by researchers, and sustainable for future researchers. Sustainability is an important consideration and provides a challenge for institutions that host projects such as CLDR. Therefore, items need to be scanned to a high quality and this requires an expensive scanner and personnel costs. Files need to be in a variety of formats for preservation purposes and so that they may be manipulated to be useable in different technologies (for example, Archival Tiff, Tiff, Jpeg, PDF, HTML). Hovav and Gray warn that when technology becomes obsolete, then content becomes unreadable unless backward integration is maintained. The CLDR items will be annotatable given AustLit’s NeAt funded project: Aus-e-Lit. The Aus-e-Lit project will extend and enhance the existing AustLit web portal with data integration and search services, empirical reporting services, collaborative annotation services, and compound object authoring, editing, and publishing services. For users to be able to get the most out of a digital item, it needs to be searchable, either through double keying or OCR (optimal character recognition). The value of CLDR’s contribution The value of the CLDR project lies in its goal to provide a comprehensive, searchable body of texts (fictional and critical) to researchers across the humanities and social sciences. Other projects seem to be intent on putting up as many items as possible to be considered as a first resort for online texts. CLDR is more specific and is not interested in simply generating a presence on the Web. Rather, it is research driven both in its design and implementation, and in its focussed outcomes of assisting academics and students primarily in their e-research endeavours. To this end, we have concentrated on the following: an extensive survey of appropriate texts; best models for file location, distribution, and use; and high standards of digitising protocols. These issues that relate to data storage, digitisation, collections, management, and end-users of data are aligned with the “Development of an Australian Research Data Strategy” outlined in An Australian e-Research Strategy and Implementation Framework (2006). CLDR is not designed to simply replicate resources, as it has a distinct focus, audience, and research potential. In addition, it looks at resources that may be forgotten or are no longer available in reproduction by current publishing companies. Thus, the aim of CLDR is to preserve both the time and a period of Australian history and literary culture. It will also provide users with an accessible repository of rare and early texts written for children. III. Future directions It is now commonplace to recognize that the Web’s role as information provider has changed over the past decade. New forms of “collective intelligence” or “distributed cognition” (Oblinger and Lombardi) are emerging within and outside formal research communities. Technology’s capacity to initiate major cultural, social, educational, economic, political and commercial shifts has conditioned us to expect the “next big thing.” We have learnt to adapt swiftly to the many challenges that online technologies have presented, and we have reaped the benefits. As the examples in this discussion have highlighted, the changes in online publishing and digitisation have provided many material, network, pedagogical, and research possibilities: we teach online units providing students with access to e-journals, e-books, and customized archives of digitised materials; we communicate via various online technologies; we attend virtual conferences; and we participate in e-research through a global, digital network. In other words, technology is deeply engrained in our everyday lives. In returning to Frollo’s concern that the book would destroy architecture, Umberto Eco offers a placatory note: “in the history of culture it has never happened that something has simply killed something else. Something has profoundly changed something else” (n. pag.). Eco’s point has relevance to our discussion of digital publishing. The transition from print to digital necessitates a profound change that impacts on the ways we read, write, and research. As we have illustrated with our case study of the CLDR project, the move to creating digitised texts of print literature needs to be considered within a dynamic network of multiple causalities, emergent technological processes, and complex negotiations through which digital texts are created, stored, disseminated, and used. Technological changes in just the past five years have, in many ways, created an expectation in the minds of people that the future is no longer some distant time from the present. Rather, as our title suggests, the future is both present and active. References Aarseth, Espen. “How we became Postdigital: From Cyberstudies to Game Studies.” Critical Cyber-culture Studies. Ed. David Silver and Adrienne Massanari. New York: New York UP, 2006. 37–46. An Australian e-Research Strategy and Implementation Framework: Final Report of the e-Research Coordinating Committee. Commonwealth of Australia, 2006. Bolter, Jay David. Writing Space: The Computer, Hypertext, and the History of Writing. Hillsdale, NJ: Erlbaum, 1991. Eco, Umberto. “The Future of the Book.” 1994. 3 June 2008 ‹http://www.themodernword.com/eco/eco_future_of_book.html>. Gunkel, David. J. “What's the Matter with Books?” Configurations 11.3 (2003): 277–303. Harley, Diane. “Use and Users of Digital Resources: A Focus on Undergraduate Education in the Humanities and Social Sciences.” Research and Occasional Papers Series. Berkeley: University of California. Centre for Studies in Higher Education. 12 June 2008 ‹http://www.themodernword.com/eco/eco_future_of_book.html>. Hayles, N. Katherine. My Mother was a Computer: Digital Subjects and Literary Texts. Chicago: U of Chicago P, 2005. Hirtle, Peter B. “The Impact of Digitization on Special Collections in Libraries.” Libraries & Culture 37.1 (2002): 42–52. Hovav, Anat and Paul Gray. “Managing Academic E-journals.” Communications of the ACM 47.4 (2004): 79–82. Hugo, Victor. The Hunchback of Notre Dame (Notre-Dame de Paris). Ware, Hertfordshire: Wordsworth editions, 1993. Kho, Nancy D. “The Medium Gets the Message: Post-Print Publishing Models.” EContent 30.6 (2007): 42–48. Oblinger, Diana and Marilyn Lombardi. “Common Knowledge: Openness in Higher Education.” Opening up Education: The Collective Advancement of Education Through Open Technology, Open Content and Open Knowledge. Ed. Toru Liyoshi and M. S. Vijay Kumar. Cambridge, MA: MIT Press, 2007. 389–400. Murray, Janet H. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Cambridge, MA: MIT Press, 2001. Trimmer, Joseph F., Wade Jennings, and Annette Patterson. eFictions. New York: Harcourt, 2001.

I was born illegitimate. Born on an existential precipice. My unwed mother was 36 years old when she relinquished me. I was the fourth baby she was required to give away. After I emerged blood stained and blue tinged – abject, liminal – not only did the nurses refuse me my mother’s touch, I also lost the sound of her voice. Her smell. Her heart beat. Her taste. Her gaze. The silence was multi-sensory. When they told her I was dead, I also lost, within her memory and imagination, my life. I was adopted soon after but not told for over four decades. It was too shameful for even me to know. Imprinted at birth with a psychological ‘death’, I fell, as a Late Discovery Adoptee (LDA), into a socio-cultural and psychological abyss, frozen at birth at the bottom of a parturitive void from where, invisible within family, society, and self I was unable to form an undamaged sense of being.Throughout the 20th century (and for centuries before) this kind of ‘social abortion’ was the dominant script. An adoptee was regarded as a bastard, born of sin, the mother blamed, the father exonerated, and silence demanded (Lynch 28-74). My adoptive mother also sinned. She was infertile. But, in taking me on, she assumed the role of a womb worthy woman, good wife, and, in her case, reluctant mother (she secretly didn’t want children and was privately overwhelmed by the task). In this way, my mother, my adoptive mother, and myself are all the daughters of bereavement, all of us sacrificed on the altar of prejudice and fear that infertility, sex outside of marriage, and illegitimacy were unspeakable crimes for which a price must be paid and against which redemptive protection must be arranged. If, as Thomas Keneally (5) writes, “original sin is the mother fluid of history” then perhaps all three of us all lie in its abject waters. Grotevant, Dunbar, Kohler and Lash Esau (379) point out that adoption was used to ‘shield’ children from their illegitimacy, women from their ‘sexual indiscretions’, and adoptive parents from their infertility in the belief that “severing ties with birth family members would promote attachment between adopted children and parents”. For the adoptee in the closed record system, the socio/political/economic vortex that orchestrated their illegitimacy is born out of a deeply, self incriminating primal fear that reaches right back into the recesses of survival – the act of procreation is infested with easily transgressed life and death taboos within the ‘troop’ that require silence and the burial of many bodies (see Amanda Gardiner’s “Sex, Death and Desperation: Infanticide, Neonaticide, and Concealment of Birth in Colonial Western Australia” for a palpable, moving, and comprehensive exposition on the links between 'illegitimacy', the unmarried mother and child murder). As Nancy Verrier (24) states in Coming Home to Self, “what has to be understood is that separation trauma is an insidious experience, because, as a society, we fail to see this experience as a trauma”. Indeed, relinquishment/adoption for the baby and subsequent adult can be acutely and chronically painful. While I was never told the truth of my origins, of course, my body knew. It had been there. Sentient, aware, sane, sensually, organically articulate, it messaged me (and anyone who may have been interested) over the decades via the language of trauma, its lexicon and grammar cellular, hormonal, muscular (Howard & Crandall, 1-17; Pert, 72), the truth of my birth, of who I was an “unthought known” (Bollas 4). I have lived out my secret fatality in a miasmic nebula of what I know now to be the sequelae of adoption psychopathology: nausea, physical and psychological pain, agoraphobia, panic attacks, shame, internalised anger, depression, self-harm, genetic bewilderment, and generalised anxiety (Brodzinsky 25-47; Brodzinsky, Smith, & Brodzinsky 74; Kenny, Higgins, Soloff, & Sweid xiv; Levy-Shiff 97-98; Lifton 210-212; Verrier The Primal Wound 42-44; Wierzbicki 447-451) – including an all pervading sense of unreality experienced as dissociation (the experience of depersonalisation – where the self feels unreal – and derealisation – where the world feels unreal), disembodiment, and existential elision – all characteristics of Post Traumatic Stress Disorder (PTSD). In these ways, my body intervened, acted out, groaned in answer to the social overlay, and from beyond “the dermal veil” tried to procure access, as Vicky Kirby (77) writes, to “the body’s opaque ocean depths” through its illnesses, its eloquent, and incessantly aching and silent verbosities deepened and made impossibly fraught because I was not told. The aim of this paper is to discuss one aspect of how my body tried to channel the trauma of my secret fatality and liminality: my pre-disclosure art work (the cellular memory of my trauma also expressed itself, pre-disclosure, through my writings – poetry, journal entries – and also through post-coital glossolalia, all discussed at length in my Honours research “Womb Tongues” and my Doctoral Dissertation “The Womb Artist – A Novel: Translating Pre-verbal Late Discovery Adoption Trauma into Narrative”). From the age of thirty onwards I spent twelve years in therapy where the cause of my childhood and adult psychopathology remained a mystery. During this time, my embodied grief and memories found their way into my art work, a series of 5’ x 3’ acrylic paintings, some of which I offer now for discussion (figures 1-4). These paintings map and express what my body knew but could not verbalise (without language to express my grief, my body found other ways to vent). They are symptom and sign of my pre-verbal adoption trauma, evidence that my body ‘knew’ and laboured ceaselessly and silently to find creative ways to express the incarcerated trauma. Post disclosure, I have used my paintings as artefacts to inform, underpin, and nourish the writing of a collection of poetry “Womb Tongues” and a literary novel/memoir “The Womb Artist” (TWA) in an ongoing autoethnographical, performative, and critical inquiry. My practice-led research as a now conscious and creative witness, fashions the recontextualisation of my ‘self’ into my ‘self’ and society, this time with cognisant and reparative knowledge and facilitates the translation of my body’s psychopathology and memory (explicit and implicit) into a healing testimony that explores the traumatised body as text and politicizes the issues surrounding LDAs (Riley 205). If I use these paintings as a memoirist, I use them second hand, after the fact, after they have served their initial purpose, as the tangible art works of a baby buried beneath a culture’s prejudice, shame, and judgement and the personal cries from the illegitimate body/self. I use them now to explore and explain my subclinical and subterranean life as a LDA.My pre-disclosure paintings (Figures 1-4) – filled with vaginal, fetal, uterine, and umbilical references – provide some kind of ‘evidence’ that my body knew what had happened to me as if, with the tenacity of a poltergeist, my ‘spectral self’ found ways to communicate. Not simply clues, but the body’s translation of the intra-psychic landscape, a pictorial and artistic séance into the world, as if my amygdala – as quasar and signal, homing device and history lesson (a measure, container, and memoir) – knew how to paint a snap shot or an x-ray of the psyche, of my cellular marrow memories (a term formulated from fellow LDA Sandy McCutcheon’s (76) memoir, The Magician’s Son when he says, “What I really wanted was the history of my marrow”). If, as Salveet Talwar suggests, “trauma is processed from the body up”, then for the LDA pre-discovery, non-verbal somatic signage is one’s ‘mother tongue’(25). Talwar writes, “non-verbal expressive therapies such as art, dance, music, poetry and drama all activate the sub-cortical regions of the brain and access pre-verbal memories” (26). In these paintings, eerily divinatory and pointed traumatic, memories are made visible and access, as Gussie Klorer (213) explains in regard to brain function and art therapy, the limbic (emotional) system and the prefrontal cortex in sensorimotor integration. In this way, as Marie Angel and Anna Gibbs (168) suggest, “the visual image may serve as a kind of transitional mode in thought”. Ruth Skilbeck in her paper First Things: Reflections on Single-lens Reflex Digital Photography with a Wide-angled Lens, also discusses (with reference to her photographic record and artistic expression of her mother’s death) what she calls the “dark matter” – what has been overlooked, “left out”, and/or is inexplicable (55) – and the idea of art work as the “transitional object” as “a means that some artists use, conceptually and yet also viscerally, in response to the extreme ‘separation anxiety’ of losing a loved one, to the void of the Unknown” (57). In my case, non-disclosure prevented my literacy and the evolution of the image into language, prevented me from fully understanding the coded messages left for me in my art work. However, each of my paintings is now, with the benefit of full disclosure, a powerful, penetrating, and comprehensible intra and extra sensory cry from the body in kinaesthetic translation (Lusebrink, 125; Klorer, 217). In Figure 1, ‘Embrace’, the reference to the umbilical is palpable, described in my novel “The Womb Artist” (184) this way; “two ropes tightly entwine as one, like a dark and dirty umbilical cord snaking its way across a nether world of smudged umbers”. There is an ‘abject’ void surrounding it. The cord sapped of its colour, its blood, nutrients – the baby starved of oxygen, breath; the LDA starved of words and conscious understanding. It has two parts entwined that may be seen in many ways (without wanting to reduce these to static binaries): mother/baby; conscious/unconscious; first person/third person; child/adult; semiotic/symbolic – numerous dualities could be spun from this embrace – but in terms of my novel and of the adoptive experience, it reeks of need, life and death, a text choking on the poetic while at the same time nourished by it; a text made ‘available’ to the reader while at the same narrowing, limiting, and obscuring the indefinable nature of pre-verbal trauma. Figure 1. Embrace. 1993. Acrylic on canvas.The painting ‘Womb Tongues’ (Figure 2) is perhaps the last (and, obviously, lasting) memory of the infinite inchoate universe within the womb, the umbilical this time wrapped around in a phallic/clitorial embrace as the baby-self emerges into the constrictions of a Foucauldian world, where the adoptive script smothers the ‘body’ encased beneath the ‘coils’ of Judeo-Christian prejudice and centuries old taboo. In this way, the reassigned adoptee is an acute example of power (authority) controlling and defining the self and what knowledge of the self may be allowed. The baby in this painting is now a suffocated clitoris, a bound subject, a phallic representation, a gagged ‘tongue’ in the shape of the personally absent (but socially imposing) omni-present and punitive patriarchy. Figure 2. Womb Tongues. 1997. Acrylic on canvas.‘Germination’ (Figure 3) depicts an umbilical again, but this time as emerging from a seething underworld and is present in TWA (174) this way, “a colony of night crawlers that writhe and slither on the canvas, moving as one, dozens of them as thin as a finger, as long as a dream”. The rhizomic nature of this painting (and Figure 4), becomes a heaving horde of psychosomatic and psychopathological influences and experiences, a multitude of closely packed, intense, and dendridic compulsions and symptoms, a mass of interconnected (and by nature of the silence and lie) subterranean knowledges that force the germination of a ‘ghost baby/child/adult’ indicated by the pale and ashen seedling that emerges above ground. The umbilical is ghosted, pale and devoid of life. It is in the air now, reaching up, as if in germination to a psychological photosynthesis. There is the knot and swarm within the unconscious; something has, in true alien fashion, been incubated and is now emerging. In some ways, these paintings are hardly cryptic.Figure 3. Germination.1993. Acrylic on canvas.In Figure 4 ‘The Birthing Tree’, the overt symbolism reaches ‘clairvoyant status’. This could be read as the family ‘tree’ with its four faces screaming out of the ‘branches’. Do these represent the four babies relinquished by our mother (the larger of these ‘beings’ as myself, giving birth to the illegitimate, silenced, and abject self)? Are we all depicted in anguish and as wraithlike, grotesquely simplified into pure affect? This illegitimate self is painted as gestating a ‘blue’ baby, near full-term in a meld of tree and ‘self’, a blue umbilical cord, again, devoid of blood, ghosted, lifeless and yet still living, once again suffocated by the representation of the umbilical in the ‘bowels’ of the self, the abject part of the body, where refuse is stored and eliminated: The duodenum of the damned. The Devil may be seen as Christopher Bollas’s “shadow of the object”, or the Jungian archetypal shadow, not simply a Judeo-Christian fear-based spectre and curmudgeon, but a site of unprocessed and, therefore, feared psychological material, material that must be brought to consciousness and integrated. Perhaps the Devil also is the antithesis to ‘God’ as mother. The hell of ‘not mother’, no mother, not the right mother, the reluctant adoptive mother – the Devil as icon for the rich underbelly of the psyche and apophatic to the adopted/artificial/socially scripted self.Figure 4. The Birthing Tree. 1995. Acrylic on canvas.These paintings ache with the trauma of my relinquishment and LDA experience. They ache with my body’s truth, where the cellular and psychological, flesh and blood and feeling, leak from my wounds in unspeakable confluence (the two genital lips as the site of relinquishment, my speaking lips that have been sealed through non-disclosure and shame, the psychological trauma as Verrier’s ‘primal wound’) just as I leaked from my mother (and society) at birth, as blood and muck, and ooze and pus and death (Grosz 195) only to be quickly and silently mopped up and cleansed through adoption and life-long secrecy. Where I, as translator, fluent in both silence and signs, disclose the baby’s trauma, asking for legitimacy. My experience as a LDA sets up an interesting experiment, one that allows an examination of the pre-verbal/pre-disclosure body as a fleshed and breathing Rosetta Stone, as an interface between the language of the body and of the verbalised, painted, and written text. As a constructed body, written upon and invented legally, socially, and psychologically, I am, in Hélène Cixous’s (“To Live the Orange” 83) words, “un-forgetting”, “un-silencing” and “unearthing” my ‘self’ – I am re-writing, re-inventing and, under public scrutiny, legitimising my ‘self’. I am a site of inquiry, discovery, extrapolation, and becoming (Metta 492; Poulus 475) and, as Grosz (vii) suggests, a body with “all the explanatory power” of the mind. I am, as I embroider myself and my LDA experience into literary and critical texts, authoring myself into existence, referencing with particular relevance Peter Carnochan’s (361) suggestion that “analysis...acts as midwife to the birth of being”. I am, as I swim forever amorphous, invisible, and unspoken in my mother’s womb, fashioning a shore, landscaping my mind against the constant wet, my chronic liminality (Rambo 629) providing social landfall for other LDAs and silenced minorities. As Catherine Lynch (3) writes regarding LDAs, “Through the creation of text and theory I can formulate an intimate space for a family of adoptive subjects I might never know via our participation in a new discourse in Australian academia.” I participate through my creative, self-reflexive, process fuelled (Durey 22), practice-led enquiry. I use the intimacy (and also universality and multiplicity) and illegitimacy of my body as an alterative text, as a site of academic and creative augmentation in the understanding of LDA issues. The relinquished and silenced baby and LDA adult needs a voice, a ‘body’, and a ‘tender’ place in the consciousness of society, as Helen Riley (“Confronting the Conspiracy of Silence” 11) suggests, “voice, validation, and vindication”. Judith Herman (3) argues that, “Survivors challenge us to reconnect fragments, to reconstruct history, to make meaning of their present symptoms in the light of past events”. I seek to use the example of my experience – as Judith Durey (31) suggests, in “support of evocative, creative modes of representation as valid forms of research in their own right” – to unfurl the whole, to give impetus and precedence for other researchers into adoption and advocate for future babies who may be bought, sold, arranged, and/or created by various means. The recent controversy over Gammy, the baby boy born with Down Syndrome in Thailand, highlights the urgent and moral need for legislation with regard to surrogacy (see Kajsa Ekis Ekman’s Being and Being Bought: Prostitution, Surrogacy and the Split Self for a comprehensive examination of surrogacy issues). Indeed, Catherine Lynch in her paper Doubting Adoption Legislation links the experiences of LDAs and the children of born of surrogacy, most effectively arguing that, “if the fate that closed record adoptees suffered was a misplaced solution to the question of what to do with children already conceived how can you justify the deliberate conception of a child with the intention even before its creation of cruelly removing that child from their mother?” (6). Cixous (xxii) confesses, “All I want is to illustrate, depict fragments, events of human life and death...each unique and yet at the same time exchangeable. Not the law, the exception”. I, too, am a fragment, an illustration (a painting), and, as every individual always is – paradoxically – a communal and, therefore, deeply recognisable and generally applicable minority and exception. In my illegitimacy, I am some kind of evidence. Evidence of cellular memory. Evidence of embodiment. Evidence that silenced illegitimacies will manifest in symptom and non-verbal narratives, that they will ooze out and await translation, verification, and witness. This paper is offered with reverence and with feminist intention, as a revenant mouthpiece for other LDAs, babies born of surrogacy, and donor assisted offspring (and, indeed, any) who are marginalised, silenced, and obscured. It is also intended to promote discussion in the psychological and psychoanalytic fields and, as Helen Riley (202-207) advocates regarding late discovery offspring, more research within the social sciences and the bio-medical field that may encourage legislators to better understand what the ‘best interests of the child’ are in terms of late discovery of origins and the complexity of adoption/conception practices available today. As I write now (and always) the umbilical from my paintings curve and writhe across my soul, twist and morph into the swollen and throbbing organ of tongues, my throat aching to utter, my hands ready to craft latent affect into language in translation of, and in obedience to, my body’s knowledges. It is the art of mute witness that reverses genesis, that keeps the umbilical fat and supple and full of blood, and allows my conscious conception and creation. Indeed, in the intersection of my theoretical, creative, psychological, and somatic praxis, the heat (read hot and messy, insightful and insistent signage) of my body’s knowledges perhaps intensifies – with a ripe bouquet – the inevitably ongoing odour/aroma of the reproductive world. ReferencesAngel, Maria, and Anna Gibbs. “On Moving and Being Moved: The Corporeality of Writing in Literary Fiction and New Media Art.” Literature and Sensation, eds. Anthony Uhlmann, Helen Groth, Paul Sheehan, and Stephan McLaren. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2009: 162-172. Bollas, Christopher. The Shadow of the Object: Psychoanalysis of the Unthought Known. New York: Columbia UP, 1987. Brodzinsky, David. “Adjustment to Adoption: A Psychosocial Perspective.” Clinical Psychology Review 7 (1987): 25-47. doi: 10.1016/0272-7358(87)90003-1.Brodzinsky, David, Daniel Smith, and Anne Brodzinsky. Children’s Adjustment to Adoption: Developmental and Clinical Issues. 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