Artículos de revistas sobre el tema "Henry Roth"

With these words, Henry Roth beganCall It Sleep, a novel published in 1934 when its author was twenty-eight years old.Call It Sleepranks among the most powerful novels of the 20th century, precisely because of the questions it does ask about the conflicts of immigrant life, the demands of assimilation, and the search for spiritual nourishment in the modern world. Roth locates his narrative in New York City during the peak years of mass migration from Europe between 1907 and 1914. At the center ofCall It Sleepis David, a precocious and sensitive child at age six, who is already questioning his place in the universe and the meaning of God. Thus,Call It Sleeppresents a narrative of how a small immigrant boy makes sense of his world, a world defined by both its physical and spiritual dimensions.

Print literature has always existed in an ecosystem of media forms, among which the attention of audiences have been shared. Periodically, however, novelists have expressed concerns for the charms of literature in relation to its competitors. This article explores three interrelated experiments that harness the effects of authorial presence to revive the capacity of literary fiction to detain readers. Henry James's ‘The Death of the Lion’ (1894), Philip Roth's The Ghost Writer (1979) and Joshua Cohen's Book of Numbers (2015) speak to each other by mobilising the trope of the author in ways that probe the fault lines in under-nuanced accounts of the author's coercive role in delimiting the meaning of a literary work. These texts, I offer, reimagine the author not as a disciplining force but as a compelling figure, working in distinctive ways to summon readerly attention.

There has been a major effort in Australian academic circles over the past fifteen years to develop a critical discourse in environmental education curriculum, pedagogy, history, and research (Henry et al 1981, Di Chiro 1987, Gough 1987, 1994, Robottom 1987, Greenall 1987, Fien 1993 a,b, Greenall Gough 1993, Robottom & Hart 1993). This discourse is critical of ‘mainstream’ approaches to environmental education that are alleged to be positivist, behaviourist, masculinist, and instrumentalist. Internationally, environmental educators have also considered various shortcomings of environmental education. There is general concern about unrealised aspirations, unrealistic expectations, definitional problems, values issues, conceptual obfuscation and questionable research endeavours (Brennan 1979, Disinger 1979, 1985, Williams 1979, Baer 1980, 1981, 1985, Knapp 1983, Roth 1988, Iozzi 1989 a,b, Gigliotti 1990, Marcinkowski 1990, Wals, Beringer & Stapp 1990, Ham & Sewing 1992, Leming 1992, Pinar & Bowers 1992, Ramsey, Hungerford & Volk 1992). Consequently, it can be asserted there are practical deficiencies of a moral, social, political, and ecological nature. If so, one conclusion about the development of the field of environmental education is that it is problematic and often contradictory.

In early 1981, the 73rd General Assembly of the State of Arkansas in regular session passed Senate Bill 482 without debate. Governor Frank White, immediately signed the bill, admitting that he hadn't read it, and it became state law as Act 590, the “Balanced Treatment for Creation-Science and Evolution-Science Act.” A suit on behalf of 23 plaintiffs was filed by the American Civil Liberties Union (ACLU) on May 27, 1981, and a trial before Federal Judge William Overton was scheduled for October and then postponed until December, 1981. The trial began on December 7, 1981, and it received national attention. The ACLU called well-known expert witnesses in both religion (Bruce Vawter, George Marsden, and Langdon Gilkey) and science (Francisco Ayala, G. Brent Dalrymple, Stephen Jay Gould, and Carl Sagan). The state's witnesses were creationists associated with the Geoscience Research Institute, Loma Linda University, California (Harold Coffin, Ariel Roth), and the Creation Research Society, Ann Arbor, Michigan (Wayne Friar, Margaret Helder, Donald Chittick, Robert Gentry). Its “star” witness, at least in the eyes of the press, was Chandra Wickramasinghe, University College of Wales. The trial did not involve any of the high profile creationists, such as Henry Morris or Duane Gish, from the Institute for Creation Research (ICR) in San Diego, even though it was disclosed that Wendall R. Bird, an attorney associated with (ICR), had written the act. Both sides called local educators. Judge Overton issued his ruling and an injunction permanently prohibiting enforcement of Act 590 on January 5, 1982. The state did not appeal his ruling.

Abstract Fast-growing tree species will be an important tool in the future production of renewables and in substituting non-renewable fossil energy sources. Sweden, like other countries around the Baltic Sea, has large areas of abandoned farmland usable for biomass production, but knowledge of growth performance of tree species candidates is insufficient. An experiment was initiated where six potentially high-producing tree species were compared. The best available plant material for each species was used on five sites over latitudes 56–64°N in Sweden. Results from the first 8–9 years are reported. Short rotation coppice willow (Salix schwerinii Wolf × S. viminalis L., clone ‘Tora’) had the fastest initial growth and production in southern Sweden. Hybrid aspen (Populus tremula L. × P. tremuloides Michx.) and poplar (Populus spp., section Tacamahaca), grown as short rotation forest, grew well over all sites and showed the highest productivity at the two northern sites. Hybrid larch (Larix ×eurolepis Henry) displayed a high potential at the two most southerly sites, whilst silver birch (Betula pendula Roth) was a medium-producing species at all sites. Norway spruce (Picea abies (L.) Karst.) started slowly, and Siberian larch (L. sukaczewii Dylis) produced poorly at the two northern sites in the initial stage. All tree species followed existing height development curves for the respective species on a high site quality level. Currently, well-growing clones of Populus spp. indicated that a wider selection of tree species can be used at high latitudes under climate change. The study showed a high growth potential for most species on former agricultural lands. However, measures to reduce climate and biological damage must be included in future efforts.

Resumen En el presente artículo (i) se desarrolla una crítica al discurso histórico-filosófico de Kant para explicitar sus condiciones de posibilidad, desde lo cual se erige un modelo hermenéutico que (ii) hace inteligible la historia filosofante de la filosofía presente en Los progresos de la metafísica desde los tiempos de Leibniz y Wolff, mostrando cómo las condiciones operan allí y constituyen una determinada narrativa que da cuenta de las perspectivas desde las cuales se ofrece la historia; después (iii) se realiza la interpretación de la historia desde el modelo con el fin de señalar su sostenibilidad; al final, (iv) se vincula la historia filosófica con la propia filosofía trascendental de Kant, legitimando con ello al modelo y señalando cómo el horizonte del proyecto crítico es esa misma historia. Palabras clave Metafísica: Historia; Razón; Teleología; Discurso. Referencias Allison, Henry E., Kant’s Transcendental Idealism. An Interpretation and Defense, USA: Yale University Press, 2004. Allison, H. E., Editor’s Introduction, a What real progress has metaphysics made in Germany since the time of Leibniz and Wolff?, en Kant, Immanuel, Theoretical Philosophy after 1781, edit. Henry Allison, Peter Heath, Cambridge University Press, USA, 2002. Allison, Henry E., “General Introduction”, en Kant, Immanuel, Theoretical Philosophy after 1781, edit. Henry Allison y Peter Heath, USA: Cambridge University Press, 2002. Beiser, Frederick C., “Moral Faith and the Highest Good”, en The Cambridge Companion to Kant and Modern Philosophy, edit. Paul Guyer, USA: Cambridge University Press, 2006. Caimi, Mario, “La metafísica de Kant”, en Kant, Immanuel, Los Progresos de la metafísica desde los tiempos de Leibniz y Wolff, trad. Mario Caimi, México: Fondo de Cultura Económica, UNAM, UAM, 2011. Duque, Félix, “Estudio Introductorio”, en Kant, Immanuel, Los progresos de la metafísica, trad. Félix Duque, Madrid: Tecnos, 1987. Ferrarin, Alberto, The Powers of Reason. Kant and the Idea of Cosmic Philosophy, USA: University of Chicago Press, 2015. Grondin, Jean, Introduction to Metaphysics. From Parmenides to Levinas, trad. Lukas Soderstorm, USA: Columbia University Press, 2012. Guyer, Paul, “The Unity of Nature and Freedom”, en Guyer, Paul, Kant’s System of Nature and Freedom, USA: Oxford University Press, 2005. Heidegger, Martin, Kant y el problema de la metafísica, trad. Gred Ibscher Roth, México: Fondo de Cultura Económica, 1996. Kant, El conflicto de las facultades, trad. Roberto Rodríguez Aramayo, en Immanuel Kant, Kant III, España: Gredos, 2014. Kant, Immanuel, Idea para una historia universal en clave cosmopolita, trad. Roberto Rodríguez Aramayo, en Immanuel Kant, Kant III, España: Gredos, 2014. Kant, Immanuel, Crítica de la razón pura, trad. Mario Caimi, México: FCE, UNAM, UAM, 2011. Kant, Immanuel, Los progresos de la metafísica, trad. Mario Caimi, México: Fondo de Cultura Económica, UNAM, UAM, 2011. Kant, Immanuel, Conjectural beginning of human history, trad. Allen W. Wood, en Immanuel Kant, Anthropology, History and Education, edit. Gunter Zoller, Robert B. Louden, USA: Cambridge University Press, 2007. Kant, Immanuel, On the use of teleological principles in philosophy, trad. Gunter Zoeller, en Kant, Immanuel, Anthropology, History and Education, edit. Gunter Zoller, Robert B. Louden, USA: Cambridge University Press, 2007. Kant, Immanuel, On a recently prominent tone of superiority in philosophy, trad. Peter Heath, en Kant, Immanuel, Theoretical Philosophy after 1781, edit. Henry Allison, Peter Heath, USA: Cambridge University Press, 2002. Kant, Immanuel, Proclamation of the imminent conclusion of a treaty of perpetual peace in philosophy, trad. Peter Heath, en Kant, Immanuel, Theoretical Philosophy after 1781, edit. Henry Allison, Peter Heath, USA: Cambridge University Press, 2002. Kerszberg, Pierre, Critique and Totality, USA State University of New York Press, USA, 1997. Kuhen, Manfred, “Kant’s Critical Philosophy and its Reception –the first five yearse (1781-1786)”, en The Cambridge Companion to Kant and Modern Philosophy, edit. Paul Guyer, USA: Cambridge University Press, 2006. Leibniz, Gottfried, El método verdadero, trad. J. Echeverría, en Leibniz, Leibniz, España: Gredos 2014. Longuenesse, Béatrice, Kant and the Capacity to Judge. Sensibility and Discursivity in the Transcendental Analytic of the Critique of Pure Reason, trad. Charles T. Wolfe, USA: Princeton University Press, 1998. Lyotard, Jean-Francois, Enthusiasm. The Kantian Critique of History, trad. Georges Van Den Abbeele, USA: Standford University Press, 2009. Martínez Marzoa, Felipe, Historia de la filosofía antigua, Madrid: Akal, 1995. Martínez Marzoa, Felipe, Releer a Kant, España: Anthropos, 1989. Platón, Fedón, trad. Carlos García Gual, en Platón, Platón I, España: Gredos, 2014. Platón, Menón, trad. Francisco José Olivieri, en Platón, Platón I, España: Gredos, 2014. Sevilla, Sergio, “Kant: Razón histórica y razón trascendental”, en Kant después de Kant, edit. Javier Muguerza, Roberto Rodríguez Aramayo, Madrid: Tecnos, 1989. Spinoza, Baruch, Ética demostrada según el orden geométrico, trad. Oscar Cohan, México: Fondo de Cultura Económica, 2015. Tugendhat, Ernst, Introducción a la filosofía analítica, trad. José Navarro Pérez, España: Gedisa, 2003. Vieinard-Baron, Jean-Louis, Platón et l’idealisme allemande (1770-1830), Paris: Beauchesne, 1979. Vilar, Gerard, “El concepto del Bien Supremo en Kant”, en Kant después de Kant, edit. Javier Muguerza, Roberto Rodríguez Aramayo, Madrid: Tecnos, 1989. Zammito, John, The Genesis of Kant’s Critique of Judgment, USA: The University of Chicago Press, 1992.

Rohdea Roth (1821: 196) is a genus of Asparagaceae Jussieu (1789: 40, as Asparagi), comprising 20 or a few more species distributed in temperate to subtropical regions of Bhutan, China, India, Japan, Laos, Myanmar, Nepal, Taiwan, Thailand, and Vietnam (Tanaka 2010, Averyanov et al. 2014, 2017, Tanaka et al. 2018). Traditionally, Rhodea has often been included in Convallariaceae Link (1829: 184) (e.g. Takhtajan 1997, Tanaka 2003), a group of plants that are treated by Chase et al. (2009) as subfamily Nolinoideae within Asparagaceae.

Conocemos la realidad desde la representación, a partir de lo que Henri Bergson llamósigno. Debido a ello hemos privilegiado un conocimiento útil, transformador, técnico yrígido que concibe a la realidad como algo inmóvil, fragmentado y categorizado. El resultadoha sido una visión parcial que privilegia estructuras y que ha roto el vínculo entrenosotros y la vida. Eso nos ha llevado a la devastación de nuestro entorno y de nosotrosmismos. Por ese motivo, aquí se reflexiona sobre el propósito del conocimiento a partir dela naturaleza de la realidad y nuestra posición en ella. Esto se hace a través del diálogo conla propuesta filosófica de Henri Bergson, principalmente con algunos de sus conceptos(impulso vital, duración, signo y simpatía). Se propone que el conocimiento es establecervínculos íntimos con la realidad que nos permitan cohabitar en y con la vida.

The Tudor Welshman, Sir Edward Carne (c.1496-1561), gained a wide reputation as an outstanding diplomat and lawyer. Chosen by Cardinal Wolsey to enter the service of King Henry VIII, he was sent to Rome as excusator in the process of annulment of the king’s marriage to Queen Catherine of Aragon. After the Rota had refused to annul Henry’s marriage, Carne returned to Glamorgan, and continued his career as a civil servant. He was appointed justice of the peace, master of requests and was made a member of the Council in the Marches of Wales. His next main appointment was as English envoy to the Holy See during the reign of Mary I. Carne was entrusted with the difficult task of restoring diplomatic relations between England and Rome. He remained in Rome until his death in 1561. His attachment to Wales and his staunch Catholic faith are evident in the burial memorial erected to his memory in a church in Rome by two Welsh friends.

In an article published in 2001, Charles W. Collier raises a number of objections to my article “Speech, Harm, and the Mind-Body Problem in First Amendment Jurisprudence,” beginning with an implicit objection embedded in the subtitle of his article: “Hate Speech and the Mind-Body Problem: A Critique of Postmodern Censorship Theory.” Since I advocate neither postmodernism nor censorship, and since I would have thought that “postmodern censorship” was an oxymoron, I found this characterization of my position surprising, to say the least. Collier does not define “postmodern censorship theory” or even “postmodernism,” but he helpfully includes a note citing Steven Gey's article, “The Case against Postmodern Censorship Theory.” Gey, in turn, claims to have picked up the terminology from an article by Kathleen Sullivan, “Free Speech Wars.” Curiously, though, Sullivan nowhere uses the phrase “postmodern censorship theory” in the article cited, although she does discuss a group of leftist legal theorists she dubs “the new speech regulators,” arguing that they: demand a response from those who would leave speech mostly deregulated; and they deserve a response that goes beyond the rote and reflexive invocation of free speech as an article of faith. The appeal to the First Amendment as self-evident truth may be no more effective, as Professor Henry Louis Gates Jr. recently cautioned, than Samuel Johnson's attempt to refute Bishop Berkeley merely by kicking a stone.

KOOWE merupakan Usaha Mikro l milik bapak Herry Armansyah dan ibu Risna Oncu yang berlokasi di dusun 2B desa Silom-Lom Kecamatan Simpang Empat Kabupaten Asahan Sumatera Utara. Berdiri sejak tahun 2020. Dengan jenis usaha adalah pembuatan makanan ringan, diantaranya adalah Roket (Roti Ketawa) sebagai icon produk UMKM Koowe. Ada juga aneka Bolu, namun Roket menjadi produk andalan dari usaha ‘KOOWE’. Dimulai dengan modal sendiri sebab masa itu belum dapat mengakses sumber permodalan dari perbankan.Usaha ini berjalan dengan order dari pelanggan, sejak berdiri pada tahun 2019, pelanggan tetap dari usaha KOOWE sudah mencapai 100 toko dan restoran. Di Kota Kisaran. Rata-Rata produsi Roket.± 150 Kg produksi. Karena Orderan yang terus meningkat dari bulan ke bulan, tambahan modalpun menjadi faktor yang perlu dipertimbangkan. Jika awal berdirinya pekerja adalah pemilik sendiri, kini pemilik usaha juga mempekerjaan ibu-ibu di sekitar rumah produksi sebagai pekerja harian. Jumlah pekerja saat ini 7 orang. Untuk mengakses permodalan ataupun pinjaman dari lembaga keuangan, tentunya pemilik harus mulai memiliki pencatatan keuangan meskipun masih sederhana, karena umumnya salah satu syarat administrasi adalah pengelolaan keuangan. Permasalahan usaha KOOWE adalah belum adanya pengelolaan keuangan yang baik. Oleh karenanya tujuan dari kegiatan PkM ini memberikan pengetauan tentang Tata Kelola Keuangan. Jenis kegiatannya adalah pelatihan dengan metode ceramah dan praktek/ simulasi pengelolaan secara langsung kepada pemiliki, yang sekaligus sebagai pengelola keuangan usaha KOOWE. Sehingga Usaha KOOWE ini kelak memiliki pencatata keuangan meskipun masih sederhana sehingga suatu saat dapat mengakses permodalan dari lembaga keuangaan

Resumen: El presente artículo pretende realizar una aproximación entre los pensamientos éticos de Kant y Kierkegaard concentrándonos en los conceptos de educación y libertad. Para ello pondremos foco en el pensamiento práctico desarrollado por el filósofo alemán en el año 1790, al cual denominamos la segunda ética kantiana, y en la primera autoría kierkegaardiana, es decir, O lo uno o lo otro (1843) y El concepto de angustia (1844). Consideramos que estos dos periodos, en ambos autores, nos brindan la posibilidad de encontrar puntos de contactos que nos permiten sostener que la ética que Kierkegaard tiene en mente para estas obras es el pensamiento moral desarrollado por Kant en este periodo.Palabras claves: Kant. Kierkegaard. Libertad. Educación. ÉticaAbstract: The present article intends to make an approximation between the ethical thoughts of Kant and Kierkegaard concentrating on the concepts of education and freedom. For this we will focus on the practical thought developed by the German philosopher in the year 1790, which we call the second Kantian ethic, and in the first Kierkegaardian authorship, that is, Either/Or (1843) and The Concept of Anxiety (1844). We consider that these two periods, in both authors, give us the possibility of finding points of contact that allow us to maintain that the ethics that Kierkegaard has in mind for these works is the moral thought developed by Kant in this period.Keywords: Kant. Kierkegaard. Freedom. Education. Ethics Resumo: O presente artigo pretende fazer uma aproximação entre os pensamentos éticos de Kant e Kierkegaard concentrando-se nos conceitos de educação e liberdade. Para isso, vamos nos concentrar no pensamento prático desenvolvido pelo filósofo alemão no ano de 1790, que chamamos a segunda ética kantiana, e na primeira autoria de kierkegaardiana, ou seja, Ou/Ou (1843) e O conceito de Angústia (1844). Consideramos que esses dois períodos, em ambos os autores, nos darão a possibilidade de encontrar pontos de contato que nos permitam sustentar que a ética que Kierkegaard tem em mente para essas obras é o pensamento moral desenvolvido por Kant nesse período.Palavras-chave: Kant. Kierkegaard. Liberdade. Educação. Ética REFERENCIASALLISON, Henry. Kant's Theory of Freedom. Cambridge: Cambridge University Press, 1995.ASSISTER, Alison. Kant and Kierkegaard on Freedom and Evil. In: International Journal for Philosophy of Religion, Vol. 72 (April 1996), pp 275-296.DI GIOVANNI, George. Freedom and religion in Kant and his immediate successors: The vocation of mankind, 1774–1800. Cambridge: Cambridge University Press, 2005.DIP, Patricia. Judge William: the Limits of the ethical. In: Kierkegaard Research: Sources, Reception and Resources, Volume 17, Katalin Nun,Jon Stewart (Eds.), London-New York, Routledge, 2016.FOUCAULT, Michel. Una lectura de Kant: Introducción a la antropología en sentido pragmático. Traducción Ariel Dilon. Buenos Aires: Siglo veintiuno, 2013.FREMSTEDAL, Roe. Kierkegaard and Kant on Radical Evil and the Highest Good. Virtue, Happiness, and the kingdom of God, New York: Palgrave Macmillan , 2014._______. The concept of the highest good in Kierkegaard and Kant. Int J Philos Relig (2011) 69:155–171._______. The moral argument for the existence of God and immorality. Kierkegaard and Kant. Journal of Religious Ethics, Inc, JRE 41. (2013), pp. 50–78._______. The Moral Makeup of the World: Kierkegaard and Kant on the Relation between Virtue and Happiness in this World. Kierkegaard Studies Yearbook. N° 1 (2012), pp. 25-47.FRIEDMAN, R. Kant and Kierkegaard: the limits of the Reason and the cunning of faith. International Journal for Philosophy of Religion, 19:3-22, pp. 3-22. _______. Kierkegaard: First Existentialist or last Kantian?. Religious Studies, Cambridge University Press, Vol. 18, Nº 2 (1982), pp. 159-170.FRIERSON, Patrick. R. Freedom and anthropology in Kant’s moral philosophy. Cambridge: Cambridge University Press, 2003.GOUWENS, David. Kierkegaard as religious thinker. Cambridge: University Press, USA, 1996.GREEN, Ronald. Kant und Kierkegaard.The Hidden Debt. New York: State University New York Press, 1992.HELLER, Ágnes. Crítica a la Ilustración. Traducción Gustau Muñoz y José Ignacio López Soria. Barcelona: Ediciones Península, 1999.HEIDEGGER, Martin. Kant y el problema de la metafísica. Traducción Gred Ibscher Roth. México: Fondo de cultura económica, 2013.KANT, Immanuel. Antropología en sentido pragmático. Traducción José Gaos. México: Fondo de Cultura Económica, 2014._______. La metafísica de las Costumbres. Traducción Adela Cortina Orts y Jesús Cornill Sancho. Madrid: Tecnos, 1994._______. Pedagogía. Traducción Lorenzo Luzuriaga y José Luis Pascal, Madrid: Akal, 2003.KIERKEGAARD, Soren. O lo uno o lo otro I. Traducción Bogonya Saez Tajafuerce y Darío González. Madrid: Trotta, 2006._______. O lo uno o lo otro II. Traducción Darío González. Madrid: Trotta, 2007._______. El concepto de angustia. Traducción Darío González y Óscar Parcero. Madrid: Trotta, 2013._______. En la espera de la fe, Traducción Luis Guerrero Martínez y Leticia Valadez. México: Universidad Iberoamericana, 2005.KNAPPE, Ulrich. Theory and practice in Kant and Kierkegaard. (Kierkegaard studies. Monograph serie; 9), Copenhagen: Søren Kierkegaard Research Centre, 2004.KOSCH, Michelle. Freedom And Reason in Kant, Schelling and Kierkegaard. New York: Oxford University Press, 2006._______. Choosing Evil: Schelling, Kierkegaard, and the legacy of Kant's conception of Freedom. (Dissertation Philosophy). New York: Columbia University, 1999.LÖWITH, Karl. De Hegel a Nietzsche: La quiebra revolucionaria del pensamiento en el siglo XIX. Trad. Emilio Estiú. Buenos Aires: Katz, 2012.MOONEY, Edward. On Soren Kierkegaard, Dialogue, polemics, Lost Intimacy, and Time. Syracusa, Ashgate, 2007.MUENCH, Paul. Kierkegaard’s Socratic Task. (Dissertation). University of Pittsburgh, 2006.MUÑOZ FONNEGRA, Sergio. La elección ética. Sobre la crítica de Kierkegaard a la filosofía moral de Kant. Estudios filosóficos, Universidad de Antioquia, n. 41, pp. 81-109, 2010.NAES, Arnes. Kierkegaard and the values of education: Contribution to the Kierkegaard Conference of the International Institute of Philosophy, Copenhagen, 1966.NEGT, Oskar. Kant y Marx. Un diálogo entre épocas. Traducción Alejandro del Río. Madrid: Trotta, 2004.OLIVARES-BØGESKOV, Benjamín. El concepto de felicidad en las obras de Søren Kierkegaard: principios psicológicos en los estadios estéticos, ético y religioso. México: Universidad Iberoamericana, 2015._______. El concepto de felicidad en el estadio ético. La integración de la estética en la vida ética. La Mirada Kierkegaardiana. Nº 0, pp. 43-64, 2008.PECK, William. On Autonomy: The Primacy of the Subject in Kant and Kierkegaard. (Ph. D. Dissertation). Connecticut: Yale University, 1974.RODRÍGUEZ, Pablo. El descubrimiento de la libertad infinita. Kierkegaard y el pecado. El títere y el enano. Revista de Teología Crítica, Vol. 1, ISSN N°: 1853 – 0702, pp. 207-216, 2010.RODRÍGUEZ, Yésica; RODRÍGUEZ, Pablo; PEÑA ARROYAVE, Alejandro. El concepto de aburrimiento en Kierkegaard. Revista de Filosofía. Universidad Iberoamericana. Año 49, N° 142, ISSN: 0185-3481, pp. 97-118, 2017.RODRÍGUEZ, Yésica. Kierkegaard y Kant. Una interpretación del sí mismo a partir de la segunda ética kantiana. In: DIP, Patricia., RODRÍGUEZ, Pablo (Coord.) Orígenes y significado de la filosofía Poshegeliana. Buenos Aires, Gorla, 2017, pp. 113-139.STACK, George. Kierkegaard's Existential Ethics. Alabama: University of Alabama Press, 1977.TORRALBA, Francesc. Poética de la libertad: Lectura de Kierkegaard. Madrid, Caparrós Editores, 1998.

[First paragraph]De eerste Adam & De rots der struikeling. BOELI VAN LEEUWEN. Amsterdam: Ooievaar, 1996. 237 pp. (Paper NLG 25.00)Gedane zaken: De beste verhalen. HUGO Pos. Amsterdam: Ooievaar, 1996. 230 pp. (Paper NLG 15.00)Maar ik blijf. ASTRID H. ROEMER. Amsterdam: Ooievaar, 1996. 763 pp. (Paper NLG 25.00)De allermooiste romans van de Antillen en Suriname. Amsterdam: De Bezige Bij, 1996. 605 pp. (Paper NLG 39.90)Zingende eilanden. WIM RUTGERS (ed.). Amsterdam: De Bezige Bij, 1996. 317 pp. (Paper NLG 25.00)De eeuwige belofte van Eldorado: Verhalen over Latijns-Amerika en het Caribisch gebied. Nieuwegein: Aspekt, 1996. 188 pp. (Paper NLG 34.50)Echo van eldorado. ROSEMARIJN HOEFTE & GERT OOSTINDIE (comps). Leiden: KITLV Uitgeverij, 1996. 150 pp. (Paper NLG 15.00)Achter het eeuwig El Dorado: Fictie en realiteit in Latijnsamerikaanse literatuur. GEERT A. BANCK et al. Amsterdam: Thela, 1996. 140 pp. (Paper NLG 19.90)Eldorado: Werkelijkheid en droom. ROBERT LEMM. Amsterdam: Arbeiderspers, 1996. 160 pp. (Paper NLG 29.90)302 New West Indian Guide/Nieuwe West-Indische Gids vol. 70 rw. 3 & 4Surinaamse recepten van A tot Z. MURIEL SAM-SIN-HEWITT. Schoorl: Conserve, 1996. 243 pp. (Paper NLG 29.95)De Bonistraat. AMBER NAHAR. Amsterdam: Piramide, 1996. 71 pp. (Cloth NLG 19.90)Beneden en boven de wind: Literatuur van de Nederlandse Antillen en Aruba. WIM RUTGERS. Amsterdam: De Bezige Bij, 1996. 468 pp. (Paper NLG 54.90)Elisabeth Samson: Een vrije, zwarte vrouw in het 18e-eeuwse Suriname. CYNTHIA MC LEOD. Schoorl: Conserve, 1996. 177 pp. (Paper NLG 29.90)De beroepsherinneraar en andere verhalen. ANIL RAMDAS. Amsterdam: De Bezige Bij, 1996. 280 pp. (Paper NLG 34.90)Geef mij maareen Surinamer. RONALD SNIJDERS. Amsterdam: Prometheus, 1996. 88 pp. (Paper NLG 19.90)De vrolijke dood van David Caprino. HENRY MENCKEBERG. Amsterdam: Meulenhoff. 291 pp. (Paper NLG 39.90)Caribische winter. ANNA BRIDIÉ. Amsterdam: Contact, 1996. 222 pp. (Cloth NLG 39.90)Ma Rochelle passée, Welkom El Dorado: Surinaamse historische roman. CYNTHIA MC LEOD. Schoorl: Conserve, 1996. 277 pp. (Paper NLG 39.95)Gewaagd leven. ASTRID H. ROEMER. Amsterdam: Arbeiderspers, 1996. 239 pp. (Paper NLG 29.90)Each year in March an organization with the rather awkward name Collectieve Propaganda voor het Nederlandse Boek (Collective Propaganda for Dutch Books, CPNB) organizes the Dutch national Book Week around a unifying idea. The theme for 1996 was "Eternal Eldorado: Literature from Latin America and the Caribbean." Even though many booksellers expressed their disappointment with this subject, arguing that the Latin American literary boom had long passed, publishers were not deterred. A great number of publications on Latin America and particularly the (Dutch) Caribbean appeared. Some of these books would have been published anyway and now could take advantage of all the accompanying media publicity, others were produced expressly with the Eldorado theme in mind.

Three cinquecento polychrome wood-carved altars have been preserved on the island of Lopud near Dubrovnik, the most monumental of which is situated in the parish church of Our Lady of Šunj. Its retable was constructed to resemble a classical aedicule, with an intricately carved frame and a central figural depiction of the Assumption of the Virgin, complemented by a complex iconographic programme in the symmetrically arranged adjoining scenes. Filling the small cassettes of the predella are reliefs of the Annunciation and Christ as the Man of Sorrows, together with perspectively rendered narrative scenes of the Last Supper and the Washing of the Feet, while in the pediment is a frontal depiction of the Coronation of the Virgin by the Holy Trinity. In the narrow side wings between the columns and pilasters are four bas-reliefs of local patron saints depicted half-turned towards the central image, and thus achieving an overall plastic harmony for a demanding content. In terms of space, the main scene is well-developed through a pronounced sculptural modelling of the figures of the eleven apostles in the round, the most prominent of which is that of St Peter, placed in the foreground and turned to face the nave of the church, while the others are consumed by the miraculous assumption of the Virgin into heaven. She is followed high up by a pair of small angels and several tiny symbolical cherubim heads, all of which helps to achieve an extremely convincing religious scene. Its attractiveness is significantly heightened by the all’antica realism and pedantic Roman-inspired modelling which highlight the skill of a highly trained and talented master wood carver, which leaves no doubt that this is a special work of art, and indeed, the most beautiful carved wood retable in the east Adriatic which has survived to date. In this first complete study of the altar, the author traces historical records in which it is mentioned without the exact year of its creation, origin or carver being cited. He dispels the tradition that the altar was brought from England, supposedly from the Chapel of Henry VIII, and explains this tradition as having been based on the discovery of an alabaster altar, a typical product of late Gothic workshops at Nottingham, several examples of which exist in Dalmatia. From the seventeenth-century records, on the other hand, we learn that the altar in the church of the „Madonna del Sugni” (a vernacular Italo-Croatian transformation of the word Assunta) was dedicated in 1572. An examination of comparative material establishes that the altar’s compositional scheme draws upon altarpieces painted by Alvise Vivarini around 1480, while its morphological features find their closest parallel in the activities and mannerisms of the Venetian workshop of Paolo Campsa, who worked from the 1490s to the early 1550s, and who sold his works in the wide area under the government of La Serenissima. The Republic of Venice profited a great deal from this export, while its urban centre’s innumerable wooden altars disappeared following subsequent changes of fashion. A group of securely attributed works shows that Paolo Campsa frequently borrowed formulas and idioms from Venetian painters of the older generation; analogies with two of Vivarini’s altar paintings confirm that he repeated this technique on the Lopud altar, even though altars as complex as this are not found in the surviving oeuvre of this artist. An overview of the extremely numerous works attributed to this fecund wood carver has not led to a secure attribution of this scenically developed altar to his hand. However, an analytical observation points to significant similarities with individual figures considered by scholars of Renaissance wooden sculpture to be products of his workshop - more a factory, in fact - or of his circle which, without a doubt, Paolo stamped with his mark. Apart from the assumption that there are master wood carvers who have not been identified, or formally and clearly differentiated, who followed his teachings and mannerisms, this paper opens the possibility of locating more exactly the place of the altar’s creation. Since Campsa’s workshop was active even after his death, it can be assumed that the altar was made in the 1560s or 1570s, and that it was transported and assembled on the island of Lopud for its dedication of 1572. Furthermore, the author observes the meaning of the subsequent addition of the background, which was painted once the altar reached its destination; it shows a summarized depiction of the scenery of Lopud and a tiny settlement with a precisely and proportionately drawn sailing ship docked at the island’s bay. The background reveals that the nature of the work was votive and, by identifying the layers of local historical circumstance and by combining them with the relevant written sources, it can be connected to the activities of the distinguished ship owner Miho Pracat, the richest citizen of the Republic of Dubrovnik during the cinquecento. Two more wooden sculptures can be added to Miho Pracat’s donation to his home island: the figures of St Catherine and St Roch which were also made in Venice and which had originally belonged to a small altar of his family in the local church of St Francis, known from archival records. This altar was composed of an older polychrome triptych, now unfortunately lost, and which, together with a pair of side statues, formed a piece resembling a number of altarpieces from Paolo Campsa’s workshop. Thus, the analysis of these works of art reveals key components of visual culture, and a peculiar mosaic of sixteenth-century artistic production in a peripheral community of the small island of Lopud under the government of the Republic of Dubrovnik.

A la literatura colombiana de administración pocas veces arriba un estudio de caso en profundidad, que nos permita conocer en detalle lo que está sucediendo en las organizaciones. El caso de Suramericana S.A., escrito por las profesoras Luz María Rivas y Silvia Ponce, no es un caso tipo Harvard, sino un caso de investigación, basado en autores como Robert Yin y Kathleen Eisenhardt, que se adentra en esta organización para fundamentar el concepto emergente de "conocimiento gerencial".Este libro es resultado de la tesis doctoral de la profesora Luz María, que fue dirigida por la profesora Silvia. Luz María trabaja actualmente en el Departamento de Organización y Gerencia de la Universidad EAFIT en Medellín y decidió dedicarse a la academia luego de trasegar por los caminos de la alta dirección de Suramericana en la ciudad de Manizales. Por su parte, la profesora Silvia, de origen chileno, dirige una unidad de estudios post-graduales en Administración en HEC Montreal (Canadá); este libro es resultado de la quinta tesis que dirige en el Doctorado en Administración de la Universidad EAFIT. Este fue el primer doctorado en Administración creado en Colombia, bajo el liderazgo del profesor Rodrigo Muñoz.En la presentación del libro sobre "conocimiento gerencial", el presidente actual de la empresa objeto de estudio plantea que se trata del primer estudio con rigor científico acerca de Suramericana. Además, el presidente resalta que el método utilizado permite ir más allá del conocimiento que se puede obtener mediante entrevistas y análisis documental, que por naturaleza no son exactos, "ya que representan más el deber ser que se pretende en la empresa que su realidad" (p. 17); no es lo mismo interactuar con los directivos por fuera del ejercicio de sus funciones que ser "testigo de discusiones y decisiones de la alta dirección" (p. 15). Desde la empresa se expresa gratitud y reconocimiento a las autoras, por el trabajo que realizaron.En el libro se adopta el estudio de caso como método, abordado desde un enfoque cualitativo. Pero más allá de eso, se adopta la postura de que "la realidad es construida por los actores sociales a partir de sus historias particulares" (p. 23). El trabajo de campo se desarrolló a lo largo de dos años, con entrevistas, análisis documental y observación no participante en espacios considerados altamente confidenciales: comités de gerencia, sesiones de planeación y grupos primarios de vicepresidencias.La pregunta de investigación fue ¿cómo se despliega el conocimiento gerencial en la administración de una empresa multinegocios?En los tres primeros capítulos del libro se presentan las bases conceptuales, y en los dos últimos se presentan el estudio de caso y el análisis. Como lo indican las mismas autoras, el lector familiarizado con los campos de la estrategia, la gestión del conocimiento y la teoría de la complejidad puede abordar la lectura del libro desde el capítulo cuatro.El primer capítulo está dedicado a los aportes tradicionales de la gerencia, desde las perspectivas de un directivo, un consultor y un universitario: Chester Barnard, Peter Drucker y Henry Mintzberg. En este capítulo se acude a esos tres autores para definir la gerencia, como categoría central de la tesis. Desde Barnard se retoma, entre otros, la caracterización de los ejecutivos como base para definir la gerencia; de Drucker se retoma especialmente la gerencia como práctica, como cuerpo de conocimientos organizado y aplicable, pero también como una cultura, como un entorno social donde se desarrollan los individuos; de Mintzberg se retomaron especialmente los roles básicos del gerente y las características del trabajo gerencial.Los aportes de los tres autores anteriores se consideran fundamentales, pero insuficientes para explicar los desafíos del contexto actual de una empresa multinegocios. Las autoras adicionan un material complementario, pero concluyen el capítulo indicando que "gerenciar un conjunto de negocios implica ir más allá de la estrategia competitiva de cada uno de ellos" (p. 63), se trata de gerenciar la diversidad y las sinergias, lo cual implica un aumento visible de la complejidad.El capítulo dos se denomina "complejidad y gerencia". Allí se presentan los aportes de las perspectivas sistémicas y complejas, así como los principios de los sistemas complejos, y se detallan los sistemas adaptativos complejos. El componente central del capítulo es la empresa multinegocios como sistema adaptativo complejo. Se complementa con la perspectiva de los Upper Echelors, donde se plantea que la complejidad de los fenómenos que enfrenta la alta gerencia supera su racionalidad, de manera que algunos asuntos estratégicos se pueden decidir de manera subjetiva sobre la base de conocimientos y valores, pero las decisiones son parcialmente predecibles a partir de las características y trayectoria del equipo de alta dirección. Al final del capítulo se presenta la perspectiva de las lógicas dominantes, para resaltar las lógicas propias de las empresas que las ayudan a mantenerse en el camino, más allá de la aplicación de mejores prácticas externas.Para avanzar en la construcción de la categoría emergente de "conocimiento gerencial", el capítulo tres se dedica a la relación entre conocimiento y complejidad. Allí se presenta el concepto de conocimiento, se detallan sus perspectivas epistemológica (desde literatura anglosajona y latinoamericana), económica y administrativa, tanto desde la gestión del conocimiento, como desde el aporte de la estrategia. En gestión del conocimiento se presenta una muy buena síntesis de la literatura anglosajona y se presentan esquemas que permiten visualizar claramente las principales categorías de ese campo, así como las relaciones con las demás categorías. El capítulo finaliza con un aparte, que es el central, sobre el conocimiento como sistema complejo.En el capítulo cuatro se presenta el estudio de caso de Suramericana S.A., instalado en los tres capítulos precedentes. Inicialmente se presenta la evolución de la empresa, las transformaciones, sus estrategias de crecimiento, entre otros, para llegar a ser una organización con más de 12.800 empleados en 12 filiales, distribuidas en cuatro países y atender 7,3 millones de clientes. La empresa es líder nacional en los negocios de seguros generales, seguros de vida y riesgos laborales, y ocupa el quinto lugar en el negocio de salud obligatoria; las filiales en otros países no tienen el liderazgo de mercado ni el tamaño que tienen los negocios en Colombia. se trata de una empresa que mantiene un diálogo entre tradición e innovación, globalidad y localidad, continuidad y cambio, historia y prospectiva; por eso se considera una organización de contrastes.El énfasis del caso está en el equipo de alta dirección y en la manera como se despliega el conocimiento gerencial. En primer lugar, se presenta la formación de los colaboradores como una preocupación central, tanto en aspectos técnicos del seguro, como en la transferencia de generación en generación de los principios y valores organizacionales. Los profesionales que ya están vinculados se forman para la dirección mediante pasantías en reaseguradoras de Alemania y suiza, estudios de posgrado fuera del país patrocinados por la empresa y cursos no formales para altos directivos ofrecidos en el país; al mismo tiempo, a los futuros directivos se les rota por las diferentes áreas internas. Actualmente, el proceso de elección de sucesores es un proceso formal explícito, en varios niveles.En la sección sobre el quehacer gerencial se describe el equipo de alta dirección, particularmente las características de los presidentes y del comité directivo. La empresa ha tenido siete presidentes, con un promedio de duración de diez años y una tradición emblemática en la que cada presidente prepara a su sucesor. Asimismo, la principal característica del Comité Directivo es su amplia trayectoria en la empresa: todos han trabajado allí entre 15 y 30 años. En ese comité hay dos abogados, cuatro ingenieros, dos administradores de negocios y un contador público; todos han participado en programas de educación no formal disponibles en el país para altos directivos. Llama la atención que en este comité no hay participación femenina.Una unidad clave para construir las sinergias de esta empresa multinegocios es el centro de servicios compartidos, creado en 2006. El objetivo fue eliminar las áreas y servicios replicados para mejorar eficiencia y aprovechar el conocimiento técnico especializado de cada negocio. El proyecto se diseñó originalmente con tres etapas y tuvo múltiples dificultades, pero con el tiempo se ha convertido en el eje central para las sinergias.El capítulo cinco hace referencia al conocimiento gerencial en contexto. Allí se presenta la estructura del conocimiento gerencial en Suramericana, la estructura de las sinergias con interacciones multiniveles, el proceso de despliegue del conocimiento gerencial y se sintetizan, de manera muy clara, los principales hallazgos.Cada lector podrá formar su propio criterio frente a esta obra construida desde el primer doctorado en Administración creado en Colombia, que no se dedica a hacer apología de una empresa, sino que aborda el conocimiento gerencial desde la literatura de frontera, presenta críticas internas a partir de varios entrevistados y propone el conocimiento gerencial como una categoría con capacidad de explicar varios fenómenos al interior de una empresa multinegocios.Rivas-Montoya, L. M., & Ponce Sagredo, S. I. (2015).Conocimiento gerencial. El caso de una empresa multinegocios: Suramericana S.A.Medellín: Fondo Editorial Universidad EAFIT.

The heterokont benthic multicellular algae Schizocladia ischiensis E.C. Henry, K. Okuda et H. Kawai (Schizocladiophyceae), Hecatonema terminale (Kützing) Kylin and Striaria attenuata (Greville) Greville (Phaeophyceae) are reported for the first time from the waters around the Maltese islands in the central Mediterranean. They were identified through algal isolation from incubated natural substrata, coupled with DNA barcoding targeting the biomarkers COI and rbcL plus the RuBisCO spacer. For three additional brown algae, Colpomenia sinuosa (Mertens ex Roth) Derbès et Solier, Asperococcus bullosus J.V.Lamouroux and Sphacelaria sp., DNA sequences confirmed previous morphology-based records from Malta. This paper also provides an updated literature-based species list of the marine macroalgae present in Malta.

Introduction: Doctor Who's “Wilderness Years”1989 saw the cancellation of the BBC's long-running science fiction television series Doctor Who (1965 -). The 1990s were largely bereft of original Doctor Who television content, leading fans to characterise that decade as the “wilderness years” for the franchise (McNaughton 194). From another perspective, though, the 1990s was an unprecedented time of production for Doctor Who media. From 1991 to 1997, Virgin Publishing was licensed by the BBC's merchandising division to publish a series of original Doctor Who novels, which they produced and marketed as a continuation of the television series (Gulyas 46). This series of novels, Doctor Who: The New Adventures (commonly referred to as “the Virgin New Adventures” by fans) proved popular enough to support a monthly release schedule, and from 1994 onwards, a secondary "Missing Adventures" series.Despite their central role in the 1990s, however, many fans have argued that the Doctor Who novels format makes them either less "canonical" than the television series, or completely "apocryphal" (Gulyas 48). This fits with a general trend in transmedia properties, where print-based expansions or spin-offs are generally considered less official or authentic than those that are screen-based (Hills 223). This article argues that the openness of the series to contributions from fan writers – and also some of the techniques and approaches prioritised in fan fiction - resulted in the Virgin range of Doctor Who novels having an unusually significant impact on the development and evolution of the franchise as a whole when compared to the print-based transmedia extensions of other popular series’. The article also argues that the tonal and stylistic influence of the New Adventures novels on the revived Doctor Who television series offers an interesting counter-example to the usually strict hierarchies of content that are implied in Henry Jenkins's influential model of transmedia storytelling. Transmedia StorytellingJenkins uses the term “transmedia storytelling” to describe the ways in which media franchises frequently expand beyond the format they originate with, potentially encompassing television series, films, games, toys, comics and more (Jenkins “Transmedia 202”). In discussing this paradigm, Jenkins notes the ways in which contemporary productions increasingly prioritise “integration and coordination” between the different forms of media (Jenkins Convergence Culture 105). As Jenkins argues, “most discussions of transmedia place a high emphasis on continuity – assuming that transmedia requires a high level of coordination and creative control and that all of the pieces have to cohere into a consistent narrative or world” (Jenkins “Transmedia 202”). Due to this increased emphasis on continuity, the ability to decide which media will be considered as “canonical” within the story-world of the franchise becomes an important one. Where previously questions of canon had been largely confined to fan discussions, debates and interpretive readings of media texts (Jenkins Textual Poachers 102-104), the proprietors of franchises in a transmedia economy have an interest in proactively defining and policing the canon. Designating a particular piece of media as a “canonical” expansion or spinoff of its parent text can be a useful marketing tool, as it creates the expectation that it will provide an important contribution. Correspondingly, declaring that a particular set of media texts is no longer canonical can make the franchise more accessible and allow the authors of new material more creative freedom (Proctor and Freeman 238-9).While Jenkins argues that a reliance on “one single source or ur-text” (“Transmedia 101”) is counter to the spirit of transmedia storytelling, Pillai notes that his emphasis on cohesiveness across diverse media tends to implicitly prioritise the parent text over its various offshoots (103-4). As the parent text establishes continuity and canon, any transmedia supplements are obligated to remain consistent with it, but this is often a one-sided and hierarchical relationship. For example, in the Star Wars transmedia franchise, the film series is considered crucial in establishing the canon; and transmedia supplements are obliged to remain consistent with it in order to be recognised as authentic. The filmmakers, however, are largely free to ignore or contradict the contributions of spin-off books.Hills notes that the components of transmedia franchises are often arranged into “transmedial hierarchies” (223), where screen-based media like films, television series and video games are assigned dominance over print-based productions like comics and novels. This hierarchy means that print-based works typically have a less secure place within the canon of transmedia franchises, despite often contributing a disproportionately large quantity of narratives and concepts (Guynes 143). Using the Star Wars Expanded Universe as an example, he notes a tendency whereby “franchise novels” are generally considered as disposable, and are easily erased or decanonised despite significantly long, carefully interwoven and coordinated periods of storytelling (143-5). Doctor Who as a Transmedia FranchiseWhile questions of canon are frequently debated and discussed among Doctor Who fans, it is less easy to make absolutist distinctions between canonical and apocryphal texts in Doctor Who than it is in other popular transmedia franchises. Unlike comparable transmedia productions, Doctor Who has traditionally lacked a singular authority over questions of canon and consistency in the manner that Jenkins argues for in his implicitly hierarchical conception of transmedia storytelling (Convergence Culture 106). Where franchises like Star Wars, Star Trek or The X-Files have been guided by creator-figures who either exert direct control over their various iterations or oblige them to remain broadly consistent with their original vision, Doctor Who has generally avoided this focus; creative control has passed between various showrunners and production teams, who have been largely free to establish their own style and tone.Furthermore, the franchise has traditionally favoured a largely self-contained and episodic style of storytelling; and different storylines and periods from its long history often contradict one another. For these reasons, Booth suggests that the largely retroactive attempts on the part of fans and critics to read the entire series as the type of transmedia production that Jenkins advocates for (i.e. an internally consistent narrative of connected stories) are counter-productive. He argues that Doctor Who is perhaps best understood not as a continuing series but as a long-running anthology, where largely autonomous stories and serials can be grouped into distinct “periods” of resemblance in terms of style and subject matter (198-206).As Britton argues, when appreciating Doctor Who as franchise, there is no particular need to assign primary importance to the parent media. Since its first season in 1965, the Doctor Who television series has been regularly supplemented by other media in the form of comics, annuals, films, stage-plays, audio-dramas, and novelisations. Britton maintains that as the transmedia works follow the same loosely connected, episodic structure as the television series, they operate as equally valid or equally disposable components within its metanarrative (1-9). Doctor Who writer Paul Cornell argues that given the accommodating nature of the show’s time-travel premise (which can easily accommodate the inconsistencies that Jenkins argues should be avoided in transmedia storytelling), and in the absence of a singular revered creator-figure or authority, absolutist pronouncements on canon from any source are unnecessary and exclusionary, either delegitimising texts that the audience may value, or insisting on familiarity with a particular text in order for an experience of the media to be considered “legitimate”. The Transmedia Legacy of the Virgin New AdventuresAs the Virgin Doctor Who novels are not necessarily diminished by either their lack of a clear canonical status or their placement as a print work within a screen-focused property, they can arguably be understood as constituting their own distinct “period” of Doctor Who in the manner defined by Booth. This claim is supported by the ways in which the New Adventures distinguish themselves from the typically secondary or supplemental transmedia extensions of most other television franchises.In contrast with the one-sided and hierarchical relationship that typically exists between the parent text and its transmedia extensions (Pillai 103-4), the New Adventures range did not attempt to signal their authenticity through stylistic and narrative consistency with their source material. Virgin had already published a long series of novelisations of story serials from the original television series under its children’s imprint, Target, but from their inception the New Adventures were aimed at a more mature audience. The editor of the range, Peter Darvill-Evans, observed that by the 1990s, Doctor Who’s dedicated fan base largely consisted of adults who had grown up with the series in the 1970s and 1980s rather than the children that both the television series and the novelisations had traditionally targeted (Perryman 23). The New Adventures were initially marketed as being “too broad and deep for the small screen” (Gulyas 46), positioning them as an improvement or evolution rather than an attempt to imitate the parent media or to compensate for its absence.By comparison, most other 1990s print-based supplements to popular screen franchises tended to closely mimic the style, tone and storytelling structure of their source material. For example, the Star Wars "Expanded Universe" series of novels (which began in 1991) were subject to strict editorial oversight to ensure they remained consistent with the films and were initially marketed as "film-like events" as a way of emphasising their equivalence to the original media (Proctor and Freeman 226). The Virgin New Adventures were also distinctive due to their open submission policy (which actively encouraged submissions from fan writers who had not previously achieved conventional commercial publication) alongside work from "professional" authors (Perryman 24). This policy began because Darvill-Evans noted the ability, high motivation and deep understanding of Doctor Who possessed by fan writers (Bishop) and it proved essential in establishing the more mature approach that the series was aiming for. After three indifferently received novels from professional authors, the first work from a fan author, Paul Cornell’s Timewyrm: Revelation (1991) became highly popular, due to its more grounded, serious and complex exploration of the character of the Doctor and their human companion. Following the success of Cornell’s novel, the series began to establish its own distinctive tone, emphasising gritty urban settings, character development and interpersonal drama, and the exploration of moral ambiguities and social and political issues that would have not been permissible in the original television series (Gulyas 46-8).Works by previously unpublished fan authors came to dominate the range to such an extent that the New Adventures has been described as “licensing professionally produced fan fiction” (Perryman 23). This trajectory established the New Adventures as an unusual hybrid text, combining the sanction of an official license with the usually unofficial phenomenon of fan custodianship. The cancellation of a television series (as experienced by Doctor Who in 1989) often allows its fan community to take custodianship of it in a variety of ways (McNoughton 194). While a series is being broadcast, fans are often constructed as elite but essentially ”powerless” readers, whose interpretations and desires can easily be contradicted or ignored by the series creators (Tulloch and Jenkins 141). With cancellation and a diminishing mass audience, fans become the custodians of the series and its memory. Their interpretations can no longer be overwritten, and they become the principle market for official merchandise and transmedia extensions (McNoughton 194-6).Also, fans can explore and fulfil their desires for the narrative direction and tone of the series, through the “cottage industries” of fan-created merchandise (196) and “gift economies” of fan fiction (Flegal and Roth 258), without being impeded or overruled by official developments in the parent media. This movement towards fan custodianship and production became more visible during the 1990s, as digital technology allowed for rapid communication, connection and exchange (Coppa 53). The Virgin New Adventures range arguably operated as a meeting point between officially sanctioned commercial spin-off media and the fan-centric industries of production that work to prolong the life and memory of a cancelled television series. Indeed, the direct inclusion of fan authors and the techniques and approaches associated with fan fiction likely helped to establish the deeper, more mature interpretation of Doctor Who offered by the New Adventures.As Stein and Busse observe, a recurring feature of fan fiction has been a focus on exploring the inner lives of the characters from its source media, and adding depth and complexity to their relationships (196-8). Furthermore, the successful New Adventures fan authors tended to offer support and encouragement to each other via their informal networks, which affected the development of the series as a transmedia production (Perryman 24). Flegal and Roth note that in contrast to often solitary and individualistic forms of “professional” and “literary” writing, the composition of fan fiction emerges out of collegial, supportive and reciprocal communities (265-8). The meeting point that the Virgin New Adventures provided between professional writing practice and the attitudes and approaches common to the types of fan fiction that were becoming more prominent in the nineties (Coppa 53-5) helped to shape the evolution of Doctor Who as a franchise.Where previous Doctor Who stories (regardless of the media or medium) had been largely isolated from each other, the informal fan networks that connected the New Adventures authors allowed and encouraged them to collaborate more closely, ensuring consistency between the instalments and plotting out multi-volume story-arcs and character development. Where the Star Wars Expanded Universe series of novels ensured consistency through extensive and often intrusive top-down editorial control (Proctor and Freeman 226-7), the New Adventures developed this consistency through horizontal relationships between authors. While Doctor Who has always been a transmedia franchise, the Virgin New Adventures may be the first point where it began to fully engage with the possibilities of the coordinated and consistent transmedia storytelling discussed by Jenkins (Perryman 24-6). It is notable that this largely developed out of the collaborative and reciprocal relationships common to communities of fan-creators rather than through the singular and centralised control that Jenkins advocates.While the Virgin range of Doctor Who novels ended long before the revival of the television series in 2005, its influence on the style, tone and subject matter of the new series has been noted. As Perryman argues, the emphasis on more cohesive story-arcs and character development between episodes has been inherited from the New Adventures (24). The 2005 series also followed the Virgin novels in presenting the Doctor’s companions with detailed backgrounds and having their relationships shift and evolve, rather than remaining static like they did in the original series. The more distinctly urban focus of the new series was also likely shaped by the success of the New Adventures (Haslop 217); its well-publicised emphasis on inclusiveness and diversity was likewise prefigured by the Virgin novels, which were the first Doctor Who media to include non-Anglo and LGBQT companions (McKee "How to tell the difference" 181-2). It is highly unusual for a print-based transmedia extension to have this level of impact. Indeed, one of the most visible and profitable transmedia initiatives that began in the 1990s, the Star Wars Expanded Universe novels (which like the New Adventures was presented as an officially sanctioned continuation of the original media), was unceremoniously decanonised in 2014, and the interpretations of Star Wars characters and themes that it had developed over more than a decade of storytelling were almost entirely disregarded by the new films (Proctor and Freeman 235-7). The comparably large influence that the New Adventures had on the development of its franchise indicates the success of its fan-centric approach in developing a more relationship-driven and character-focused interpretation of its parent media.The influence of the New Adventures is also felt more directly through the continuing careers of its authors. A number of the fan writers who achieved their first commercial publication with the New Adventures (e.g. Paul Cornell, Gareth Roberts, Mark Gatiss) went on to write scripts for the new series. The first showrunner, Russell T. Davies, was the author of the later novels, Damaged Goods (1997), and the second, Steven Moffat, had been an active member of Doctor Who fan communities that discussed and promoted the Virgin books (Bishop). As the former New Adventures author Kate Orman notes, this movement from writing usually secondary franchise novels to working on and having authority over the parent media is almost unheard of (McKee “Interview with Kate Orman” 138), and speaks to the success of the combination of fan authorship and official licensing and support found in the New Adventures. As Hadas notes, the chief difference between the new series of Doctor Who and its classic version is that former and long-term fans of the series are now directly involved in its production, thus complicating Tullouch and Jenkin’s assessment of Doctor Who fans as a “powerless elite” (141). ConclusionThe continuing influence of the nineties New Adventures novels can still be detected in the contemporary series. These novels operate with regard to the themes, preoccupations and styles of storytelling that this range pioneered within the Doctor Who franchise, and which developed directly out of its innovative and unusual strategy of giving official sanction and editorial support to typically obscured and subcultural modes of fan writing. The reductive and exclusionary question of canon can be avoided when considering the above novels. These transmedia productions are important to the evolution and development of the media franchise as a whole. In this respect, the Virgin New Adventures operate as their own distinctive, legitimate and influential "period" within Doctor Who, demonstrating the creative potential of an approach to transmedia storytelling that deemphasises strict hierarchies of content and control and can readily include the contributions of fan producers.ReferencesBishop, David. “Four Writers, One Discussion: Andy Lane, Paul Cornell, Steven Moffat and David Bishop.” Time Space Visualiser 43 (March 1995). 1 Nov. 2018 <http://doctorwho.org.nz/archive/tsv43/onediscussion.html>.Booth, Paul. “Periodising Doctor Who.” Science Fiction Film and Television 7.2 (2014). 195-215.Britton, Piers D. TARDISbound: Navigating the Universes of Doctor Who. London: I.B. Tauris and Company, 2011.Coppa, Francesca. “A Brief History of Media Fandom.” Fan Fiction and Fan Communities in the Age of the Internet. Eds. Karen Hellekson and Kristina Busse. Jefferson NC: McFarland and Company, 2009. 41-59.Cornell, Paul. “Canonicity in Doctor Who”. PaulConell.com. 10 Feb. 2007. 30 Nov. 2018 <https://www.paulcornell.com/2007/02/canonicity-in-doctor-who/>.Doctor Who. British Broadcasting Corporation, 1965 to present.Flegal, Monica, and Jenny Roth. “Writing a New Text: the Role of Cyberculture in Fanfiction Writers’ Transition to ‘Legitimate’ Publishing.” Contemporary Women’s Writing 10.2 (2016): 253-270.Gulyas, Aaron. “Don’t Call It a Comeback.” Doctor Who in Time and Space: Essays on Themes, Characters, History and Fandom, 1963-2012. Ed. Donald E. Palumbo and C.W. Sullivan. Jefferson NC: McFarland and Company, 2013. 44-63.Guynes, Sean. “Publishing the New Jedi Order: Media Industries Collaboration and the Franchise Novel.” Star Wars and the History of Transmedia Storytelling. Eds. Sean Guynes and Dan Hassler-Forest. Amsterdam: Amsterdam UP, 2017. 143-154.Hadas, Leora. “Running the Asylum? Doctor Who’s Ascended Fan-Showrunners.” Deletion. 23 June 2014. 30 Nov. 2018 <http://www.deletionscifi.org/episodes/episode-5/running-asylum-doctor-whos-ascended-fan-showrunners/>.Haslop, Craig. “Bringing Doctor Who Back for the Masses: Regenerating Cult, Commodifying Class.” Science Fiction Film and Television 9.2 (2016): 209-297.Hills, Matt. “From Transmedia Storytelling to Transmedia Experience: Star Wars Celebration as a Crossover/Hierarchical Space.” Star Wars and the History of Transmedia Storytelling. Eds. Sean Guynes and Dan Hassler-Forest. Amsterdam: Amsterdam UP, 2017. 213-224.Jenkins III, Henry. Textual Poachers: Television Fans and Participatory Culture. New York: Routledge. 1992.———. Convergence Culture: Where Old and New Media Collide. New York: New York UP, 2006.———. “Transmedia Storytelling 101.” Confessions of an Aca-Fan. 22 Mar. 2007. 30 Nov. 2018 <http://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html>.———. “Transmedia Storytelling 202: Further Reflections.” Confessions of an Aca-Fan. 1 Aug. 2011. 30 Nov. 2018 <http://henryjenkins.org/blog/2011/08/defining_transmedia_further_re.html>.McKee, Alan. "How to Tell the Difference between Production and Consumption: A Case Study in Doctor Who Fandom." Cult Television. Eds. Sara Gwenllian-Jones and Richard M. Pearson. University of Minnesota Press, Minneapolis, 2004: 167-186.———. “Interview with Kate Orman: Dr Who Author.” Continuum 19.1 (2005): 127-139. McNaughton, Douglas. “Regeneration of a Brand: The Fan Audience and the 2005 Doctor Who Revival.” Ruminations, Peregrinations, and Regenerations: A Critical Approach to Doctor Who. Ed. Christopher J. Hansen. Newcastle upon Tyne: Cambridge Scholars Publishing, 2010. 192-208.Perryman, Neil. “Doctor Who and the Convergence of Media: A Case Study in ‘Transmedia Storytelling’.” Convergence: The International Journal of Research into New Media Technologies 14.1 (2008): 21-39.Pillai, Nicolas. “’What Am I Looking at, Mulder?’ Licensed Comics and the Freedoms of Transmedia Storytelling.” Science Fiction Film and Television 6.1 (2013): 101-117.Porter, Lynnette. The Doctor Who Franchise: American Influence, Fan Culture, and the Spinoffs. Jefferson NC: McFarland and Company, 2018.Procter, William, and Matthew Freeman. “’The First Step into a Smaller World’: The Transmedia Economy of Star Wars.” Revisiting Imaginary Worlds: A Subcreation Studies Anthology. Ed. Mark J.P. Wolf. New York: Routledge. 2016. 223-245.Stein, Louisa, and Kristina Busse. “Limit Play: Fan Authorship between Source Text, Intertext, and Context.” Popular Communication 7.4 (2009): 192-207.Tullouch, John, and Henry Jenkins III. Science Fiction Audiences: Watching Star Trek and Doctor Who. New York: Routledge, 1995.

Nō te whakamanatanga o te Ture Reo Māori i te tau 1987 ka ara ake i tana moe te mahi nei o te whakamāori kōrero. Nā te ākinga e taua ture i puāwai ai te ahumahi whakamāori i ngā tau tata o muri mai, ā, mohoa nei e kaha tonu ana i te rāngai pāpāho, i te rāngai ture me te rāngai mātauranga. Hei tā Te Rōpū Kaiwhakamāori ā-waha, ā-tuhi o Aotearoa1 e tika ai tētehi whakamāoritanga me mau tonu te aronga ake o ngā kōrero ake, ā, kia kaua rawa atu te whakaaro e whakariroia, e tāpirihia, e tangohia rānei e te kaiwhakamāori.2 Ahakoa he aha te reo, ahakoa te momo reo, kei te kaiwhakamāori te haepapa ki te whakatutuki i tēnā whāinga, engari te kaiwhakamāori tuhinga pakimaero, ko te wātea ōna kei te āhua o tāna whakamāori i te tuhinga, inā hoki, kotahi te kōrero, manomano whakamāoritanga. E rua ngā tino tikanga hei whāinga mā te kaiwhakamāori; ko tētehi ko te whakaahurea-tauiwi3 i te kōrero, arā, ko te mau tonu ki te ahurea me ngā ariā o te tuhinga ake, ahakoa pēwhea nei te rerekē o taua ahurea me aua ariā i ō te reo tuarua. Tēnā ko tēnei, ko te whakaahurea-māori4 i te kōrero, arā, ko te whakahāngai mai i te ahurea me ngā ariā o te tuhinga ake ki ō te reo tuarua (Yang, 2010). Ehara noa iho i te whakamāori ākupu, engari he whakamāori i te ahurea kia tau ai te noho o te kōrero i roto i te reo tuarua. Kāti, kia tirohia ētehi tauira o mua me ētehi o nā tata nei i whakamāorihia mai i te reo Pākehā e whai ana i ēnei tikanga whakamāori e rua. Mā te pēnā e mōhiotia ai me pēwhea te kaiwhakamāori tuhinga pakimaero i ēnei rā. Ko te Paipera Tapu te pukapuka kua kaha rawa te whakamāorihia, huri i te ao. Kua eke tonu ki te 3000 ngā reo o tēnei pukapuka (Wycliffe Global Alliance, 2017). Nō te tau 1827 i tāia tuatahitia ai ētehi wāhanga o te Paipera Tapu i Poihākena. He mea whakamāori aua wāhanga nā ngā mihingare, nā Henry “Karuwhā” rāua ko tana teina, ko William “Parata” Williams (New Zealand Bible Society, 2017). Kei whea rā he tauira i tua atu i tā rāua i waiho mai ai hei whakaatu i te tikanga o te whakaahurea-tauiwi i te kōrero? Ahakoa he rerekē noa atu tā te Karaitiana titiro ki te ao, i tā te Māori, kāore ngā koroua rā i paku whai ki te whakaahurea-māori i ngā kōrero. Heoi anō, he whāinga anō tā ngā mihingare i pēnā ai rātou. Nā te pēnā i ako ai ngā iwi Māori i ngā tikanga me ngā ariā ā-ahurea o te whakapono Karaitiana.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, school, and hospital for the local population. Yet, immensity moves in mysterious ways. Sister Clodagh (Deborah Kerr) loses her managerial grip. Sister Philippa (Flora Robson) cultivates wild flowers instead of vegetables. Sister Ruth (Kathleen Byron) sheds nun’s attire for red lipstick and a Parisian dress. The young Indian woman Kanchi (Jean Simmons) becomes a force of libidinous disturbance. At the twilight of the British Empire, white, western nuns experience the psychical effects of colonialism at the precipice. Taking such cues from Pressburger and Powell’s film, Michelle Williams Gamaker, an artist, filmmaker, and scholar, responds to Black Narcissus, both film and novel. She does so through a radical interpretation of her own. Gamaker William’s 24-minute film, The Fruit Is There to Be Eaten (forthcoming, London 2018) is a longer “short,” which breaks the mould of what scholar Linda Hutcheon would term an “adaptation” (2006). For Hutcheon, there is a double “mode of engagement” between an original work and its adapted form (22). On the one hand, there is a “transcoding” (22). This involves “transporting” characters from a precedent work to its adapted form (11). On the other, there is an act of “creative interpretation” (22). The Fruit Is There to Be Eaten transports yet recreates the Indian “beggar girl” Kanchi, played by a “blacked up” white Hollywood actor Jean Simmons (Black Narcissus), into Williams Gamaker’s contemporary Kanchi, played by Krishna Istha. In this 2018 instalment, Kanchi is an Asian and transgender protagonist of political articulacy. Hence, Williams Gamaker’s film engages a double tactic of both transporting yet transforming Kanchi, as well as Sisters Clodagh and Philippa, from the feature film into The Fruit Is There to Be Eaten. To analyse Williams Gamaker’s film, I will make a theoretical jump off the precipice, stepping from Hutcheon’s malleable concept of adaptation into a space of “trans-serial” narrative.In what follows, I shall read The Fruit Is There to Be Eaten as an “episode” in a serial. The prior episodes, Williams Gamaker’s House of Women (London 2017, Berlin 2018) is a short, fictional, and surreal documentary about casting the role of Kanchi. It can be read as the next episode in Kanchi’s many incarnations. The relationship between Sister Clodagh (Kelly Hunter as voiceover) and Kanchi in House of Women develops from one of confrontation to a transgender kiss in the climatic beat of The Fruit Is There to Be Eaten. Williams Gamaker’s film can be read as one of a series which is itself inflected with the elements of a “trans-serial.” Henry Jenkins argues that “transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels” (emphasis in original, “Transmedia”). I use the word “trans” to define the gap between novelistic texts and film. Throughout Williams Gamaker’s series, she uses many textual citations from Godden’s novel, and dialogue from Pressburger and Powell’s film. In other words, verbal elements as well as filmic images are adapted in Hutcheon’s sense and transmediated in Jenkins’s sense. To build the “serial” concept for my analysis requires re-working concepts from television studies. Jason Mittell introduces “narrative complexity” as the “redefinition of episodic forms under serial narration” (“Narrative,” 32). In serial TV, characters and narratives develop over a sequence of episodes and seasons. In serial TV, missing one episode can thwart the viewer’s reception of later ones. Mittell’s examples reveal the plasticity of the narrative complexity concept. He mentions TV series that play games with the audience’s expectations. As Mittell points out, Seinfeld has reflexive qualities (“Narrative,” 35) and Twin Peaks mixes genres (“Narrative,” 33). I would add that Lynch’s creative liberties offered characters who could appear and disappear while leaving their arcs hanging intriguingly unresolved. The creative possibilities of reflexivity via seriality, of characters who appear and disappear or return in different guises, are strategies that underpin William’s Gamaker’s short film serial. The third in her trilogy, The Eternal Return (in post-production 2018) fictionalises the life of Sabu, the actor who played the General’s son in Black Narcissus. Once again, the protagonist, this time male, is played by Krishna Istha, a non-binary transgender actor who, by taking all the lead roles in William’s Gamaker’s trilogy, grows over the serial as a malleable ethnic and transgender subject. Importantly, The Eternal Return carries residues of the characters from The Fruit Is There to Be Eaten by casting the same team of actors again (Charlotte Gallagher and myself Catherine Lord), and switching their genders. Istha played Kanchi in the previous two episodes. The General’s son, played by Sabu, courted Kanchi in Black Narcissus. In The Eternal Return, Istha crosses the character and gender boundary by playing Sabu. Such casting tactics subvert the gender and colonial hegemonies inherent in Pressburger and Powell’s film.The reflexive and experimental approach of Williams Gamaker’s filmmaking deploys serial narrative tactics for its political goals. Yet, the use of “serial” needs to be nuanced. Glen Creeber sets out three terms: “episodic,” “series” and “serial.” For Creeber, a series provides continuous storylines in which the connection between episodes is strong. In the serial format, the connection between the episodes is less foregrounded. While it is not possible to enjoy stand-alone episodes in a serial, at the same time, serials produce inviting gaps between episodes. Final resolutions are discouraged so that there are greater narrative possibilities for later seasons and the audience’s own game of speculative storytelling (11).The emerging “serial” gaps between Williams Gamaker’s episodes offer opportunities for political interpretation. From House of Women and The Fruit Is There to Be Eaten, Kanchi develops an even stronger political voice. Kanchi’s character arc moves from the wordless obedience of Pressburger and Powell’s feature to the transgender voice of post-colonial discourse in House of Women. In the next episode, The Fruit Is There to Be Eaten, Kanchi becomes Clodagh’s guide both politically, spiritually, and erotically.I will read The Fruit Is There to Be Eaten as both my primary case-study and as the third episode in what I shall theorise to be a four-part serial. The first is the feature film Black Narcissus. After this is Williams Gamaker’s House of Women, which is then followed by The Fruit Is There to Be Eaten, my central case study here. There may be immediate objections to my argument that Williams Gamaker’s series can be read by treating Pressburger and Powell’s feature as the first in the series. After all, Godden’s novel could be theorised as the camouflaged pilot. Yet, a series or serial is defined as such when it is in the same medium. Game of Thrones (2011-) is a TV series that adapts George R.R. Martin’s novel cycle, but the novels are not episodes. In this regard, I follow Hutcheon’s emphasis on theorising adapted works as forged between different media, most commonly novels to films. The adaptive “deliveries” scatter through The Fruit Is There to Be Eaten with an ecological precision.Eco SeriesEcological descriptions from Godden’s novel and Pressburger and Powell’s mise-en-scene are performed in The Fruit Is There to Be Eaten through Kelly Hunter’s velvety voiceover as it enjoys a painterly language: butterflies daub the ferns with “spots of ochre, scarlet, and lemon sherbet.” Hutcheon’s term transcoding usefully describes the channelling of particles from the novelist’s text into an intensified, ecological language and cinematic mise-en-scene. The intensification involves an ingestion of Godden’s descriptive prose, which both mimics and adds an adjectival and alliterative density. The opening descriptions of the nuns’ arrival in Mopu is a case in point. In the novel, the grooms joke about the nuns’ habits appearing as “snows, tall and white” (Godden “Black,” 1). One man remarks that they look like “a row of teeth” (Godden “Black,” 2). Williams Gamaker resists shots of nuns as Godden described them, namely on Bhotiya ponies. Rather, projected onto a white screen is an image of white and red flowers slowly coming into focus. Kelly Hunter’s voiceover describes the white habits as a set of “pearly whites” which are “hungry for knowledge” and “eat into the landscape.” White, western nuns in white habits are metaphorically implied to be like a consuming mouth, eating into Indian territories and Indian people.This metaphor of colonial consumption finds its corollary in Godden’s memoirs where she describes the Pressburger, Powell, and Simons representation of Kanchi as “a basket of fruit, piled high and luscious and ready to eat” (“A House,” 24-5; 52). The nun’s quest colonially consumes Mopu’s natural environment. Presumably, nuns who colonially eat consume the colonised Other like fruit. The Kanchi of the feature film Black Narcissus is a supporting character, performed by Simmons as mute, feral and objectified. If Kanchi is to release herself from the “fruity” projections of sexism and racism, it will be through the filmmaker’s aesthetic and feminist tactic of ensuring that planets, trees, fruits and flowers become members of the film cast. If in episode 1 (Black Narcissus), plants and Asian subalterns are colonised, in episode 2, House of Women, these fruits and flowers turn up as smart, young Asian women actors with degrees in law and photography, ready to hold their own in the face of a faceless interviewer. In episode 3, The Fruit Is There to Be Eaten, it is important that Krishna Istha’s Kanchi, turning up like a magical character from another time and space (transformed from episode 1), commands the film set amidst an excess of flowers, plants and fruits. The visual overflow correlates with Kanchi’s assertiveness. Flowers and Kanchi know how to “answer back.”Like Black Narcissus the feature, The Fruit Is There to Be Eaten relies heavily on a mise-en-scene of horticultural and mountain ecology. Just as Michael Powell filmed at Pinewood and Leonardslee Gardens in East Sussex, Williams Gamaker used Rotherhithe’s Brunel Museum roof Gardens and Sands Film Studios. The lusciousness of Leonardslee is film-intertextually echoed in the floral exuberance of the 2018 shots of Rotherhithe. After the crew have set up the classroom, interwoven with Kelly Hunter’s voiceover, there is a hard cut to a full, cinematic shot of the Leonardslee garden (fig. 1).Then cutting back to the classroom, we see Kanchi calmly surveying the set, of which she is the protagonist, with a projection of an encyclopaedic display of the flowers behind her. The soundtrack plays the voices of young women students intoning the names of flowers from delphinium to lupens.These meta-filmic moments are supported by the film’s sharp juxtaposition between classroom and outdoor scenes. In Pressburger and Powell’s school scenes, Sister Ruth attempts to teach the young General how to conjugate the French verb “recevoir.” But the lesson is not successfully received. The young General becomes aphasic, Kanchi is predictably mute and the children remain demure. Will colonialism let the Other speak? One way to answer back in episode 3 is through that transgressive discourse, the language of flowers.In The Fruit Is There to Be Eaten, the young women study under Sister Clodagh and Sister Philippa (myself, Catherine Lord). The nuns teach botanical lists and their ecological contexts through rote learning. The young women learn unenthusiastically. What is highlighted is the ludicrous activity of repetition and abstractions. When knowledge becomes so objectified, so do natural environments, territories and people. Clodagh aligns floral species to British locations. The young women are relatively more engaged in the garden with Sister Philippa. They study their environment through sketching and painting a diverse range of flowers that could grow in non-British territory. Philippa is the now the one who becomes feral and silent, stroking stalks and petals, eschewing for the time being, the game of naming (fig. 2).However, lessons with colonial lexicons will be back. The young women look at screen projections of flowers. Sister Philippa takes the class through an alphabet: “D is for Dogbright … L is for Ladies’ Fingers.” Clodagh whirls through a list of long, Latin names for wild flowers in British Woodlands. Kanchi halts Clodagh’s act of associating the flowers with the British location, which colonizes them. Kanchi asks: “How many of us will actually travel, and which immigration border will test our botanical knowledge?” Kanchi then presents a radically different alphabet, including “Anne is African … Ian is Intersex … Lucy loves Lucy.” These are British names attributed to Africans, Arabs, and Asians, many of their identities revealed to be LGBQT-POC, non-binary, transgender, and on the move. Clodagh’s riposte is “How do you know you are not travelling already?” The flowers cannot be pinned down to one location. They cannot be owned by one nation.Like characters who travel between episodes, the travelling flowers represent a collision of spaces that undermine the hegemonies of race, gender and sexuality. In episode 1, Black Narcissus the feature film, the western nuns face the immensities of mountain atmosphere, ecology and an unfamiliar ethnic group. In episode 2, House of Women, the subalterns have transformed their role, achieving educational and career status. Such political and dramatic stakes are raised in episode 3, The Fruit Is There to Be Eaten. There is a strong focus on the overlapping oppressions of racial, colonial and ecological exploitation. Just as Kanchi has a character arc and serial development, so do plants, fauna, fruits, flowers and trees. ‘Post’-Space and Its AtmosphereThe British Empire colonised India’s ecological space. “Remember you and your God aren't on British Territory anymore” declares the auditioning Krishna Istha in House of Women. Kanchi’s calm, civil disobedience continues its migration into The Fruit is There to be Eaten between two simultaneously existing spaces, Mopu and Rotherhithe, London. According to literature scholar Brian McHale, postmodern worlds raise ontological questions about the dramatic space into which we are drawn. “Which” worlds are we in? Postmodern worlds can overlap between separate spaces and different temporalities (McHale 34-35). As McHale notes, “If entities can migrate across the semipermeable membrane that divides a fictional world from the real, they can also migrate between two different fictional worlds” (35).In The Fruit Is There to Be Eaten, the semipermeable membrane between it and Black Narcissus folds together the temporalities of 1947 and 2018, and the terrains of India and London. Sister Philippa tells a Kanchi seeking Mopu, that “My dear, you are already here.” This would seem odd as Sister Philippa describes the death of a young man close to Saint Mary’s Church, London. The British capital and woodlands and the Himalayas co-exist as intensified, inter-crossing universes that disrupt the membranes between both colonial and ecological space-time, or what I term “post-space.”Williams Gamaker’s post-spaces further develop Pressburger and Powell’s latent critique of post-colonialism. As film scholar Sarah Street has observed, Black Narcissus the film performs a “post-colonial” exploration of the waning British Empire: “Out of the persistence of the colonial past the present is inflected with a haunting resonance, creating gaps and fissures” (31). This occurs in Powell’s film in the initial Calcutta scenes. The designer Alfred Junge made “God shots” of the nuns at dinner, creating from them the iconic shape of a cross. This image produces a sense of over-exactness. Once in the mountains, it is the spirit of exactitude that deteriorates. In contrast, Williams Gamaker prefers to reveal the relative chaos of setting up her world. We watch as the crew dress the school room. Un-ceremoniously, Kanchi arrives in shorts before she picks up a floral dress bearing the label “Kanchi.” There is then a shot in which Kanchi purveys the organised set, as though she is its organiser (fig. 3).Post-spaces are rich in atmosphere. The British agent Dean tells Clodagh in Black Narcissus the film that the mountain “is no place to put a nunnery” due its “atmosphere.” In the climactic scene of The Fruit Is There to Be Eaten, Kanchi and Clodagh face two screens revealing the atmospheric projection of the high mountains, the black cut between them visible, like some shadowy membrane. Such aesthetic strategies continue Powell’s use of technical artifice. Street details the extensive labour of technical and craft work involved in creating the artificial world of Black Narcissus, its mountains, artificial colours, and hence atmosphere, all constructed at Pinewood studios. There was a vast amount of matte painting and painting on glass for special effects (19).William Gamaker’s screens (projection work by Sophie Bramley and Nick Jaffe) reflexively emphasise atmosphere as artifices. The atmosphere intensifies with the soundscape of mountain air and Wayne Urquhart’s original and haunting music. In Powell and Pressburger’s feature, Brian Easdale’s music also invokes a sense of mystery and vastness. Just as TV series and serials maintain musical and mise-scene-scene signatures from one episode to another, so too does Williams Gamaker reframe her precursor’s cinematic aesthetics with that of her own episode. Thus, serial as stylistic consistency is maintained between episodes and their post-spaces.At the edge of such spaces, Kanchi will scare Clodagh by miming a tight-rope walk across the mountain: it is both real and pretend, dramatic, but reflexively so. Kanchi walks a membrane between colliding worlds, between colonialism and its transgression. In this episode of extreme spirituality and eroticism, Kanchi reaches greater heights than in previous episodes, discoursing on the poetics of atmosphere: “… in the midst of such peaks, one can draw near what is truly placeless … the really divine.” Here, the membrane between the political and cultural regions and the mountains that eschew even the human, is about to be breached. Kanchi relates the legend of those who go naked in the snow. These “Abominable Men” are creatures who become phantoms when they merge with the mountain. If the fractures between locations are too spacious, as Kanchi warns, one can go mad. In this episode 3, Kanchi and Clodagh may have completed their journeys. In Powell and Pressburger’s interpretation, Sister Ruth discards nun’s attire for a Parisian, seductive dress and red lipstick. Yet, she does so for a man, Dean. However, the Sister Clodagh of 2018 is filmed in a very long take as she puts on an elegant dress and does her make-up. In a scene of philosophical intimacy with Kanchi, the newly dressed Clodagh confesses her experience of “immensity.” As they break through the erotic membrane separating their identities, both immersed in their full, queer, transgender kiss, all racial hierarchies melt into atmosphere (fig. 4).Conclusion: For a Pitch By making a film as one episode in a series, Williams Gamaker’s accomplishment is to enhance the meeting of narrative and political aims. As an arthouse film serial, The Fruit Is There to Be Eaten has enabled definitions of “serial” to migrate from the field of television studies. Between Hutcheon’s “adaptation” and Mittell and Creeber’s articulations of “narrative complexity,” a malleable concept for arthouse seriality has emerged. It has stretched the theoretical limits of what can be meant by a serial in an arthouse context. By allowing the notion of works “adapted” to occur between different media, Henry Jenkins’ broader term of “transmedia storytelling” (Convergence) can describe how particles of Godden’s work transmigrate through episodes 1, 2, and 3, where the citational richness emerges most in episodes 3, The Fruit Is There to Be Eaten.Because one novel informs all the episodes while each has entirely different narratives and genres, The Fruit Is There to Be Eaten is not a serial adaptation, as is Game of Thrones. It is an experimental serial inflected with trans-serial properties. Kanchi evolves into a postcolonial, transgender, ecological protagonist who can traverse postmodern worlds. Perhaps the witty producer in a pitch meeting might say that in its serial context, The Fruit Is There to Be Eaten is like a cross between two fantasy TV serials, still to be written: Transgender Peaks meets Kanchi Is the New Black. The “new black” is multifaceted and occupies multi-worlds in a post-space environment. ReferencesCreeber, Glen. Serial Television: Big Drama on the Small Screen. London: BFI, 2004.Godden, Rumer. 1939. Black Narcissus: A Virago Modern Classic. London: Hatchette Digital, 2013.———. A House with Four Rooms. New York: William Morrow, 1989. Hutcheon, Linda. A Theory of Adaptation. 2nd ed. New York: New York University Press, 2012.Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York University Press, 2006.———. “Transmedia, 202: Further Reflections.” Confessions of an Aca-Fan 1 Aug. 2011. 1 May 2012 <http://henryjenkins.org/blog/2011/08/defining_transmedia_further_re.html>.McHale, Brian. Postmodernist Fiction. London: Routledge, 1987.Powell, Michael. A Life in Movies: An Autobiography. London: Heinemann, 1986.Mittell, Jason. “Narrative Complexity in Contemporary American Television.” The Velvet Light Trap 58 (Fall 2006): 29-40. Street, Sarah. Black Narcissus. London: I.B. Tauris, 2005.FilmographyBlack Narcissus. Dirs. Michael Powell and Emeric Pressburger. Pinewood Studios, 1947.House of Women. Dir. Michelle Williams Gamaker. Cinema Suitcase, 2017.The Fruit Is There to Be Eaten. Dir. Michelle Williams Gamaker. Cinema Suitcase, 2018.The Eternal Return. Dir. Michelle Williams Gamaker. Cinema Suitcase, 2018-2019.

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While the term “visual literacy” has grown in popularity in the last 50 years, its meaning remains nebulous. It is described variously as: a vehicle for aesthetic appreciation, a means of defence against visual manipulation, a sorting mechanism for an increasingly data-saturated age, and a prerequisite to civic inclusion (Fransecky 23; Messaris 181; McTigue and Flowers 580). Scholars have written extensively about the first three subjects but there has been less research on how visual literacy frames civic life and how it might help the public as a tool to address disadvantage and assist in removing social and cultural barriers. This article examines a forerunner to visual literacy in the push to create an international symbol language born out of popular education movements, a project that fell short of its goals but still left a considerable impression on graphic media. This article, then, presents an analysis of visual literacy campaigns in the early postwar era. These campaigns did not attempt to invent a symbolic language but posited that images themselves served as a universal language in which students could receive training. Of particular interest is how the concept of visual literacy has been mobilised as a pedagogical tool in design, digital humanities and in broader civic education initiatives promoted by Third Space institutions. Behind the creation of new visual literacy curricula is the idea that images can help anchor a world community, supplementing textual communication. Figure 1: Visual Literacy Yearbook. Montebello Unified School District, USA, 1973. Shedding Light: Origins of the Visual Literacy Frame The term “visual literacy” came to the fore in the early 1970s on the heels of mass literacy campaigns. The educators, creatives and media theorists who first advocated for visual learning linked this aim to literacy, an unassailable goal, to promote a more radical curricular overhaul. They challenged a system that had hitherto only acknowledged a very limited pathway towards academic success; pushing “language and mathematics”, courses “referred to as solids (something substantial) as contrasted with liquids or gases (courses with little or no substance)” (Eisner 92). This was deemed “a parochial view of both human ability and the possibilities of education” that did not acknowledge multiple forms of intelligence (Gardner). This change not only integrated elements of mass culture that had been rejected in education, notably film and graphic arts, but also encouraged the critique of images as a form of good citizenship, assuming that visually literate arbiters could call out media misrepresentations and manipulative political advertising (Messaris, “Visual Test”). This movement was, in many ways, reactive to new forms of mass media that began to replace newspapers as key forms of civic participation. Unlike simple literacy (being able to decipher letters as a mnemonic system), visual literacy involves imputing meanings to images where meanings are less fixed, yet still with embedded cultural signifiers. Visual literacy promised to extend enlightenment metaphors of sight (as in the German Aufklärung) and illumination (as in the French Lumières) to help citizens understand an increasingly complex marketplace of images. The move towards visual literacy was not so much a shift towards images (and away from books and oration) but an affirmation of the need to critically investigate the visual sphere. It introduced doubt to previously upheld hierarchies of perception. Sight, to Kant the “noblest of the senses” (158), was no longer the sense “least affected” by the surrounding world but an input centre that was equally manipulable. In Kant’s view of societal development, the “cosmopolitan” held the key to pacifying bellicose states and ensuring global prosperity and tranquillity. The process of developing a cosmopolitan ideology rests, according to Kant, on the gradual elimination of war and “the education of young people in intellectual and moral culture” (188-89). Transforming disparate societies into “a universal cosmopolitan existence” that would “at last be realised as the matrix within which all the original capacities of the human race may develop” and would take well-funded educational institutions and, potentially, a new framework for imparting knowledge (Kant 51). To some, the world of the visual presented a baseline for shared experience. Figure 2: Exhibition by the Gesellschafts- und Wirtschaftsmuseum in Vienna, photograph c. 1927. An International Picture Language The quest to find a mutually intelligible language that could “bridge worlds” and solder together all of humankind goes back to the late nineteenth century and the Esperanto movement of Ludwig Zamenhof (Schor 59). The expression of this ideal in the world of the visual picked up steam in the interwar years with designers and editors like Fritz Kahn, Gerd Arntz, and Otto and Marie Neurath. Their work transposing complex ideas into graphic form has been rediscovered as an antecedent to modern infographics, but the symbols they deployed were not to merely explain, but also help education and build international fellowship unbounded by spoken language. The Neuraths in particular are celebrated for their international picture language or Isotypes. These pictograms (sometimes viewed as proto-emojis) can be used to represent data without text. Taken together they are an “intemporal, hieroglyphic language” that Neutrath hoped would unite working-class people the world over (Lee 159). The Neuraths’ work was done in the explicit service of visual education with a popular socialist agenda and incubated in the social sphere of Red Vienna at the Gesellschafts- und Wirtschaftsmuseum (Social and Economic Museum) where Otto served as Director. The Wirtschaftsmuseum was an experiment in popular education, with multiple branches and late opening hours to accommodate the “the working man [who] has time to see a museum only at night” (Neurath 72-73). The Isotype contained universalist aspirations for the “making of a world language, or a helping picture language—[that] will give support to international developments generally” and “educate by the eye” (Neurath 13). Figure 3: Gerd Arntz Isotype Images. (Source: University of Reading.) The Isotype was widely adopted in the postwar era in pre-packaged sets of symbols used in graphic design and wayfinding systems for buildings and transportation networks, but with the socialism of the Neuraths’ peeled away, leaving only the system of logos that we are familiar with from airport washrooms, charts, and public transport maps. Much of the uptake in this symbol language could be traced to increased mobility and tourism, particularly in countries that did not make use of a Roman alphabet. The 1964 Olympics in Tokyo helped pave the way when organisers, fearful of jumbling too many scripts together, opted instead for black and white icons to represent the program of sports that summer. The new focus on the visual was both technologically mediated—cheaper printing and broadcast technologies made the diffusion of image increasingly possible—but also ideologically supported by a growing emphasis on projects that transcended linguistic, ethnic, and national borders. The Olympic symbols gradually morphed into Letraset icons, and, later, symbols in the Unicode Standard, which are the basis for today’s emojis. Wordless signs helped facilitate interconnectedness, but only in the most literal sense; their application was limited primarily to sports mega-events, highway maps, and “brand building”, and they never fulfilled their role as an educational language “to give the different nations a common outlook” (Neurath 18). Universally understood icons, particularly in the form of emojis, point to a rise in visual communication but they have fallen short as a cosmopolitan project, supporting neither the globalisation of Kantian ethics nor the transnational socialism of the Neuraths. Figure 4: Symbols in use. Women's bathroom. 1964 Tokyo Olympics. (Source: The official report of the Organizing Committee.) Counter Education By mid-century, the optimism of a universal symbol language seemed dated, and focus shifted from distillation to discernment. New educational programs presented ways to study images, increasingly reproducible with new technologies, as a language in and of themselves. These methods had their roots in the fin-de-siècle educational reforms of John Dewey, Helen Parkhurst, and Maria Montessori. As early as the 1920s, progressive educators were using highly visual magazines, like National Geographic, as the basis for lesson planning, with the hopes that they would “expose students to edifying and culturally enriching reading” and “develop a more catholic taste or sensibility, representing an important cosmopolitan value” (Hawkins 45). The rise in imagery from previously inaccessible regions helped pupils to see themselves in relation to the larger world (although this connection always came with the presumed superiority of the reader). “Pictorial education in public schools” taught readers—through images—to accept a broader world but, too often, they saw photographs as a “straightforward transcription of the real world” (Hawkins 57). The images of cultures and events presented in Life and National Geographic for the purposes of education and enrichment were now the subject of greater analysis in the classroom, not just as “windows into new worlds” but as cultural products in and of themselves. The emerging visual curriculum aimed to do more than just teach with previously excluded modes (photography, film and comics); it would investigate how images presented and mediated the world. This gained wider appeal with new analytical writing on film, like Raymond Spottiswoode's Grammar of the Film (1950) which sought to formulate the grammatical rules of visual communication (Messaris 181), influenced by semiotics and structural linguistics; the emphasis on grammar can also be seen in far earlier writings on design systems such as Owen Jones’s 1856 The Grammar of Ornament, which also advocated for new, universalising methods in design education (Sloboda 228). The inventorying impulse is on display in books like Donis A. Dondis’s A Primer of Visual Literacy (1973), a text that meditates on visual perception but also functions as an introduction to line and form in the applied arts, picking up where the Bauhaus left off. Dondis enumerates the “syntactical guidelines” of the applied arts with illustrations that are in keeping with 1920s books by Kandinsky and Klee and analyse pictorial elements. However, at the end of the book she shifts focus with two chapters that examine “messaging” and visual literacy explicitly. Dondis predicts that “an intellectual, trained ability to make and understand visual messages is becoming a vital necessity to involvement with communication. It is quite likely that visual literacy will be one of the fundamental measures of education in the last third of our century” (33) and she presses for more programs that incorporate the exploration and analysis of images in tertiary education. Figure 5: Ideal spatial environment for the Blueprint charts, 1970. (Image: Inventory Press.) Visual literacy in education arrived in earnest with a wave of publications in the mid-1970s. They offered ways for students to understand media processes and for teachers to use visual culture as an entry point into complex social and scientific subject matter, tapping into the “visual consciousness of the ‘television generation’” (Fransecky 5). Visual culture was often seen as inherently democratising, a break from stuffiness, the “artificialities of civilisation”, and the “archaic structures” that set sensorial perception apart from scholarship (Dworkin 131-132). Many radical university projects and community education initiatives of the 1960s made use of new media in novel ways: from Maurice Stein and Larry Miller’s fold-out posters accompanying Blueprint for Counter Education (1970) to Emory Douglas’s graphics for The Black Panther newspaper. Blueprint’s text- and image-dense wall charts were made via assemblage and they were imagined less as charts and more as a “matrix of resources” that could be used—and added to—by youth to undertake their own counter education (Cronin 53). These experiments in visual learning helped to break down old hierarchies in education, but their aim was influenced more by countercultural notions of disruption than the universal ideals of cosmopolitanism. From Image as Text to City as Text For a brief period in the 1970s, thinkers like Marshall McLuhan (McLuhan et al., Massage) and artists like Bruno Munari (Tanchis and Munari) collaborated fruitfully with graphic designers to create books that mixed text and image in novel ways. Using new compositional methods, they broke apart traditional printing lock-ups to superimpose photographs, twist text, and bend narrative frames. The most famous work from this era is, undoubtedly, The Medium Is the Massage (1967), McLuhan’s team-up with graphic designer Quentin Fiore, but it was followed by dozens of other books intended to communicate theory and scientific ideas with popularising graphics. Following in the footsteps of McLuhan, many of these texts sought not just to explain an issue but to self-consciously reference their own method of information delivery. These works set the precedent for visual aids (and, to a lesser extent, audio) that launched a diverse, non-hierarchical discourse that was nonetheless bound to tactile artefacts. In 1977, McLuhan helped develop a media textbook for secondary school students called City as Classroom: Understanding Language and Media. It is notable for its direct address style and its focus on investigating spaces outside of the classroom (provocatively, a section on the third page begins with “Should all schools be closed?”). The book follows with a fine-grained analysis of advertising forms in which students are asked to first bring advertisements into class for analysis and later to go out into the city to explore “a man-made environment, a huge warehouse of information, a vast resource to be mined free of charge” (McLuhan et al., City 149). As a document City as Classroom is critical of existing teaching methods, in line with the radical “in the streets” pedagogy of its day. McLuhan’s theories proved particularly salient for the counter education movement, in part because they tapped into a healthy scepticism of advertisers and other image-makers. They also dovetailed with growing discontent with the ad-strew visual environment of cities in the 1970s. Budgets for advertising had mushroomed in the1960s and outdoor advertising “cluttered” cities with billboards and neon, generating “fierce intensities and new hybrid energies” that threatened to throw off the visual equilibrium (McLuhan 74). Visual literacy curricula brought in experiential learning focussed on the legibility of the cities, mapping, and the visualisation of urban issues with social justice implications. The Detroit Geographical Expedition and Institute (DGEI), a “collective endeavour of community research and education” that arose in the aftermath of the 1967 uprisings, is the most storied of the groups that suffused the collection of spatial data with community engagement and organising (Warren et al. 61). The following decades would see a tamed approach to visual literacy that, while still pressing for critical reading, did not upend traditional methods of educational delivery. Figure 6: Beginning a College Program-Assisting Teachers to Develop Visual Literacy Approaches in Public School Classrooms. 1977. ERIC. Searching for Civic Education The visual literacy initiatives formed in the early 1970s both affirmed existing civil society institutions while also asserting the need to better inform the public. Most of the campaigns were sponsored by universities, major libraries, and international groups such as UNESCO, which published its “Declaration on Media Education” in 1982. They noted that “participation” was “essential to the working of a pluralistic and representative democracy” and the “public—users, citizens, individuals, groups ... were too systematically overlooked”. Here, the public is conceived as both “targets of the information and communication process” and users who “should have the last word”. To that end their “continuing education” should be ensured (Study 18). Programs consisted primarily of cognitive “see-scan-analyse” techniques (Little et al.) for younger students but some also sought to bring visual analysis to adult learners via continuing education (often through museums eager to engage more diverse audiences) and more radical popular education programs sponsored by community groups. By the mid-80s, scores of modules had been built around the comprehension of visual media and had become standard educational fare across North America, Australasia, and to a lesser extent, Europe. There was an increasing awareness of the role of data and image presentation in decision-making, as evidenced by the surprising commercial success of Edward Tufte’s 1982 book, The Visual Display of Quantitative Information. Visual literacy—or at least image analysis—was now enmeshed in teaching practice and needed little active advocacy. Scholarly interest in the subject went into a brief period of hibernation in the 1980s and early 1990s, only to be reborn with the arrival of new media distribution technologies (CD-ROMs and then the internet) in classrooms and the widespread availability of digital imaging technology starting in the late 1990s; companies like Adobe distributed free and reduced-fee licences to schools and launched extensive teacher training programs. Visual literacy was reanimated but primarily within a circumscribed academic field of education and data visualisation. Figure 7: Visual Literacy; What Research Says to the Teacher, 1975. National Education Association. USA. Part of the shifting frame of visual literacy has to do with institutional imperatives, particularly in places where austerity measures forced strange alliances between disciplines. What had been a project in alternative education morphed into an uncontested part of the curriculum and a dependable budget line. This shift was already forecasted in 1972 by Harun Farocki who, writing in Filmkritik, noted that funding for new film schools would be difficult to obtain but money might be found for “training in media education … a discipline that could persuade ministers of education, that would at the same time turn the budget restrictions into an advantage, and that would match the functions of art schools” (98). Nearly 50 years later educators are still using media education (rebranded as visual or media literacy) to make the case for fine arts and humanities education. While earlier iterations of visual literacy education were often too reliant on the idea of cracking the “code” of images, they did promote ways of learning that were a deep departure from the rote methods of previous generations. Next-gen curricula frame visual literacy as largely supplemental—a resource, but not a program. By the end of the 20th century, visual literacy had changed from a scholarly interest to a standard resource in the “teacher’s toolkit”, entering into school programs and influencing museum education, corporate training, and the development of public-oriented media (Literacy). An appreciation of image culture was seen as key to creating empathetic global citizens, but its scope was increasingly limited. With rising austerity in the education sector (a shift that preceded the 2008 recession by decades in some countries), art educators, museum enrichment staff, and design researchers need to make a case for why their disciplines were relevant in pedagogical models that are increasingly aimed at “skills-based” and “job ready” teaching. Arts educators worked hard to insert their fields into learning goals for secondary students as visual literacy, with the hope that “literacy” would carry the weight of an educational imperative and not a supplementary field of study. Conclusion For nearly a century, educational initiatives have sought to inculcate a cosmopolitan perspective with a variety of teaching materials and pedagogical reference points. Symbolic languages, like the Isotype, looked to unite disparate people with shared visual forms; while educational initiatives aimed to train the eyes of students to make them more discerning citizens. The term ‘visual literacy’ emerged in the 1960s and has since been deployed in programs with a wide variety of goals. Countercultural initiatives saw it as a prerequisite for popular education from the ground up, but, in the years since, it has been formalised and brought into more staid curricula, often as a sort of shorthand for learning from media and pictures. The grand cosmopolitan vision of a complete ‘visual language’ has been scaled back considerably, but still exists in trace amounts. Processes of globalisation require images to universalise experiences, commodities, and more for people without shared languages. Emoji alphabets and globalese (brands and consumer messaging that are “visual-linguistic” amalgams “increasingly detached from any specific ethnolinguistic group or locality”) are a testament to a mediatised banal cosmopolitanism (Jaworski 231). In this sense, becoming “fluent” in global design vernacular means familiarity with firms and products, an understanding that is aesthetic, not critical. It is very much the beneficiaries of globalisation—both state and commercial actors—who have been able to harness increasingly image-based technologies for their benefit. To take a humorous but nonetheless consequential example, Spanish culinary boosters were able to successfully lobby for a paella emoji (Miller) rather than having a food symbol from a less wealthy country such as a Senegalese jollof or a Morrocan tagine. This trend has gone even further as new forms of visual communication are increasingly streamlined and managed by for-profit media platforms. The ubiquity of these forms of communication and their global reach has made visual literacy more important than ever but it has also fundamentally shifted the endeavour from a graphic sorting practice to a critical piece of social infrastructure that has tremendous political ramifications. Visual literacy campaigns hold out the promise of educating students in an image-based system with the potential to transcend linguistic and cultural boundaries. This cosmopolitan political project has not yet been realised, as the visual literacy frame has drifted into specialised silos of art, design, and digital humanities education. It can help bridge the “incomplete connections” of an increasingly globalised world (Calhoun 112), but it does not have a program in and of itself. Rather, an evolving visual literacy curriculum might be seen as a litmus test for how we imagine the role of images in the world. 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