Artículos de revistas sobre el tema "Japanese Medals"

The 442nd Infantry Regiment Combat Team, composed mostly of Japanese American soldiers, is the most decorated division in U.S. military history. As a minority combat team motivated by accusations of disloyalty following Pearl Harbor, they sought to demonstrate their patriotism through excellence in battle. President Harry Truman formally recognized the valuable contribution of the 442nd Infantry Team to the Allied victory and assigned a medal of honor to one of the Japanese American soldiers, Private First-Class Sadao S. Munemori, immediately after the war. African American soldiers similarly demonstrated great loyalty and skill in the 332nd Fighter Group, called the Tuskegee Airmen, and the 761st Tank Battalion, also known as the Black Panthers. However, although both units fought with distinction, the granting of medals of honor for African American World War II service was delayed until 1997. Based on memoirs, interviews, and an Army Report Investigation conducted by the Department of Defense, this paper analyzes the reasons for the decades-long discrepancy in the timeline for the acquisition of medals of honor between Japanese American and African American soldiers. The differing experiences and interpretations of discrimination and segregation, both during and after the war, account for the immense positive attention paid to Japanese American efforts compared to the total lack of national honor assigned to African American soldiers. Through their service, Japanese Americans resoundingly exposed the errors of the federal governments decision to intern families of Japanese descent and helped promote a narrative of wrongdoing that the federal government has since acknowledged. In contrast, African American victories, no less impressive than those of Japanese American and white soldiers, were overshadowed by the racial discourse of Jim Crow-era politics. Specifically, African American soldiers continued to face systemic discrimination at home and in the armed forces despite their military accomplishments. It delayed the formal acknowledgement of the significance of African American service.

For more than a century the Medal of Honor has served as a revered symbol of valor and service to the nation. In the 1990s Japanese American veterans requested a review of their service in World War II to determine whether the U.S. Army has overlooked any of their number for the award. In 1996 a team of historians began a review of all Asian Americans and Pacific Islanders who fought in that war. Their work resulted in the award of twenty-two new Medals of Honor in June 2000. The review was also a revealing journey into the challenges of amending public memory.

The military awards system of the Russian state, in particular, its medal and decorations component, has a profound and curious history. A special role in it is played by the events of the Russo-Japanese War of 1904-1905. Despite the existing rather serious historiography of the issue, the authors, for various reasons, did not focus on ‟traditions and innovations” in the award practice connected with military operations. Briefly reviewing the main medals and decorations issued by the state and public structures of Russia in the country and abroad and the reasons for introducing them, the authors identified the “classic” and “unusual” moments in the promotional field. It can be attributed as quite a usual practice that the attention of the authorities to the heroic events was demonstrated in two ways – directly, immediately after the fact, literally a few months after the incident, and on some ‟anniversary occasions”. In any case, there was a desire “to capture” heroism in premium metal, even despite the outwardly losing situation on the battlefield. The ranking of decorations by degrees was reflected in the value of the material used, and the relatively large coverage of the awarded was customary as well. As for innovations, there were a lot of medals made by Russian public organisations abroad, particularly in France. This has never been done before. It testified to the resonance and significance of the reflected historical fact not only for Russia, but also for other countries.

Military awards and decorations glorify winners, immortalize victories and reflect world outlooks of their times. These functions place them among the most attractive, informative and curious cultural things in human history. The highest military awards, like the Soviet Order of Victory, symbolize the scale of battles, whereas campaign medals reflect the course of warfare. Military decorations usually imply mortal threats or even acts of heroism of their owners, not being awarded for labour or other civilian activities. Military orders and medals are in great demand among the collectors, being better known for public than other orders and medals. For example, the Japanese military Order of the Golden Kite seems to be the most famous decoration of Japan even now, seventy years after its abolition. The first order of Indonesia is the Bintang Gerilya — The Guerilla Star, instituted in 1949. Its form looks like an imitation of the Ottoman Gallipoli Star. The Bintang Gerilya reflects the modus operandi adopted by Indonesia during its wars for Independence against the Dutch. During the late fifties, the Indonesian Army took control over the nationalized factories and other businesses previously belonging to the Dutch. The Indonesian Army also turned more professional due to actions of several top grass commanders, like Nasution and Gatot Soebroto. The Army and Indonesian Government managed to put down some important separatist movements across the Malay (Indonesian) Archipelago. Obvious military success needed to be praised. In 1958 the highest military award of Indonesia — the Bintang Sakti, or Sacred Star — was instituted. The statute and history of the Bintang Sakti are the subjects of this paper.

The Olympic and Paralympic Games in Tokyo in July–September 2021 took place in a challenging social environment that seriously affected the public perception of events. When preparing for the Olympics in 2013–2019, the Japanese people actively supported the Games, which was confirmed by the results of numerous sociological studies. In March 2020, the COVID-19 pandemic began, followed by several waves of infection. The competition was postponed for a year. Vaccination in Japan was delayed compared to most G7 countries. Against this background, in the summer of 2021, the most dangerous Delta strain of coronavirus began to spread in the country, bringing the rise in mortality rates, and the overflowing of hospitals in large cities. In such a difficult epidemiological and social situation, surveys recorded a negative attitude towards the Olympics. However, during the competition, the majority opinion once again turned positive, mainly due to the athletic successes of the Japanese team and effective anti-virus control measures. The absence of spectators in the venues, most probably, did not affect the sporting achievements significantly. At least, Japanese Olympic team won a record number of medals. Infection prevention measures proved effective in limiting the transmission of the virus among the athletes and the Japanese service personnel. The economic and symbolic achievements of the Games did not meet expectations, as, during the Olympics, it was not possible to properly address its significance as the end point of the low-growth “lost decades”, evidence of economic recovery after the triple disaster of 2011, and as a tool to increase Japan’s tourist attractiveness. Therefore, during a pandemic, major sports events should be held primarily to train top-class athletes and to increase populace satisfaction with the success of the national team rather than to obtain direct economic benefits or improve the host country’s image.

The Olympic and Paralympic Games in Tokyo in July–September 2021 took place in a challenging social environment that seriously affected the public perception of the events. When preparing for the Olympics from 2013–2019, the Japanese people actively supported the Games, which was confirmed by the results of numerous sociological studies. In March 2020, the COVID-19 pandemic began, followed by several waves of infection spread. The competition was postponed for a year. Vaccination in Japan was delayed compared with most of the G7 countries. Against this background, in the summer of 2021, the most dangerous Delta strain of coronavirus began to spread in the country, bringing a rise in mortality rates and overcrowding in hospitals in large cities. In this difficult epidemiological and social situation, surveys recorded a negative attitude towards the Olympics.However, during the competition, the majority opinion once again turned positive, mainly due to the athletic successes of the Japanese team and effective anti-virus control measures. The absence of spectators in the venues, most probably, did not affect the sporting achievements significantly. At least, the Japanese Olympic team won a record number of medals. Infection prevention measures proved effective in limiting the transmission of the virus among the athletes and the Japanese service personnel. The economic and symbolic achievements of the Games did not meet expectations, as, during the Olympics, it was not possible to properly address its significance as the end point of the low-growth “lost decades”, evidence of economic recovery after the triple disaster of 2011, and as a tool to increase Japan’s tourist attractiveness.Therefore, during the pandemic, major sports events should be held primarily to train top-class athletes and to increase populace satisfaction with the success of the national team rather than to obtain direct economic benefits or improve the host country’s image.

The article discusses the ways of representing of state symbols in the postcards of Japan during Meiji period (1868–1912). On the basis of their visual design the ways of constructing the image of the new government are considered. After the “Meiji restoration”, the state symbols were adopted (based on the old ka-mon family emblems): the national flag, the emperor’s seal, orders and medals. The post service belonged to the state, which allowed the images to show not only the actual state symbols but also in what situations it should be used and how it should be perceived. These tasks were implemented by artistic means. The different types of symbols on postcards were distributed unevenly. The most diverse subjects are related to the national and army flags. It depicted not only war but also the everyday “peaceful” life. The documentary photo, the decorative drawings of emblems, the real peoples and fantastic animals were used for the decoration. Through the positive emotions were transmitted (pride, joy, interest, etc.). Japan is represented there as the modern, internally cohesive state with the irresistible military power, fully supported by the population, with state symbols that preserve continuity with the past.

The main milestones of the life and creativity of Professor S.R. Mirotvortsev are described in the article. Little-known facts from the professor's biography are noted. He was rewarded with two gold medals for his students' works: “Vessels and nerves of sinews of the human foot” (with his student V.P. Vorobyov) and “Dislocations of bones of the wrist.” Notably, during the Russian-Japanese war, S.R. Mirotvortsev spent 11 months in the besieged Port Arthur and remained with the wounded who were taken prisoner by the Japanese there. From 1905 to 1914, S.R. Mirotvortsev worked in the Military Medical Academy (Saint Petersburg), initially under the leadership of Professor S.P. Fedorov and then as assistant for Professor V.A. Oppel. From 1914 until the end of his life, S.R. Mirotvortsev worked in Saratov, in the Department of General Surgery; beginning in 1920, he was a member of the fa­culty of the surgical clinic. From 1922 to 1928, S.R. Mirotvortsev was the rector of Saratov University. In the period of the Great Patriotic War, he was the chief surgeon of Saratov and the Saratov region. S.R. Mirotvortsev published approximately 150 scientific works regarding questions of clinical and field surgery. In 1908, he demonstrated the first transplantation of ureters in the rectum and defended a doctoral dissertation (1909) on this subject. Broad popularity was gained by his work regarding malignant new growths, particularly sarcomas of tubular bones. S.R. Mirotvortsev developed methods of unilateral closure of the large intestine, determined the plasticity of the sealing gland of the meninx, and processed burn wounds with potassium permanganate solution. S.R. Mirotvortsev suggested the use of the hemostatic properties of catgut for local cessation of bleeding from parenchymatous bodies and channels within the meninx. His numerous works on field surgery provided statistical analysis of 180 000 cases involving gunshot wounds; these were especially valuable during World War I (1914–1918). Notably, the Department of Faculty Surgery of the Saratov Medical Institute, as well as a street in Saratov, carries the name of S.R. Mirotvortsev. He was awarded the Labour Red Banner, the Red Star, and numerous medals.

The main milestones of life and S.R. Mirotvortsev’s creativity are given in article. The little-known facts from the biography of professor are noted. Rewarding with two gold medals for student’s works is analyzed: «Vessels and nerves of sinews of foot of the person» (in common with the student V.P. Vorobyov) and «Dislocations of bones of a wrist». It is noted that during the Russian-Japanese war spent 11 months in the besieged Port Arthur and remained with the wounded who were taken prisoner to Japanese there. From 1905 to 1914 worked in VMA at first under the leadership of professor S.P. Fedorov, then the assistant for professor V.A. Oppel. It is shown that since 1914 until the end of life worked in Saratov, occupying department of the general surgery, and since 1920 — faculty surgical clinic. From 1922 to 1928 the rector of the Saratov university. In the period of the Great Patriotic War was the chief surgeon of Saratov and the Saratov region. S.R. Mirotvortsev published about 150 scientific works on questions of clinical and field surgery. In work it is analyzed that he in 1908 offered original operation of change of ureters in a rectum, having defended the doctoral dissertation (1909) on this subject. It is noted that the broad popularity was gained by its researches about malignant new growths, in particular sarcomas of tubular bones. It developed methods of unilateral switching off of a large intestine, plasticity of a firm meninx the sealing gland, processing’s of burn wounds potassium permanganate solution. S.R. Mirotvortsev suggested to use haemostatic properties of a catgut for a local stop of bleedings from parenchymatous bodies and sine of a firm meninx. From numerous works on field surgery detailed statistical development of 180 thousand cases of a gunshot wound is especially valuable during World War I of 1914 — 1918. It is noted that the department of faculty surgery of the Saratov medical institute and the street in Saratov is called by the name of S.R. Mirotvortsev. It is awarded with awards of the Labour Red Banner, the Red Star and medals.

Over the last decade, there has been a growing media interest in the rise to world prominence of Chinese sport, fuelled first by the startling performances of China's athletes in the mid- 1990s, then by their declared interest in staging the 2000 Olympic Games, and ultimately their successful bid for the 2008 Games. As if to underline this, China leapt into second place in the medals tally of the Athens Olympic Games in 2004, thus ensuring that the media took full note of the Middle Kingdom. However, in the corresponding period (and in fact much further back) there has been little serious interest amongst Western authors writing specifically about sport in China. Indeed, of the four hundred or so references in Marrow of the Nation, just a handful are by Western authors.In finely honed detail, Andrew Morris traces the development of sport in Republican China from the early years of the 20th century, drawing a carefully argued distinction between the Anglo-American and the Euro-Japanese influences that had a major effect in shaping China's early sporting identity (although the separation of the two influences, associating Anglo with American and Euro with Japanese, glosses over the importance of European figures in British sporting history). What is striking in unravelling the threads of Chinese history, is the manner in which China “swayed with the winds of foreign influence” as the leaders tried to develop a national and modern sporting consciousness. As chapter two reveals, by the 1920s, there were also clear traces of Soviet influence – fitness and hygiene, new nationalism, new Chinese man, new meanings for sport.

Gamification in second language acquisition research is a popular topic but there are few empirical comparative studies in the literature. This quasi-experimental mixed-approach study enrolled volunteer Japanese university EFL learners to enable a comparison between two digital vocabulary flashcard learning software conditions carefully designed by the author; (1) the gamified group’s software had daily awards (i.e., consecutive day awards, medals related to daily participation, and a bonus point counter in an effort to encourage spaced spaced learning principles and discourage cramming) and (0) the non-gamified group’s did not. The daily awards had a significant effect in encouraging the gamified group to spread out their study efforts throughout the 12-week study period more effectively than the control group as they completed a lower median number of tasks per active study day (non-gamified: 104.76, gamified: 82.11; p= .021, r(75)= -.264) but studied on more days to complete a similar total number of vocabulary tasks (non-gamified: 2313.00, gamified: 2228.50; p= .601). Moreover, the gamified group significantly outperformed the non-gamified group in terms of vocabulary knowledge score gains between the pretest and posttest; p= .03, r(50)= .300. These results show the numerous and significant positive pedagogical impacts of gamified daily awards.

After the South Korean men’s soccer team beat its Japanese counterpart in the bronze-medal match at the 2012 London Olympics, South Korean player Park Jung-Woo celebrated with a banner that displayed Dokdo is our land. Dokdo is called the Liancourt Rocks in English, the sovereignty over which has been an ongoing point of contention between South Korea and Japan. This study conducts a critical discourse analysis to examine media representations of Park’s banner celebration, as well as the ensuing discussion in major Korean and Japanese newspapers. The analysis reveals a contrastive picture: The Korean media vocally approached Park’s behavior as an emotional response of self-righteous indignation and quickly enacted memories of Korea’s victimhood in World War II to make justifications, whereas the Japanese media participated in a relatively disengaged absence. Japan’s silence disclosed a glimpse into its rich postwar history of social conflict and political resistance. Such contrast is also indicative of how sport media can be engaged in nuanced social contexts, generating representations that serve nation-state regimes situated in different political dynamics.

AbstractThis report contains three lectures given during acceptance ceremonies by awardees of the International Association for the Study of Traditional Asian Medicine’s prestigious Basham Award. While they concern episodes in the modern history of Japanese medicine, the contemporary medicine of the Yao national minority in China, and ancient Chinese self-cultivation practices, all three engage in deeper reflections on the craft and methods of the historian that will speak to all readers of Asian Medicine.

Yanagita Kunio (1875–1962). Pioneer of Japanese folklore studies The Meiji era (1868–1912) pushed Japan towards a modern, industrialized and, most of all, positivist state. This era plays an important role in shaping the ethnographic (anthropological, folklore) thought in the country. However, this is only one side of the coin, a medal which, apart from a gigantic leap in civilization, had a reverse – traditional, familiar, “Japanese” side. Japan went through two important periods of modernization in the years of 1868-1962. From a feudal country ruled by samurai transformed into a country capable of competing with the previously industrially developed colonial powers, and after World War II, giving up imperial ambitions, transformed into a modern state. During the century, numerous changes have occurred in the streets of the Japanese capital. From the carriages, trough automobiles, and finally, after 1945, to the jets flying overhead. It was in such times that the pioneer of Japanese ethnography, folklore or socio-cultural anthropology, Yanagita Kunio, came to live and work. This text aims to present the profile and main theses of this Japanese researcher.

The article analyzes the illustrated book editions of the cultural and artistic heritage of the outstanding Ukrainian artist Mykola Semenovych Samokysh, which are stored in the Central Scientific Library. The purpose of the study is to study and disclose books and periodicals illustrated by the artist M. S. Samokish. The artist's paintings are stored in many museum collections in Ukraine and Russia and in galleries of various collectors, and graphic works, books and magazines decorated with artistic illustrations enrich the funds of many libraries. The Central Scientific Library of Karazin University preserves unique editions of the artist, which are currently a bibliographic rarity. The methodological basis of the study is the problem-chronological method, which allowed to trace the sequence of origin, formation and development of creative activity of M. S Samokish. This method allowed to study and analyze a specific creative work of an illustrator in a certain period of time. The scientific novelty of the research lies in the coverage of book-illustrative publications from the fund of the Central Scientific Library. This allows you to popularize the library fund as a whole and determines its scientific, cultural and historical value. A specific bibliological study reveals the personal contribution of M. S. Samokysh to the development of book art in Ukraine. Conclusions. M. S. Samokysh is known, above all, as an excellent master of the battle genre, for which he was awarded silver and gold medals and awarded the title of Academician of the Academy of Arts. Also, it should be noted that M. S. Samokysh took part in the preparation and creation of albums on Ukrainian art. This is a famous art publication "From Ukrainian antiquity" in 1900 and a rare album "Motives of Ukrainian ornament", which was published in the early XX century. The vast majority of Samokish's works were performed in his favorite battle genre. Thus, the result of Nikolai Semenovich's trip to the front of the Russo-Japanese War was the album "War 1904-1905: From the Diary of an Artist" published in 1908. . The magazine "The Great War in Images and Pictures 1914–1915" of 1915 included the artist's front-line materials. Drawings and watercolors from nature, made directly on the fronts, serve as a kind of historical document of the turbulent war years. Of particular interest are the many illustrated books on the history of the royal army, military regiments, the coronation of the royal family and others. The historical essay on the history of the Grand Ducal and tsarist hunts in Russia and Russia is fascinating. A multi-volume study of individual regions of the Russian Empire at the end of the XIX century is quite significant. Artistic and graphic elements of book decoration - vignettes, letters, screensavers, endings, which worked on the painter and graphic artist M. S. Samokish, not only reveal and supplement the content of books, but also make publications real works of art.

Pyotr Alexandrovich was born in 1871 in Florence in the family of Professor A. A. Herzen of the University of Lausanne. In 1896, he studied at the medical faculty of the University of Lausanne and began working at the Caesar Roux Clinic. In 1997, Pyotr Alexandrovich received a Doctor of Medicine degree and, fulfilling his grandfather's will, left for Russia. In 1898, P. A. Herzen received a Russian diploma of a doctor with honors. Then Pyotr Alexandrovich worked as an external doctor until 1900, and then until 1920, with breaks for service in the army as a military surgeon he was a resident of the surgical department of the Old Catherine Hospital in Moscow. During the Russian-Japanese War, Pyotr Alexandrovich was a surgeon on the Manchurian front, a surgeon in the active army during the First World War, and a consultant at the 151st military hospital during the Civil War. In 1909, he defended his dissertation for the degree of Doctor of Medicine in Russia. In 1917, he became the head of the Department of Operative Surgery, in 1921-General Surgery of the 1st Moscow State University. The clinical base of the department was the Institute for the Treatment of Tumors (now the P. A. Herzen Moscow Research Oncological Institute), the director of which was P. A. Herzen from 1922 to 1934. In 1926, he was first elected chairman of the Surgical Society of Moscow, and in 1929 the XXI Congress of Russian Surgeons. In 1934, Pyotr Alexandrovich became the head of the Department of Hospital Surgery of the 1st Moscow Medical Institute and in the same year he was awarded the honorary title of Honored Scientist of the RSFSR, and in 1939 he was elected a corresponding member of the USSR Academy of Sciences. He created the world's first pre-thoracic artificial esophagus (1907), was the first in the USSR to perform thoracoscopy for chronic pleural empyema (1925), suturing of a heart wound (1904), liver resection, developed a number of original operations: intra-abdominal fixation of the rectum when it falls out; application of cholecystoenteroanastomosis (1901), cholecystectomy, trans-vesical prostatectomy (1906); omentorenopexy of the lower pole of the kidney (1913); operations for anterior cerebral, inguinal and femoral hernias; developed the principles of surgical treatment of traumatic aneurysms. He also made a significant contribution to solving the problems of vascular surgery, oncology, urology, cardiac surgery, etc. He published 84 scientific papers, including 5 monographs. P. A. Herzen created the largest school of Soviet surgeons, oncologists. He was an honorary member of the French Academy of Surgery, the International Society of Surgeons, chairman of the surgical societies of the RSFSR and the USSR (1926-1928; 1935-1936), the XXI and XXIV All-Union Congresses of Surgeons (1929, 1938). P. A. Herzen was awarded two Orders of the Red Banner of Labor, medals, including "For the Defense of Moscow". P. A. Herzen died in January 1947 and was buried in Moscow. The Moscow Research Oncological Institute, the periodical " Oncology. The journal named after P. A. Herzen". A memorial plaque in his honor is installed in the First Moscow State Medical University named after I. M. Sechenov. His name is given to surgical operations used for anterior craniocerebral and femoral hernias, hydronephrosis, cryptorchidism, the creation of an artificial esophagus from the small intestine, esophagoejunostomy after removal of the stomach, and others.

This study examines the contributions of Zainichi Koreans from Jeju island to the development of their society while living in Japan. The results are summarized as follows. First, the Zainichi Koreans voluntarily participated in organized fundraising activities at the level of individuals or Korean Residents Union in Japan for the establishment of Korean embassy in Japan. Second, through the activities in Korean Residents Union in Japan, they enhanced the rights and interests of Zainichi Koreans and contributed to the setup of the Korean Community Center and the exchanges with Japan’s local communities. Third, the affiliated organizations of Korean Residents Union in Japan and its related organizations contributed to the protection of Zainichi Korean businessmen’s rights and interests, the development of sports including the training of younger generations in Taekwondo, and the development of national financial institutions. Fourth, in order to preserve their national identity, they played a leading role in the operation of national classes for Zainichi Koreans, the establishment of national schools, and the execution of education projects. Fifth, they contributed to the improvement of their economic status, the setup of the Jeju Citizens Association Hall, the establishment of a financial base, and the promotion of friendship and mutual aid through Zainichi Koreans’ social gatherings in the midst of difficult lives in a foreign country. Sixth, in Japan society, they raised disaster relief funds for the Great East Japan Earthquake, propagated Korean food culture, performed YMCA activities in Japan, and built toilets in Korea Town. Seventh, the government’s medals and medals for Zainichi Koreans from Jeju island, who contributed to Zainichi Korean society, instilled their pride, which became a psychological compensation for them.

The purpose of this study is to examine the developmental aspects of Korean judo from 1945 to 1980, and to present the historical value, implications, and identity of the heyday of Korean judo in the 1970s and 1980s, which contributed to the enhancement of national prestige by overwhelmingly winning Japanese judo at the Olympics, Asian Games, and various international judo championships. The purpose of this study is to suggest the historical implications of Korean judo in the heyday of the game. On September 15, 1945, after the liberation of Korea, the Korean Judo Federation was formed at the YMCA Hall at the erection meeting for the formation of the Judo Central Organization.,In the late 1970s and 1984, based on the LA Olympic Games, in 1985 World Judo Championships and 1986 Asian Games, Korean Judo dominated Japan, the suzerain of Judo, with a gold medal of 6-2. At the 1988 Seoul Olympic Games, Judo ranked first overall, with two gold and one gold and three gold. This has contributed to the enhancement of national prestige by providing a pivotal role for the leaders and players of Korean Judo as a massive dimension for national interest. In conclusion, after the liberation in 1945, the Olympic Games and Asian Games through the development of Korean judo in the 1980s overwhelmed Japanese judo and left a great footprint.,Furthermore, the systematic training based on the skills, physical strength, muscular strength, mental strength, and strategic tactics of Korean judo became the driving force.

Abstract This article reconstructs the life history of Korean War prisoner Im Kwan-taek and analyzes his strategy for survival. Im, a North Korean who forces of the United Nations Command (unc) captured, refused repatriation to North Korea and decided to go to a neutral country. After two years in India, he finally settled in Brazil. This study examines his prisoner of war (pow) interrogation reports and the results of two oral history interviews to understand Im’s experiences and survival strategies. Born in Ch’ungch’ŏng Province, Im grew up in southern Korea. However, in 1946, he moved to northern Korea with the support of his deceased father’s comrades from the anti-Japanese movement in China. With the start of the Korean War on 25 June 1950, Im became an officer in the Korean People’s Army (kpa). As a pow, he concealed his identity as much as possible to ensure his survival, and these efforts continued in neutral countries. After the Republic of Korea awarded Im’s father the South Korean Patriotic Medal in 2001, his “secret survivalism” strategy relaxed and he began organizing communication and networks between surviving former pows.

This article is dedicated to the visual state symbols of Japan of the late XIX century (national flag, personal seal of the emperor, order and medal of honor, and military insignia). The aforementioned symbols are viewed as the attributes of the status. First institutionalized graphic symbols in the history of the country have emerged under the influence of European culture and actualized elements of the ”old” Japanese culture, primarily  from the emblems “mon” used to decorate and identify an individual or a family. This article explores the mechanisms of their emergence, as well as the mechanisms of evolution and introduction into the cultural environment based on the material of print mass-market production (postcards and Ukiyo-e woodblock prints). The author’s main contribution consists in comprehensive analysis of the state symbols of Japan of the late XIX century as the attributes of the status, which has been conducted for the first time. The flag, order and emblem of the emperor were used to demonstrate their direct affiliation to the department, as an attribute of a festive event, or indicate their authority. The research also employed postcards as a rarely used source for studying political symbols, or used in the context of ideology alone. The visual images of print production illustrate the reality of using state symbols, as well as within the framework of artistic techniques expand their use as the symbols.

<p>今日國際社會中，政府對於地緣政治下安全風險的認知，決定了國家之間的競爭關係，最終是走向和平還是戰爭? 而在此類地緣風險的認知作戰下，媒體扮演了重要的角色；一般而言，媒體在戰爭上扮演的角色分為資訊控制下的「唱和者」、愛國主義下的「啦啦隊」，以及反對衝突戰爭的「對抗者」。</p> <p>本研究以1930 年代中期至1940 年代中期，提倡日本地緣政治的小牧實繁為分析物件，探討其地緣思維形成、轉變、與媒體之間的互動，以及後續帶來的影響等。結論指出，在論及媒體與戰爭的關係時，不可忽略傳播媒體在地緣風險中倡議與噤聲特定觀點的「宣教者」角色，即以地緣政治來闡述並宣揚國家利益，進而影響國民的世界觀，以及國家、社會對於戰爭的認知。</p> <p>&nbsp;</p><p>In contemporary international society, the perception of security risks in geopolitics by countries and governments determines whether the competition between countries will eventually lead to peace or war. In the current cognitive warfare of geo-risk, the media plays an important role. In general, the roles of the media in war can be divided into &ldquo;the sympathizer&rdquo; under information control, &ldquo;the rooter&rdquo; under patriotism, and &ldquo;the resister&rdquo; against conflict and war. </p> <p>This paper focuses on the geopolitical thinking of Saneshige Komaki, who was an advocate of Japanese geopolitics from the mid-1930s to the mid-1940s, and discusses its formation and transformation, how it interacted with the media, and the impact it brought. This paper argues that when discussing the relationship between media and war, the media also plays the role of &ldquo;the missionary&rdquo; of geo-risk. The role of the media as a missionary is to promote national interests through geopolitics, which, in turn, affects the people&rsquo;s worldview and the country&rsquo;s perception of war.</p> <p>&nbsp;</p>

Purpose The following paper is a “Q&A interview” conducted by Joanne Pransky of Industrial Robot Journal as a method to impart the combined technological, business and personal experience of a prominent, robotic industry PhD-turned-entrepreneur regarding the commercialization and challenges of bringing a technological invention to market. This paper aims to discuss these issues. Design/methodology/approach The interviewee is Dr Jun Ho Oh, Professor of Mechanical Engineering at the Korea Advanced Institute of Science and Technology (KAIST) and Director of KAIST’s Hubolab. Determined to build a humanoid robot in the early 2000s to compete with Japan’s humanoids, Dr Oh and KAIST created the KHR1. This research led to seven more advanced versions of a biped humanoid robot and the founding of the Robot for Artificial Intelligence and Boundless Walking (Rainbow) Co., a professional technological mechatronics company. In this interview, Dr Oh shares the history and success of Korea’s humanoid robot research. Findings Dr Oh received his BSc in 1977 and MSc in Mechanical Engineering in 1979 from Yonsei University. Oh worked as a Researcher for the Korea Atomic Energy Research Institute before receiving his PhD from the University of California (UC) Berkeley in mechanical engineering in 1985. After his PhD, Oh remained at UC Berkeley to do Postdoctoral research. Since 1985, Oh has been a Professor of Mechanical Engineering at KAIST. He was a Visiting Professor from 1996 to 1997 at the University of Texas Austin. Oh served as the Vice President of KAIST from 2013-2014. In addition to teaching, Oh applied his expertise in robotics, mechatronics, automatic and real-time control to the commercial development of a series of humanoid robots. Originality/value Highly self-motivated and always determined, Dr Oh’s initial dream of building the first Korean humanoid bipedal robot has led him to become one of the world leaders of humanoid robots. He has contributed widely to the field over the nearly past two decades with the development of five versions of the HUBO robot. Oh led Team KAIST to win the 2015 DARPA Robotics Challenge (DRC) and a grand prize of US$2m with its humanoid robot DRC-HUBO+, beating 23 teams from six countries. Oh serves as a robotics policy consultant for the Korean Ministry of Commerce Industry and Energy. He was awarded the 2016 Changjo Medal for Science and Technology, the 2016 Ho-Am Prize for engineering, and the 2010 KAIST Distinguished Professor award. He is a member of the Korea Academy of Science and Technology.

An outstanding orthopedic traumatologist and military field surgeon, scientist and teacher, one of the founders of orthopedics in Russia, founder and long-term director of the St. Petersburg Orthopedic Institute (1906–1924), organizer of the first Department of Pediatric Surgery in Russia (1933) and creator of a large scientific school of orthopedic traumatologists, Professor Roman Romanovich Vreden was born on March 9 (21), 1867 in St. Petersburg in the family of a well-known otorhinolaryngologist, Professor Robert Robertovich Vreden. From childhood, Roman chose the profession of a doctor for himself, and after graduating with a gold medal from the First Classical Gymnasium in St. Petersburg in 1885, he entered the Imperial Military Medical Academy. After graduating from the academy in 1890, he passed the competition and left for further development of the specialty as an adjunct at the Department and Clinic of Hospital Surgery founded by N. I. Pirogov and led by Professor V. A. Ratimov. In 1893, R. R. Vreden successfully defended his dissertation for the degree of Doctor of Medicine on the topic: «On the etiology of cystitis», after which he was sent to Kiev, where from 1893 to 1896, he worked as a resident at the Kiev Military Hospital, headed the Surgical and Ear Departments there. In 1896, Roman Romanovich returned to the Military Medical Academy and received the position of senior assistant in the Hospital Surgical Clinic of V. A. Ratimov. In 1898, R. R. Vreden was awarded the academic title of Privatdozent. In 1902, in connection with the retirement due to illness of V. A. Ratimov, a competition was held to fill the position of the head of the Department of Hospital Surgery, but R. R. Vreden lost to S. P. Fedorov in it, after which he left the Department. In 1902–1904, he was a leading surgeon and director of the French Hospital in St. Petersburg and a surgical consultant at the Nikolaev Military Hospital. In 1903, R. R. Vreden was appointed an official for special assignments at the Main Military Medical Directorate. In February 1904, the Russo-Japanese War began and R. R. Vreden was sent to the Far East. In March 1905, Roman Romanovich returned to St. Petersburg, until 1906, served as head of the faculty surgical clinic of the Women’s Medical Institute. In July 1906, Roman Romanovich was appointed the first director of the first Russian Orthopedic Institute in St. Petersburg. R. R. Vreden can rightfully be considered the founder of operative orthopedics in our country. Such surgical interventions as arthrotomy, arthroplasty, arthrodesis, bone and joint resections, tendon and bone plasty, osteotomy, open reduction of dislocations and others were widely performed at the Institute. In 1911, Roman Romanovich was elected a professor at the Psychoneurological Institute and created the Department of Orthopedics on the basis of his Institute. In 1912, he organized training in orthopedics for doctors at the Clinical Institute of the Grand Duchess Elena Pavlovna, and in 1918, he created and headed the Department of Orthopedics at the First Petrograd Medical Institute. In 1925, the «Practical Guide to Orthopedics» was published, which summed up the 18-year activity of R. R. Vreden in this field of medicine. Roman Romanovich created one of the first and largest scientific schools of orthopedic surgeons in our country. Professor Roman Romanovich Vreden died in Leningrad on February 7, 1934 and was buried at the Smolensk Lutheran cemetery. In 1967, the Leningrad Research Institute of Traumatology and Orthopedics was named after R. R. Vreden.

Valentin Feliksovich was born on April 27, 1877 in the eastern part of the Crimea, in one of the oldest cities in the world, at a unique resort located on two seas at once Kerch. His father, Felix Stanislavovich, was a pharmacist and worked as a manager of a private pharmacy of D.I. Kundin, whose daughter, Maria Dmitrievna, was his mother. Valentin Feliksovich was born into a family belonging to an ancient family of impoverished Polish nobles. Of his 14 sisters and brothers, only five survived to adulthood.In 1880, the family of Valentin Feliksovich left Kerch for Kherson, then to Chisinau, in 1889 to Kiev. In 1896, Valentin Feliksovich graduated from the gymnasium and art school of Nikolai Ivanovich Murashko.Then Valentin Feliksovich studied for a year at the Faculty of Law, at the private art school of Knirr in Munich, but in 1898, deciding to become a doctor, he entered the medical faculty of Kiev University.Valentin Feliksovich, having received a doctor's degree, worked at the Red Cross hospital in Kiev, during the Russian-Japanese war he headed the surgical department of the Chita hospital as part of the Red Cross medical detachment, later worked as a surgeon in Ardatov, Simbirsk province, in the village of Verkhny Lyubazh and Fatezh, Kursk region. During this period, he married the daughter of the estate manager, sister of mercy Anna Vasilyevna Lanskaya. In 1909, Valentin Feliksovich entered the Moscow University as an external student to Professor P.I. Dyakonov.In 1915 he published the monograph "Regional Anesthesia" and in 1916 defended it as a dissertation with the award of the degree of Doctor of Medicine. By this time, Valentin Feliksovich had mastered operations on the heart, brain, organs of vision, gastrointestinal tract, including stomach, intestines, bile ducts, kidneys, spine and joints. Until 1917, Valentin Feliksovich worked as a doctor in hospitals in central Russia, later as the chief physician of a hospital in Tashkent, professor at the Central Asian State University. Moving to Tashkent is associated with the progression of his wife's tuberculosis, which required her to stay in a warmer climate, but in 1919, the wife of V.F. Voino-Yasenetsky died, leaving him to take care of four children. In February 1921, he was ordained a deacon, a week later a priest, on May 31, 1923, he was tonsured a monk and consecrated a bishop with the name Luke, and a week later he was arrested.At the beginning of 1926, Valentin Feliksovich returned to Tashkent. But on May 6, 1930, he was detained and transferred to Arkhangelsk. In the autumn of 1933, from exile, Valentin Feliksovich wrote a letter to the People's Commissar of Health about the need to organize an institute of surgical infection in the country and, having received no response, went to Moscow at the first opportunity for a personal meeting, at which he rejected the offer to renounce holy orders and instead accept the post of director of the institute.In the autumn of 1934, Valentin Feliksovich published a widely known monograph, including abroad: "Essays on purulent surgery". For several years, Professor Voino-Yasenetsky headed the main operating room of the Tashkent Institute of Emergency Care, but on July 24, 1937, he was arrested again, for the third time. Since March 1940, he has been working as a surgeon a hundred kilometers from Krasnoyarsk in the Bolshaya Murta of the Yelovskaya volost.After the outbreak of the Great Patriotic War, Valentin Feliksovich sends a telegram to M.I. Kalinin, in which he asks to be sent as a surgeon to the hospital, expressing his readiness to continue exile after the Victory.In September 1941, the chief surgeon of the region took V.F. Voino-Yasenetsky by plane to Krasnoyarsk to work as the chief surgeon of the evacuation hospital No. 1515, which was later recognized as the best of the 17 hospitals of the region.Since October 1941, Valentin Feliksovich has been a consultant to hospitals in the Krasnoyarsk Territory and chief surgeon of the evacuation hospital. In the autumn of 1942, he was elevated to the rank of archbishop and appointed to the Krasnoyarsk department. In 1944, Valentin Feliksovich published his monographs: "On the course of chronic empyema and chondrates", "Late resections of infected gunshot wounds of joints". Since February 1944, Archbishop Luke has been the head of the Tambov Department, and is a consultant surgeon at Tambov hospitals. In February 1945, Valentin Feliksovich was awarded by Patriarch Alexy I the right to wear a diamond cross. He is writing the book "Spirit, Soul and Body". Since May 1946, he has headed the Crimean Department in Simferopol and in the same year was awarded the Stalin Prize for the monograph "Essays on purulent Surgery", 130 out of 150 thousand of which he gives to the needs of wartime orphans.In 1955, Valentin Feliksovich completely went blind, but continuing to work and in 1957 dictated his memoirs. V.F. Voino-Yasenetsky died on June 11, 1961 in the rank of Archbishop of Crimea and Simferopol on the Day of All Saints who shone in the Russian land.Valentin Feliksovich is the author of 55 scientific works on medicine, ten volumes of sermons. He was elected an honorary member of the Moscow Theological Academy in Zagorsk. He was awarded the Chojnatski Prize from the University of Warsaw (1916), the Diamond Cross (1944), the medal "For Valiant Labor in the Great Patriotic War" (1945).In 1995, Valentin Feliksovich was canonized as a locally venerated saint in the Crimean diocese, in 2000 he was glorified as a confessor (saint) in the host of New martyrs and confessors of Russia. His relics are installed for worship in the Cathedral of Simferopol.On July 14, 2008, V.F. Voino-Yasenetsky posthumously became an Honorary Citizen of Pereslavl-Zalessky. On June 19, 2020, by Decree of the President of the Russian Federation, the Medal of Luke Krymsky was established, awarded for merits in healthcare.In memory of V.F. Voino-Yasenetsky, over 69 churches of St. Luke were opened, including in Russia (Moscow, Balashikha, Voronezh, Yevpatoria, Yeysk, Yekaterinburg, Donetsk, Zheleznogorsk, Kerch, Kovrov, Krasnoyarsk, Murmansk, Nizhny Novgorod, Novosibirsk, Novy Svet, Obninsk, Olginka, Orenburg, Perm, Petrozavodsk, Saki, Saratov, Simferopol, Stavropol, Ulyanovsk, Chelyabinsk, Chita, Yuzhno-Sakhalinsk), in Ukraine (Kiev, Sumy, Odessa, Vinnytsia, Dnipro), Greece and other countries. Monuments and busts were installed only in Russia in the years Moscow, Yeysk, Krasnoyarsk, Lipetsk, Nizhny Novgorod, Simferopol, Tambov and other cities. The name of Professor V.F. Voino-Yasenetsky was given to the Krasnoyarsk State Medical University, St. Petersburg Clinical Hospital, and the Society of Orthodox Doctors of St. Petersburg.

Welcome to spring for many of our readers - except those of us in northern Alberta where winter, beautiful winter, just won’t let go this year. You can be sure that we will appreciate spring all the more when it finally takes hold.On a sad note, Andrea Deakin (for whom this publication is named), informed us that Jan Ormerod recently passed away. The Guardian’s obituary of Sunday, February 3, 2013 reminds us that Jan Ormerod “brought a fresh vision to children's picturebooks with her luminous images, storytelling genius and understanding of how children behave” and that she was “admired for her ability to cut away all that was unnecessary in her stories.” (www.guardian.co.uk/books/2013/feb/03/jan-ormerod).Although too late for interested groups to participate in the voting this year, the Rocky Mountain Book Award winners will be announced on April 23, 2013. This is a readers’ choice award in its 13th year where groups of students in grades 4-7 read, then vote for, their favourite book from a shortlist of “exemplary Canadian literature” chosen by a committee of teachers, librarians, parents, and students. The award is sponsored in part by the Lethbridge (Alberta) school district and the University of Lethbridge. All the information about participating and pervious winners is at http://rmba.lethsd.ab.ca/index.htm (although the website design is a little challenging to use).As indicated in our last issue, the various 2013 awards from the Association for Library Service to Children division of the American Library Association have been announced. The 2013 Newbery Medal (contribution to American literature for children) winner was The One and Only Ivan by Katherine Applegate. The 2013 Caldecott Medal (picture book artist) winner wasThis Is Not My Hat, written and illustrated by Jon Klassen. For other medal winners as well as “honor book” recognition, see www.ala.org/alsc/awardsgrants/bookmedia.By the way, if keeping track of book awards is a favourite past-time, have a look at the Canadian Children’s Award Index posted by the Canadian Children’s Book Centre at www.bookcentre.ca/awards/canadian_awards_index. I hope you have lots of free time if you want to keep track of them all.On that note, have a wonderful spring and start setting aside piles of books for your summer reading pleasure.David Sulz, Communications EditorDavid is a Public Services Librarian at University of Alberta and liaison librarian to Economics, Religious Studies, and Social Work. He has university studies in Library Studies, History, Elementary Education, Japanese, and Economics; he formerly taught in schools and museums. His interests include physical activity, music, home improvements, and above all, things Japanese.

AUSTRALIA – Genetic Link Found for Brain Disorders. AUSTRALIA – Burns Treatment to Replace Skin Grafts. AUSTRALIA – Australian Scientists Discover How Liver Kills "Killer Cells". AUSTRALIA – High Fat Food Triggers Gene 'Switch' Leading to Type 2 Diabetes. CHINA – First Biologist from China Wins Lasker-DeBakey Clinical Medical Research Award. INDIA – H5 Bird Flu Outbreak in West Bengal. JAPAN – New Zealand, Japanese Scientists Collaborate on Functional Foods Research. SINGAPORE – Antibodies Can Bind Cancer Proteins on the Inside. SINGAPORE – A Guinness World Record for Singapore with A*STAR IMRE's world's smallest Working Gears. SINGAPORE – IBN Harnesses Ultrasmall Peptides to Repair Spinal Disc Damage. TAIWAN – Meningitis C Vaccination Breakthrough. TAIWAN – Taiwan Targets Developing High-end Medical Equipment in Three Stages. TAIWAN – Scientists Announce Technology to Grow Meat Faster at Lower Cost. TAIWAN – Taiwanese-American HIV/AIDS Academic Joins Team. OTHER REGIONS — Gene Behind Chronic Blood Cancer Identified. OTHER REGIONS — New Technology Could Make You Light-Hearted. OTHER REGIONS — HIV/AIDS Researcher David Ho Wins NIDA's 2011 Avant-Garde Award. OTHER REGIONS — Steven Chu - 2011 R&D Magazine's 49th Scientist of the Year. OTHER REGIONS — Shu Chien Awarded 2011 National Medal of Science.

Purpose Japan applies a quasi-mandatory approach to corporate environmental reporting by defining the desired norm through formal law and guidelines and pushing large companies to be role models regardless of their sensitivity to environmental impacts. This study aims to analyze the change in Japanese companies reporting quality to justify this approach’s capability to produce normativity of environmental reporting. Design/methodology/approach This study examines the change in corporate environmental reporting quality and the effect of company characteristics on it. The analysis focuses on 88 companies for 2008, 2013 and 2018, resulting in 264 company-year observations. Findings The result shows a continuous upward trend, although it is unsatisfactory regarding the comparability and free from error characteristics. Then, company size positively affects the quality, and sensitivity to environmental impacts does not. Overall, the findings indicate that Japan is moving toward normativity through the quasi-mandatory approach and the norm entrepreneurship of its large companies, regardless of their sensitivity to environmental impacts. Research limitations/implications This study could relieve the belief that it is necessary to apply a mandatory approach to improve reporting quality and enrich views on the effect of company characteristics which mainly used only the legitimacy perspective. Originality/value This study proposes a more comprehensive measure of environmental reporting quality. The measure is based on the qualitative characteristics of useful information from the most influential accounting standard-setting bodies. In addition, the effect of company characteristics on the quality is explained based on the norm entrepreneurship view instead of the legitimacy perspective.

Purpose This study aims to provide insights into the poorly understood concept of integrated thinking by comparing and contrasting disclosures related to integrated thinking provided in integrated reports in two different institutional settings. Design/methodology/approach The study uses content analysis of the narrative sections of integrated reports to explore similarities and differences in the way the concept of integrated thinking is portrayed. It uses a matched sample of financial services companies in two different institutional settings, South Africa (where integrated reporting (IR) is mandatory and IR practices are world-leading) and Japan (where IR is voluntary and interest in IR is still developing). IR adoption is viewed through the lens of institutional theory, focussing on isomorphic forces which affect companies’ structure, policies and practices. Findings Even though the conceptualisation of integrated thinking differs between South Africa and Japan, in both settings there is a strong association between integrated thinking disclosures and corporate governance practices, materiality assessments and the pursuit of an industry leadership position, suggesting a link between these concepts and the underlying level of integrated thinking. Japanese disclosures appear to mimic South African disclosures, highlighting South Africa’s leading role in IR, although Japan shows more varied interpretations of integrated thinking. Originality/value This study contributes to the growing body of literature on the poorly understood concept of integrated thinking, responding to calls from both academics and practitioners for more research in this area. It shows the potential for integrated thinking to develop through a process of mimicry and highlights South Africa’s leading role in the dissemination of best practice in the field. Its findings relating to the fluid conceptualisation of integrated thinking in different institutional settings will be of interest to regulators and practitioners. To the knowledge this is one of the first studies to consider disclosures relating to integrated thinking in the financial services sector. Focussing on the financial services sector, with its unique features and regulatory frameworks, allows for deeper analysis, free from the potential distortions inherent in studying a broader cross-section of industries. The study also highlights the importance of corporate governance to integrated thinking, suggesting future research avenues.

The story of Barbie is a tapestry woven with threads of cultural significance, societal shifts, and corporate narratives. It’s a tale that encapsulates the evolution of American post-war capitalism, mirroring the changing tides of social norms, aspirations, and identities. Barbie’s journey from Germany to Los Angeles, along the way becoming a global icon, is a testament to the power of Ruth Handler’s vision and Barbie’s marketing. Barbie embodies and reflects the rise of mass consumption and the early days of television advertising, where one doll could become a household name and shape the dreams of children worldwide. The controversies and criticisms surrounding Barbie – from promoting a ‘thin ideal’ to perpetuating gender and racial stereotypes – highlight the complexities of representation in popular culture. Yet, Barbie’s enduring message, “You can be anything”, continues to inspire and empower, even as it evolves to embrace a more inclusive and diverse portrayals of power, beauty, and potential. Barbie’s story is not just about a doll; it’s about the aspirations she represents, the societal changes she’s witnessed, and the ongoing conversation about her impact on gender roles, body image, and consumer culture. It’s a narrative that continues to unfold, as Barbie adapts to the times and remains a symbol of possibility. Barbie: A Popular Culture Icon “It is impossible to conceive of the toy industry as being anything other than dependent on a popular culture which shapes and structures the meanings carried by toys” (Fleming 40). The relationship between toys and popular culture is symbiotic. While popular culture influences the creation of toys, toys also contribute to the spread and longevity of cultural icons and narratives. Today, one of the most influential, popular, and contested toys of the twentieth century is Mattel’s Barbie doll. Her launch at the New York Toy Fair on 9 March 1959 by Mattel co-founder Ruth Handler was a game-changer in the toy industry. Her adult appearance, symbolised by her fashionable swimsuit and ponytail, was a bold move by Mattel. Despite the doubts from the toy industry which thought nobody would want to play with a doll that had breasts (Tamkin) and Mattel’s skepticism of its commercial success (Westenhouser 14), Barbie was a success, selling over 350,000 units in her first year, and she quickly became an iconic figure, paving the way for other male and female adult dolls. For the first time in mid-century America, Barbie meant children could play with a doll that looked like a woman, not a little girl or a baby. In a 1965 interview, Ruth Handler argued that American girls needed a doll with a “teen-age figure and a lot of glorious, imaginative, high-fashion clothes” (cited in Giacomin and Lubinski 3). In a 1993 interview, Handler said it was “important that Barbie allowed play situations that little girls could project themselves into … to imagine, pretend and to fantasize”. Hence Ruth Handler’s Barbie could be an “avatar for girls to project their dreams onto” (Southwell). Barbie hit the market with a “sassy ponytail, heavy eyeliner, a healthy dose of side-eye and a distinctly adult body” (Blackmore). Her arched eyebrows were matched with a coy sideways glance reflecting her sexual origins (Thong). Mattel did not reveal that Ruth Handler’s Barbie was inspired by a German novelty men’s toy, Bild Lilli, which Handler had purchased on a European holiday in 1955. Mattel fought several lawsuits and eventually secured the rights to Bild Lilli in 1964, which required the German maker of the Bild Lilli doll to not make her again. Barbie dolls, both blonde and brunette, changed little until 1967, when Mattel launch the ‘new’ Barbie doll which is the foundation for today’s Stereotypical Barbie. The same size as the original, thanks to Mattel engineer Jack Ryan she could twist and turn at the waist. Her facial features were softened, she had ‘real’ eyelashes’ and took on an ‘outdoor look’. The new 1967 version of Barbie originally retailed for US$3.00. Mattel, assuming consumers may not want to buy a new Barbie when they already had one, offered buyers the new Barbie at US$1.50 if they traded in their old 1950s Barbie. The television advertising campaign for the new Barbie featured Maureen McMormick (who would go on to play Marcia Brady in the TV series The Brady Bunch from 1969 to 1974). The original #1 Barbie today sells for over US$25,000 (Reinhard). The most expensive Barbie sold to date was a Stefano Canturi-designed Barbie that sold in 2010 for US$302,500 at Christies in New York (Clarendon). Barbie has been described as “the most successful doll in history”, “the most popular toy in history”, the “empress of fashion dolls” (Rogers 86), the “most famous doll in the world” (Ferorelli), the biggest-selling fashion doll in history (Green and Gellene), and is one if the world’s “most commercially successful toys” (Fleming 41). Barbie is both “idealistic and materialistic” and characterises an “American fantasy” (Tamkin). More so, she is a popular culture icon and “a unique indicator of women’s history” (Vander Bent). The inclusion of Barbie in America’s twentieth-century Time Capsule “cemented her status as a true American icon” (Ford), as did Andy Warhol when he iconised Barbie in his 1968 painting of her (Moore). During the 1950s and 1960s, Barbie’s name was licenced to over 100 companies; while a strategic move that expanded Barbie’s brand presence, it also provided Mattel with substantial royalty payments for decades. This approach helped solidify Barbie’s status as a cultural icon and enabled her to become a lucrative asset for Mattel (Rogers). Sixty-five years later, Barbie has 99% global brand awareness. In 2021, Mattel shipped more than 86 million Barbies globally, manufacturing 164 Barbies a minute (Tomkins). In 2022, Barbie generated gross sales of US$1.49 billion (Statista 2023). With this fiscal longevity and brand recognition, the success of the Barbie film is not surprising. The 2023 film, directed by Greta Gerwig and starring Australian Margot Robbie as Barbie and Canadian Ryan Gosling as Ken, as of March 2024 has a global box office revenue of US$1.45 billion, making it the 14th most successful movie of all time and the most successful movie directed by a woman (Statista 2024). Contested Barbie Despite her popularity, Barbie has been the subject of controversy. Original Barbie’s proportions have been criticised for promoting an unrealistic body image (Thong). Barbie’s appearance has received numerous critiques for “representing an unrealistic beauty standard through its former limited skin tone and hair combination” (Lopez). The original Barbie’s measurements, if scaled to life-size, would mean Barbie is unusually tall and has a slim figure, with a height of 5 feet 9 inches, a waist of just 18 inches, and hips of approximately 33 inches. Her bust would measure around 32 inches with an under-bust of 22 inches, and her shoulder width would be approximately 28 inches. Original Barbie’s legs, which are proportionally longer than an average human’s, would make up more than half her height (Thong). A 1996 Australian study scaled Barbie and Ken to adult sizes and compared this with the physical proportions of a range of women and men. They found that the likelihood of finding a man of comparable shape to Ken was 1 in 50. Barbie was more problematic. The chance of a woman being the same proportion as Barbie was 1 in 100,000 (Norton et al. 287). In 2011, The Huffington Post’s Galia Slayen built a life-sized Barbie based on Barbie’s body measurements for National Eating Disorder Awareness Week. Slayen concluded that “if Barbie was a real woman, she’d have to walk on all fours due to her proportions”. One report found that if Barbie’s measurements were those of a real woman her “bones would be so frail, it would be impossible for her to walk, and she would only have half a liver” (Golgowski). A 2006 study found that Barbie is a “possible cause” for young girls’ “body dissatisfaction”. In this study, 162 girls from age 5 to 8 were exposed to images of a thin doll (Barbie), a plus-size doll (US doll Emme, size 16), or no doll, and then completed assessments of body image. Girls exposed to Barbie reported “lower body esteem and greater desire for a thinner body shape than girls in the other exposure conditions”. The study concluded that “early exposure to dolls epitomizing an unrealistically thin body ideal may damage girls' body image, which would contribute to an increased risk of disordered eating and weight cycling” (Dittman and Halliwell 283). Another study in 2016 found that “exposure to Barbie” led to “higher thin-ideal internalization”, but found that Barbie had no “impact on body esteem or body dissatisfaction” (Rice et al. 142). In response to such criticism, Mattel slowly introduced a variety of Barbie dolls with more diverse body types, including tall, petite, and curvy models (Tamkin). These changes aim to reflect a broader range of beauty standards and promote a more positive body image. Barbie has always had to accommodate social norms. For this reason, Barbie always must have underpants, and has no nipples. One of the reasons why Ruth Handler’s husband Elliott (also a co-founder of Mattel) was initially against producing the Barbie doll was that she had breasts, reportedly saying mothers would not buy their daughters a doll with breasts (Gerber). Margot Robbie, on playing Barbie, told one news outlet that while Barbie is “sexualized”, she “should never be sexy” (Aguirre). Early prototypes of Barbie made in Japan in the 1950s sexualised her body, leaving her to look like a prostitute. In response, Mattel hired film make-up artist Bud Westmore to redo Barbie’s face and hair with a softer look. Mattel also removed the nipples from the prototypes (Gerber). Barbie’s body and fashion have always seemed to “replicate history and show what was what was happening at the time” (Mowbray), and they also reflect how the female body is continually surveilled. Feminists have had a long history of criticism of Barbie, particularly her projection of the thin ideal. At the 1970 New York Women’s Strike for Equality, feminists shouted “I am not a Barbie doll!” Such debates exemplify the role and impact of toys in shaping and reforming societal norms and expectations. Even the more recent debates regarding the 2023 Barbie film show that Barbie is still a “lightning rod for the messy, knotty contradictions of feminism, sexism, misogyny and body image” (Chappet). Decades of criticism about Barbie, her meaning and influence, have left some to ask “Is Barbie a feminist icon, or a doll which props up the patriarchy?” Of course, she’s both, because “like all real women, Barbie has always been expected to conform to impossible standards” (Chappet). Diversifying Barbie Over the decades Mattel has slowly changed Barbie’s body, including early versions of a black Barbie-like dolls in the 1960s and 1970s such as Francie, Christie, Julia, and Cara. However, it was not until 1980 that Mattel introduced the first black Barbie. African American fashion designer Kitty Black-Perkins, who worked for Mattel from 1971, was the principal designer for black Barbie, saying that “there was a need for the little Black girl to really have something she could play with that looked like her” (cited in Lafond). Black Barbie was marketed as She’s black! She’s beautiful! She’s dynamite! The following year, Asian Barbie was introduced. She was criticised for her nondescript country of origin and dressed in an “outfit that was a mishmash of Chinese, Korean and Japanese ethnic costumes” (Wong). More recently, the Asian Barbies were again criticised for portraying stereotypes, with a recent Asian Barbie dressed as a veterinarian caring for pandas, and Asian violinist Barbie with accompanying violin props, reflecting typical stereotypes of Asians in the US (Wong). In 2016, Mattel introduced a range of Barbie and Ken dolls with seven body types, including more curvy body shapes, 11 skin tones and 28 hairstyles (Siazon). In 2019, other Barbie body types appeared, with smaller busts, less defined waist, and more defined arms. The 2019 range also included Barbies with permanent physical disabilities, one using a wheelchair and one with a prosthetic leg (Siazon). Wheelchair Barbie comes with a wheelchair, and her body has 22 joints for body movement while sitting in the wheelchair. The Prosthetic Barbie comes with a prosthetic leg which can be removed, and was made in collaboration with Jordan Reeve, a 13-year-old disability activist born without a left forearm. In 2020, a No Hair Barbie and a Barbie with the skin condition vitiligo were introduced, and in 2022, Hearing Aid Barbie was also launched. In 2022 other changes were made to Barbie’s and Ken’s bodies, with bodies that became fuller figured and Kens with smaller chests and less masculine body shapes (Dolan). Down Syndrome Barbie was released in 2023, designed in collaboration with the US National Down Syndrome Society to ensure accurate representation. By 2024, Barbie dolls come in 35 skin tones, 97 hairstyles, and nine body types (Mattel 2024). Spanning hundreds of iterations, today the Barbie doll is no longer a homogenous, blond-haired, blue-eyed toy, but rather an evolving social phenomenon, adapting with the times and the markets Mattel expands into. With dolls of numerous ethnicities and body types, Barbie has also embraced inclusivity, catering to the plethora of different consumers across the world (Green and Gellene 1989). Career Barbie While not dismissing Barbie’s problematic place in feminist, gender and racial critiques, Barbie has always been a social influencer. Her early years were marked by a variety of makeovers and modernisations, as have recent changes to Barbie’s body, reflecting the changing social norms of the times. Stereotypical Barbie had her first major makeover in 1961, with her ponytail swapped for a short ‘Bubble Bob’ hairstyle inspired by Jackie Kennedy and Marilyn Monroe, reflecting women’s emerging social independence (Foreman). In the early 1970s, Barbie’s original demure face with averted eyes was replaced by a new one that “depicted confidence and a forward-facing gaze” (Vander Bent). Her “soft look” was a departure from the mature image of the original 1959 Barbie (Lafond). The ‘soft look’ on Malibu Barbie with her newly sculpted face featured an open smile for the first time, as well as sun-tanned, make-up free skin and sun-kissed blonde hair. The disappearance of Barbie’s coy, sideways glance and the introduction of forward-looking eyes was a development “welcomed by feminists” (Ford). Barbie’s early makeovers, along with her fashion and accessories, including her homes, cars, and pets, contributed to shaping her image as a fashionable and independent woman. Barbie’s various careers and roles have been used to promote ideas of female empowerment. From astronaut to presidential candidate, Barbie has broken barriers in traditionally male-dominated fields. However, the effectiveness of these efforts in promoting female empowerment is a topic of debate. The post-war period in America saw a significant shift in the pattern of living, with a move from urban areas to the suburbs. This was facilitated by a robust post-war economy, favourable government policies like the GI Bill, and increasing urbanisation. The GI Bill played a crucial role by providing low-interest home loans to veterans, making home ownership accessible to a large segment of the population. It was a significant transformation of the American lifestyle and shaped the country’s socio-economic landscape. It is in this context that Barbie’s first Dreamhouse was introduced in the early 1960s, with its mid-century modern décor, hi-fi stereo, and slim-line furniture. This was at a time when most American women could not get a mortgage. Barbie got her first car in 1962, a peach-colored Austin-Healey 3000 MKII convertible, followed short afterwards by a Porsche 911. She has also owned a pink Jaguar XJS, a pink Mustang, a red Ferrari, and a Corvette. Barbie’s car choices of luxurious convertibles spoke to Barbie’s social and economic success. In 1998, Barbie became a NASCAR driver and also signed up to race in a Ferrari in the Formula 1. Barbie’s ‘I Can Be Anything’ range from 2008 was designed to draw kids playing with the dolls toward ambitious careers; one of those careers was as a race car driver (Southwell). While Barbie’s first job as a baby-sitter was not as glamourous or well-paying as her most of her other over 250 careers, it does reflect the cultural landscape Barbie was living in in the 1960s. Babysitter Barbie (1963) featured Barbie wearing a long, pink-striped skirt with ‘babysitter’ emblasoned along the hem and thick-framed glasses. She came with a baby in a crib, a telephone, bottles of soda, and a book. The book was called How to Lose Weight and had only two words of advice, ‘Don’t Eat’. Even though there was a backlash to the extreme dieting advice, Mattel included the book in the 1965 Slumber Party Barbie. Barbie wore pink silk pajamas with a matching robe and came prepared for her sleepover with toiletries, a mirror, the controversial diet book, and a set of scales permanently set at 110 pounds (approx. 50kg), which caused further backlash (Ford). Barbie’s early careers were those either acceptable or accessible to women of the era, such as the Fashion Designer Barbie (1960), Flight Attendant Barbie (1961), and Nurse Barbie (1962). However, in 1965 Barbie went into space, two years after cosmonaut Valentina Tereshkova became the first woman in space, and four years before the American moon landing. Barbie’s career stagnated in the 1970s, and she spends the decade being sports Barbie, perhaps as a response to her unpopularity among vocal second wave feminists and reflecting the economic downturn of the era. America’s shift to the right in the 1980s saw in the introduction of the Yuppie, the young urban professional who lived in the city, had a high-powered career, and was consumption-driven. More women were entering the workforce than ever before. Barbie also entered the workforce, spending less time doing the passive leisure of her earlier self (Ford). It also signals the beginning of neoliberalism in America, and a shift to individualism and the rise of the free market ethos. In 1985, Day-to-Night Barbie was sold as the first CEO Barbie who “could go from running the boardroom in her pink power suit to a fun night out on the town”. For Mattel she “celebrated the workplace evolution of the era and showed girls they could have it all”. But despite Barbie’s early careers, the focus was on her "emphasized femininity”, meaning that while she was now a career woman, her appearance and demeanor did not reflect her job. Astronaut Barbie (1985) is a good example of Barbie’s ‘emphasised femininity’ in how career Barbies were designed and dressed. Astronaut Barbie is clearly reflecting the fashion and culture trends of the 1980s by going into space in a “shiny, hot pink spacesuit”, comes with a second space outfit, a shiny “peplum miniskirt worn over silver leggings and knee-high pink boots” (Bertschi), and her hair is too big to fit into the helmet. A dark-skinned US Astronaut Barbie was released in 1994, which coincided with the start of the Shuttle-Mir Program, a collaboration between the US and Russia which between 1994 and 1998 would see seven American astronauts spend almost 1,000 days living in orbit with Russian cosmonauts on the Mir space station. Throughout the 1990s, Barbie increasingly takes on careers more typically considered to be male careers. But again, her femininity in design, dressing and packaging takes precedence over her career. Police Officer Barbie (1993), for example, has no gun or handcuffs. Instead, she comes with a "glittery evening dress" to wear to the awards dance where she will get the "Best Police Officer Award for her courageous acts in the community”. Police Office Barbie is pictured on the box "lov[ing] to teach safety tips to children". Barbie thus “feminizes, even maternalises, law enforcement” (Rogers 14). In 1992, Teen Talk Barbie was released. She had a voice box programmed to speak four distinct phrases out of a possible 270. She sold for US$25, and Mattel produced 350,000, expecting its popularity. The phrases included ‘I Love Shopping’ and ‘Math class is tough’. The phrase ‘Math class is tough’ was seen by many as reinforcing harmful stereotypes about girls and math. The National Council of American Teachers of Maths objected, as did the American Association of University Women (NYT 1992). In response to criticisms of the gendered representations of Barbie’s careers, Mattel have more recently featured Barbie in science and technology fields including Paleontologist Barbie (1996 and 2012), Computer Engineer Barbie (2010), Robotics Engineer Barbie (2018), Astrophysicist Barbie (2019), Wildlife Conservationist Barbie, Entomologist Barbie (2019), and Polar Marine Biologist Barbie (all in collaboration with National Geographic), Robotics Engineer Barbie (2018), Zoologist Barbie (2021), and Renewable Energy Barbie (2022), which go some way to providing representations that at least encompass the ideal that ‘Girls Can Do Anything’. Barbie over her lifetime has also taken on swimming, track and field, and has been a gymnast. Barbie was an Olympic gold medallist in the 1970s, with Mattel releasing four Barbie Olympians between 1975 and 1976, arguably cashing in on the 1976 Montreal Olympics. Gold Medal Barbie Doll Skier was dressed in a red, white, and blue ski suit completed with her gold medal. Gold Medal Barbie Doll is an Olympic swimmer wearing a red, white, and blue tricot swimsuit, and again wears an Olympic gold medal around her neck. The doll was also produced as a Canadian Olympian wearing a red and white swimsuit. Gold Medal Barbie Skater looks like Barbie Malibu and is dressed in a long-sleeved, pleated dress in red, white, and blue. The outfit included white ice skates and her gold medal. Mattel also made a Gold Medal P.J. Gymnast Doll who vaulted and somersaulted in a leotard of red, white, and blue tricot. She had a warm-up jacket with white sleeves, red cuffs, white slippers, and a gold medal. Mattel, as part of a licencing agreement with the International Olympic Committee, produced a range of toys for the 2020 Tokyo Olympics. The collection of five Barbies represented the new sports added to the 2020 Olympics: baseball and softball, sport climbing, karate, skateboarding, and surfing. Each Barbie was dressed in a sport-specific uniform and had a gold medal. Barbie Olympic Games Tokyo 2020 Surfer, for example, was dressed in a pink wetsuit top, with an orange surfboard and a Tokyo 2020 jacket. For the 2022 Winter Olympics and Paralympics, Mattel released a new collection of Barbie dolls featuring among others a para-skiing Barbie who sits on adaptive skis and comes with a championship medal (Douglas). As part of Mattel’s 2023 Barbie Career of the Year doll, the Women in Sports Barbie range shows Barbie in leadership roles in the sports industry, as manager, coach, referee, and sport reporter. General Manager Barbie wears a blue-and-white pinstripe suit accessorised with her staff pass and a smartphone. Coach Barbie has a pink megaphone, playbook, and wears a two-piece pink jacket and athletic shorts. Referee Barbie wears a headset and has a whistle. Sports Reporter Barbie wears a purple, geometric-patterned dress and carries a pink tablet and microphone (Jones). Political Barbie Barbie has run for president in every election year since 1992. The first President Barbie came with an American-themed dress for an inaugural ball and a red suit for her duties in the Oval Office. In 2016, Barbie released an all-female presidential ticket campaign set with a president and vice-president doll. The 2000 President Barbie doll wore a blue pantsuit and featured a short bob cut, red lipstick pearl necklace, and a red gown to change into, “presumably for President Barbie’s inaugural ball” (Lafond). This followed the introduction of UNICEF Ambassador Barbie in 1989. She is packaged as a member of the United States Committee for UNICEF (United Nations International Children’s Emergency Fund), which is mandated to provide humanitarian and development aid to children worldwide. Rather problematically, and again with a focus on her femininity rather than the importance of the organisation she represents, she wears a glittery white and blue full length ball gown with star patterning and a red sash. While some proceeds did go to the US Committee for UNICEF, the dressing and packaging featuring an American flag overshadows the career and its philanthropic message. The period signalled the end of the Cold War and was also the year the United States invaded Panama, resulting in a humanitarian disaster when US military forces attacked urban areas in order to overthrow the Noriega administration. Military Barbie Barbie has served in every US military branch (Sicard). Barbie joined the US army in 1989, wearing a female officer’s evening uniform, though with no sense of what she did. While it may be thought Barbie would increase female in interest in a military career, at the time more women were already enlisting that in any other period from the early 1970s to 2012 (Stillwell). Barbie rejoined the army for the 1990-1991 Gulf War, wearing a Desert Combat Uniform and the 101st Airborne "Screaming Eagle" patch, and serving as a medic. Barbie also joined the Air Force in 1990, three years before Jeannie Leavitt became the first female Air Force fighter pilot. Barbie wore a green flight suit and leather jacket, and gold-trimmed flight cap. She was a fighter pilot and in 1994, she joined the USAF aerial demonstration team, The Thunderbirds. Busy in the 1990s, she also enlisted in the US Navy wearing women's Navy whites. Marine Corps Barbie appeared in 1992, wearing service and conduct medals (Stillwell). All of Barbie’s uniforms were approved by the Pentagon (Military Women’s Memorial). The 2000 Paratrooper Barbie Special Edition was released with the packaging declaring “let’s make a support drop with first aid and food boxes”. She was dressed in undefined military attire which includes a helmet, dog tags, parachute, boots, and hairbrush. Barbie’s Influence In 2014, Barbie became a social media influencer with the launch of the @barbiestyle Instagram account, and in 2015, Barbie launched a vlog on YouTube to talk directly to girls about issues they face. The animated series features Barbie discussing a range of topics including depression, bullying, the health benefits of meditation, and how girls have a habit of apologising when they don’t have anything to be sorry about. The Official @Barbie YouTube channel has over eleven million global subscribers and 23 billion minutes of content watched, making Barbie the #1 girls’ brand on YouTube. Barbie apps average more than 7 million monthly active users and the Instagram count boasts over 2 million followers. The 2023 Barbie film really does attest to Barbie’s influence 70 years after her debut. Barbie, as this article has shown, is more than an influencer and more than a doll, if she ever really was only a doll. She is a popular culture icon, regardless of whether we love her or not. Barbie has sometimes been ahead of the game, and sometimes has been problematically represented, but she has always been influential. Her body, race, ability, careers, independence, and political aspirations have spoken different things to those who play with her. She is fiercely defended, strongly criticised, and shirks from neither. She is also liberating, empowering, straight, and queer. As the articles in this issue reflect, Barbie, it seems, really can be anything. Imagining and Interrogating Barbie in Popular Culture The feature article in this issue outlines how Australian Barbie fans in the 1960s expressed their creativity through the designing and making of their own wardrobes for the doll. Through examining articles from the Australian Women’s Weekly, Donna Lee Brien reveals this rich cultural engagement that was partly driven by thrift, and mostly by enjoyment. Eva Boesenberg examines the social and environmental effects of a plastic doll that is positioned as an ecological ambassador. While there is no doubt that climate change is one of our most pressing social issues, Boesenberg questions the motivations behind Barbie’s eco-crusade: is she an apt role-model to teach children the importance of environmental issues, or is this just a case of corporate greenwashing? Emma Caroll Hudson shifts the focus to entertainment, with an exploration of the marketing of the 2023 blockbuster film Barbie. Here she argues that the marketing campaign was highly successful, utilising a multi-faceted approach centred on fan participation. She highlights key components of the campaign to reveal valuable insights into how marketing can foster a cultural phenomenon. Revna Altiok’s article zooms in on the depiction of Ken in the 2023 film, revealing his characterisation to be that of a ‘manic pixie dream boy’ whose lack of identity propels him on a journey to self-discovery. This positioning, argues Altiok, pulls into focus social questions around gender dynamics and how progress can be truly achieved. Rachel Wang turns the spotlight to Asian identity within the Barbie world, revealing how from early iterations a vague ‘Oriental’ Barbie was accompanied by cultural stereotyping. Despite later, more nuanced interpretations of country-specific Asian dolls, problematic features remained embedded. This, Wang argues, positions Asian Barbies as the racial ‘other’. Kaela Joseph, Tanya Cook, and Alena Karkanias’s article examines how the 2023 Barbie film reflects different forms of fandom. Firstly, Joseph interrogates how the Kens’ patriarchal identity is expressed through acts of collective affirmational fandom. Here, individual fans legitimise their positions within the group by mastering and demonstrating their knowledge of popular culture phenomena. Joseph contrasts this with transformational fandom, which is based upon reimagining the source material to create new forms. The transformation of the titular character of the Barbie movie forms the basis of Eli S’s analysis. S examines how the metaphor of ‘unboxing’ the doll provides an avenue through which to understand Barbie’s metamorphosis from constrained doll to aware human as she journeys from the pink plastic Barbie Land to the Real World. Anna Temel turns her critical gaze to how the 2023 film attempts to reposition Barbie’s image away from gender stereotypes to a symbol of feminist empowerment. Director Greta Gerwig, Temel argues, critiques the ‘ideal woman’ and positions Barbie as a vehicle through which contemporary feminism and womanhood can be interrogated. Temel finds that this is not always successfully articulated in the depiction of Barbie in the film. The reading of the Barbie movie’s Barbie Land as an Asexual Utopia is the focus of Anna Maria Broussard’s article. Here Broussard draws the focus to the harmonious community of dolls who live without social expectations of sexuality. Barbie provides a popular culture reflection of the Asexual experience, expressed through Barbie’s rejection of a heteronormative relationship both in Barbie Land and the Real World. Completing this collection is Daisy McManaman’s article interrogating the multiple iterations of the doll’s embodied femininity. Incorporating an ethnographic study of the author’s relationship with the doll, McManaman uncovers that Barbie serves as a site of queer joy and a role model through which to enjoy and explore femininity and gender. These articles have been both intellectually stimulating to edit, and a joy. We hope you enjoy this collection that brings a new academic lens to the popular cultural phenomenon that is Barbie. References Aguirre, Abby. “Barbiemania! Margot Robbie Opens Up about the Movie Everyone’s Waiting For.” Vogue, 24 May 2023. 16 Mar. 2024 <https://www.vogue.com/article/margot-robbie-barbie-summer-cover-2023-interview>. Bertschi, Jenna. “Barbie: An Astronaut for the Ages.” Smithsonian National Air and Space Museum, 18 Jul. 2023. 11 Mar. 2024 <https://airandspace.si.edu/stories/editorial/barbie-astronaut-ages>. Blackmore, Erin. “Barbie’s Secret Sister Was a German Novelty Doll.” History.com, 14 Jul. 2023. 11 mar. 2024 <https://www.history.com/news/barbie-inspiration-bild-lilli>. 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