Literatura académica sobre el tema "Médias et culture – Balkans"

Le premier XIXe si?cle met la Serbie en contact plus intense avec la France, berceau des valeurs d?mocratiques et du patrimoine culturel europ?en aux yeux des Serbes subissant l?occupation turque depuis des si?cles. C?est ? partir de cette p?riode que commencent ? se d?velopper les liens culturels, politiques et ?ducatifs plus ?troits entre deux pays, particuli?rement renforc?s pendant la Grande Guerre, o? la France aide les jeunes serbes en leur ouvrant la porte de ses ?coles et universit?s. La Convention sign?e en 1920 en vue de la mise en place de la coop?ration intellectuelle et ?ducative (surtout universitaire) des deux pays pr?voyait ?galement la position privil?gi?e de la langue fran?aise au sein du syst?me ?ducatif serbe : en effet, dans les ann?es 30 du XXe si?cle, celleci sera la mati?re la plus enseign?e apr?s la langue serbe et les math?matiques, et le Minist?re des affaires ?trang?res fran?aises enverra r?guli?rement des livres fran?ais, ainsi que des dipl?mes et m?dailles pour les meilleurs ?l?ves. En raison de la croissance de l?influence politique italienne et surtout allemande dans les Balkans, un Congr?s des clubs fran?ais de Yougoslavie, tenu en 1935, marque le d?but des d?marches coordonn?es visant ? renforcer la pr?sence fran?aise dans tous les domaines de la vie sociale yougoslave. Les responsables du D?partement d??ducation aupr?s de l?Ambassade yougoslave ? Paris (Aleksandar Arnautovic puis Milan Markovic) informaient r?guli?rement Belgrade des activit?s dans la capitale fran?aise et ailleurs. Les boursiers du Gouvernement fran?ais (qui accordait la moiti? de la somme totale du budget aux ?tudiants yougoslaves, dont le nombre variait entre 60 et 100 par an dans la p?riode 1936-1940), du retour dans leur pays, r?pandront l?esprit de la culture fran?aise, ainsi que les connaissances acquises dans tous les domaines. Parmi les personnalit?s importantes qui excelleront dans leur m?tier se trouvent : Dr Vukan Cupic, professeur ? l?Universit? de Belgrade et directeur de l?Institut belgradois pour la m?re et l?enfant (boursier du fonds d?Alexandre de Yougoslavie de la mairie de Marseille 1938-1940), le chimiste Pavle Savic qui collaborait avec Ir?ne Curie, Dr Borisav Arsic qui a soutenu la th?se La Vie ?conomique de la Serbie du Sud au XIX si?cle (Paris, France-Balkans, 1936), Dr Branislav Vojnovic, directeur du Th??tre national, Dr Milos Savkovic qui ?tudiait l?influence de la litt?rature fran?aise sur le roman serbe etc. Les jeunes yougoslaves choisissent surtout la litt?rature, les arts et les sciences humaines. D?autre c?t?, le gouvernement yougoslave finan?ait chaque ann?e cinq ?tudiants fran?ais faisant la recherche au sein des universit?s yougoslaves. De nombreuses conf?rences sont dispens?es par les professeurs yougoslaves et fran?ais ; les ?coles franco-serbes, l?Institut fran?ais, les clubs et les associations de l?amiti? donnent les cours de fran?ais ; l?Association des ?tudiants en langue et litt?rature fran?aises organise les soir?es fran?aises et va r?guli?rement en excursions en France ; le Minist?re d??ducation finance les formations estivales des professeurs de fran?ais. Du c?t? fran?ais, l?Institut slave, la Chaire de serbo-croate ? l??cole de langues vivantes orientales avec des professeurs ?minents tels Andr? Vaillant et Andr? Mazon, le Lectorat serbe ? Paris, Strasbourg, Lyon etc. contribuaient aux ?tudes yougoslaves. La langue serbo-croate a ?t? inscrite sur la liste des langues vivantes que les ?l?ves pouvaient passer au baccalaur?at en 1936. Pourtant, cet ?panouissement sera de nouveau menac? par une p?n?tration politique et ?conomique des forces de l?Axe de plus en plus forte ? la veille de la Deuxi?me guerre mondiale : c?est ainsi que l?allemand devient la langue ?trang?re obligatoire au detriment du fran?ais en 1940, les entreprises fran?aises ferment leurs portes, tandis que de nombreuses activit?s culturelles et d?marches ?ducatives cherchent ? pr?server l??tat privil?gi? dont la France jouissait en Serbie depuis la Grande Guerre.

Introdução: A terapia fotodinâmica representa uma abordagem alternativa para a desinfecção do tecido cariado e tem apresentando resultados promissores no que diz respeito ao seu efeito deletério sobre os microrganismos envolvidos na progressão da cárie dentária. Objetivo: Investigar a produção científica brasileira sobre Terapia Fotodinâmica no manejo da Cárie dentária. Material e método: Tratou-se de uma pesquisa transversal, com abordagem quantitativa, a partir de dados secundários. Realizou-se uma análise bibliométrica dos resumos apresentados nas últimas dez Reuniões da Sociedade Brasileira de Pesquisa Odontológica. A pesquisa dos trabalhos procedeu-se através da seguinte estratégia: localização do fragmento “terapia fotodinâmica” e/ou “fotodinâmica” entre os resumos publicados nos anais do evento (1ª fase), em seguida foi realizada a busca pelo fragmento “cárie” e/ou “cardiologia” nos resumos selecionados na 1ª fase. Resultados: Foram selecionados 21 resumos, desses, 15 (71,43%) foram realizadas em universidades públicas, 13 (61,91%) receberam auxílio financeiro, 11 (52,38%) foram desenvolvidas na região Sudeste do Brasil, 9 (42,86%) eram do tipo in vitro, 6 (28,58%) utilizaram apenas o azul de toluidina como fotossensibilizante e 5 (23,81%) utilizaram apenas o LED vermelho como fonte de luz. Conclusão: Apesar dos resultados promissores da Terapia Fotodinâmica como terapia adjunta ao manejo da cárie, observou-se que poucas pesquisas abordando esse procedimento foram desenvolvidas nos últimos dez anos no Brasil.Descritores: Fotoquimioterapia; Cárie Dentária; Coleta de Dados.ReferênciasBradshaw DJ, lynch RJ. Diet and the microbial aetiology of dental caries: new paradigms. Int Dent J. 2013;63(Suppl 2):64-72.Hasan S, Singh K, Danisuddin M, Verma PK, Khan AU. Inhibition of major virulence pathways of Streptococcus mutansby quercitrin and deoxynojirimycin: a synergistic approach of infection control. PLoS one. 2014;9:1-12.Metwalli KH, Khan AS, Krom BP, Jabra-Rizk MA. Streptococcus mutans, Candida albicans, and the human mouth: a sticky situation. PLoS Pathog. 2013;9:1-5.Rouabhia M, Chmielewski W. Diseases associated with oral polymicrobial biofilms. Open Mycol J. 2012;6:27–32.Rozier RG, White BA, Slade GD. Trends in oral diseases in the U.S. population. J Dent Educ. 2017;81:98-109.Marcenes W, Kassebaum NJ, Bernabé E, Flaxman A, Naghavi M, Lopez A, et al. Global burden of oral conditions in 1990-2010: a systematic analysis. J Dent Res. 2013;9:592-97.Agnelli PB. Variação do índice CPOD do Brasil no período de 1980 a 2010. Rev bras odontol. 2015;72:10-5.Zaygorodniy AV, Rohanizadeh R, Swain MV. Ultrastructure of the dentine carious lesions. Arch Oral Biol. 2008; 53:124-32.Saffarpour M, Mohammadi M, Tahriri M, Zakerzaden A. Efficacy of modified bioactive glass for dentin remineralization and obstruction of dentinal tubules. J Dent. 2017;14:212-22.Leksell E, Ridell K, Cvek M, Mejàre I. Pulp exposure after stepwise excavation of deep carious lesions in young posterior permanent teeth. Endod Dent Traumatol. 1996;12:192-96.Ricketts D, Lamont T, Innes NP, Kidd E, Clarkson JE. Operative caries management in adults and children. Cochrane Database Syst Rev. 2013;28:1-52.Griffin SO, Oong E, Kohn W, Vidakovic B, Gooch BF, Bader J, et al. The effectiveness of sealants in managing caries lesions. J Dent Res. 2008;87:169-74.Duque C, Negrini TC, Sacono NT, Boriollo MFG, Hofling JF, Hebling J et al. Genetic polymorphism of Streptococcus mutans strains associated with incomplete caries removal. Braz J Oral Sci. 2009;8:2-8.Lula EC, Monteiro-Neto V, Alves CM, Ribeiro CC. Microbiological analysis after complete or partial removal of carious dentin primary teeth: a randomized clinical trial. Caries Res. 2009;43:354-58.Williams JA, Pearson GJ, Colles MJ, Wilson M. The photoactivated antibacterial action of toluidine blue O in a collagen matrix and carious dentine. Caries Res. 2004;38:530-36.Pereira CA, Costa AC, Carreira CM, Junqueira JC, Jorge AO. Photodynamic inactivation of Streptococcus mutans and Streptococcus sanguinis biofilms in vitro. Lasers Med Sci. 2012;28:859-64.Melo MAS, Zanin ICJ, Rolim JPML, Rodrigues LKA. Characterization of Antimicrobial Photodynamic Therapy-Treated Streptococci mutans: An Atomic Force Microscopy Study. Photomed. Laser Surg. 2013;31:105-9.Steiner-Oliveira C, Ramalho, KM, Bello-Silva MS, Aranha ACC, Eduardo CP. The use of lasers in restorative dentistry: truths and myths. Braz Dent Sci.2012;15:40.Santin GC, Oliveira DBS, Galo R, Borsatto MC, Corona SAM. Antimicrobial photodynamic therapy and dental plaque: a systematic review of the literature. Scientific World Journal. 2014.Neves PA, Lima LA, Rodrigues FC, Leitão TJ, Ribeiro CC. Clinical effect of photodynamic therapy on primary carious dentin after partial caries removal. Braz. Oral Res. 2016;30:1-8.Melo MA. Photodynamic Antimicrobial Chemotherapy as a Strategy for Dental Caries: Building a More Conservative Therapy in Restorative Dentistry. Photomed Laser Surg. 2014;32:589-91.Soria-Lozano P, Gilaberte Y, Paz-Cristobal MP, Pérez-Artiaga L, Lampaya-Pérez V, Aporta et J, et al. In vitro effect photodynamic therapy with differents photosensitizers on cariogenic microorganisms. BMC Microbiology. 2015;15:2-8.Araújo PV, Correia-Silva F, Gomez RS, Massara L, Cortes ME, Poletto LT. Antimicrobial effect of photodynamic therapy in carious lesions in vivo, using culture and real time PCR methods. Photodiagnosis Photodyn Ther. 2015;12(3):401-7.Misba L, Kulshrestha S, Khan AU. Antibiofilm action of a toluidine blue O-silver nanoparticle conjugate on Streptococcus mutans: a mechanism of type I photodynamic therapy. Biofouling. 2016;32:313-28.Gursoy H, Ozcakir-Tomruk C, Tanalp J, Yilmaz S. Photodynamic therapy in dentistry: a literature review. Clin Oral Investig. 2013;17(4):1113-25.Melo MA, Rolim JP, Passos VF, Lima RA, Zanin IC, Codes BM, et al. Photodynamic antimicrobial chemotherapy and ultraconservative caries removal linked for management of deep caries lesions. Photodiagnosis Photodyn Ther. 2015;12(4):581-86.Feuerstein O. Light therapy: complementary antibacterial treatment of oral biofilm. Adv. Dent. Res. 2012;24:103-7.Longo JP, Leal SC, Simioni AR, Almeida-Santos FM, Tedesco AC, Azevedo RB. Photodynamic therapy disinfection of carious tissue mediated by aluminum-chloride-phthalocyanine entrapped in cationic liposomes: an in vitro and clinical study. Lasers Med. Sci. 2012;27:575-84.Araújo NC, Fontana CR, Bagnato VS, Gerbi ME. Photodynamic antimicrobial therapy of curcumin in biofilms and carious dentine. Lasers Med Sci. 2014;29(2):629-35.Teixeira AH, Pereira ES, Rodrigues LK, Saxena D, Duarte S, Zanin IC. Effect of photodynamic antimicrobial chemotherapy on in vitro and in situ biofilms. Caries Res. 2012;46(6):549-54.O'neill JF, Hope CK, Wilson M. Oral bacteria in multispecies biofilms can be killed by red light in the presence of toluidine blue. Lasers Surg Med. 2002;31(2):86-90.Dougherty TJ, Gomer CJ, Henderson BW, Jori G, Kessel D, Korbelik M et al. Photodynamic therapy. J Natl Cancer Inst. 1998;90(12);889-905.Dougherty TJ. An update on photodynamic therapy applications. J Clin Laser Med Surg. 2002;20(1):3-7.Bargrizan M, Fekrazad R, Goudarzi N, Goudarzi N. Effects of antibacterial photodynamic therapy on salivary mutans streptococci in 5- to 6-year-olds with severe early childhood caries. Lasers Med Sci. 2018;34(3):433-40.Hakimiha N. The susceptibility of Streptococcus mutans to antibacterial photodynamic therapy: a comparison of two diferente photosensitizers and light sources. J Appl Oral Sci. 2014;22:80-4.Baptista A, Kato IT, Prates RA, Suzuki LC, Raele MP, Freitas AZ et al. Antimicrobial photodynamic therapy as a strategy to arrest enamel demineralization: a short-term study on incipient caries in a rat model. Photochem Photobiol. 2012;88(3):584-89.Longo JPF, Azevedo RB. Efeito da terapia fotodinâmica mediada pelo azul de metileno sobre bactérias cariogênicas. Rev Clín Pesq Odontol. 2010;6(3):249-57.Guglielmi CA, Simionato MR, Ramalho KM, Imparato JC, Pinheiro SL, Luz MA et al. Clinical use of photodynamic antimicrobial chemotherapy for the treatment of deep carious lesions. J Biomed Opt. 2011;16(8):088003.Tonon CC, Paschoal MA, Correia M, Spolidório DM, Bagnato VS, Giusti JS et al. Comparative effects of protodynamic trerapy mediated by curcumin on standard and clinical isolate of streptococcus mutans. J Contemp Dental Pract. 2015;16(1):1-6.Araújo NC, Fontana CR, Bagnato VS, Gerbi ME. Photodynamic effects of curcumin against cariogenic pathogens. Photomed Laser Surg. 2012;30(7):393-99.Nagata JY, Hioka N, Kimura E, Batistela VR, Terada RS, Graciano AX, et al Antibacterial photodynamic therapy for dental caries: Evaluation of the photosensitizers used and light source properties. Photodiagnosis Photodyn Ther. 2012; 9: 122-31.Dias AA, Narvai PC, Rêgo DM. Tendências da produção científica em odontologia no Brasil. Rev Panam Salud Publica/Pan Am J Public Health. 2008;24(1):54-60.Baltazar LM, Ray A, Santos DA, Cisalpino PS, Friedman AJ, Nosanchuk JD. Antimicrobial photodynamic therapy: an effective alternative approach to control fungal infections Front Microbiol. 2015;6:202.Steiner-Oliveira C, Longo PL, Aranha AC, Ramalho KM, Mayer MP, Paula Eduardo C. Randomized in vivo evaluation of photodynamic antimicrobial chemotherapy on deciduous carious dentin. J Biomed Opt. 2015;20(10):108003.Martin ASS, Chisini LA, Martelli S, Sartori LRM, Ramos EC, Demarco FF. Distribuição dos cursos de Odontologia e de cirurgiões-dentistas no Brasil: uma visão do mercado de trabalho. Rev. ABENO. 2018;18(1):63-73.Scarpelli AC, Sadenberg F, Goursand D, Paiva SM, Pordeus IA. Academic trajectories of dental researchers receiving CNPq’s productivity grants. Braz Dent J. 2008;19(3):252-56.Oliveira Filho RS, Rochman B, Nahas FX, Ferreira LM. Fomento à publicação científica e proteção do conhecimento científico. Acta Cir Bras. 2005;20(Supl 2):35-9.Pinto GS, Nascimento GG, Mendes MS, Ogliari FA, Demarco FF, Correa MB. Scholarships for scientific initiation encourage post-graduation degree. Braz Dent J. 2014;25(1):63-8.Brasil. Ministério da Educação. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior. 2016. (Acesso em 01 de agosto de 2018). Disponível em: http://www.capes.gov.br/images/documentos/Documentos_de_area_2017/18_odon_docarea_2016.pdf.Allareddy V, Allareddy V, Rampa S, Nalliah RP, Elangovan S. Global dental research productivity and its association with human development, gross national income, and political stability. J Evid Based Dental Pract. 2015;15(3):90-6.Celeste RK, Warmling CM. Produção bibliográfica brasileira da Saúde Bucal Coletiva em periódicos da saúde coletiva e da odontologia. Ciênc Saúde Colet. 2014; 19(6):1921-32.

Ingredients: Men, Women, Modern Kitchens, and the Gender Culture For working couples, the end of the day brings to the middle-class family with children the need to prepare the evening meal. Beyond an instrumental task to be performed, the kitchen space is hereafter the locus where the gender culture becomes visible. Who cooks? How does he/she cook? How good does he/she cook? In answering these questions, two main variables of context have to be clearly addressed. Firstly, contemporary gender culture promotes both men and women as “equal potential cookers.” Claims for gender equality are pervasive in the kitchen space, traditionally occupied by women, whose socialisation to be a “perfect housewife” served as a guarantee that they would “naturally” be good cooks, as well as good wives and mothers (Parsons and Bales). Currently, however, because individuals are now less defined by the traditional gender roles (Beck, Giddens, and Lash), one can expect either the man or the woman, or both, to prepare meals. From “sacrifice to gift” (Kaufmann), the possibilities are as numerous as the individuals who carry with them different and multiple socialisation processes that they differently mobilise in distinctive settings (Lahire). Secondly, the space of the kitchen has never been so technologically advanced as today. Contrary to images of a tiring, time-consuming, and demanding family workspace, the contemporary kitchens are equipped with such machinery assuring for efficiency, time domain, and aesthetic appeal (Daly, Gillis, Kaufmann, and Silva). Moreover, a paraphernalia of highly sophisticated equipment promises to help even the most awkward to be a successful and impressive chef. Nonetheless, the kitchens’ space has not ceased to be a profound and complex arena of family life, intimacy, and sociability (Southerton). Additionally, tradition, cultural heritage, knowledge, expertise, tenderness, pleasure, love, passion, and even sex: those are some of the “ingredients” with which media and popular culture socially construct the kitchen’s space (see for instance, the films Woman on Top, and Eat Pray Love, and television series Hell’s Kitchen featuring chef Gordon Ramsay). In this paper, I analyse the exploitation of the cookbook as an instrument used by some women aiming to encourage a greater participation rate among men in the cooking task. To study this topic was not an initial aim of research. Instead, it has emerged in the broader context of a previous sociological research devoted to the study of family practices (Morgan, Family Connections and Rethinking Family Practices), specifically family rituals within Portuguese middle-class families (Costa). Data was collected through episodic interviews (Flick) applied to both men and women with at least one child between the age of 3 and 14 years old. In this major study, a theoretical sample (Glaser and Strauss) of 30 individuals (with a mean age of 38 years old) were asked to describe in detail their “normal” and “special” moments or days. Through a subsequent content analysis (Bardin) carried out with the qualitative software NVivo (developed by QSR ©International), the cooking task has emerged from the data as a meaningful category. Findings presented and discussed hereafter are based upon the interviewees’s accounts that focus on a very circumscribed phase of their daily life, namely when they arrive home at the end of the day and need to prepare a “good,” “quick” meal. Particularly, in the case of the men’s accounts, the mention to the ways women urge men to participate (more) in the cooking tasks become prominent when talking about the use of the Bimby and it’s correlated recipe book. The Bimby (Thermomix) is a multi-function food processor intended for domestic use, commercialized by German company Vorwerk since the 1970s, yet only more recently having gained wide popularity in Portugal (Truninger). In short, this text focuses on the cookbook and related “mundane practices” (Martens) within the context of the appropriation of high-tech equipment in the kitchen to discuss the power of the socialisation of gender. Our argument is that cookbooks can be a way to dissipate the old difficulties that men, particularly, face in the kitchen; and at the same time, their use (and misuse) reinforces the persistence of some gaps due to previous and unequal socialisation regarding cookery as a skill. Preparation: Places, Spaces, Tasks, and (Traditional) Social Roles When arriving home early in the evening, both men and women usually occupy different spaces and perform different tasks, thus assuming distinctive social roles (Costa). Notwithstanding some recent changes causing a greater participation of men in domestic life (Wall, Aboim, and Cunha), Portuguese families still experience a very unequal household division of labour. At the same time that Portuguese women participate strongly in the paid work economy, especially on a full-time basis, they also undertake the majority of the household chores—both in number and time spent in doing so—such as the regular tasks of cooking, washing, and cleaning (Aboim, Wall and Amâncio). In most cases analysed in this study, there also remains a clear division of tasks concerning the preparation of the daily evening meal. Whereas the woman frequently prepares the evening meal, the man more often performs complimentary tasks such as setting the table for dinner and, afterwards, putting the dishes in the dishwasher and removing them once washed. Underlying this, couples seem to have negotiated an “agreement of exchange,” where women are responsible for a particular task, while men preferably “assume” or “choose another one.” Hence, insofar as women assume the task of cooking on a regularly basis, the participation of men in the preparation of meals is far more episodic (for example, at the weekend, for parties, at Christmas time or on some other special day or occasion). This can explain why men more often refer to the exact content of the daily meals they prepare as relatively “simple” and “fast”—dishes such as “grilled,” “tidbits,” “fries,” or precooked food for microwave are common. The “unpreparedness” or “lack of practice” of men and, consequently, the “greater experience” and/or “preparation” of their wives/partners are, coincidentally, evoked to justify why men do not participate more in the meal preparation. Both men and women refer either to the “tradition” or to a certain “naturalisation” of the women’s skills as the main arguments for the way they share tasks around the evening meal. Actually, most of the men who were interviewed admitted not being “ready” or “prepared” to perform specific tasks once married or living with a partner. The “blame” seems to be in the fact that they were not socialised to clean, wash, or cook when unmarried. When living with their parents, they were responsible for only minor tasks like tidying up their rooms, making their beds, or taking out the garbage. At other times, they may have “aided” their parents, yet only when “asked to do so.” In fact, when compared to women, these men were not domestically socialised as children or teenagers. Let us also remember that many came directly from their origin families into a procreation family. Thus, when they entered into a marital status, the task of cooking passed “automatically and intuitively” from their mothers into the hands of their wives/partners. Only with the (rare) deliberate refusal of the woman to cook does the male’s unpreparedness to cook become an issue and (may be) regarded as a problem in the couple’s relationship. The unpreparedness of males to cook is particularly evident in the absence of women, notably in post-divorce situations. Those who had performed cooking tasks previously or during the marriage were usually better prepared. For others, carrying out these tasks, either by choice or by imposition (for example, due to financial difficulties in the post-divorce period), meant facing many internalised social constraints. The support from close female figures (mother, friends, girlfriend, or colleagues) seems to be crucial in the path of self-instruction. The cookbook is both a new and old instrument that (also) serves this purpose. Variation: Bringing Men into the Kitchen with Cookbooks At this point, a variation is introduced in the gender division of labour related to the food preparation noted above. It is true that the generalisation of technology for cooking has followed in time the entry of men into the kitchen. In this context, I now turn upon specific accounts of men when referring to the use of the Bimby (Thermomix) in association with its recipe book. This food processor combines the functions of various utensils and small kitchen appliances: “it minces, chops, purees, weighs, stirs, grates, grinds, blends, cooks and simmers; in fact, it does the work of at least twelve kitchen devices and practically cleans itself when food preparation is done” (Vorwerk). Additionally, in order to be exploited to the fullest, the Thermomix comes with a cookbook whose instructions should be, it states, strictly followed. With this appliance, offering 12 functions in one single product, one can cook “everyday meals or elaborate menus, European or Asian specialties” (Vorwerk), with the guarantee that including soups, main courses and desserts, “everything turns out delicious” (Vorwerk). Pedro is 35; he has been married since 2000 and is the father of two boys, one 7 and the other 4 years old. His wife offered him this machine and corresponding cookbook with the aim of “encouraging” him to undertake some cooking tasks. However, he admits, “the result was only partially achieved.” He points out: “I can cook with the Bimby ... and even more through the Bimby; I admit, than with pots and all that.” Although strictly following the cookbook, Pedro recognises that he always “needs more time [than his wife] to make things work well in the kitchen.” Pedro feels that he lacks the “experience” and “training” that enables his wife to cook everything “very fast”: “Cooking very [emphasis added], very fast, honestly: I can’t! She can do it even when she is in a hurry ... If I have to read the recipes ... I have to take enough time to read and interpret them! And she ... she usually does it ... she doesn’t even have to think about it!” The gift of the Bimby was a purposeful means of trying to overcome some of the difficulties Pedro has in the kitchen. Metaphorically, I envisage it as a kind of “sugar” aimed to sweeten Pedro’s lack of cooking skills: “She [his wife] offered me the Bimby but ... the problem, I already told her ‘I could cook, but you have to give me enough time to cook!’”. Surprisingly in relation to such a piece of equipment that promotes itself as “the most superior kitchen appliance” (Vorwerk), using it is not simple for Pedro. The explanation, again, seems to be in the fact that his wife—in his perspective—does everything so “routinely” and in such an “intuitive” way that he can’t follow her example, despite using the cookbook. Additionally, his “inexperience,” “uncertainty,” and “slowness” sometimes rouses a lack of patience in his wife who, in turn, embodies all the opposite attributes. Sometimes, he says, the situation comes to a point where she tells him: “at this pace, it’s not worth it!” These are the cases where the kitchen overflows to an arena of tension, eventually even conflict, between knowing and doing (Casimiro). Pedro then “gets annoyed,” especially when his wife wants to set a pace he cannot keep up with: “Often I tell her ‘if you want to explain things to me, you have to waste some time with it.’ If you do not want to waste time, it [my cooking] is not worth it!”. Rui is 34, lives in a de-facto union and is the father of two boys, one four years of age and the youngest one-year-old. His example adds to the case of Pedro. The Bimby is also the “only cooking experience” Rui has beyond the grill. He admits he uses it, especially to cook soups for his youngest child, but still he prefers to leave his wife responsible for that task while he performs others. He recognises that using the Bimby, the task of cooking the soups is “fairly easy.” However, not everything runs smoothly: “Once I forgot to add water [laughs]; nonetheless, it went well [laughs]; it was not so bad! [laughs]”. The irony is that Rui reveals how he generally prefers to leave the kitchen to this wife: I have a script for kitchen because we have the famous Bimby, you’ve heard about it, right? Ok! I have a cookbook with a script of how to make the soup ... Honestly, I have done it four or five times, no more than that. I’d rather clear up the kitchen, wash the baby bottles, clean up the room, to put one of the kids to bed; these are my evening’ tasks. Not the soup because I ... I ... I even strive to do it ... but the true is that it does not always run smoothly. Both Pedro and Rui reveal the tensions some men face when appropriating kitchen appliances in the context of the contemporary couple’s relationships claiming of equality. Purposely used by some women as a dose of “sugar,” it eventually ends up to “spicing” rather than “sweetening” the relationship. At first sight, the use of the cookbook enables even the most unprepared individual to succeed in the kitchen. Nonetheless, as in the above cases, some men carry with them the (absence) of a socialisation for cooking that strongly shapes their use (and misuse) of the cookbook. The evoked arguments strongly emphasise the “tradition,” “experience,” “training,” “practice” and “mastery” they lack when compared to women. While this can be the epicentre of existing tensions between the couple, it underlines subtle yet profound socialisation processes, internalised values, and social roles. In questioning these complex relations, the transforming power of the cookbook has to be put in relative terms, since it allows—at least sometimes—for only a skin-deep change. Serving: The Cookbook—Sugar or Spice? Notwithstanding the several possible approaches to gendered culture in the kitchen, this text had no quantitative, generalisation, class, or culture comparative purpose. Instead, through a qualitative and in-depth approach, its main goal was to explore both the power and the limits of the cookbook as an instrument sometimes used by women aiming a greater participation of men in the cooking tasks. This arises as a particularly interesting issue in a context where men admitted that they were not domestically socialised as children or teenagers to clean, wash, or cook and, additionally, many of them went directly from their origin families into a procreation family. Summing up, cookbooks are not magical devices that can erase, at once, the complex and profound socialisation processes, internalized values, and social roles. In context, the cookbook can be either “sugar” or “spice” at the top of the gender culture. While, at the forefront, it can be purposely used by women to overcome some of the hardships men face at the kitchen; in the background its use (and misuse) reinforces the persistence of some gaps (still) unveiled through a previous and wider socialisation for cooking. More and more visible in contemporary society as either family or cultural heritage artefacts, media products or scientific outputs, cookbooks remain a site of endless interest, and this is also true in the sociological enquiry. In this article, analysing the use of a specific cookbook by men provides a forum through which the gender cultures can be examined in a simultaneously creative and fruitful way. As in the kitchen, one just has to “light the stove”. References Aboim, Sofia. “Gender Cultures and the Division of Labour in Contemporary Europe: A Cross-national Perspective.” The Sociological Review 58.2 (2010): 171–96. Bardin, Laurence. L’Analyse de Contenu. Paris: PUF, 1977. Beck, Ulrich, Anthony Giddens, and Scott Lash. Reflexive Modernization. Cambridge: Polity, 1994. Casimiro, Cláudia. "Da Violência Conjugal às Violências na Conjugalidade. Representações e Práticas Masculinas e Femininas. PhD Thesis in Social Sciences. Specialisation: ‘General Sociology’. University of Lisbon: Institute of Social Sciences of the University of Lisbon (ICS-UL), 2008 ‹http://repositorio.ul.pt/handle/10451/313›. Costa, Rosalina. Pequenos e Grandes Dias: os Rituais na Construção da Família Contemporânea [Small and Big Days. The Rituals Constructing Contemporay Families]. PhD Thesis. Social Sciences. Specialisation: General Sociology. University of Lisbon: Institute of Social Sciences of the University of Lisbon (ICS-UL), 2011. ‹http://hdl.handle.net/10451/4770›. Daly, Kerry J. Families & Time: Keeping Pace in a Hurried Culture. Thousand Oaks, Sage, 1996. Eat Pray Love. Dir. Ryan Murphy, 2010. Flick, Uwe. The Episodic Interview: Small-scale Narratives as Approach to Relevant Experiences (Series Paper). 1997. 29 Oct. 2010 ‹http://www2.lse.ac.uk/methodologyInstitute/pdf/QualPapers/Flick-episodic.pdf›. Gillis, John. A World of their Own Making. Myth, Ritual, and the Quest for family Values. Cambridge: Harvard UP, 1996. Glaser, Barney, and Anselm Strauss. The Discovery of Grounded Theory: Strategies for Qualitative Research. Chicago: Aldine, 1967. Hell’s Kitchen. Fox. May 2005-current. (U.S. Television series). Kaufmann, Jean-Claude. Casseroles, Amour et Crises : Ce Que Cuisiner Veut Dire. Paris: Armand Colin, 2005. Lahire, Bernard. L'Homme Pluriel. Les Ressorts de l'Action. Paris: Nathan, 1998. Martens, Lydia. “Practice ‘In Talk’ and Talk ‘As Practice’: Dish Washing and The Reach of Language.” Sociological Research Online: An Electronic Journal 17.2 (2012): on-line. Morgan, David. Family Connections—An Introduction to Family Studies. Cambridge: Polity Press, 1996. —. Rethinking Family Practices. Hampshire: Palgrave Macmillam, 2011. Parsons, Talcott, and Robert Bales. Family, Socialization and Interaction Process. Glencoe, IL: Free P of Glencoe, 1955. Silva, Elizabeth. “The Cook, the Cooker and the Gendering of the Kitchen.” Sociological Review. 48. 4 (2000): 612–27. Southerton, Dale. Consuming Kitchens. “Taste, Context and Identity Formation.” Journal of Consumer Culture 1.2 (2001): 179–203. Truninger, Mónica. “Cooking with Bimby in a Moment of Recruitment: Exploring Conventions and Practice Perspectives.” Journal of Consumer Culture 11.1 (2011): 37–59. Vorwerk. Thermomix Kitchen Appliance. 2013. 24 Apr. 2013 ‹http://corporate.vorwerk.com/en/divisions/thermomix-kitchen-appliance›. Wall, Karin, and Lígia Amâncio [Orgs.]. Família e Género em Portugal e na Europa. Lisboa: Imprensa de Ciências Sociais, 2007. Wall, Karin, Sofia Aboim, and Vanessa Cunha. A Vida Familiar no Masculino. Negociando Velhas e Novas Masculinidades. Lisboa: CITE, 2010. Woman on Top. Dir. Fina Torres, 2000.

IntroductionContemporary theorisations of family often present change in marriage as an icon of deinstitutionalisation (Cherlin). This idea, widely discussed in sociology, has been deepened and extended by Giddens, Beck and Beck-Gernsheim, Beck-Gernsheim and Bauman, considered to be the main architects of the individualisation, detraditionalisation and risk theses (Brannen and Nielsen). According to these authors, contemporary family is an ephemeral, fluid, and fragilereality, and weakening as a traditional institution. At the same time, and partly as a result of the changes to this institution, there has been a rise in the individual’s capacity to reflect on and choose their own life, to the point that living a life of their own becomes the individual’s defining injunction. Based on an in-depth and detailed analysis of a number of young Portuguese people’s accounts of their entry into conjugality, this paper seeks to unveil some of the hidden constraints which persist despite this claim to individualisation. Whilst individuals incorporate a personalised narrative in their construction of that “special day” – stressing the performance of the wedding they wanted, in the way they chose – these data show the continuing influence of the family on individual decisions (e.g. to marry or not to marry, and how to marry). These empirical findings thus contribute to the recent body of literature complexifying the individualisation and detraditionalisation theses (Smart and Shipman, Gross, Smart, Eldén).Using Sociology to Unveil Individualisation’s Hidden ConstraintsThis discussion of contemporary marriages is driven by empirical data from a sociological qualitative study based on episodic interviews (Flick, An Introduction to Qualitative Research and The Episodic Interview). This research (Costa) was developed in 2009 and aimed at an in-depth understanding of family practices (Morgan, Risk and Family Practices, Family Connections and Rethinking Family Practices), specifically family rituals (Bossard and Boll, Imber-Black and Roberts, Wolin and Bennett). Using a theoretical sampling (Glaser and Strauss), accounts were collected from 30 middle-class individuals, both men and women, living in an urban medium-sized city (Évora) in the south of Portugal (southern Europe), and with at least one small child between the age of 3 and 14 years old. Confidentiality and anonymity were maintained, and all names used in this paper are pseudonyms. For the purposes of this paper, I focus only on the women’s accounts. On the one hand, particularly for them, socialisation and media culture helped to consolidate a social representation around the wedding (Gillis, Marriages of the Mind); on the other hand, their more exhaustive descriptions of the wedding day allow better for examining the hidden constraints to individualisation. Data were coded and analysed through a thematic and structural content analysis (Bardin). The analysis of emerging themes and issues regarding the diverse ways of entering into conjugality was primarily assisted by qualitative software (NVivo, QSR International) and then presented in the form of contextualised narratives. Using a sociological perspective, the themes presented below illustrate the major conclusions of this study. Big Decisions: To Marry or Not to Marry? How to Marry?At the core of the decision of whether “to marry or not to marry?” and “how to marry?,” one can find multiple and complex arguments, which go beyond simplistic justifications based exclusively on the couple’s decision (Chesser; Maillochnon and Castrén). Women in particular display an awareness of the ways in which their decisions regarding marriage are crossed by the will, desires or preferences of the parents or in-laws. This was the case of Maria dos Anjos, married at the age of 26:It was a choice of the two of us [to marry]. Not an imposition. I didn’t care whether we were married by church or not… and there were times when I even put forward the possibility of a simple civil marriage. However, my parents really liked that I got married by the church. I'm not sure if this is due to tradition, if… and... they talked about it… and I also thought it was beautiful... it was a beautiful party... the dress, all that fantasy... and I really loved marrying in the church... so it became a strong possibility when we began to think about it [to get marry]… The argument that two people might marry because of or also to please the parents or in-laws explains, at least partially, a certain pressure that the fiancées feel before marriage to marry “in a certain way.” Filipa, who dated for ten years, lived the wedding day like “the realisation of a childhood’s dream.” The satisfaction she obtained was shared with her parents and in-laws:To marry in the church, with the wedding dress, and everything else... My mother in-law is a religious person too, right? So we felt that we both like it, the two of us, my mother, my mother-in-law, they would also like it, so we decided to marry in the church. To do the parents’ will is to meet the expectations around a “beautiful” wedding, but sometimes also to fulfil the marriage that the parents did not have. Lurdes is an only daughter, married at the age of 29. She argues that “marriage should be primarily significant for those who actually marry, not the parents or in-laws”. Yet, that was not her case: For us, maybe it was not so important; the paper signed, the ceremony in the church… maybe the two of us made it for our parents. It doesn’t mean that we didn’t have fun [...] and I don’t mean by this that it was a sacrifice, or a hardship […] My mother had no more daughters, and had a great will to marry her only daughter in the church. My mother was not married by the church, but was only married by civil registry. She never managed to convince my dad to get married by the church. And perhaps it was a bit... to project on me what she had not done! Despite her having the will to do but did not achieve it. And maybe I made her wish come true; I realise that she had that desire, a great desire that her daughter would marry in the church. For me, it was not a problem. So, we finally did agree and married in the church. The family of origin thus clearly has a great influence over some of the big decisions associated with marriage, such as whether to get married at all, and whether to involve the church in the process.Small decisions: It Is All about Details! The intrusion of the family of origin is also felt on the apparently more individual decisions as the choice of the dress or several other details concerning the organisation of the ceremony and the party (Chesser, Leeds-Hurwitz). The wedding dress is a good example of how women in particular perceive a certain pressure for conformity and subjection to buy it or choose it “in a certain way.” Silvia, who married at age 23, remembers: I married with a traditional wedding dress, even though I did not want to. I took a long veil, yet I did not want it... because at the time... I wanted to take a short dress... my mum thought I should not... because my mother did not marry in a wedding dress, did not marry in the church, she was already pregnant at the time and so on [downgrade of the tone] so she made pressure so that I was dressed properly.Precisely in order to run away from these impositions, some women admit having bought the dress alone, almost secretly. Maria dos Anjos, for example, chose and bought the wedding dress alone so that she did not have to give in to pressure from anyone: I really enjoyed it! I took a wedding dress... I was the one who chose it; I went to buy it myself, with my own money. I said to myself ‘the wedding dress, I will choose it; I will not be constrained by... I will not take my godmother and then think’... oh... I knew that if I did it, I would have to submit a little to her likes and dislikes… no! So I went to choose the dress alone. The girl who was in the shop was an acquaintance of mine, I tried a lot of them, and when I tried that one, I said to myself ‘this is it!’ and so it was the one!The position of the spouses in the sibling group also has an effect on numerous decisions that fiancées must make in the lead-up to the wedding. Raquel, who felt this pressure before marriage, attributed it to a large extent to the fact that her husband is an only child: Pressure in the sense that João [her husband]... he is an only child, right? So… his parents were always very concerned with certain things. And... everybody... even little things that had no importance, they wanted to decide on that! […] There are a lot of things that have to be decided, a lot of detail and… what I really think is that it is a really unique day, and it's all very important and all that but... but... then each one gives his/her opinion... And ‘I want this,’ ‘I want that,’ ‘I want the other’… it's too much; it's a lot of pressure... to manage... on one side, on the other side… because to try not to hurt vulnerabilities ends up being... crazy. Completely! Those fifteen days before... I think they are... they are a little crazy!Seemingly unimportant details (such as the fact that the mother did not marry in a wedding dress) end up becoming major arguments behind the suggestions or impositions made by both parents and in-laws in relation to decisions surrounding their children’s weddings.(Un)important Decisions: The Guest List The parents of the couple are often heavily involved in the planning of the wedding partly because, although the day is officially about the bride and groom, it is also the way that the parents share this important milestone with their family and friends (Pleck, Kalmijn, Maillochnon and Castrén). Interviewees say it is “easy” to decide on the guest list, since, at first glance arguments behind the most significant family relatives and friends to be present on the wedding day have to do with proximity, relationality and pleasure or happiness in sharing the moment. Nevertheless, it can be a hard task for couples to implement the criteria of proximity in the selection of guests as initially planned. In cases where the family is larger and there are economic constraints, it is common for fiancées to feel some unpleasantness from those relatives who would like to have been invited and were not. In other cases, parents, closer to the extended family, are the ones who produce this tension. On the one hand, they feel the need to justify to some relatives the choices of their adult children who did not include them in the guest list; on the other hand, they are forced to accept the fact that that decision lies with the couple. When planning the marriage of Dora, her mother at one point said something like “[…] ‘but my aunt invited us to her wedding and now...’” Dora understood the suspension of the sentence as a subtle pressure from her mother, although, for her, the question was indeed a very simple one: I give a lot of importance to the people who are with me on a day-to-day basis and that really are with me in good and bad times. [...] It happened. It was easy. For me, it was [laughs]. To my way of thinking it was. It cost my parents. However, not to me [laughs]. It cost me nothing! When the family is larger – but when there are no economic constraints which limit the number of guests – it is more common that weddings are bigger. In these circumstances, it is also more common to have a certain meddling from the families of origin encouraging couples to include the guests of the parents. Teresa admits this is precisely what happened with her: It was not so difficult because we were not also so limited. […] We left everything to the satisfaction of all. […] there were many people who were distant relatives, whom I was not close to. It didn’t really matter to me whether those people were present or not. It had more to do with the will of my parents. And usually we were also invited to those people’s weddings, so maybe it was also because of that… In some other cases there is a kind of agreement between parents and adult children, which allows both to invite “whoever they want”. This is the case of Marina, who had 194 guests “on her side,” against around 70 invited by her husband: I invited more people than him. Why? Well... I could count on my parents, right? And what my parents told me was: ‘you invite whoever you want!’. So, I invited my friends, and some other people I was not as close to, but who my parents wanted me to invite, right? […] but ok, they made a point of inviting them, and since they did not impose any financial limits, instead, they said to me ‘invite whoever you want to’, and we invited... For me, it was a ‘deal.’ I was indifferent about it [laughs]. Marina admits that she made a “deal” with her parents. By letting them pay the costs, she gave tacit consent that they could invite those who they wanted, even if it was the case those guests “didn’t relate to [her] at all.” At the wedding of Raquel, the fact that “there is family that [only her] parents were keen on inviting” was one of the main points of contention between her parents and the couple. The indignation was greater since it was “your [their own, not the parent’s] wedding” and they were being pressed to include people who they “hardly knew,” and with whom they “had no connection”: There were people who came who I did not know even who they were! Never seen them anywhere... but ok, my parents were keen on inviting some people, because they know them and all that... and then... it went into widening, extending and then... it ended up with more than one hundred guests […] we wanted it to be more intimate, more... with closer people… but it was not! The engaged couple thus recognises the importance of the parents’ guests. As one of the interviewees points out, the question is not so much the imposition of the will of the parents, rather the recognition of the importance of certain guests because “they are important to the parents.” Thus, the importance of these guests is not directly measured by the couple, but indirectly by being part of the importance that parents give them.Counter-Decisions: Narratives from the Inside Out Joana, a first daughter, “felt in her skin” the “punishment” for not having succumbed to the pressure she felt over her decision to marry. She told us she had her teenage dreams; however, as she grew older she identified herself less and less with the wedding ceremony. Moreover, with the death of her grandmother, who was especially meaningful to her, “it no longer made sense” to arrange that kind of ceremony since it would always be “incomplete” without her presence. Her boyfriend also did not urge that they marry, instead preferring to live in a de facto union. Joana felt strongly the pressure to take on a role that her parents and in-laws wanted: on the one hand, because she was “a girl, and the oldest daughter;” on the other hand, because her mother-in-law insisted since she had not saw her other daughter to get marry in church, as she was only civilly married. In fact, Joana could marry in church because she had been educated in the Catholic religion and met all the formal requirements to perform a religious marriage: I was the person who was prepared to move forward with this. And I did not! I'm not sorry. I don’t regret it at all! Although not regretted, Joana felt “very deeply” the gap between the expectations of her parents and the direction that she decided to give to her life when she told her parents she did not wanted to marry. She had the same boyfriend since adolescence, whom she moved in with on a New Year's Day at the age of 27. On that evening she organised a small party in the house they had rented and furnished, and stayed there for good. The mother “never forgave her.” The following year, when her sister got married, Joana “had the punishment” of, in the eyes of the mother, “not having done the right thing”: one thing I would have loved to have was a nightshirt [old piece of clothing, handmade] of my grandmother [...] But my mother kept the nightshirt and gave it to my sister on the day she married! My sister also loved my grandmother..., but she didn’t have the same emotional bond that I had with her! So, I got hurt. Honestly, I got! And the day of my sister's wedding for me it was full of surprises... This episode is particularly revealing of how Joana experienced the disappointment that caused to her parents for not having married: I did not have the faintest idea that she [her mother] was going to do that... Yet she kept it [the nightshirt]! [...] She kept it, and then she gave it to my sister! [...] It was my grandmother’s! And then I said, ‘but I was the first to get married!’ And it was I who had a closer relationship with my grandmother. I found it very unfair! [...] Joana sees this wedding gift as “a prize”: It was... she [her sister] was awarded because ‘you did the right thing,’ ‘you got married,’ ‘you had done it with all the pomp ... so take this [the nightshirt], that was of your grandmother!’ The day of her sister's wedding would still hold another surprise for Joana, that one coming from her father. She remembers always seeing at home a bottle of aged whiskey that her father “kept for the first daughter who gets to marry.” I did not get married, right? And... and it was sad to see that day and get the bottle open, the bottle that was proudly kept untouched for many years until the first daughter to marry... Whilst most women admit to have given in to pressure from parents and in-laws, Joana’s example demonstrates another side – emotionally painful – of those who did not conform to marry or to marry in a certain way.Conclusion Based on empirical research on marriages as a family ritual, I have argued that behind representations and discourses of a wedding “of our own,” quite often individuals grant the importance, of, and sometimes they are even pressured by, their families of origin (e.g. parents and in-laws). At the crossroad of tradition and modernity, this pressure is pervasive from the most important to the most apparently trivial decisions or details concerning the mise en scène of the ritual elements chosen to give a symbolic meaning to the ceremony and party (Chesser, Leeds-Hurwitz).Empirical findings and data discussion thus confirm and reinforce the high symbolic value that, despite all the changes weddings, still assume in contemporary society (Berger and Kellner, Segalen and Gillis, A World of their Own Making, Our Virtual Families and Marriages of the Mind). The power and influence of the size and density of the families of origin is not a part of history left behind by the processes of individualization and detraditionalization; rather, families continue to play a central role in structuring the actual options behind the anticipation, planning, and organisation of the wedding. This demonstrates that the reality of contemporary relationality is vastly more textured (Smart) than the normative generalisations of the individualisation and detraditionalisation theses imply, and suggests that in contemplating contemporary marriage conventions, the overt claims to individual choice and autonomy should be be contextualised by the variety of relationships the bride and groom participate in. References Bardin, Laurence. L’Analyse de Contenu. Paris: PUF, 1977. Bauman, Zygmunt. Liquid Love: On the Frailty of Human Bonds. Cambridge: Polity, 2003. Beck, Ulrich, and Beck-Gernsheim, Elisabeth. The Normal Chaos of Love. Cambridge: Polity, 1995. Beck-Gernsheim, Elisabeth. Reinventing the Family: In search of New Lifestyles. Cambridge: Polity, 2002. Berger, Peter, and Kellner, Hansfried. “Marriage and the constitution of reality.” Diogenes 46 (1964): 1–24. Bossard, James, and Boll, Eleanor. Ritual in Family Living – A Contemporary Study. Philadelphia: U Pennsylvania P, 1950. Brannen, Julia, and Nielsen, Ann. “Individualisation, Choice and Structure: a Discussion of Current Trends in Sociological Analysis.” The Sociological Review 53.3 (2005): 412–28. Cherlin, Andrew. “The Deinstitutionalization of American Marriage.” Journal of Marriage and Family 66 (2004): 848–861. Chesser, Barbara Jo. “Analysis of Wedding Rituals: An Attempt to Make Weddings More Meaningful.” Family Relations 29.2 1980): 204—09. Costa, Rosalina. Pequenos e Grandes Dias: os Rituais na Construção da Família Contemporânea [Small and Big Days. The Rituals Constructing Contemporay Families]. PhD Thesis in Social Sciences – specialization ‘General Sociology’. University of Lisbon: Institute of Social Sciences of the University of Lisbon (ICS-UL), 2011 ‹http://hdl.handle.net/10451/4770›. Eldén, Sara. “Scripts for the ‘Good Couple’: Individualization and the Reproduction of Gender Inequality.” Acta Sociologica 55.1 (2012): 3–18. Flick, Uwe. An Introduction to Qualitative Research. Sage Publications: London, 1998. —. The Episodic Interview: Small-scale Narratives as Approach to Relevant Experiences (Series Paper) (1997). 29 Oct. 2010 ‹http://www2.lse.ac.uk/methodologyInstitute/pdf/QualPapers/Flick-episodic.pdf›. Giddens, Anthony. The Transformation of Intimacy: Sexuality, Love and Eroticism in Modern Societies. Cambridge: Polity, 1992. Gillis, John. “Marriages of the Mind.” Journal of Marriage and Family 66.4 (2004): 988–91. —. A World of their Own Making. Myth, Ritual, and the Quest for family Values. Cambridge: Harvard UP, 1996. —. Our Virtual Families: Toward a Cultural Understanding of Modern Family Life, The Emory Center for Myth and Ritual in American Life – Working Paper, 2. Rutgers U/Department of History (2000). 03 Nov. 2005 ‹http://www.marial.emory.edu/pdfs/Gillispaper.PDF›. Glaser, Barney, and Strauss, Anselm. The Discovery of Grounded Theory: Strategies for Qualitative Research. Chicago: Aldine Publishing Company, 1967. Gross, Neil. “The Detraditionalization of Intimacy Reconsidered.” Sociological Theory 23.3 (2005): 286–311. Imber-Black, Evan, and Roberts, Janine. Rituals for Our Times: Celebrating, Healing, and Changing our Lives and our Relationships. New York: Harper Perennial, 1993. Kalmijn, Matthijs. “Marriage Rituals as Reinforcers of Role Transitions: an Analysis of Wedding in the Netherlands.” Journal of Marriage and Family 66 (2004): 582–94. Leeds-Hurwitz, Wendy. “Making Marriage Visible: Wedding Anniversaries as the Public Component of Private Relationships.” Text 25.5 (2005): 595–631. Maillochnon, Florence, and Castrén, Anna-Maija. “Making Family at a Wedding: Bilateral Kinship and Equality.” Families and Kinship in Contemporary Europe. Ed. Ritta Jallinoja, and Eric D. Widmer. Hampshire: Palgrave and Macmillan, 2011. 31–44. Morgan, David. “Risk and Family Practices: Accounting for Change and Fluidity in Family Life.” The New Family?. Ed. Elisabeth B. Silva, and Carol Smart. London: Sage Publications, 1999. 13–30.—. Family Connections—an Introduction to Family Studies. Cambridge: Polity Press, 1996. —. Rethinking Family Practices. Hampshire: Palgrave Macmillam, 2011. Pleck, Elizabeth. Celebrating the Family. Ethnicity, Consumer Culture, and Family Rituals. Cambridge: Harvard UP, 2000. Segalen, Martine. Rites et Rituels Contemporains. Paris: Nathan, 1998. Smart, Carol. Personal Life – New Directions in Sociological Thinking. Cambridge: Polity Press, 2007. Smart, Carol, and Shipman, Beccy. “Visions in Monochrome: Families, Marriage and the Individualization Thesis.” The British Journal of Sociology 55.4 (2004): 491–509. Wolin, Steven, and Bennett, Linda. “Family Rituals.” Family Process 23 (1984): 401–20.

Introdução: O maior foco das pesquisas odontológicas nos últimos 60 anos tem sido a adesão e suas técnicas. Mais de 7000 artigos já foram publicados a este respeito. O desenvolvimento dos materiais odontológicos adesivos e as técnicas a eles relacionadas possuem uma história interessante, onde descobertas do passado ainda são usadas de alguma forma no presente. Objetivo: expor, através de uma revisão de literatura, um breve histórico sobre materiais e técnicas restauradoras, bem como o estágio atual da odontologia adesiva, com ênfase na tradução de evidências baseadas em pesquisas laboratoriais para a prática clínica. Materiais e Métodos: Foram selecionados livros de preferência do autor para a introdução de conceitos clássicos e artigos de revisão publicados nos últimos 10 anos, utilizando as cinco palavras-chave: “Dental Bonding” AND “Dental Cements” AND “Resin Cements” AND “Adhesives” AND “Ceramics”, sorteados pela melhor combinação na plataforma Pub/Med/MEDLINE. Resultados: Duzentos e um artigos, foram encontrados, sendo utilizados para análise qualitativa e quantitativa aqueles pertinentes ao direcionamento do autor, de acordo com o tema. Conclusão: Considerando as limitações do estudo, concluiu-se que a odontologia adesiva é uma área que segue em constante desenvolvimento, fundamental para a realização de restaurações minimamente invasivas e estéticas. Onde para que seja possível consequentemente longevidade clínica, os materiais utilizados e substrato dentário requerem conhecimento do profissional e fidelidade na execução de um correto pré-tratamento das superfícies, respeitando suas naturezas e composições.Descritores: Colagem Dentária; Cimentos Dentários; Cimentos de Resina; Adesivos; Cerâmica.ReferênciasVan Meerbeek B, De Munck J, Yoshida Y, Inoue S, Vargas M, Vijay P, et al. Buonocore memorial lecture. Adhesion to enamel and dentin: current status and future challenges. Oper Dent. 2003;28:215-35.Miyashita E, Fonseca AS. Odontologia Estética: O estado da arte. São Paulo: Artes Médicas; 2004.Hagger O. Swiss Patent 27894 British Patent 687299, 1951.Buonocore MG, Willeman W, Brudevold F. A Report on a resin composition capable of bonding to human dentin surface. J Dent Res. 1956;35:846-51.Bottino MA, Faria R, Valandro LF. Percepção: estética em próteses livres de metal em dentes naturais e implantes. São Paulo: Artes Médicas, 2009.Larson TD. Using multiple bonding strategies. northwest dent. 2015;94:33-9.Helvey GA. Adhesive dentistry: the development of immediate dentin sealing/selective etching bonding technique. Compend Contin Educ Dent. 2011;32:22,24-32,34-5.Hashimoto M, Ohno H, Kaga M, Endo K, Sano H, Oguchi H. In vivo degradation of resin-dentin bonds in humans over 1 to 3 years. J Dent Res. 2000;79:1385-91.Mante FK, Ozer F, Walter R, Atlas AM, Saleh N, Dietschi D, et al. The current state of adhesive dentistry: a guide for clinical practice. Compend Contin Educ Dent. 2013;34:2-8.Moher D, Liberati A, Tetzlaff J, Altman DG, PRISMA Group. Preferred reporting items for systematic reviews and meta-analyses: the PRISMA statement. Open Med. 2009;3:e123-30.Bento A. Como fazer uma revisão de literatura: Considerações teóricas e práticas. Revista JA (Associação Acadêmica da Universidade da Madeira). 2012;65:42-4.Gwinnett AJ. Structure and composition of enamel. Oper Dent. 1992;5:10-7.Mondelli J, Furuse AY, Francischone AC, Pereira MA. Excelência estética e funcional das resinas compostas em dentes posteriores. São Paulo: Artes Médicas; 2004.Garberoglio R, Bränström M. Scanning electron microscopy investigation of human dentinal tubules. Arch Oral Biol. 1976;21:355-62.Pashley DH. Dentin, a dynamic substrate – A review. Scanning Microscopy. 1989;1:161-74.Mazzoni A, Mannello F, Tay FR, Tonti GA, Mazzotti G, Di Lenarda R et al. Zymographic analysis and characterization of MMP-2 and -9 forms in human sound dentin. J Dent Res. 2007;86:436-40.Mankovskaia A, Lévesque CM, Prakki A. Catechin-incorporated dental copolymers inhibit growth of Streptococcus mutans. J Appl Oral Sci. 2013;21:203-7.Sulkala M, Larmas M, Sorsa T, Salo T, Tjäderhane L. The localization of matrix metalloproteinase-20 (MMP-20, enamelysin) in mature human teeth. J Dent Res. 2002;81:603-7.Tjaderhane L, Palosaari H, Wahlgren J, Larmas M, Sorsa T, Salo T. Human odontoblast culture method: the expression of collagen and matrix metalloproteinases (MMPs). Adv Dent Res. 2001;15:55-8.Wang DY, Zhang L, Fan J, Li F, Ma KQ, Wang P, et al. Matrix metalloproteinases in human sclerotic dentine of attrited molars. Arch Oral Biol. 2012;57:1307-12.Wang Y, Spencer P, Walker MP. Chemicalprofileof adhesive/caries-affected dentin interfaces using Raman microspectroscopy. J Biomed Mat Res. 2007;81A:279-86.Suppa P, Ruggeri A Jr, Tay FR, Prati C, Biasotto M, Falconi M, et al. Reduced antigenicity of type I collagen and proteoglycans in sclerotic dentin. J Dent Res. 2006;85:133-37.Madfa AA, Yue XG. Dental protheses mimic the natural enamel behavior under functional loading: A review article. Jpn Dent Sci Rev. 2016;52:2-13.Nakabayashi N, Pashley DH. Hybridization of Dental Hard Tissues. Tokio: Quintessence Publishing, 1998.Van Meerbeek B, Vargas M, Inoue S, Yoshida Y, Peumans M, Lambrechts P, et al. Adhesives and cements to promote preservation dentistry. Oper Dent. 2001;6:119-44.Pashley DH, Carvalho RM. Dentine permeability and dentine adhesion. J Dent. 1997;25:355-72.Imazato S, Tarumi H, Ebi N, Ebisu S. Citotoxic effects of composite restorations employing self-etching primers or experimental antibacterial primers. J Dent. 2000;28:61-7.Alex G. Universal adhesives: the next evolution in adhesive dentistry? Compend Contin Educ Dent. 2015;36:15-26.Muñoz MA, Luque I, Hass V, Reis A, Loguercio AD, Bombarda NH. Immediate bonding properties of universal adhesives to dentine. Journal of Dentistry. 2013;41:404–11.Pashley DH, Tay FR. Aggressiveness of contemporary self-etching adhesives Part II: Etching effects on unground enamel. Dental Mater. 2001;17:430-44.Rosa WL, Piva E, Silva AF. Bond strength of universal adhesives: A systematic review and meta-analysis. J Dent. 2015;43:765-76.Szesz A, Parreiras S, Reis A, Loguercio A. Selective enamel etching in cervical lesions for self-etch adhesives: A systematic review and meta-analysis. J Dent. 2016;53:1-11.Kord FP, Lee BP. Recent approches in designing bioadhesive materials inspired by mussel adhesive protein. J Polym Sci A Polym Chem. 2017;55:9-33.Peters MC, McLean ME. Minimally Invasive Operative Care I. Minimal Intervention and Concepts for Minimally Invasive Cavity Preparations. J Ad Dent. 2011;3:7-16.Tyas MJ, Anusavice KJ, Frencken JE, Mount GJ. Minimal Intervention Dentistry – A review. Int Dent J. 2000;50:1-12.Roulet JF, Wilson NHF, Fuzzi M. Advances in Operative Dentistry – Contemporary clinical Practice. Oxford: Quintessence Books, 2000.Najeeb S, Khurshid Z, Zafar MS, Khan AS, Zohaib S, Martí JM, et al. Modifications in Glass Ionomer Cements: Nano-Sized Fillers and Bioactive Nanoceramics. Int J Mol Sci. 2016;17:pii:E1134.Poubel DLN, Almeida JCF, Dias Ribeiro AP, Maia GB, Martinez JMG, Garcia FCP. Effect of dehydration and rehydration intervals on fracture resistance of reattached tooth fragments using multimode adhesive. Dent Traumatol. 2017;33:451-7.Mainjot AK, Dupont NM, Oudkerk JC, Dewael TY, Sadoun MJ. From Artisanal to CAD-CAM Blocks: State of the Art of Indirect Composites. J Dent Res. 2016;95:487-95.Lacy AM. A critical look at posterior composite restorations. J Am Dent Assoc. 1987;114:357-62.Anusavice KJ. Phillips’ Science of dental materials: 11th ed. Philadelphia: W.B, 2003.Bella Dona A. Adesão às cerâmicas: evidências científicas para o uso clínico. São Paulo: Artes Médicas, 2009.Fairhurst CW. Dental ceramics: the state of the Science. Adv Dent Res. 1992;6:78-81.Kurdvk B. Giuseppangelo Fonzi: Industrial fabrication promoter of porcelain prosthetics. J History Dent. 1999;47:79-82.Jones DW, Wilson HJ. Some properties of dental ceramics. J Oral Rehabil. 1975;2:379-96.Messer RL, Lockwood PE, Wataha JC, Lewis JB, Norris S, Bouillaguet S. In vitro cytotoxicity of traditional versus contemporary dental ceramics. J Prosthet Dent. 2003;90:452-58.Zarone F, Ferrari M, Mangano FG, Leone R, Sorrentino R. Digitally oriented materials: focus on lithium disilicate ceramics. Int J Dent. 2016:9840594.Shen Z, Nygren M. Microstructural prototyping of ceramics by Kinect engineering: applications of spark plasma sintering. Chem Rec. 2005;5:173-84.Denry I, Kelly JR. Emerging ceramic-based materials for dentistry. J Dent Res. 2014;93: 1235-42.Baier RE. Principles of adhesion. Oper Dent. 1992;5:1-9.Erickson RL. Surface interactions of dentin adhesive materials. Oper Dent. 1992;5:81-94.Ruyter, IE. The chemistry of adhesive agents. Oper Dent. 1992;5-11.Jendresen MD, Glantz PO, Baier RE, Eick JD. Microtopography and clinical adhesiveness of an acid etched tooth surface. An vivo study. Acta Odontolol Scand. 1981;39:47-53.Van Meerbeek B, Perdigão J, Lambrechts P, Vanherie G. The Clinical performance adhesives. J Dent Res. 1998;26:1-20.De Munck J, Van Landuyt K, Peumans M, Poitevin A, Lambrechts P, Braem M, et al. A critical review of the durability of adhesion to tooth tissue: methods and results. J Dent Res. 2005;84:118-32.Matei R, Popescu MR, Suciu M, Rauten AM. Clinical dental adhesive application: the influence on composite-enamel interface morphology. Rom J Morphol Embryol. 2014;55:863-68.Buonocore MG. A simple method of increasing the adhesion of acrylic filling materials to enamel surfaces. J Dent Res. 1955;34:849-53.Chow LC, Brown, WE. Phosphoric acid conditioning of teeth for pit and fissure sealants. J Dent Res. 1973;1517-25.Bastos PA, Retief DH, Bradley EL, Denys FR. Effect of duration on the shear bond strength of a microfill composite resin to enamel. Am J Dent. 1988;1:151-57.Gwinnett AJ. Acid etching for composite resins. Dent Clin North Amer. 1981;25:271-89.Retief DH. Are adhesives techniques suficiente to prevent microleakage? Symposium of Dental Materials, Pulp Biology Group, IADR, The Netherlands. 1986.Causton BE. Improved bonding of composite restorative to dentin. Br Dent J. 1984;156:93-5.Mitchen JC, Gronas DG. Effects of time after extraction and depth of dentin on resin dentin adhesives. J Am Dent Ass. 1986;113:285-89.Heymann HO, Bayne SC. Current concepts in dentin bonding: focusing in dentin adhesion factors. J Am Dent Ass. 1993;124:27-36.Dbradović-Djuricić K, Medić V, Dodić S, Gavrilov D, Antonijević D, Zrilić M. Dilemmas in zirconia bonding: a review. Srp Arh Celok Lek. 2013;141:395-401.Chen C, Chen Y, Lu Z, Qian M, Xie H, Tay FR. The effects of water on degradation of the zirconia-resin bond. J Dent. 2017;pii: S0300-5712, 17, 30088-X.Naumova EA, Ernst S, Schaper K, Arnold WH, Piwowarczyk A. Adhesion of different resin cements to enamel and dentin. Dent Mater J. 2016;35:345-52.Novais VR, Rapouso LH, Miranda RR, Lopes CC, Simamoto PC Júnior, Soares CJ. Degree of conversion and bond strength of resin-cements to feldspathic ceramic using different curing modes. J Appl Oral Sci. 2017;25:61-8.Giannini M, Takagaki T, Bacelar-Sá R, Vermelho PM, Ambrosano GMB, Sadr A et al. Influence of resin coating on bond strength of self-adhesive resin cements to dentin. Dent Mat J. 2015;34:822-7.Ferracane JL, Stansbury JW, Burke FJ. Self-adhesive resin cements —chemistry, properties and clinical considerations. J Oral Rehabil. 2011; 38:295-314.De Munck J, Vargas M, Van Landuyt K, Hikita K, Lambrechts P, Van Meerbeek B. Bonding o fan auto-adhesive luting material to enamel and dentin. Dent Mater. 2004;20:963-71.Abo-Hamar SE, Hiller KA, Jung H, Federlin M, Friedl KH, Schmalz G. Bond strength of a new universal self-adhesive resin lutin cement to dentin and enamel. Clin Oral Invest. 2005;9:161-7.Aguiar TR, Di Francescantonio M, Ambrosano GM, Giannini M. Effect of curing mode on bod strength of self-adhesive resin luting cements to dentin. J Biomed Mater Res B Appl Biomater. 2010;93B:122-7.Asmussen E, Peutzeldt A. Bonding of dual-curing resin cements to dentin. J Adhes Dent. 2006;8:299-304.Cantoro A, Goracci C, Papacchini F, Mazzitelli C, Fadda GM, Ferrari M. Effect of pre-cure temperature on the bonding potential of self-etch and self-adhesive resin cements. Dent Mater. 2008;24:577-83.76.Hitz T, Stawarczyk B, Fischer J, Hämmerle CH, Sailer I. Are self-sdhesive resin cement a valid alternative to conventional resin cements? A laboratory study of the long-term bond strength. Dent Mater. 2012;28:1183-90.Özcan M, Bernasconi M. Adhesion to zirconia used for dental restorations: a systematic review and meta-analysis. J Adhes Dent. 2015;17:7-26.Ganapathy D, Sathyamoorthy A, Ranganathan H, Murthykumar K. Effect of resin bonded luting agents influencing marginal discrepancy in all ceramic complete veneer crowns. J Clin Diagn Res. 2016;10:ZC67-ZC70.Lorenzoni E Silva F, Pamato S, Kuga MC, Só MV, Pereira JR. Bond strength of adhesive resin cement with different adhesive systems. J Clin Exp Dent. 2017;9:96-100.Spitznagel FA, Horvath SD, Guess PC, Blatz MB. Resin bond to indirect composite and new ceramic/polymer materials: a review of the literature. J Esthet Restor Dent. 2014;26:382-93.

Introduction Exploring the ways in which children merge education, play and connection in their digital device use, this article critiques the established definitions of the Internet of Things and the Internet of Toys and suggests an alternative. Using evidence emerging from The Internet of Toys: Benefits and Risks of Connected Toys for Children, we deconstruct these traditional terms, and advocate for a revised terminology. Such a reconsideration helps frame children’s use of digital devices and the important roles these play in children’s everyday lives. The Internet of Things is defined by Mascheroni and Holloway as “physical objects that are embedded with electronics, sensors, software and connectivity that support the exchange of data”. These objects have become omnipresent in Western society, resulting in different subsets of the Internet of Things, such as the Internet of Toys. Such connected toys are physical toys that are (just as the Internet of Things is) connected to the Internet through Bluetooth and/or Wi-Fi (Mascheroni and Holloway). The features of such toys include network connectivity, sensors and voice/image recognition software, and controllability and programmability via apps on smartphones or tablets (Holloway and Green). CogniToys Dino, Fisher-Price Smart Toy Bear, Skylanders, Hello Barbie, Cloudpets, and Wiggy Piggy Bank are just a few examples of these connected playthings (Ihamäki and Heljakka; Mascheroni and Holloway; Shasha et al.). The ‘Internet of Toys’ category can thus be understood as physical toys with digital features (Ihamäki and Heljakka). However, Ling et al. argue that, “if the item is to be included in the IoT[hings] devices and … if the object is also used for play, then despite its designed purpose, this internet connected item becomes a member of the subset of the IoToys” (Ling et al.). Therefore, the conceptualisation of toys should not be limited to products designed for play. This raises questions about the concept of the Internet of Toys, and whether the distinction between the Internet of Things and the Internet of Toys is (still) relevant. We argue that there is no longer a meaningful distinction to be made between the Internet of Toys and the Internet of Things: instead, all such phrases indicate fragmentary attention to the Internet of Life. The Internet of Life can be defined as: devices which encompass all facets of online connectivity and technological management, and the interpolation of the digital with the everyday. The Research Project In 2018, the Australian Research Council funded a Discovery grant investigating The Internet of Toys: Benefits and Risks of Connected Toys for Children. Initially the project gave each household involved in the case study a Cozmo robot, to see how the toy was used and integrated into the household. The project foundered somewhat as the robot was initially played with but after a short while the children stopped engaging with Cozmo. Researchers believed this was due to novelty, Internet connectivity issues and the overly complicated nature of the toy. Parents had hoped their children would learn to code through using the robot but were not always willing to or capable of helping the child to navigate this aspect of the toy. In this regard Cozmo failed their expectations. After a short hiatus on the project, it was stripped back to its original purpose, to explore how households define Internet-connected toys, and the risks and benefits of playing with them. The qualitative data forming the basis of this article come from the second iteration of the project and interviews conducted in 2021 and 2022. The academics working on this research are increasingly questioning the relevance of these terms in today’s world. Ethnographic (Rinaldo and Guhin) one-on-one interviews with Australian children aged 6–12 have revealed just how diverse the digital technologies they play with have become. Those conversations and technology tours (Plowman) demonstrate the extent to which these digital devices are seamlessly integrated into children’s daily lives. Referring to many digital devices (such as the iPad and other tablets) as “toys”, children appear unaware of the distinction made by adults. Indeed, children mobilise elements of education, communication, self-actualisation, curiosity, and play within all their digital engagements. While parents may still be encouraged to distinguish between the educational use of digital devices and children’s use of such technology for entertainment, the boundary between the two is becoming more and more blurred. The bring-your-own-device (BYOD) policies that have been implemented within many Australian, English, and American schools expose children to digital devices within multiple contexts, frameworks, and environments, encouraging ubiquity of use. Laptops and tablets originally provided for school and educational purposes are also used for play. Seiter suggested that parents believe that a computer should be used by their children for serious matters such as learning or “purposeful” play, but children’s use patterns convert the tool into the toy. This elision of purpose may be referred to as “edutainment”, or the “toyification of education”, which suggests that education is increasingly reinforced by, and benefits from, “toyish” elements or dimensions (Ihamäki and Heljakka). Tablets offer children a diverse range of digital play options. Touch and swipe technology means that, from before their first birthday, “children are no longer only observants of digital technologies, but they are players and users, with tablets becoming the digital toy of choice” (Fróes 43). This is reinforced in much recent academic literature, with Brito et al., Healey et al., and Nixon and Hateley, for example, referring to tablets as “toys”. This is in line with the evolution of these devices from computer to educational tool to child-friendly toy. Fróes argues that the tablet supports “playful literacy”: “the ability to use, interact, relate, communicate, create, have fun with and challenge digital tools through playful behavior”. Having fun encourages and reassures children while they learn about, and become familiar with, these technologies. This, in turn, supports the valuable skill-building and scaffolding (Verenikina, citing Vygotsky) necessary for when a child begins using a tablet in an educational context once they start school. The omnipresence of screens challenges parents who believe that to be a good parent is to mediate their child’s digital engagement (Page Jeffery). Although the focus on “screen time” (the amount of time that children spend on their screens) is increasingly critiqued (e.g. Livingstone and Blum-Ross), some research suggests that, on average, parents underestimate their child’s daily screen time by more than 60 minutes (Radesky et al.). This conflicts with other research that argues that parents' preferred approach to mediation is setting clear rules regarding media usage, particularly in terms of time spent in device use (Valcke et al.; Brito et al.). Ironically, even though parents voice concern regarding their children’s technology use and digital footprints (Buchanan, Southgate, and Smith), they feel a “necessary culture of care” (Leaver) that may incite them to use their own technology to monitor their children’s data and behaviour. Such strategies can lead to “intimate surveillance” becoming a normalised parenting practice (Mascheroni and Holloway), while modelling to children their caregivers’ own reliance on devices. Hadlington et al. state that tablets may offer a barrier against the offline, “real” world. Children may become immersed in digital engagement, losing awareness of their surroundings, or they may actively use the tablet as a barrier between themselves and their environment. Parents may feel concern that their child is cutting themselves off from the family, potentially undermining family relationships and delaying the development of social skills (Radesky et al.). In contrast, Desjarlais and Willoughby’s article describes how children’s digital activities, for example chatting with friends, can be a useful starting point for social relationships. Hietajarvi et al. could not identify significant negative effects from using chat functions whilst studying, and suggest that digital engagement has a negligible effect on academic progress. While it is possible to characterise tablets and other digital devices as “toys”, this fails to capture the full contribution of such technology in children’s daily lives. Tablets, such as the iPad and Samsung’s Galaxy’s Tab range, function as a significant bridge that connects both children’s and adults’ everyday lives. The Internet of Life While the suggestion of an Internet of Life may require further investigation and refinement, this article proposes to define the term as follows: devices which encompass all facets of online connectivity and technological management, and the interpolation of the digital with the everyday. We argue that there is no longer a meaningful distinction to be made between the Internet of Toys and the Internet of Things: all such phrases indicate fragmentary attention to the Internet of Life. Digital devices cannot be bound by narrow definitions and distinctions between “things” and “toys”. Instead, these devices transcend the boundaries of “toys” and “things”, becoming relevant to all facets of people’s everyday lives. This is increasingly evident in lives of young children, as demonstrated by the one-on-one interviews with Australian child participants (aged 6–12). When asked if they could show the researcher some of their toys, every child produced their tablet, or spoke about it, if it was not within their reach at that time. Defining their tablets as toys, children nonetheless described myriad ways in which they were used: for leisure and entertainment, education, sociality, self-expression, and to satisfy their curiosity amongst others. Parents sometimes wondered at how children navigated technology without seeming to need assistance and noted that children could easily outstrip their parents’ skill level. Even so, parents described their struggle to “allow” their children screen time, finding it difficult to believe that it’s okay for their child to use a device for extended periods of time. Interestingly, when parents were asked if they were willing to model the behaviour they expected of their children—time limits on devices, going outside and playing—they struggled to imagine themselves doing so. As one parent said: “everything's there [on the device]. It's just so hard because everything I do, and need, is there”. This perspective reinforces our assertion that digital devices are inherently and instinctively interwoven within daily life: not toys, not things. Maybe the concept of the Internet of Life will support parents’, educators’, policy-makers’, and academics’ richer appreciation of the multitude of ways in which children use devices. It may also recognise how device use includes the acquisition of life skills, in both digital and IRL (“in real life”) domains. A reframing of digital devices may aid recognition of the benefits and experiences they offer the young (and old). Such a perspective might assuage significant parental guilt and take the sting out of increasingly frequent debates around screen time quality versus quantity (Livingstone and Pothong). This article now addresses some parents’ and children’s comments relating to their engagement with the Internet of Life. Parents’ Perspectives Seeking to explain what parents understand by the concept of play, Hayes (a father of three) suggested: “children entertaining themselves hopefully positively … . [They’re] doing something either physical or educational or it’s benefitting them in some way and having fun and relaxing”, while the mum from a different family, Farida, feels that play is “something that brings about joy, really” (a mother of two). Parents experience challenges in assigning different regulations around digital device usage to children in the same family, reflecting their different circumstances. Thus Bethany, mother to Aiden (11, below) and older sibling Sophie (13), differentiates her approach to regulating her children’s play in digital spaces: With him [Aiden] I don’t feel so bad when he – having a downtime because I know he’s quite active whereas [Sophie] my daughter’s not, she’s the complete opposite and she will sit on there usually, ‘cause she’s chatting to her friend Gemma who’s over east but, she’ll try and sit on there for two or three hours just doing really mundane boring stuff. (Mum, Bethany) Interestingly, for both Sophie and Aiden, their use of digital devices is a reassuring opportunity to retreat. One of the many advantages of chatting online to a distant friend is that it’s a space separate from the everyday contexts of classroom politics. Mum to Bryce (8, male), Farida identifies specific benefits in her son’s digital device use across a range of skills and competencies. [He] has actually improved significantly with his communication skills and his maths skills like his problem-solving and reasoning. Like he’s trying to, for instance, work out how much money he’s got to scam off me to get the things that he wants, adds it all up, works out his amount of money that he’s got to ask for so he can buy all the stuff that he’s looking for. So that has really improved. (Farida) Some parents might see games that teach children how to calculate what they need to achieve what they want as an annoyance due to a trivial extra expense, but Bryce has a range of learning challenges. Consequently, Farida is delighted with the progress she sees: “his trajectory has actually been quite astounding, and I do think that a lot of it is to do with the fact that he’s built up so many of these other skills from his hand eye co-ordination, his communication skills and stuff from digital play”. Children’s Perspectives Children’s own perspectives on their use of digital devices were varied but speak to the development of individual competencies and the managing of important friend- and family-based relationships. So, Aiden (11) characterised his use of such digital media as “calming. Since there’s nothing to really lose in the game or anything, it’s not like ‘oh you stuffed something up, you have to restart the whole thing’.” He adds, as if this is a significant benefit, “it’s more if you stuff something up it’s fine, you can just get it back again”. Aiden is in a children’s elite sport squad and explains “I do football for four hours. Then I have piano lesson for 30 minutes. I’m really tired”. His digital sphere is a welcoming place of safety and relaxation where there are no consequences when things go wrong. For Lisa, also 11, her digital device is for communicating. Explaining that she has “Snapchat, Messages and TikTok and I think that’s it”, Lisa says that she and her friend from school “normally just chat to each other and we’ll chat about what we’re doing”. She adds that sometimes “we’ll roleplay”. As Lisa continues there’s an implicit acknowledgement of the risks around collaborating with others in play spaces. Speaking of her friend, she notes “she used to play this game, Brook Game, and she doesn’t really do it anymore. In Brooking Gaming you roleplay with people and you can do jobs and stuff”. Digital play and device use may be a place of relaxation, but it’s also a place of negotiation and of learning to compromise as a price of sharing experiences with friends. Killian’s (12 years old, male) example of gaming implicates the ways he negotiates autonomy and connection with his older brother. Explaining that “I talk to my friends over Discord which is a social thing and that”, Killian explains how (older brother) “Xander helped me set up the safety settings”. The boys worked together to find a means through which their toys and games allowed them to bypass technical barriers preventing full service on their mobile devices. They had originally thought: “we could text each other” but because their devices were set so they “won’t allow us—Xander had Discord on his phone and—he did. I could text him via that”. A variety of remote communication strategies support Killian’s and Xander’s connected play in different spaces. The interviewer notes, “so you prefer playing individually like that because you just have that one screen to yourself, that solo experience, but still playing together?”, allowing Killian to add “Yes, and also Xander doesn’t hit me every time I do something that Xander doesn’t like”. Killian subsequently identifies himself as something of negotiator, working out the different rules and settings for the different areas in his life. Saying he uses his iPad “kust for stuff I’m interested in, or something that I found out is good, that I want”, he also says he has a workaround for if “the website’s blocked or then—stuff like that—or, I want to watch it at home”. One of the implications of these examples is that parents tend to develop over-arching narratives about their children’s digital device use and compartmentalise concerns, differentiating them from positive aspects of children’s online activities. Children’s experiences, however, speak to lessons around learning skills, managing relationships and conflicts, negotiating autonomy, absence, and different rules in different spaces. In these respects, children’s multifaceted use of digital devices is indeed creating an Internet of Life. Reimagining Children’s Digital Activity Engagement with digital devices and online activities has become a core part of childhood development (Borisova). The reimagining of the concepts of the Internet of Things and the Internet of Toys as the Internet of Life allows children, parents, researchers, and policy-makers to broaden their understanding of what it means to grow up in a digital world. Defining an Internet of Life and conceptualising digital devices as an inherent part of the everyday, allows greater understanding and appreciation of how, what, and why children use such devices, and the potential benefits (and risks) they may afford. This perspective also empowers children’s understandings of what digital devices are, and how the digital environment relates to them, and their daily lives. This article argues for a need to widen understandings of children’s digital device use, including the role that Internet-connected toys play in fostering social and digital literacies, to explore the multifaceted and ubiquitous nature of tablets and other digital devices (Ihamäki and Heljakka). Previous research on children’s digital engagement, along with a large portion of public reporting, has focussed on the risks and harms that children are exposed to, rather than the potential benefits of digital engagement, along with the rights of a child to digital access (CRC; Odgers and Jensen; Third et al.). The Internet of Life recognises that children’s digital engagement includes some exposure to risks, but also reflects the potential benefits that this exposure can have in terms of helping navigate these risks and problem-solving. It allows digital engagement to be reframed as a normal part of daily life and everyday routines, expanding understandings of how children engage with digital devices. Parents and children alike spoke about their tablets and the myriad of ways in which they used them: as a toy, for leisure, entertainment, formal education, sociality, and to satisfy their own curiosities to name but a few. Not only do these devices satisfy parental expectations, in that children can navigate them without assistance, but children can also outstrip a parent’s skill level rapidly. This is pleasing to some parents who do not possess such skills to teach their child. However, parents still struggle to “allow” their children screentime and justify to themselves that it is okay for their child to be on their own device for extended periods of time. The distinction between the overarching Internet of Things and the subset of the Internet of Toys, as well as the categorisation of these devices as “education-only” or “entertainment-only”, does not accurately represent children’s engagement with and use of digital devices. Children’s multi-faceted and multi-layered digital activities offer a complex interplay of motivations and intentions, pleasures and challenges, intrinsic and extrinsic. The Internet of Life encompasses all aspects of digital engagement, allowing a more natural and nuanced understanding of how these devices are used, and the benefits that digital engagement can afford. Acknowledgment This research was funded by ARC Discovery Project DP180103922 – The Internet of Toys: Benefits and Risks of Connected Toys for Children. The Chief Investigators were Dr Donell Holloway and Professor Lelia Green, working with International Partner Investigators Dr Louise Kay, and Professors Jackie Marsh, Giovanna Mascheroni, and Bieke Zaman. Drs Kelly Jaunzems, Carmen Jacques, and Silke Brandsen all worked as Research Officers on this grant. References Borisova, I. Learning through Play: Strengthening Learning through Play in Early Childhood Education Programmes. LEGO Foundation, 2018. <https://www.unicef.org/sites/default/files/2018-12/UNICEF-Lego-Foundation-Learning-through-Play.pdf>. Brito, R., R. Francisco, P. Dias, and S. Chaudron. “Family Dynamics in Digital Homes: The Role Played by Parental Mediation in Young Children’s Digital Practices around 14 European Countries.” Contemporary Family Therapy 39.4 (2017): 271–280. DOI: 10.1007/s10591-017-9431-0. Buchanan, R., E. Southgate, and S.P. Smith. “‘The Whole World’s Watching Really’: Parental and Educator Perspectives on Managing Children’s Digital Lives.” Global Studies of Childhood 9.2 (2019): 167-180. <https://doi.org/10.1177/20436106198463>. UNICEF. Convention on the Rights of the Child: General Comment No. 25 (2021) on Children’s Rights in Relation to the Digital Environment. United Nations, 2 Mar. 2021. <https://www.ohchr.org/en/ohchr_homepage>. Desjarlais, M., and T. Willoughby. “A Longitudinal Study of the Relation between Adolescent Boys and Girls’ Computer Use with Friends and Friendship Quality: Support for the Social Compensation or the Rich-Get-Richer Hypothesis?”. Computers in Human Behavior 26.5 (2010): 896-905. <https://doi.org/10.1016/j.chb.2010.02.004>. Erat Nergiz, M., N. Çaylan, S.S. Yalçin, A., Oflu, Ö. Tezol, D. Foto Özdemir, D., Ş. Çiçek, and D. Yıldız. “Excessive Screen Time Is Associated with Maternal Rejection Behaviours in Pre‐School Children”. Journal of Paediatrics and Child Health 56.7 (2020): 1077–1082. <https://doi.org/10.1111/jpc.14821>. Fróes., I. “Once upon a Tablet: A School Toy in the Making.” Lecture Notes in Computer Science (including Subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics) 9177 (2015): 43–53. <https://doi.org/10.1007/978-3-319-20684-4_5>. Hadlington, L., H. White, and S. Curtis. “’I Cannot Live without My [Tablet]’: Children’s Experiences of Using Tablet Technology within the Home”. Computers in Human Behavior 94 (2019): 19–24. <https://doi.org/10.1016/j.chb.2018.12.043>. Holloway, D., and L. Green. “The Internet of Toys.” Communication Research and Practice 2.4 (2016): 506–519. Ihamaki, P., and K. Heljakka. “The Internet of Toys, Connectedness, and Character-Based Play in Early Education.” Proceedings of the Future Technologies Conference 880 (2019): 1079-1096. DOI: 10.1007/978-3-030-02686-8_80. Leaver, T. “Intimate Surveillance: Normalizing Parental Monitoring and Mediation of Infants Online.” Social Media + Society 3.2 (2017). <https://doi.org/10.1177/2056305117707192>. Ling, L., N. Yelland, M., Hatzigianni, and C. Dickson-Deane. “Toward a Conceptualization of the Internet of Toys.” Australasian Journal of Early Childhood 46.3 (2021): 249–262. <https://doi.org/10.1177/18369391211007327>. Livingstone, S., and K. Pothong. “Beyond Screen Time: Rethinking Children’s Play in a Digital World”. Journal of Health Visiting 10.1 (2022): 32–38. <https://doi.org/10.12968/johv.2022.10.1.32>. Livingstone, S., and A. Blum-Ross. Parenting for a Digital Future: How Hopes and Fears about Technology Shape Children's Lives. Oxford University Press, 2020. Mascheroni, G., and D. Holloway. The Internet of Toys: Practices, Affordances and the Political Economy of Children’s Smart Play. Springer, 2019. <https://doi.org/10.1007/978-3-030-10898-4>. Odgers, C.L., and M.B. Robb. Tweens, Teens, Tech, and Mental Health: Coming of Age in an Increasingly Digital, Uncertain, and Unequal World. Common Sense Media, 2020. <https://www.commonsensemedia.org>. Page Jeffery, C. “’It’s Really Difficult. We’ve Only Got Each Other to Talk To’: Monitoring, Mediation, and Good Parenting in Australia in the Digital Age.” Journal of Children and Media 15.2 (2021) : 202-217. <https://doi.org/10.1080/17482798.2020.1744458>. Plowman, L. “Researching Young Children's Everyday Uses of Technology in the Family Home.” Interacting with Computers, 27.1 (2015): 36-46. <https://doi.org/10.1093/iwc/iwu031>. Radesky, J.S., J. Schumacher, and B. Zuckerman. “Mobile and Interactive Media Use by Young Children: The Good, the Bad, and the Unknown.” Pediatrics 135.1 (2015): 1–3. <http://doi.org/10.1542/peds.2014-2251>. Radesky, J.S., H.M. Weeks, R. Ball, A. Schaller, S. Yeo, J. Durnez, M. Tamayo-Rios, M. Epstein, H. Kirkorian, S., Coyne, and R. Barr. “Young Children's Use of Smartphones and Tablets.” Pediatrics146.1 (2020): e20193518. <https://doi.org/10.1542/peds.2019-3518>. Rinaldo, R., and J. Guhin. “How and Why Interviews Work: Ethnographic Interviews and Meso-Level Public Culture.” Sociological Methods & Research 51.1 (2022): 34-67. <http://doi/10.1177/0049124119882471>. Seiter, E. “The Internet Playground.” Toys, Games, and Media, eds. J. Goldstein, D. Buckingham, and G. Brougère. 2004. 105–120. <https://doi.org/10.4324/9781410611000>. Shasha, S., M., Mahmoud, M. Mannan, and A. Youssef. “Playing with Danger: A Taxonomy and Evaluation of Threats to Smart Toys.” IEEE Internet of Things Journal 6.2 (2019): 2986–3002. DOI: 10.1109/jiot.2018.2877749. Third, A., et al. “Young and Online: Children’s Perspectives on Life in the Digital Age.” State of the World’s Children 2017 Companion Report. 2017. <https://doi.org/10.4225/35/5A1B885F6D4DB>. Valcke, M., S. Bonte, B. De Wever, and I. Rots. “Internet Parenting Styles and the Impact on Internet Use of Primary School Children.” Computers & Education 55.2 (2010): 454–464. DOI: 10.1016/j.compedu.2010.02.009. Verenikina, I. “Scaffolding and Learning: Its Role in Nurturing New Learners.” Learning and the Learner: Exploring Learning for New Times, eds. P. Kell, W. Vialle, D. Konza, and G. Vogl. 2008.

The contemporary video game market is as recognisable for its brands as it is for the characters that populate their game worlds, from franchise-leading characters like Garrus Vakarian (Mass Effect original trilogy), Princess Zelda (The Legend of Zelda franchise) and Cortana (HALO franchise) to more recent game icons like Miles Morales (Marvel's Spiderman game franchise) and Judy Alvarez (Cyberpunk 2077). Interactions with these casts of characters enhance the richness of games and their playable worlds, giving a sense of weight and meaning to player actions, emphasising thematic interests, and in some cases acting as buffers to (or indeed hindering) different aspects of gameplay itself. As Jordan Erica Webber writes in her essay The Road to Journey, “videogames are often examined through the lens of what you do and what you feel” (14). For many games, the design of interactions between the player and other beings in the world—whether they be intrinsic to the world (non-playable characters or NPCs) or other live players—is a bridging aspect between what you do and how you feel and is thus central to the communication of more cohesive and focussed work. This essay will discuss two examples of game design techniques present in Transistor by Supergiant Games and Journey by thatgamecompany. It will consider how the design of “playful” interactions between the player and other characters in the game world (both non-player characters and other player characters) can be used as a tool to align a player’s experience of “intent” with the thematic objectives of the designer. These games have been selected as both utilise design techniques that allow for this “playful” interaction (observed in this essay as interactions that do not contribute to “progression” in the traditional sense). By looking closely at specific aspects of game design, it aims to develop an accessible examination by “focusing on the dimensions of involvement the specific game or genre of games affords” (Calleja, 222). The discussion defines “intent”, in the context of game design, through a synthesis of definitions from two works by game designers. The first being Greg Costikyan’s definition of game structure from his 2002 presentation I Have No Words and I Must Design, a paper subsequently referenced by numerous prominent game scholars including Ian Bogost and Jesper Juul. The second is Steven Swink’s definition of intent in relation to video games, from his 2009 book Game Feel: A Game Designer’s Guide to Virtual Sensation—an extensive reference text of game design concepts, with a particular focus on the concept of “game feel” (the meta-sensation of involvement with a game). This exploratory essay suggests that examining these small but impactful design techniques, through the lens of their contribution to overall intent, is a useful tool for undertaking more holistic studies of how games are affective. I align with the argument that understanding “playfulness” in game design is useful in understanding user engagement with other digital communication platforms. In particular, platforms where the presentation of user identity is relational or performative to others—a case explored in Playful Identities: The Ludification of Digital Media Cultures (Frissen et al.). Intent in Game Design Intent, in game design, is generated by a complex, interacting economy, ecosystem, or “game structure” (Costikyan 21) of thematic ideas and gameplay functions that do not dictate outcomes, but rather guide behaviour and progression forward through the need to achieve a goal (Costikyan 21). Intent brings player goals in line with the intrinsic goals of the player character, and the thematic or experiential goals the game designer wants to convey through the act of play. Intent makes it easier to invest in the game’s narrative and spatial context—its role is to “motivate action in game worlds” (Swink 67). Steven Swink writes that it is the role of game design to create compelling intent from “a seemingly arbitrary collection of abstracted variables” (Swink 67). He continues that whether it is good or bad is a broader question, but that “most games do have in-born intentionality, and it is the game designer who creates it” (67). This echoes Costikyan’s point: game designers “must consciously set out to decide what kind of experiences [they] want to impart to players and create systems that enable those experiences” (20). Swink uses Mario 64 as one simple example of intent creation through design—if collecting 100 coins did not restore Mario’s health, players would simply not collect them. Not having health restricts the ability for players to fulfil the overarching intent of progression by defeating the game’s main villain (what he calls the “explicit” intent), and collecting coins also provides a degree of interactivity that makes the exploration itself feel more fulfilling (the “implicit” intent). This motivation for action may be functional, or it may be more experiential—how a designer shapes variables into particular forms to encourage the particular kinds of experience that they want a player to have during the act of play (such as in Journey, explored in the latter part of this essay). This essay is interested in the design of this compelling thematic intent—and the role “playful” interactions have as a variable that contributes to aligning player behaviours and experience to the thematic or experiential goals of game design. “Playful” Communication and Storytelling in Transistor Transistor is the second release from independent studio Supergiant Games and has received over 100 industry accolades (Kasavin) since its publication in 2014. Transistor incorporates the suspense of turn-based gameplay into an action role-playing game—neatly mirroring a style of gameplay to the suspense of its cyber noir narrative. The game is also distinctly “artful”. The city of Cloudbank, where the game takes place, is a cyberpunk landscape richly inspired by art nouveau and art deco style. There is some indication that Cloudbank may not be a real city at all—but rather a virtual city, with an abundance of computer-related motifs and player combat abilities named as if they were programming functions. At release, Transistor was broadly recognised in the industry press for its strength in “combining its visuals and music to powerfully convey narrative information and tone” (Petit). If intent in games in part stems from a unification of goals between the player and design, the interactivity between player input and the actions of the player character furthers this sense of “togetherness”. This articulation and unity of hand movement and visual response in games are what Kirkpatrick identified in his 2011 work Aesthetic Theory and the Video Game as the point in which videogames “broke from the visual entertainment culture of the last two centuries” (Kirkpatrick 88). The player character mediates access to the space by which all other game information is given context and allows the player a degree of self-expression that is unique to games. Swink describes it as an amplified impression of virtual proprioception, that is “an impression of space created by illusory means but is experienced as real by the senses … the effects of motion, sound, visuals, and responsive effects combine” (Swink 28). If we extend Swink’s point about creating an “impression of space” to also include an “impression of purpose”, we can utilise this observation to further understand how the design of the playful interactions in Transistor work to develop and align the player’s experience of intent with the overarching narrative goal (or, “explicit” intent) of the game—to tell a compelling “science-fiction love story in a cyberpunk setting, without the gritty backdrop” (Wallace) through the medium of gameplay. At the centre of any “love story” is the dynamic of a relationship, and in Transistor playful interaction is a means for conveying the significance and complexity of those dynamics in relation to the central characters. Transistor’s exposition asks players to figure out what happened to Red and her partner, The Boxer (a name he is identified by in the game files), while progressing through various battles with an entity called The Process to uncover more information. Transistor commences with player-character, Red, standing next to the body of The Boxer, whose consciousness and voice have been uploaded into the same device that impaled him: the story’s eponymous Transistor. The event that resulted in this strange circumstance has also caused Red to lose her ability to speak, though she is still able to hum. The first action that the player must complete to progress the game is to pull the Transistor from The Boxer’s body. From this point The Boxer, speaking through the Transistor, becomes the sole narrator of the game. The Boxer’s first lines of dialogue are responsive to player action, and position Red’s character in the world: ‘Together again. Heh, sort of …’ [Upon walking towards an exit a unit of The Process will appear] ‘Yikes … found us already. They want you back I bet. Well so do I.’ [Upon defeating The Process] ‘Unmarked alley, east of the bay. I think I know where we are.’ (Supergiant Games) This brief exchange and feedback to player movement, in medias res, limits the player’s possible points of attention and establishes The Boxer’s voice and “character” as the reference point for interacting with the game world. Actions, the surrounding world, and gameplay objectives are given meaning and context by being part of a system of intent derived from the significance of his character to the player character (Red) as both a companion and information-giver. The player may not necessarily feel what an individual in Red’s position would feel, but their expository position is aligned with Red’s narrative, and their scope of interaction with the world is intrinsically tied to the “explicit” intent of finding out what happened to The Boxer. Transistor continues to establish a loop between Red’s exploration of the world and the dialogue and narration of The Boxer. In the context of gameplay, player movement functions as the other half of a conversation and brings the player’s control of Red closer to how Red herself (who cannot communicate vocally) might converse with The Boxer gesturally. The Boxer’s conversational narration is scripted to occur as Red moves through specific parts of the world and achieves certain objectives. Significantly, The Boxer will also speak to Red in response to specific behaviours that only occur should the player choose to do them and that don’t necessarily contribute to “progressing” the game in the mechanical sense. There are multiple points where this is possible, but I will draw on two examples to demonstrate. Firstly, The Boxer will have specific reactions to a player who stands idle for too long, or who performs a repetitive action. Jumping repeatedly from platform to platform will trigger several variations of playful and exasperated dialogue from The Boxer (who has, at this point, no choice but to be carried around by Red): [Upon repeatedly jumping between the same platform] ‘Round and round.’ ‘Okay that’s enough.’ ‘I hate you.’ (Supergiant Games) The second is when Red “hums” (an activity initiated by the player by holding down R1 on a PlayStation console). At certain points of play, when making Red hum, The Boxer will chime in and sing the lyrics to the song she is humming. This musical harmonisation helps to articulate a particular kind of intimacy and flow between Red and The Boxer —accentuated by Red’s animation when humming: she is bathed in golden light and holds the Transistor close, swaying side to side, as if embracing or dancing with a lover. This is a playful, exploratory interaction. It technically doesn’t serve any “purpose” in terms of finishing the game—but is an action a player might perform while exploring controls and possibilities of interactivity, in turn exploring what it is to “be” Red in relation to the game world, the story being conveyed, and The Boxer. It delivers a more emotional and affective thematic idea about a relationship that nonetheless relies just as much on mechanical input and output as engaging in movement, exploration, and combat in the game world. It’s a mechanic that provides texture to the experience of inhabiting Red’s identity during play, showcasing a more individual complexity to her story, driven by interactivity. In techniques like this, Transistor directly unifies its method for information-giving, interactivity, progression, and theme into a single design language. To once again nod to Swink and Costikyan, it is a complex, interacting economy or ecosystem of thematic ideas and gameplay structures that guide behaviour and progression forward through the need to achieve a single goal (Costikyan 21), guiding the player towards the game’s “explicit” intent of investment in its “science fiction love story”. Companionship and Collaboration in Journey Journey is regularly praised in many circles of game review and discussion for its powerful, pared-back story conveyed through its exceptional game design. It has won a wide array of awards, including multiple British Academy Games Awards and Game Developer’s Choice Awards, and has been featured in highly regarded international galleries such as the Victoria and Albert Museum in London. Its director, Jenova Chen, articulated that the goal of the game (and thus, in the context of this essay, the intent) was “to create a game where people who interact with each other in an online community can connect at an emotional level, regardless of their gender, age, ethnicity, and social status” (Webber 14). In Journey, the player controls a small robed figure moving through a vast desert—the only choices for movement are to slide gracefully through the sand or to jump into the air by pressing the X button (on a PlayStation console), and gracefully float down to the ground. You cannot attack anything or defend yourself from the elements or hostile beings. Each player will “periodically find another individual in the landscape” (Isbister 121) of similar design to the player and can only communicate with them by experimenting with simple movements, and via short chirping noises. As the landscape itself is vast and unknown, it is what one player referred to as a sense of “reliance on one another” that makes the game so captivating (Isbister 12). Much like The Boxer in Transistor, the other figure in Journey stands out as a reference point and imbues a sense of collaboration and connection that makes the goal to reach the pinprick of light in the distance more meaningful. It is only after the player has finished the game that the screen reveals the other individual is a real person, another player, by displaying their gamer tag. One player, playing the game in 2017 (several years after its original release in 2012), wrote: I went through most of the game by myself, and when I first met my companion, it was right as I walked into the gate transitioning to the snow area. And I was SO happy that there was someone else in this desolate place. I felt like it added so much warmth to the game, so much added value. The companion and I stuck together 100% of the way. When one of us would fall the slightest bit behind, the other would wait for them. I remember saying out loud how I thought that my companion was the best programmed AI that I had ever seen. In the way that he waited for me to catch up, it almost seemed like he thanked me for waiting for him … We were always side-by-side which I was doing to the "AI" for "cinematic-effect". From when I first met him up to the very very end, we were side-by-side. (Peace_maybenot) Other players indicate a similar bond even when their companion is perhaps less competent: I thought my traveller was a crap AI. He kept getting launched by the flying things and was crap at staying behind cover … But I stuck with him because I was like, this is my buddy in the game. Same thing, we were communicating the whole time and I stuck with him. I finish and I see a gamer tag and my mind was blown. That was awesome. (kerode4791) Although there is a definite object of difference in that Transistor is narrated and single-player while Journey is not, there are some defined correlations between the way Supergiant Games and thatgamecompany encourage players to feel a sense of investment and intent aligned with another individual within the game to further thematic intent. Interactive mechanics are designed to allow players a means of playful and gestural communication as an extension of their kinetic interaction with the game; travellers in Journey can chirp and call out to other players—not always for an intrinsic goal but often to express joy, or just to experience and sense of connectivity or emotional warmth. In Transistor, the ability to hum and hear The Boxer’s harmony, and the animation of Red holding the Transistor close as she does so, implying a sense of protectiveness and affection, says more in the context of “play” than a literal declaration of love between the two characters. Graeme Kirkpatrick uses dance as a suitable metaphor for this kind of experience in games, in that both are characterised by a certainty that communication has occurred despite the “eschewal of overt linguistic elements and discursive meanings” (120). There is also a sense of finite temporality in these moments. Unlike scripted actions, or words on a page, they occur within a moment of being that largely belongs to the player and their actions alone. Kirkpatrick describes it as “an inherent ephemerality about this vanishing and that this very transience is somehow essential” (120). This imbuing of a sense of time is important because it implies that even if one were to play the game again, repeating the interaction is impossible. The communication of narrative within these games is not a static form, but an experience that hangs unique at that moment and space of play. Thatgamecompany discussed in their 2017 interviews with Webber, published as part of her essay for the Victoria & Albert’s Video Games: Design/Play/Disrupt exhibition, how by creating and restricting the kind of playful interaction available to players within the world, they could encourage the kind of emotional, collaborative, and thoughtful intent they desired to portray (Webber 14). They articulate how in the development process they prioritised giving the player a variety of responses for even the smallest of actions and how that positive feedback, in turn, encourages play and prevented players from being “bored” (Webber 22). Meanwhile, the team reduced responsiveness for interactions they didn’t want to encourage. Chen describes the approach as “maximising feedback for things you want and minimising it for things you don’t want” (Webber 27). In her essay, Webber writes that Chen describes “a person who enters a virtual world, leaving behind the value system they’ve learned from real life, as like a baby banging their spoon to get attention” (27): initially players could push each other, and when one baby [player] pushed the other baby [player] off the cliff that person died. So, when we tested the gameplay, even our own developers preferred killing each other because of the amount of feedback they would get, whether it’s visual feedback, audio feedback, or social feedback from the players in the room. For quite a while I was disappointed at our own developers’ ethics, but I was able to talk to a child psychologist and she was able to clarify why these people are doing what they are doing. She said, ‘If you want to train a baby not to knock the spoon, you should minimise the feedback. Either just leave them alone, and after a while they’re bored and stop knocking, or give them a spoon that does not make a sound. (27) The developers then made it impossible for players to kill, steal resources from, or even speak to each other. Players were encouraged to stay close to each other using high-feedback action and responsiveness for doing so (Webber 27). By using feedback design techniques to encourage players to behave a certain way to other beings in the world—both by providing and restricting playful interactivity—thatgamecompany encourage a resonance between players and the overarching design intent of the project. Chen’s observations about the behaviour of his team while playing different iterations of the game also support the argument (acknowledged in different perspectives by various scholarship, including Costikyan and Bogost) that in the act of gameplay, real-life personal ethics are to a degree re-prioritised by the interactivity and context of that interactivity in the game world. Intent and the “Actualities of (Game) Existence” Continuing and evolving explorations of “intent” (and other parallel terms) in games through interaction design is of interest for scholars of game studies; it also is an important endeavour when considering influential relationships between games and other digital mediums where user identity is performative or relational to others. This influence was examined from several perspectives in the aforementioned collection Playful Identities: The Ludification of Digital Media Cultures, which also examined “the process of ludification that seems to penetrate every cultural domain” of modern life, including leisure time, work, education, politics, and even warfare (Frissen et al. 9). Such studies affirm the “complex relationship between play, media, and identity in contemporary culture” and are motivated “not only by the dominant role that digital media plays in our present culture but also by the intuition that ‘“play is central … to media experience” (Frissen et al. 10). Undertaking close examinations of specific “playful” design techniques in video games, and how they may factor into the development of intent, can help to develop nuanced lines of questioning about how we engage with “playfulness” in other digital communication platforms in an accessible, comparative way. We continue to exist in a world where “ludification is penetrating the cultural domain”. In the first few months of the global COVID-19 pandemic, Nintendo released Animal Crossing: New Horizons. With an almost global population in lockdown, Animal Crossing became host to professional meetings (Espiritu), weddings (Garst), and significantly, a media channel for brands to promote content and products (Deighton). TikTok, panoramically, is a platform where “playful” user trends— dances, responding to videos, the “Tell Me … Without Telling Me” challenge—occur in the context of an extremely complex algorithm, that while automated, is created by people—and is thus unavoidably embedded with bias (Dias et al.; Noble). This is not to say that game design techniques and broader “playful” design techniques in other digital communication platforms are interchangeable by any measure, or that intent in a game design sense and intent or bias in a commercial sense should be examined through the same lens. Rather that there is a useful, interdisciplinary resource of knowledge that can further illuminate questions we might ask about this state of “ludification” in both the academic and public spheres. We might ask, for example, what would the implications be of introducing an intent design methodology similar to Journey, but using it for commercial gain? Or social activism? Has it already happened? There is a quotation from Nathan Jurgensen’s 2016 essay Fear of Screens (published in The New Inquiry) that often comes to my mind when thinking about interaction design in video games in this way. In his response to Sherry Turkle’s book, Reclaiming Conversation, Jurgensen writes: each time we say “IRL,” “face-to-face,” or “in person” to mean connection without screens, we frame what is “real” or who is a person in terms of their geographic proximity rather than other aspects of closeness — variables like attention, empathy, affect, erotics, all of which can be experienced at a distance. We should not conceptually preclude or discount all the ways intimacy, passion, love, joy, pleasure, closeness, pain, suffering, evil and all the visceral actualities of existence pass through the screen. “Face to face” should mean more than breathing the same air. (Jurgensen) While Jurgensen is not talking about communication in games specifically, there are comparisons to be drawn between his “variables” and “visceral actualities of existence” as the drivers of social meaning-making, and the methodology of games communicating intent and purpose through Swink’s “seemingly arbitrary collection of abstracted variables” (67). When players interact with other characters in a game world (whether they be NPCs or other players), they are inhabiting a shared virtual space, and how designers articulate and present the variables of “closeness”, as Jurgensen defines it, can shape player alignment with the overarching design intent. These design techniques take the place of Jurgensen’s “visceral actualities of existence”. While they may not intrinsically share an overarching purpose, their experiential qualities have the ability to align ethics, priorities, and values between individuals. Interactivity means game design has the potential to facilitate a particular kind of engagement for the player (as demonstrated in Journey) or give opportunities for players to explore a sense of what an emotion might feel like by aligning it with progression or playful activity (as discussed in relation to Transistor). Players may not “feel” exactly what their player-characters do, or care for other characters in the world in the same way a game might encourage them to, but through thoughtful intent design, something of recognition or unity of belief might pass through the screen. References Bogost, Ian. Persuasive Games: The Expressive Power of Video Games. MIT P, 2007. Calleja, Gordon. “Ludic Identities and the Magic Circle.” Playful Identities: The Ludification of Digital Media Cultures. Eds. Valerie Frissen et al. Amsterdam UP, 2015. 211–224. Costikyan, Greg. “I Have No Words & I Must Design: Toward a Critical Vocabulary for Games.” Computer Games and Digital Cultures Conference Proceedings 2002. Ed. Frans Mäyrä. Tampere UP. 9-33. Dias, Avani, et al. “The TikTok Spiral.” ABC News, 26 July 2021. <https://www.abc.net.au/news/2021-07-26/tiktok-algorithm-dangerous-eating-disorder-content-censorship/100277134>. Deighton, Katie. “Animal Crossing Is Emerging as a Media Channel for Brands in Lockdown.” The Drum, 21 Apr. 2020. <https://www.thedrum.com/news/2020/04/21/animal-crossing-emerging-media-channel-brands-lockdown>. Espiritu, Abby. “Japanese Company Attempts to Work Remotely in Animal Crossing: New Horizons.” The Gamer, 29 Mar. 2020. <https://www.thegamer.com/animal-crossing-new-horizons-work-remotely/>. Frissen, Valerie, et al., eds. Playful Identities: The Ludification of Digital Media Cultures. Amsterdam UP, 2015. Garst, Aron. “The Pandemic Canceled Their Wedding. So They Held It in Animal Crossing.” The Washington Post, 2 Apr. 2020. <https://www.washingtonpost.com/video-games/2020/04/02/animal-crossing-wedding-coronavirus/>. Isbister, Katherine. How Games Move Us: Emotion by Design. MIT P, 2016. Journey. thatgamecompany. 2012. Jurgensen, Nathan. “Fear of Screens.” The New Inquiry, 25 Jan. 2016. <https://thenewinquiry.com/fear-of-screens/>. Kasavin, Greg. “Transistor Earns More than 100+ Industry Accolades, Sells More than 600k Copies.” Supergiant Games, 8 Jan. 2015. <https://www.supergiantgames.com/blog/transistor-earns60-industry-accolades-sells-more-than-600k-copies/>. kerode4791. "Wanted to Share My First Experience with the Game, It Was That Awesome.”Reddit, 22 Mar. 2017. <https://www.reddit.com/r/JourneyPS3/comments/60u0am/wanted_to_share_my_f rst_experience_with_the_game/>. Kirkpatrick, Graeme. Aesthetic Theory and the Video Game. Manchester UP, 2011. Noble, Safiya Umoja. Algorithms of Oppression: How Search Engines Reinforce Racism. New York UP, 2018. peace_maybenot. "Wanted to Share My First Experience with the Game, It Was that Awesome” Reddit, 22 Mar. 2017. <https://www.reddit.com/r/JourneyPS3/comments/60u0am/wanted_to_share_my_f rst_experience_with_the_game/>. Petit, Carolyn. “Ghosts in the Machine." Gamespot, 20 May 2014. <https://www.gamespot.com/reviews/transistor-review/1900-6415763/>. Swink, Steve. Game Feel: A Game Designer’s Guide to Virtual Sensation. Amsterdam: Morgan Kaufmann Publishers/Elsevier, 2009. Transistor. Supergiant Games. 2014. Wallace, Kimberley. “The Story behind Supergiant Games’ Transistor.” Gameinformer, 20 May 2021. <https://www.gameinformer.com/2021/05/20/the-story-behind-supergiant-games-transistor>. Webber, Jordan Erica. “The Road to Journey.” Videogames: Design/Play/Disrupt. Eds. Marie Foulston and Kristian Volsing. V&A Publishing, 2018. 14–31.

The present article contemplates some reflections produced from the accumulation produced in our research group around a research project that sought to understand some practices of education developed by Brazilian communists, in periods in which they lived educational practices in or for clandestinity, particularly between the 1950s and 1970s.From the intersection between history of education and political culture, we present theoretical-methodological reflections on the autobiographical narratives that constituted the sources of ongoing research. The methodology is qualitative in nature and based on the presentation of notes that could serve as a motto for reflection about the use of narratives and their interfaces with the experience and the collective memory. The reflections carried out argue that the analysis of the narratives present in the autobiographical sources must consider some theoretical-methodological intersections from the (autobiographical) research perspective, as well as on memory and experience.ResumoO presente artigo contempla algumas reflexões produzidas a partir do acúmulo produzido em nosso grupo de pesquisa em torno de um projeto de investigação que buscou compreender algumas práticas de educação desenvolvidas por comunistas brasileiros, em períodos nos quais viveram práticas educativas na ou para a clandestinidade, particularmente entre as décadas de 1950 e 1970. A partir da intersecção entre história da educação e cultura política, apresentamos reflexões de cunho teórico-metodológico sobre as narrativas autobiográficas que constituíram as fontes da investigação em curso. A metodologia é de natureza qualitativa e se pauta na apresentação de algumas notas que possam servir de mote para a reflexão sobre o uso de narrativas e suas interfaces com a experiência e a memória coletiva. As reflexões realizadas defendem que a análise das narrativas presentes nas fontes autobiográficas deve considerar algumas intersecções teórico-metodológicas da perspectiva da pesquisa (auto)biográfica, bem como sobre memória e experiência.ResumenEl presente artículo contempla algunas reflexiones producidas a partir de la acumulación producida en nuestro grupo de investigación en torno a un proyecto de investigación que buscó comprender algunas prácticas educativas desarrolladas por comunistas brasileños, en períodos en los que vivieron prácticas educativas en o para la clandestinidad, en particular entre los años 1950 y 1970. Desde la intersección entre la historia de la educación y la cultura política, presentamos reflexiones teórico-metodológicas sobre las narrativas autobiográficas que constituyeron las fuentes de la investigación en curso. La metodología es de naturaleza cualitativa y se basa en la presentación de algunas notas que pueden servir como un lema para la reflexión sobre el uso de las narrativas y sus interfaces con la experiencia y la memoria colectiva. Las reflexiones sostenidas sostienen que el análisis de las narrativas presentes en las fuentes autobiográficas debe considerar algunas intersecciones teóricas y metodológicas desde la perspectiva de la investigación (biográfica), así como sobre la memoria y la experiencia.Palavras-chave: Educação clandestina, Experiência, Memória coletiva, Narrativas.Keywords: Clandestine education, Experience, Collective memory, Narratives.Palabras clave: Educación clandestina, Experiencia, Memoria colectiva, Narrativas.ReferencesABRAHÃO, Maria Helena Menna Barreto (Orgs.). Educadores Sul-Rio-Grandenses: muita vida nas histórias de vida. Porto Alegre: EDIPUCRS, 2008.ABRAHÃO, Maria Helena Menna Barreto. História e histórias de vida – destacados educadores fazem a história da educação rio-grandense. Porto Alegre: EDIPUCRS, 2001.ABRAHÃO, Maria Helena Menna Barreto. Pesquisa (auto)biográfica: tempo, memória e narrativas. In: ______ (Org.). A aventura (auto)biográfica – teoria e empiria. Porto Alegre: EDIPUCRS, 2004, p.201-224.ABRAHÃO, Maria Helena Menna Barreto. Pesquisar com professores na escola: contribuições da pesquisa dialógica para o desenvolvimento de aprendizagens autorreguladas. In: VEIGA SIMÃO, A. M.; FRISON, L. M. B.; ABRAHÃO, M. H. M. B. (Orgs.). Autorregulação da aprendizagem e narrativas autobiográficas: epistemologia e práticas. Porto Alegre: EDIPUCRS; Natal: EDUFRN; Salvador: EDUNEB, 2012, p.113-154.ABRAHÃO, Maria Helena Menna Barreto. Profissionalização docente e identidade – narrativas na primeira pessoa. In: SOUZA, E. C. (Orgs.) Autobiografias, histórias de vida e formação: pesquisa e ensino. Porto Alegre: EDIPUCRS; Salvador: EDUNEB, 2006, p.189-203.ABRAHÃO, Maria Helena Menna Barreto; BOLÍVAR, Antonio. Trayectorias epistemológicas y prácticas de la investigación (auto)biográfica en educación em Brasil y España. In: ______ (orgs.). La investigación (auto)biográfica en educación: miradas cruzadas entre Brasil y España. Granada/Porto Alegre: EUG/EdiPUCRS, 2014, p. 8-29.ALBUQUERQUE, M. B. B. Educação e saberes culturais: apontamentos epistemológicos. In: PACHECO, A. S. et al. (Org.). Pesquisas em estudos culturais na Amazônia: cartografias, literaturas & saberes interculturais. Belém: Editora AEDI, 2015. p. 651-692.BERGSON, Henri. Matéria e memória: ensaio sobre a relação do corpo com o espírito. 2ª ed. São Paulo: Martins Fontes, 1999.ARAÚJO, Silvia Maria de; BRIDI, Maria Aparecida; MOTIM, Benilde Lenzi. Sociologia. São Paulo: Scipione, 2013.BOURDIEU, Pierre; PASSERON, Jean Claude. A reprodução: elementos para uma teoria do sistema de ensino. Rio de Janeiro: Francisco Alves, 1982.BRANDÃO, Carlos Rodrigues. O que é educação?. São Paulo: Brasiliense, 2007.BUENO, B. O. É possível reinventar os professores? A escrita de memórias em um curso especial de formação de professores. In: SOUZA, E. C.; ABRAHÃO, M. H. M. B. (Orgs.). Tempos, narrativas e ficções: a invenção de si. Porto Alegre: EDIPUCRS; Salvador: EDUNEB, 2006, 219-238.BUENO, B. O. O método autobiográfico e os estudos com histórias de vida de professores: a questão da subjetividade. Educação e Pesquisa, São Paulo, v.28, n.1, p. 11-30, jan./jun. 2002.CORRÊA, Hércules. Memórias de um stalinista. Rio de Janeiro: Opera Nostra, 1994.CRUZ, Marcelly Machado; SILVEIRA, Éder da Silva Silveira. Gênero, educação e cultura política comunista: reflexões sobre narrativas de mulheres militantes. Textura - ULBRA, v. 20, p. 272-288, 2018.CUNHA, Jorge Luiz da. Pesquisas com (auto)biografias: interfaces em tempos de individuação. In: PASSEGI, Maria da Conceição. ABRAHÃO, Maria Helena Menna Barreto (org). Dimensões epistemológicas e metodológicas da pesquisa (auto)biográfica: Tomo I. Natal: EDUFRN; Porto Alegre: EDIPUCRS; Salvador: EDUNEB, 2012. p. 95-114.CUNHA, Maria Isabel. Conta-me agora! As narrativas como alternativas pedagógicas na pesquisa e no ensino. Rev. Fac. Educ. vol. 23 n. 1-2, p.185-195. São Paulo Jan./Dec. 1997.DELORY-MOMBERGER, Christine. A condição biográfica: ensaios sobre narrativa de si na modernidade avançada. Natal, RN: EDUFRN, 2012.DIAS, Eduardo. Um imigrante e a revolução: Memórias de um Militante Operário 1934 - 1951. São Paulo: Brasiliense, 1983.DURKHEIM, Émile. As regras do método sociológico. São Paulo: Martin Claret, 2004.FIUZA, Alexandre Felipe; BRAGGIO, Ana Karine. Acervo da DOPS/PR: uma possibilidade de fonte diferenciada para a história da educação. Revista Tempo e Argumento, Florianópolis, v. 5, n.10, p. 430 – 452, jul./dez. 2013.FRISON, L. M. B. Narrativas de autoformação: aprendizagem autorregulada revelada na docência compartilhada. In: VEIGA SIMÃO, A. M.; FRISON, L. M. B.; ABRAHÃO, M. H. M. B. (Orgs.). Autorregulação da aprendizagem e narrativas autobiográficas: epistemologia e práticas. Porto Alegre: EDIPUCRS; Natal: EDUFRN; Salvador: EDUNEB, 2012, p.73-92.GOHN, Maria da Glória. Educação não-formal, participação da sociedade civil e estruturas colegiadas nas escolas. Ensaio: aval. pol. públ. Educ., Rio de Janeiro, v.14, n.50, p.27-38, mar. 2006.HALBWACHS, Maurice. A memória coletiva. São Paulo: Vértice, 1990.JOSSO, Marie-Christine. Experiências de vida e formação. São Paulo: Cortez, 2004.LIMA, Heitor Ferreira. Caminhos percorridos. Organização do Arquivo de História Social Edgard Leuenroth – Unicamp: Brasiliense, 1982.NORA, Pierre. Entre memória e história: a problemática dos lugares. Projeto História, São Paulo, PUC-SP, (10): 7-29, 1993.O COMUNISMO no Brasil. Inquérito Policial Militar 709. V.2. Rio de Janeiro: Biblioteca do Exército, 1967.OLIVEIRA, Amanda Assis de; SILVEIRA, Éder da Silva. Educação e clandestinidade: memórias de comunistas brasileiros na União Soviética (1953-1955). Temporalidades, v. 9, p. 12-31, 2017.OLIVEIRA, Pérsio Santos de. Introdução à sociologia. São Paulo: Ática, 2010.PASSEGGI, Maria da Conceição. A formação do formador na abordagem autobiográfica. A experiência dos memoriais de formação. In: SOUZA, E. C.; ABRAHÃO, M. H. M. B. (Orgs.). Tempos, narrativas e ficções: a invenção de si. Porto Alegre: EDIPUCRS; Salvador: EDUNEB, 2006, p.203-218.PASSEGGI, Maria da Conceição. Memoriais auto-bio-gráficos: a arte profissional de tecer uma figura pública de si. In: PASSEGGI, M. C.; BARBOSA, T.M.N (Orgs.). Memórias, memoriais: pesquisa e formação docente. São Paulo: Paulus; Natal: EDUFRN, 2008, p.27-59.PASSEGGI, Maria da Conceição. Narrar é humano! Autobiografar é um processo civilizatório. In: PASSEGGI, M. C.; SILVA, V. B. (Orgs.). Invenções de vidas, compreensões de itinerários e alternativas de formação. São Paulo: Cultura Acadêmica, p.103-139, 2010.PASSEGGI, Maria da Conceição. Narrativas institucionais de si: a arte de enlaçar reflexão, razão e emoções. In: MARTINS, Raimundo; TOURINHO, Irene; SOUZA, Elizeu Clementino (Orgs.). Pesquisa narrativa: interfaces entre histórias de vida, arte e educação. Santa Maria: Editora da UFSM, p.99-124, 2017.PASSEGGI, Maria da Conceição; SOUZA, Elizeu Clementino; VICENTINI, Paula Perin. Entre a vida e a formação: pesquisa (auto)biográfica, docência e profissionalização. Educação em Revista. Belo Horizonte, v.27,n.01, p.333-346, 2011.PIMENTEL, Guilherme Costa. Cultura política comunista em Montes Claros - reflexões e apontamentos. Temporalidades: Revista de pós-graduação em História, Ed. 24, V. 9, N. 2, p. 32-48, mai./ago. 2017.POLLAK, M. Memória, esquecimento, silêncio. Revista Estudos Históricos, Vol. 2, Nº 3, p.3-15, 1989.SÁ MOTTA, Rodrigo Patto (Org.). Desafios e possibilidades na apropriação de cultura política pela historiografia. In: MOTTA, Rodrigo Patto Sa (Org.). Culturas Políticas na História: Novos Estudos. 2. ed. Belo Horizonte: Fino Traço Editora Ltda, 2009. Cap. 1. p. 13-35.SARLO, Beatriz. Tempo passado: cultura da memória e guinada subjetiva. São Paulo: Cia. Das Letras; Belo Horizonte: UFMG, 2007.SCHMIDT, Benito Bisso. Entre a filosofia e a sociologia: matrizes teóricas das discussões atuais sobre história e memória. Revista Estudos Ibero-Americanos, PUCRS, v.XXXII, n.1, p.85-97, jun.2006.SCHMIDT, Maria Luisa Sandoval; MAHFOUD, Miguel. Halbwachs: memória coletiva e Experiência. Psicologia USP, São Paulo, v.4(1/2), p.285-298, 1993.SILVEIRA, Éder da Silva. Por que ele? Educação, Traição e Dissidência Comunista na Trajetória de Manoel Jover Teles, o “Manolo”. São Paulo: Paco Editorial, 2016a.SILVEIRA, Éder da Silva. Por que ele? Reflexões sobre o percurso e os bastidores de uma biografia histórica. Revista Brasileira de Pesquisa (Auto)Biográfica, Salvador, v. 01, n. 03, p. 467-479, set/dez. 2016b.SILVEIRA, Éder da Silva; MORETTI, Cheron Zanini. Memórias de uma educação clandestina: comunistas brasileiros e escolas políticas na União Soviética na década de 1950. Educar em Revista, p. 193-208, 2017.SILVEIRA, Éder da Silva; MORETTI, Cheron Zanini; PEREIRA, Marcos Villela (Org.). Educação clandestina. v.1: Educação e Clandestinidade. 1. ed. Porto Alegre: EDIPUCRS, 2019a.SILVEIRA, Éder da Silva; MORETTI, Cheron Zanini; PEREIRA, Marcos Villela (Org.). Educação clandestina. v.2: Educação e culturas políticas. 1. ed. Porto Alegre: EDIPUCRS, 2019b.SOUZA, Elizeu Clementino O Conhecimento de Si: estágio e narrativas de formação de professores. Rio de Janeiro: DP&A; Salvador, BA: UNEB, 2006.STEPHANOU, Maria; BASTOS, Maria Helena Câmara. História, Memória e História da educação. In: ______ (org.). Histórias e memórias da educação no Brasil. Vol. III - Século XX. 4ª edição. RJ:Vozes, 2011, p.416-429.THOMPSON, Edward P. A miséria da teoria: ou um planetário de erros. Rio de Janeiro: Zahar, 1981.

Introduction: From Trifle to Tiramisu Tiramisu is an Italian dessert cake, usually comprising sponge finger biscuits soaked in coffee and liquor, layered with a mixture of egg yolk, mascarpone and cream, and topped with sifted cocoa. Once a gourmet dish, tiramisu, which means “pick me up” in Italian (Volpi), is today very popular in Australia where it is available for purchase not only in restaurants and cafés, but also from fast food chains and supermarkets. Recipes abound in cookery books and magazines and online. It is certainly more widely available and written about in Australia than the once ubiquitous English trifle which, comprising variations on the theme of sherry soaked sponge cake, custard and cream, it closely resembles. It could be asserted that its strong coffee taste has enabled the tiramisu to triumph over the trifle in contemporary Australia, yet coffee is also a recurrent ingredient in cakes and icings in nineteenth and early twentieth century Australian cookbooks. Acknowledging that coffee consumption in Australia doubled during the years of the Second World War and maintained high rates of growth afterwards (Khamis; Adams), this article draws on examples of culinary writing during this period of increasing popularity to investigate the use of coffee in cookery as well as a beverage in these mid-twentieth century decades. In doing so, it engages with a lively scholarly discussion on what has driven this change—whether the American glamour and sophistication associated with coffee, post-war immigration from the Mediterranean and other parts of Europe, or the influence of the media and developments in technology (see, for discussion, Adams; Collins et al.; Khamis; Symons). Coffee in Australian Mid-century Epicurean Writing In Australian epicurean writing in the 1950s and 1960s, freshly brewed coffee is clearly identified as the beverage of choice for those with gourmet tastes. In 1952, The West Australian reported that Johnnie Walker, then president of the Sydney Gourmet Society had “sweated over an ordinary kitchen stove to give 12 Melbourne women a perfect meal” (“A Gourmet” 8). Walker prepared a menu comprising: savoury biscuits; pumpkin soup made with a beef, ham, and veal stock; duck braised with “26 ounces of dry red wine, a bottle and a half of curacao and orange juice;” Spanish fried rice; a “French lettuce salad with the Italian influence of garlic;” and, strawberries with strawberry brandy and whipped cream. He served sherry with the biscuits, red wine with the duck, champagne with the sweet, and coffee to finish. It is, however, the adjectives that matter here—that the sherry and wine were dry, not sweet, and the coffee was percolated and black, not instant and milky. Other examples of epicurean writing suggested that fresh coffee should also be unadulterated. In 1951, American food writer William Wallace Irwin who travelled to, and published in, Australia as “The Garrulous Gourmet,” wrote scathingly of the practice of adding chicory to coffee in France and elsewhere (104). This castigation of the French for their coffee was unusual, with most articles at this time praising Gallic gastronomy. Indicative of this is Nancy Cashmore’s travel article for Adelaide’s Advertiser in 1954. Titled “In Dordogne and Burgundy the Gourmet Will Find … A Gastronomic Paradise,” Cashmore details the purchasing, preparation, presentation, and, of course, consumption of excellent food and wine. Good coffee is an integral part of every meal and every day: “from these parts come exquisite pate de fois, truffles, delicious little cakes, conserved meats, wild mushrooms, walnuts and plums. … The day begins with new bread and coffee … nothing is imported, nothing is stale” (6). Memorable luncheons of “hors-d’oeuvre … a meat course, followed by a salad, cheese and possibly a sweet” (6) always ended with black coffee and sometimes a sugar lump soaked in liqueur. In Australian Wines and Food (AW&F), a quarterly epicurean magazine that was published from 1956 to 1960, coffee was regularly featured as a gourmet kitchen staple alongside wine and cheese. Articles on the history, growing, marketing, blending, roasting, purchase, and brewing of coffee during these years were accompanied with full-page advertisements for Bushell’s vacuum packed pure “roaster fresh” coffee, Robert Timms’s “Royal Special” blend for “coffee connoisseurs,” and the Masterfoods range of “superior” imported and locally produced foodstuffs, which included vacuum packed coffee alongside such items as paprika, bay leaves and canned asparagus. AW&F believed Australia’s growing coffee consumption the result of increased participation in quality dining experiences whether in restaurants, the “scores of colourful coffee shops opening their doors to a new generation” (“Coffee” 39) or at home. With regard to domestic coffee drinking, AW&F reported a revived interest in “the long neglected art of brewing good coffee in the home” (“Coffee” 39). Instructions given range from boiling in a pot to percolating and “expresso” (Bancroft 10; “Coffee” 37-9). Coffee was also mentioned in every issue as the only fitting ending to a fine meal, when port, other fortified wines or liqueurs usually accompanied a small demi-tasse of (strong) black coffee. Coffee was also identified as one of the locally produced speciality foods that were flown into the USA for a consulate dinner: “more than a ton of carefully selected foodstuffs was flown to New York by Qantas in three separate airlifts … beef fillet steaks, kangaroo tails, Sydney rock oysters, King prawns, crayfish tails, tropical fruits and passion fruit, New Guinea coffee, chocolates, muscatels and almonds” (“Australian” 16). It is noteworthy that tea is not profiled in the entire run of the magazine. A decade later, in the second half of the 1960s, the new Australian gourmet magazine Epicurean included a number of similar articles on coffee. In 1966 and 1969, celebrity chef and regular Epicurean columnist Graham Kerr also included an illustrated guide to making coffee in two of the books produced alongside his television series, The Graham Kerr Cookbook (125) and The Graham Kerr Cookbook by the Galloping Gourmet (266-67). These included advice to buy freshly roasted beans at least once a week and to invest in an electric coffee grinder. Kerr uses a glass percolator in each and makes an iced (milk) coffee based on double strength cooled brewed coffee. Entertaining with Margaret Fulton (1971) is the first Margaret Fulton cookery book to include detailed information on making coffee from ground beans at home. In this volume, which was clearly aimed at the gourmet-inclined end of the domestic market, Fulton, then cookery editor for popular magazine Woman’s Day, provides a morning coffee menu and proclaims that “Good hot coffee will never taste so good as it does at this time of the day” (90). With the stress on the “good,” Fulton, like Kerr, advises that beans be purchased and ground as they are needed or that only a small amounts of freshly ground coffee be obtained at one time. For Fulton, quality is clearly linked to price—“buy the best you can afford” (90)—but while advising that “Mocha coffee, which comes from Aden and Mocha, is generally considered the best” (90), she also concedes that consumers will “find by experience” (90) which blends they prefer. She includes detailed information on storage and preparation, noting that there are also “dozens of pieces of coffee making equipment to choose from” (90). Fulton includes instructions on how to make coffee for guests at a wedding breakfast or other large event, gently heating home sewn muslin bags filled with finely ground coffee in urns of barely boiling water (64). Alongside these instructions, Fulton also provides recipes for a sophisticated selection of coffee-flavoured desserts such as an iced coffee soufflé and coffee biscuits and meringues that would be perfect accompaniments to her brewed coffees. Cooking with Coffee A prominent and popular advocate of Continental and Asian cookery in Melbourne in the 1950s, Maria Kozslik Donovan wrote and illustrated five cookery books and had a successful international career as a food writer in the 1960s and 1970s. Maria Kozslik was Hungarian by birth and education and was also educated in the USA before marrying Patrick Donovan, an Australian, and migrating to Sydney with him in 1950. After a brief stay there and in Adelaide, they relocated to Melbourne in 1953 where she ran a cookery school and wrote for prominent daily newspaper The Age, penning hundreds of her weekly “Epicure’s Corner: Continental Recipes with Maria Kozslik” column from 1954 to 1961. Her groundbreaking Continental Cookery in Australia (1955) collects some 140 recipes, many of which would appear in her column—predominantly featuring French, Italian, Viennese, and Hungarian dishes, as well as some from the Middle East and the Balkans—each with an informative paragraph or two regarding European cooking and dining practices that set the recipes in context. Continental Cookery in Australia includes one recipe for Mocha Torte (162), which she translates as Coffee Cream Cake and identifies as “the favourite of the gay and party-loving Viennese … [in] the many cafés and sweet shops of Salzburg and Vienna” (162). In this recipe, a plain sponge is cut into four thin layers and filled and covered with a rich mocha cream custard made from egg yolks, sugar and a good measure of coffee, which, when cooled, is beaten into creamed butter. In her recipe for Mocha Cream, Donovan identifies the type of coffee to be used and its strength, specifying that “strong Mocha” be used, and pleading, “please, no essence!” She also suggests that the cake’s top can be decorated with shavings of the then quite exotic “coffee bean chocolate,” which she notes can be found at “most continental confectioners” (162), but which would have been difficult to obtain outside the main urban centres. Coffee also appears in her Café Frappe, where cooled strong black coffee is poured into iced-filled glasses, and dressed with a touch of sugar and whipped cream (165). For this recipe the only other direction that Donovan gives regarding coffee is to “prepare and cool” strong black coffee (165) but it is obvious—from her eschewing of other convenience foods throughout the volume—that she means freshly brewed ground coffee. In contrast, less adventurous cookery books paint a different picture of coffee use in the home at this time. Thus, the more concise Selected Continental Recipes for the Australian Home (1955) by the Australian-born Zelmear M. Deutsch—who, stating that upon marrying a Viennese husband, she became aware of “the fascinating ways of Continental Cuisine” (back cover)—includes three recipes that include coffee. Deutsch’s Mocha Creams (chocolate truffles with a hint of coffee) (76-77), almond meringues filled with coffee whipped cream (89-90), and Mocha Cream Filling comprising butter beaten with chocolate, vanilla, sugar, and coffee (95), all use “powdered” instant coffee, which is, moreover, used extremely sparingly. Her Almond Coffee Torte, for example, requires only half a teaspoon of powdered coffee to a quarter of a pint (300 mls) of cream, which is also sweetened with vanilla sugar (89-90). In contrast to the examples from Fulton and Donovan above (but in common with many cookbooks before and after) Deutsch uses the term “mocha” to describe a mix of coffee and chocolate, rather than to refer to a fine-quality coffee. The term itself is also used to describe a soft, rich brown color and, therefore, at times, the resulting hue of these dishes. The word itself is of late eighteenth century origin, and comes from the eponymous name of a Red Sea port from where coffee was shipped. While Selected Continental Recipes appears to be Deutsch’s first and only book, Anne Mason was a prolific food, wine and travel writer. Before migrating to England in 1958, she was well known in Australia as the presenter of a live weekly television program, Anne Mason’s Home-Tested Recipes, which aired from 1957. She also wrote a number of popular cookery books and had a long-standing weekly column in The Age. Her ‘Home-Tested Recipes’ feature published recipes contributed by readers, which she selected and tested. A number of these were collected in her Treasury of Australian Cookery, published in London in 1962, and included those influenced by “the country cooking of England […] Continental influence […] and oriental ideas” (11). Mason includes numerous recipes featuring coffee, but (as in Deutsch above) almost all are described as mocha-flavoured and listed as such in the detailed index. In Mason’s book, this mocha taste is, in fact, featured more frequently in sweet dishes than any of the other popular flavours (vanilla, honey, lemon, apple, banana, coconut, or passionfruit) except for chocolate. These mocha recipes include cakes: Chocolate-Mocha Refrigerator cake—plain sponge layered with a coffee-chocolate mousse (134), Mocha Gateau Ring—plain sponge and choux pastry puffs filled with cream or ice cream and thickly iced with mocha icing (136) and Mocha Nut Cake—a coffee and cocoa butter cake filled and iced with mocha icing and almonds (166). There are also recipes for Mocha Meringues—small coffee/cocoa-flavoured meringue rosettes joined together in pairs with whipped cream (168), a dessert Mocha Omelette featuring the addition of instant coffee and sugar to the eggs and which is filled with grated chocolate (181) and Mocha-Crunch Ice Cream—a coffee essence-scented ice cream with chocolate biscuit crumbs (144) that was also featured in an ice cream bombe layered with chocolate-rum and vanilla ice creams (152). Mason’s coffee recipes are also given prominence in the accompanying illustrations. Although the book contains only nine pages in full colour, the Mocha Gateau Ring is featured on both the cover and opposite the title page of the book and the Mocha Nut Cake is given an entire coloured page. The coffee component of Mason’s recipes is almost always sourced from either instant coffee (granules or powdered) or liquid coffee essence, however, while the cake for the Mocha Nut Cake uses instant coffee, its mocha icing and filling calls for “3 dessertspoons [of] hot black coffee” (167). The recipe does not, however, describe if this is made from instant, essence, or ground beans. The two other mocha icings both use instant coffee mixed with cocoa, icing sugar and hot water, while one also includes margarine for softness. The recipe for Mocha Cup (202) in the chapter for Children’s Party Fare (198-203), listed alongside clown-shaped biscuits and directions to decorate cakes with sweets, plastic spaceships and dolls, surprisingly comprises a sophisticated mix of grated dark chocolate melted in a pint of “hot black coffee” lightened with milk, sugar and vanilla essence, and topped with cream. There are no instructions for brewing or otherwise making fresh coffee in the volume. The Australian culinary masterwork of the 1960s, The Margaret Fulton Cookbook, which was published in 1968 and sold out its first (record) print run of 100,000 copies in record time, is still in print, with a revised 2004 edition bringing the number of copies sold to over 1.5 million (Brien). The first edition’s cake section of the book includes a Coffee Sponge sandwich using coffee essence in both the cake and its creamy filling and topping (166) and Iced Coffee Cakes that also use coffee essence in the cupcakes and instant coffee powder in the glacé icing (166). A Hazelnut Swiss Roll is filled with a coffee butter cream called Coffee Creme au Beurre, with instant coffee flavouring an egg custard which is beaten into creamed butter (167)—similar to Koszlik’s Mocha Cream but a little lighter, using milk instead of cream and fewer eggs. Fulton also includes an Austrian Chocolate Cake in her Continental Cakes section that uses “black coffee” in a mocha ganache that is used as a frosting (175), and her sweet hot coffee soufflé calls for “1/2 cup strong coffee” (36). Fulton also features a recipe for Irish Coffee—sweetened hot black coffee with (Irish) whiskey added, and cream floated on top (205). Nowhere is fresh or brewed coffee specified, and on the page dedicated to weights, measures, and oven temperatures, instant coffee powder appears on the list of commonly used ingredients alongside flour, sugar, icing sugar, golden syrup, and butter (242). American Influence While the influence of American habits such as supermarket shopping and fast food on Australian foodways is reported in many venues, recognition of its influence on Australian coffee culture is more muted (see, for exceptions, Khamis; Adams). Yet American modes of making and utilising coffee also influenced the Australian use of coffee, whether drunk as beverage or employed as a flavouring agent. In 1956, the Australian Women’s Weekly published a full colour Wade’s Cornflour advertorial of biscuit recipes under the banner, “Dione Lucas’s Manhattan Mochas: The New Coffee Cookie All America Loves, and Now It’s Here” (56). The use of the American “cookie” instead of the Australian “biscuit” is telling here, the popularity of all things American sure to ensure, the advert suggested, that the Mochas (coffee biscuits topped with chocolate icing) would be so popular as to be “More than a recipe—a craze” (56). This American influence can also been seen in cakes and other baked goods made specifically to serve with coffee, but not necessarily containing it. The recipe for Zulu Boys published in The Argus in 1945, a small chocolate and cinnamon cake with peanuts and cornflakes added, is a good example. Reported to “keep moist for some time,” these were “not too sweet, and are especially useful to serve with a glass of wine or a cup of black coffee” (Vesta Junior 9), the recipe a precursor to many in the 1950s and 1960s. Margaret Fulton includes a Spicy Coffee Cake in The Margaret Fulton Cookbook. This is similar to her Cinnamon Tea Cake in being an easy to mix cake topped with cinnamon sugar, but is more robust in flavour and texture with the addition of whole bran cereal, raisins and spices (163). Her “Morning Coffee” section in Entertaining with Margaret Fulton similarly includes a selection of quite strongly flavoured and substantially textured cakes and biscuits (90-92), while her recipes for Afternoon Tea are lighter and more delicate in taste and appearance (85-89). Concluding Remarks: Integration and Evolution, Not Revolution Trusted Tasmanian writer on all matters domestic, Marjorie Bligh, published six books on cookery, craft, home economics, and gardening, and produced four editions of her much-loved household manual under all three of her married names: Blackwell, Cooper and Bligh (Wood). The second edition of At Home with Marjorie Bligh: A Household Manual (published c.1965-71) provides more evidence of how, rather than jettisoning one form in favour of another, Australian housewives were adept at integrating both ground and other more instant forms of coffee into their culinary repertoires. She thus includes instructions on both how to efficiently clean a coffee percolator (percolating with a detergent and borax solution) (312) as well as how to make coffee essence at home by simmering one cup of ground coffee with three cups of water and one cup of sugar for one hour, straining and bottling (281). She also includes recipes for cakes, icings, and drinks that use both brewed and instant coffee as well as coffee essence. In Entertaining with Margaret Fulton, Fulton similarly allows consumer choice, urging that “If you like your coffee with a strong flavour, choose one to which a little chicory has been added” (90). Bligh’s volume similarly reveals how the path from trifle to tiramisu was meandering and one which added recipes to Australian foodways, rather than deleted them. Her recipe for Coffee Trifle has strong similarities to tiramisu, with sponge cake soaked in strong milk coffee and sherry layered with a rich custard made from butter, sugar, egg yolks, and black coffee, and then decorated with whipped cream, glace cherries, and walnuts (169). This recipe precedes published references to tiramisu as, although the origins of tiramisu are debated (Black), references to the dessert only began to appear in the 1980s, and there is no mention of the dish in such authoritative sources as Elizabeth David’s 1954 Italian Food, which features a number of traditional Italian coffee-based desserts including granita, ice cream and those made with cream cheese and rice. By the 1990s, however, respected Australian chef and food researcher, the late Mietta O’Donnell, wrote that if pizza was “the most travelled of Italian dishes, then tiramisu is the country’s most famous dessert” and, today, Australian home cooks are using the dish as a basis for a series of variations that even include replacing the coffee with fruit juices and other flavouring agents. Long-lived Australian coffee recipes are similarly being re-made in line with current taste and habits, with celebrated chef Neil Perry’s recent Simple Coffee and Cream Sponge Cake comprising a classic cream-filled vanilla sponge topped with an icing made with “strong espresso”. To “glam up” the cake, Perry suggests sprinkling the top with chocolate-covered roasted coffee beans—cycling back to Maria Koszlik’s “coffee bean chocolate” (162) and showing just how resilient good taste can be. Acknowledgements The research for this article was completed while I was the recipient of a Research Fellowship in the Special Collections at the William Angliss Institute (WAI) of TAFE in Melbourne, where I utilised their culinary collections. Thank you to the staff of the WAI Special Collections for their generous assistance, as well as to the Faculty of Arts, Business, Informatics and Education at Central Queensland University for supporting this research. Thank you to Jill Adams for her assistance with this article and for sharing her “Manhattan Mocha” file with me, and also to the peer reviewers for their generous and helpful feedback. All errors are, of course, my own.References “A Gourmet Makes a Perfect Meal.” The West Australian 4 Jul. 1952: 8.Adams, Jill. “Australia’s American Coffee Culture.” Australasian Journal of Popular Culture (2012): forthcoming. “Australian Wines Served at New York Dinner.” Australian Wines and Food 1.5 (1958): 16. Bancroft, P. A. “Let’s Make Some Coffee.” Australian Wines & Food Quarterly 4.1 (1960): 10. Black, Jane. “The Trail of Tiramisu.” Washington Post 11 Jul. 2007. 15 Feb. 2012 ‹http://www.washingtonpost.com/wp-dyn/content/article/2007/07/10/AR2007071000327.html›. Bligh, Marjorie. At Home with Marjorie Bligh: A Household Manual. Devonport: M. Bligh, c.1965-71. 2nd ed. Brien, Donna Lee. “Australian Celebrity Chefs 1950-1980: A Preliminary Study.” Australian Folklore 21 (2006): 201-18. Cashmore, Nancy. “In Dordogne and Burgundy the Gourmet Will Find … A Gastronomic Paradise.” The Advertiser 23 Jan. (1954): 6. “Coffee Beginnings.” Australian Wines & Food Quarterly 1.4 (1957/1958): 37-39. Collins, Jock, Katherine Gibson, Caroline Alcorso, Stephen Castles, and David Tait. A Shop Full of Dreams: Ethnic Small Business in Australia. Sydney: Pluto Press, 1995. David, Elizabeth. Italian Food. New York: Penguin Books, 1999. 1st pub. UK: Macdonald, 1954, and New York: Knoft, 1954. Donovan, Maria Kozslik. Continental Cookery in Australia. Melbourne: William Heinemann, 1955. Reprint ed. 1956. -----.“Epicure’s Corner: Continental Recipes with Maria Kozslik.” The Age 4 Jun. (1954): 7. Fulton, Margaret. The Margaret Fulton Cookbook. Dee Why West: Paul Hamlyn, 1968. -----. Entertaining with Margaret Fulton. Dee Why West: Paul Hamlyn, 1971. Irwin, William Wallace. The Garrulous Gourmet. Sydney: The Shepherd P, 1951. Khamis, Susie. “It Only Takes a Jiffy to Make: Nestlé, Australia and the Convenience of Instant Coffee.” Food, Culture & Society 12.2 (2009): 217-33. Kerr, Graham. The Graham Kerr Cookbook. Wellington, Auckland, and Sydney: AH & AW Reed, 1966. -----. The Graham Kerr Cookbook by The Galloping Gourmet. New York: Doubleday, 1969. Mason, Anne. A Treasury of Australian Cookery. London: Andre Deutsch, 1962. Mason, Peter. “Anne Mason.” The Guardian 20 Octo.2006. 15 Feb. 2012 Masterfoods. “Masterfoods” [advertising insert]. Australian Wines and Food 2.10 (1959): btwn. 8 & 9.“Masters of Food.” Australian Wines & Food Quarterly 2.11 (1959/1960): 23. O’Donnell, Mietta. “Tiramisu.” Mietta’s Italian Family Recipe, 14 Aug. 2004. 15 Feb. 2012 ‹http://www.miettas.com/food_wine_recipes/recipes/italianrecipes/dessert/tiramisu.html›. Perry, Neil. “Simple Coffee and Cream Sponge Cake.” The Age 12 Mar. 2012. 15 Feb. 2012 ‹http://www.theage.com.au/lifestyle/cuisine/baking/recipe/simple-coffee-and-cream-sponge-cake-20120312-1utlm.html›. Symons, Michael. One Continuous Picnic: A History of Eating in Australia. Adelaide: Duck Press, 2007. 1st. Pub. Melbourne: Melbourne UP, 1982. ‘Vesta Junior’. “The Beautiful Fuss of Old Time Baking Days.” The Argus 20 Mar. 1945: 9. Volpi, Anna Maria. “All About Tiramisu.” Anna Maria’s Open Kitchen 20 Aug. 2004. 15 Feb. 2012 ‹http://www.annamariavolpi.com/tiramisu.html›. Wade’s Cornflour. “Dione Lucas’ Manhattan Mochas: The New Coffee Cookie All America Loves, and Now It’s Here.” The Australian Women’s Weekly 1 Aug. (1956): 56. Wood, Danielle. Housewife Superstar: The Very Best of Marjorie Bligh. Melbourne: Text Publishing, 2011.