Artículos de revistas sobre el tema "Paolo Lioy"

Lily Saldanha Tuesta (1958-2011) fue una de las primeras fotógrafas que se interesó por el arte amazónico y especialmente la pintura de Víctor Churay Roque. Su infancia transcurrida en la Amazonía le permitió relacionarse con miembros de distintos grupos étnicos a quienes su padre solía invitar a compartir la mesa. Eso quedó siempre en su recuerdo. Conoció de niña al pintor César Calvo de Arauja y luego en Pucallpa se hizo muy amiga de su vecino, el recientementedesaparecido pintor Pablo Amaringo cuya obra siempre admiró. Estas experiencias marcarían su permanente inclinación por fotografiar la estética de los pueblos amazónicos que conoció y plasmó en distintas series.

ABSTRACT The ability to distinguish between the taphonomic patterns inflicted by different carnivore taxa in the fossil record is currently underdeveloped. Previous efforts to identify taxon-specific taphonomic damage to prey bones inflicted by larger felids have largely focused on tooth marks. Recent work, however, which considers patterns of chewing damage are only beginning to yield methods that can consistently distinguish between species, or even families, of large predators. Here we present a new low-cost, low-tech, semi-quantitative method for coding carnivore-inflicted chewing damage patterns using a basic 5-stage scale (0 = no damage, 1 = tooth marks only, 2 = minimal chewing damage, 3 = moderate chewing damage, 4 = severe chewing damage, fragmentation, or destruction), including a photographic guide to different levels of bone damage inflicted on different skeletal elements and portions. An independent test of this method by three experienced taphonomic analysts indicates that this method is easy to use and results in consistent data across analysts. We also apply this method to document and describe the intensity of damage that free-ranging African lions inflicted on a sample of zebra bones. This method can be used in conjunction with efforts to distinguish taxon-specific tooth mark shapes or patterns to more confidently infer the identity of different predators based on their chewing damage.

The black lion tamarin, Leontopithecus chrysopygus, is an endemic and endangered primate species from the Atlantic Forest of the interior of São Paulo State, Brazil. Its mating system is characterized as monogamous and females give birth to two twin infants during each breeding season. They are known to mainly sleep in tree holes, which is considered as a pertinent strategy for increasing their protection from predators during the night. Artificial cavities, like nest boxes, have been installed for other species in areas where tree cavities are depleted, in order to replace them. In this study, we report (i) the use of nest boxes in the wild by a group of black lion tamarins and (ii) the first record of polygyny for this species.

The black lion tamarin Leontopithecus chrysopygus originally occurred throughout a large part of the Atlantic forest in the west of the state of São Paulo, Brazil. Today, however, it is restricted to a few isolated forest fragments as a result of deforestation caused by cattle ranching, and urban and agricultural expansion, especially in this century. One of its last strongholds is a small gallery forest at Lençóis Paulista in the west-central part of the state. The authors report on a long-term study of this small and isolated population, aimed particularly at providing a basis for the intensive managementand conservation of the species and its habitat.

In recent years, lily (Lilium spp.) has become an important ornamental crop in diverse regions of Mexico. Since 2005, unusual symptoms have been observed on lily plants grown from imported bulbs in both greenhouse and production plots at San Pablo Ixayo, Boyeros, and Tequexquinauac, Mexico State. Symptoms included a zigzag line pattern on leaves, dwarfism, enlargement of stems, shortened internodes, leaves without petioles growing directly from bulbs, air bulbils, death of young roots, atrophy of flower buttons, and flower abortion. Symptoms were experimentally reproduced on healthy lily plants by graft inoculation. Total DNA was extracted from 50 diseased, 10 symptomless, and 10 graft-inoculated plants by the method of Dellaporta et al. (2). DNA samples were analyzed for phytoplasma presence by two different nested PCR assays. One assay employed ribosomal RNA gene primer pair P1/P7 followed by R16F2n/R16R2 (1), whereas ribosomal protein (rp) gene primer pairs rpF1/rpR1 and rp(I)F1A/rp(I)R1A (4) were used in a second assay. A DNA fragment approximately 1.2 kb long was consistently amplified from all symptomatic plant samples only by both assays. A comparative analysis of 16S rDNA sequences (Genbank Accession Nos. EF421158–EF421160 and EU124518–EU124520) and rp gene sequences (EU277012–EU277014), derived from PCR products, revealed that phytoplasma infecting lily were most similar (99.9% to 16S rDNA and 99.7% to rp) to carrot phytoplasma sp. ca2006/5 and also were similar (99.8% to 16SrDNA and 99.2% to rp) to broccoli phytoplasma sp. br273. Both carrot and broccoli phytoplasmas were classified as members of aster yellow 16S rDNA restriction fragment length polymorphism subgroup 16SrI-B (3). Although infection of lilies by aster yellows (‘Ca. phytoplasma asteris’) subgroup 16SrI-B and 16SrI-C was reported from the Czech Republic and Poland, to our knowledge, this is the first report of ‘Ca. phytoplasma asteris’-related strains associated with lily plants in Mexico. References: (1) R. F. Davis et al. Microbiol. Res. 158:229, 2003. (2) S. L. Dellaporta et al. Plant Mol. Biol. Rep. 1:19, 1983. (3) B. Duduk et al. Bull. Insectol. 60 2:341, 2007. (4) I.-M. Lee et al. Int. J. Syst. Evol. Microbiol. 54:337, 2004.

Some 255 birds were recorded between 1982-2001 in and near a 2314-ha "Horto" of old eucalyptus plantations with native understory and a lake, near Rio Claro, in central São Paulo, Brazil. This is close to the 263 recorded in and around a ten-times smaller nearby 230-ha woodlot of semideciduous forest. Different species were 44, for a total of 307 in both areas. One hundred and fifty nonvagrant forest and border species were recorded in 1982-86, a number close to the 152 in the small native woodlot. With dry years and logging of plots in 1985-93, 21 of the 150 species were lost, 42 species decreased in numbers, 49 were stable, 19 increased (15 being border species), and 5 entered (one of dry forest and 4 of borders), so 129 species remained in 1996-2001 compared to 133 in the native woodlot. Open-area birds were 33, versus 50 in better-checked grassy swales in sugar cane near the natural woodlot, for a total of 53. Several species, like some border ones, did not enter the open but isolated and mowed interior lake area, or took years to do so. Water and marsh birds were 46 versus 40 in smaller creeks and ponds near the natural woodlot (total, 55) but many were migrants or infrequent visitors using distant areas, and perhaps should be counted as 0.1-0.9 "local species" rather than "1" species. Use of this more accurate method would reduce waterbird totals by 14 "species" in the Horto and by 11 around the native woodlot. I also recommend longer censusing at the edges in large woodlots or many edge species will be recorded only in small fragments of habitat. Several species increased and others decreased with occasional cat-tail and water-lily cleanups at the lake. A forested corridor between the Horto and natural woodlot is recommended, with old eucalyptus left to provide flowers for hummingbirds.

CONSUMO HÍDRICO DE CALLA LILY SUBMETIDA AO MANEJO DE IRRIGAÇÃO VIA SOLO E TEORES DE COBRE1 JANINE FARIAS MENEGAES2; ALEXANDRE SWAROWSKY3; FERNANDA ALICE ANTONELLO LONDERO BACKES4; ROGÉRIO ANTONIO BELLÉ4 E HÉLCIO JOSÉ IZÁRIO FILHO5 1 Manuscrito referente a parte da Dissertação de Mestrado em Engenharia Agrícola de Janine Farias Menegaes.2 Eng. Agrônoma, Mestranda do Programa de Pós-Graduação em Engenharia Agrícola (PPGEA), Universidade Federal de Santa Maria (UFSM), Avenida Roraima, 1000, Prédio 42, Sala 3325, CEP 97.105-900, Santa Maria, RS, Brasil. janine_rs@hotmail.com3 Doutor, Professor do PPGEA, UFSM, Santa Maria, RS, Brasil. aleswar@gmail.com4 Doutor(a), Professor(a) do Departamento de Fitotecnia, UFSM, Santa Maria, RS, Brasil. fernanda@bakes.com.br; rogeriobelle@gmail.com 5 Doutor, Professor do Departamento de Engenharia Química, Escola de Engenharia de Lorena, Universidade de São Paulo (USP), Lorena, SP, Brasil. helcio@dequi.eel.usp.br 1 RESUMO Na floricultura as interações do sistema solo-planta-água refletem, diretamente, na qualidade do produto final, em que a compreensão destas relações auxilia no entendimento dos mecanismos de resposta da planta. Com o presente trabalho objetivou-se avaliar o desenvolvimento e o consumo hídrico da calla lily (Zantedeschia spp.) submetida a diferentes manejos de irrigação e teores de Cu (cobre), sendo cultivada em solo de áreas vitivinícolas com excesso desse nutriente. O delineamento experimental foi inteiramente casualizado, em esquema fatorial 4x3 (teores de Cu: zero, 300, 500 e 700 mg kg-1 de CuSO4 e manejo de irrigação: 40, 60 e 80% da capacidade de retenção de água no vaso (CRA)), com cinco repetições. O balanço hídrico foi realizado em intervalo de três dias e, o solo utilizado foi coletado no município de Pinto Bandeira, RS, localizado na Serra Gaúcha, em área vitivinícola. O experimento foi realizado no período de outubro de 2013 a março de 2014, em casa de vegetação, em Santa Maria, RS. Verificou-se que os teores do Cu adicionados ao solo não interferiram no consumo hídrico diário da calla lily, obtendo médias diárias de 0,5, 0,8 e 1,2 mm dia-1 para as lâminas de 40, 60 e 80% da CRA, respectivamente. Calla lily pode ser cultivada em ambientes com altos teores de Cu, pois a planta apresenta tolerância ao mesmo. Palavras-chave: Zantedeschia spp., Floricultura, Balanço hídrico, Áreas vitivinícolas. MENEGAES, J. F.; SWAROWSKY, A.; BACKES, F. A. A. L.; BELLÉ, R. A.; IZÁRIO FILHO, H. J.CALLA LILY WATER CONSUMPTION SUBMITTED TO DIFFERENT IRRIGATION STRATEGIES AND COPPER LEVELS 2 ABSTRACT In floriculture, interactions of the soil-plant-water system are directly reflected on the quality of the final product, and the understanding of these relationships helps in understanding the mechanisms of plant response. The present work aimed to evaluate the development and the water consumption of calla lily (Zantedeschia spp.) under different irrigation strategies, grown in winery areas with excess copper. The experimental setup was completely randomized in a factorial 4x3 (four copper levels and three irrigation strategies), with five repetitions. Water balance was taken at every three days and the soil was collected in the municipality of Pinto Bandeira, RS, in the vineyard area. The experiment was carried out from October 2013 to March 2014, in a greenhouse in Santa Maria, RS. It was found that Cu content added to the soil did not interfere with the daily water consumption of calla lily, obtaining average daily 0.5, 0.8 and 1.2 mm day-1 for depths 40, 60 and 80% CRA (water retention capacity of the vessel), respectively. Calla lily can be grown in environments with high Cu, because the plant is tolerant to it. Keywords: Zantedeschia spp., Floriculture, Water balance, Wine areas.

The seasonal forest formations of the Atlantic Forest are a threatened and poorly known habitat. We present here a list of the non-volant mammals occurring in a 515‑ha forest fragment known as Santa Maria and located in the Brazilian state of São Paulo. Our surveys are based on live trap captures, camera traps, and active searches for footprints, as well as secondary data. We list 29 species of non-volant mammals in the fragment, recorded between 1996 and 2021. One species found in the fragment, Leontopithecus chrysopygus, is globally endangered. Two species are classified as "vulnerable" in the global red list: Myrmecophaga tridactyla, and Tapirus terresris. One species, Panthera onca, is classified as "critically endangered" in São Paulo state. The red howler, Alouatta guariba, was not recorded after 1999 and has probably been extirpated in the fragment. We show that the number of non-volant mammal species in Santa Maria fragment is high, in relation to its size. The fragment is also in a strategic position, between the Morro do Diabo state park and the Black Lion Tamarin Ecological station, the two largest protected areas in the region. Considering its high mammal richness and its possible role as stepping stone for the local fauna, we recommend that the fragment become a protected area.

Este artículo recorre la obra de Pablo Pérez El mendigo Chupapijas con el objetivo de estudiar su propuesta estética trash y queer, basada en la apropiación literaria que éste realiza del sado-masoquismo y de los espacios asociados a estas prácticas. Observamos aquí la valorización que Pérez ofrece de la sexualidad vagabunda y el cruising de su escritura, a partir del cual se topa con distintos roles sexuados y de poder, así como también con un collage de diversos géneros discursivos que incluye y adopta. Se trata entonces aquí de reflexionar sobre esta intervención cultural que Pérez engendra, examinando el dimensionamiento político de la representación que éste ofrece de la lucha por afirmar la propia identidad.

This study describes the 35-year progression of activities in the Pontal do Paranapanema region of São Paulo State, Brazil. These activities began as a research project on the conservation ecology of the highly endangered Black Lion Tamarin and broadened into a landscape-scale restoration and conservation project involving the active participation of hundreds of landless families that colonized the region. Rather than viewing these colonists as a threat, a non-governmental organization arose to address their needs, providing training and support livelihoods. Local communities were engaged in conservation and restoration activities focused on studying the movement patterns of endangered species, environmental education programmes, planting native trees along riparian corridors, establishing coffee agroforestry plantings and initiating community-managed nurseries for the production of local native seedlings and non-native fruit trees. Farmers gained knowledge, income and food security, and developed a sense of ownership and shared responsibility for protecting wildlife, conserving forest fragments and restoring forests. Land sharing and restoring forest functions within an agricultural landscape matrix created new opportunities for people and endangered wildlife. We explore how key factors and partnerships critically influenced the landscape trajectory and conclude with lessons learned that may be relevant to sustainable landscape initiatives in other contexts.

A survey of mammals and birds was carried out in a semi-deciduous forest fragment of 150 ha located in a zone of intensive agriculture in Ribeirão Preto, State of São Paulo, south-eastern Brazil. Line transect sampling was used to census mammals and birds during six days, totalling 27.8 km of trails and 27.8 hours of observation. Twenty mammal species were confirmed in the area (except bats and small mammals), including rare or endangered species, such as the mountain lion (Puma concolor), the maned wolf (Chrysocyon brachyurus), and the ocelot (Leopardus pardalis). The brown capuchin monkey (Cebus apella) and the black-tufted-ear marmoset (Callithrix penicillata) were found frequently, suggesting high population density in the fragment. Regarding the avifauna, 49 bird species were recorded, most of them typical of open areas or forest edges. Some confirmed species, however, are becoming increasingly rare in the region, as for example the muscovy duck (Cairina moschata) and the toco toucan (Ramphastos toco). The results demonstrate that forest fragment of this size are refuges for native fauna in a region dominated almost exclusively by sugar-cane plantations. Besides faunal aspects, the conservation of these fragments is of great importance for the establishment of studies related to species preservation in the long term, including reintroduction and translocation projects, as well as studies related to genetic health of isolated populations.

O presente artigo apresenta uma reflexão sobre a gestão da aprendizagem e a construção da autonomia a partir dos usos das Tecnologias Digitais de Informação e Comunicação (TDIC) na educação. São questionamentos sobre o modelo tradicional de educação e as dificuldades para superar o desafio de construir uma educação que atenda as necessidades dos jovens do século XXI. Neste contexto, apresentamos o resultado da pesquisa em 402 memoriais elaborados por professores que frequentaram, na condição de alunos, um curso online, tendo-se verificado que os professores não apresentaram dificuldades relevantes no que respeita ao uso e ao acesso da tecnologia.PALAVRAS-CHAVE: Gestão da aprendizagem, autonomia, aprendizagem online. ABSTRACTThis article presents a reflection on the uses of a learning management systems and the construction of autonomy parting from the application of Digital Technologies of Information and Communication (DTIC) in education. Inquiries are presented about the traditional model of education and the difficulties to overcome the challenge of building an education that meets the needs of young people of the 21st century. Within this framework, we present the result of a survey of 402 briefs produced by teachers that attended, in condition of students, in online courses, having been verified that the teachers haven't presented relevant difficulties in regards to the use and access to technology. KEYWORDS: Learning management, autonomy, online education. RESUMENEn este artículo se presenta una reflexión sobre la gestión del aprendizaje y la construcción de la autonomía de las Tecnologías Digitales de la Información y la Comunicación (TDIC) en la educación. Son las preguntas sobre el modelo tradicional de la educación y las dificultades para superar el desafío de construir una educación que responda a las necesidades de los jóvenes del siglo XXI. Se presentan los resultados de la investigación de 402 memoriales elaborados por maestros que asistieron, en la condición de estudiantes de un curso en línea, ya que se encontró que los profesores no mostraron dificultades significativas cuanto al uso y acceso a la tecnología.PALABRAS CLAVE: Aprendizaje de la gestión, la autonomía, el aprendizaje en línea. ReferênciasALMEIDA, F. Tecnologia e escola: nossas aliadas. In J. A. Valente et al., Formação de professores a distância e integração de mídias. São Paulo: Avercamp, 2007.ALMEIDA, M. E. & Valente, J. A. Tecnologias e Currículo: trajetórias convergentes ou divergentes? São Paulo: Paulus, 2011.BARBERO, J. Heredando el futuro. Pensar la educación desde la comunicación. Rev. Nómadas, Nº 5, 1996.BELLONI, M. Educação à distância. Campinas: Autores associados, 2003.BORGES, M. Apropriação das tecnologias de informação e comunicação pelos gestores educacionais. São Paulo: PUC (Tese de Doutorado em Educação), 2009.HASSMANN, H. Redes digitais e metamorfoses do aprender. Petropolis-RJ: Vozes, 2005.KENSKI, V. M. Educação e Tecnologia: O ritmo da informação. Campinas: Papirus, 2007.LÉVY, P. As Tecnologias da inteligência. São Paulo: Editora 34, 1993.LION, C. Mitos e Realidade da Tecnología Educacional. In E. Litwin, Educação á Distância: Temas para o debate de uma nova agenda educativa. Porto Alegre: Artes Médicas, 1997.MORAN, J., Masetto, M. & Behrens, M. Novas tecnologias e mediações pedagógicas. Campinas: Papirus, 2003.OKADA, A. Memorial reflexivo em cursos on-line: um caminho para avaliação formativa emancipadora. In J. A. Valente et al., Formação de professores a distância e integração de midias. São Paulo: Avercamp, 2007.POSTMAN, N. O fim da educação: Redefinindo o valor da escola. Rio de Janeiro: Graphia, 2002.SANTOS, E. & Alves, L. Praticas pedagógicas e tecnologias digitais. Rio de Janeiro: E-papers, 2006.SILVA, B. Educação e Comunicação. Braga: CEEP - Universidade do Minho, 1998.SILVA, B. A tecnologia é uma estratégia. In Paulo Dias & Varela de Freitas (org.). Actas da II Conferência Internacional Desafios - 2001. Braga: Centro de Competência da Universidade do Minho do Projecto Nónio, pp. 839-859, 2001.SILVA, B. A inserção das tecnologias de informação e comunicação no currículo. In A. M. Flávio & E. Macedo (Orgs) Currículo, Práticas Pedagógicas e Identidades. Pp. 65-91. Porto: Porto Editora, 2002.SILVA, B. & Pereira, M. Reflexões sobre dinâmicas e conteúdos da cibercultura numa comunidade de prática educacional. In M. Silva (org.) Formação de Professores para Docência online. Pp 29-51. S. Paulo: Loyola, 2012.TAPSCOTT, D. A geração digital. Rio de Janeiro: Agir Negócios, 2010.TEIXEIRA, A. Mestres de amanhã. Revista Brasileira de Estudos Pedagógicos, Vol. 40 (92), pp. 10-19, 1963. Disponível em:Url: http://opendepot.org/2701/ Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

Verifica-se que o baixo n�mero de investidores na Bolsa de Valores em S�o Paulo deve-se tanto � falta de conhecimento quanto � complica��o que encontram na hora de investir e at� mesmo no baixo rendimento esperado. �Neste artigo, a solu��o � o estudo para a cria��o de um algoritmo que possa auxiliar na cria��o de um rob� que auxiliar� aos investidores a obter um melhor lucro. Para o desenvolvimento do mesmo, foram feitos estudos em busca de ferramentas e t�cnicas espec�ficas, para a obten��o de resultados atrav�s do uso da estat�stica, machine learning, redes neurais e apresentando os resultados em um navegador. �Ent�o resulta-se em um artigo fundamentado com �timas t�cnicas para aplicabilidade, servindo para a cria��o do rob� de investimento e at� mesmo ser utilizado como base para cria��o de outros algoritmos que fa�am uso de redes neurais e estat�stica.

Cardiac transplantation is one of the greatest medical marvels of the twentieth century. Performing this miraculous operation on 3rd December 1967, Dr. Christiaan Barnard, an unknown surgeon from the then apartheid state of South Africa suddenly became an international celebrity. Probably no single procedure in the history of medicine had attracted so much media and public attention. But there were many who thought that he didn’t deserve much of this glory. A lion share of this should have gone to somebody else. Although Barnard completed the final step in the road to transplant, it was the end product of serious research work carried out in many centers around the World. Most important was Stanford University Medical Center, Palo Alto, California USA, where Dr. Norman Edward Shumway was engaged in transplantation related research work along with his junior colleague Dr. Richard Lower. The most of the techniques used in cardiac transplantation today were actually developed by Dr. Shumway and his team. Barnard worked in the same unit with Shumway at University of Minnesota when he came to USA. He visited USA again in 1966 when he observed the works of Shumway’s research partner Dr. Richard Lower. During both of his visits he had adopted many techniques from the research work of his American counterparts and later used in his unique accomplishment. Barnard succeeded utilizing techniques developed through Shumway’s painstaking work over the years depriving Shumway much of the glory he deserved. Both later on continued in the development of transplantation when most others left because of poor outcome. Shumway excelled the technical details and Barnard drew media and public attention to the importance of this procedure. After almost five decades the name of Barnard is still well known by the common people around the World; whereas Shumway remains unknown even to most of the cardiac surgeons as well. This was the destiny of the two main heroes credited behind this exciting medical accomplishment. Here lies a very interesting story, the tale of two surgeons.Cardiovasc. j. 2015; 8(1): 82-86

The Mariegola of Our Lady of Tenderness and St John the Baptist and St John the Baptist (Mariegola della B. V. d’Umiltà e di S. Giovanni Battista del Tempi in Venetia) was obtained at Venice in the mid-nineteenth century by Aleksandar Paravia. The Paravia Library was bequeathed to the Research Library at Zadar, where this work is kept today. It is a codex manuscript containing three painted miniatures and a large number of decorated initials. It is akin to similar mariegole of various Venetian confraternities from the second half of the fourteenth century. However, it happens that this codex has not received equal attention in the scholarly literature as those preserved at Venice itself or in well-known international collections, and, as a consequence, the artistic quality of the miniatures and their place in the framework of the heritage of Venetian Gothic illumination has been neglected. Most publications focusing on Venetian Gothic painting, even those addressing specific themes in Gothic illumination, mostly mention the Zadar codex only in passing, while others omit it completely. With regard to the dates recorded in the mariegola text, it is possible to accept the dating of the manuscript to the last quarter of the fourteenth century, a date which is in harmony with the miniatures’ pictorial features. They reflect, in essence, a characteristic milieu of Venetian painting after Paolo Veneziano, in particular the painting circle of Paolo’s most significant follower, Lorenzo Veneziano. In that context, one can observe points of contact with the oeuvre of the Venetian painter Meneghello di Giovanni de Canali, who spent most of his career at Zadar, and it can be suggested that the miniatures may be related to his activity at Venice before coming to Zadar.However, in the mariegola itself, the lists of confraternity members record the names of several painters (Antonio de Cristofalo, Antonio, Jachomo, Marcho de Lorenzo, Nicholo de Domenego, Piero) some of whom have remained completely unknown until now, while others might be tentatively linked to the previously known names. Nonetheless, the very fact that as many as six painters were among the members of the confraternity points to the possibility that the creator of the miniatures might be one of them. At the same time, the name of the painter Piero de S. Lion is particularly intriguing as he might be identified with Pietro di Nicolò, Lorenzo Veneziano’s brother, and the name of the painter Marco de Lorenzo is also interesting as he may have been a son of the well-known painter.

DESEMPENHO DO MÉTODO DO BALANÇO DE ENERGIA - RAZÃO DE BOWEN NA ESTIMATIVA DA EVAPOTRANSPIRAÇÃO DE REFERÊNCIA LEONARDO DUARTE BATISTA DA SILVA1; GUSTAVO BASTOS LYRA2; JONATHAS BATISTA GONÇALVES SILVA3; CAMILA FERREIRA DE PINHO1; ALEXANDRE LIOI NASCENTES1; GILDA VIEIRA DE ALMEIDA1 E MARCOS VINICIUS FOLEGATTI4 1 Departamento de Engenharia, Instituto de Tecnologia, Universidade Federal Rural do Rio de Janeiro – UFRRJ, Campus UFRRJ, 23897-000, Seropédica, Rio de Janeiro, Brasil, e-mail: monitoreambiental@gmail.com; camilafepi@hotmail.com; alexandrelioi@gmail.com; gilda-almeida1@hotmail.com2 Departamento de Ciências Ambientais, Instituto de Florestas, Universidade Federal Rural do Rio de Janeiro – UFRRJ, Campus UFRRJ, 23897-000, Seropédica, Rio de Janeiro, Brasil, e-mail: gblyra@ufrrj.br3 Departamento de Engenharia Sanitária e Ambiental, Universidade Federal de Juiz de Fora – UFJF, Campus UFJR, 36036-330, Juiz de Fora, Minas Gerais, Brasil, e-mail: jonathasbsilva@gmail.com4 Departamento de Engenharia de Biossistemas, Escola Superior de Agricultura “Luiz de Queiroz”, Universidade de São Paulo – USP, Av. Pádua Dias 11, 13418-900, Piracicaba, São Paulo, Brasil, e-mail: mvfolega@usp.br 1 RESUMO O objetivo deste trabalho foi avaliar o desempenho do método do balanço de energia - razão de Bowen (BERB) e Penman-Monteith (PM) na estimativa da evapotranspiração de referência (ETo) diária em relação as medidas de um lisímetro de pesagem. O experimento foi conduzido em Piracicaba, SP, numa área cultivada com grama batatais (Paspalum notatum Flügge) no período de 11 a 25/06/2000. Avaliou-se a exatidão das estimativas de ETo com base no índice de concordância de Willmott (1981) (d) e no erro padrão de estimativa (EPE) e sua precisão pelo coeficiente de determinação (r²) da regressão linear entre ETo estimada e medida. O desempenho foi avaliado por meio do índice de confiança (c = d x r) de Camargo e Sentelhas (1997). As médias das estimativas de ETo pelo BERB e por PM não apresentaram diferenças estatísticas significativas (ANOVA, p < 0,05) em relação as médias de ETo medida no lisímetro. O método de PM mostrou exatidão (d = 0,99 e EPE = 0,09 mm d-1) e precisão (r² = 0,95) superior ao BERB (d = 0,92, EPE = 0,15 mm d-1 e r² = 0,86). Contudo, o desempenho para os dois métodos BERB (c = 0,85) e PM (c = 0,97) foi superior a 0,85, ou seja, classificado como ótimo pelo índice c. Palavras-chave: balanço de energia, consumo hídrico, modelo de Penman-Monteith, lisímetro de pesagem BATISTA DA SILVA, L. D.; LYRA, G. B.; SILVA, J. B. G.; PINHO, C. F.; NASCENTES, A. L.; ALMEIDA, G. V.; FOLEGATTI, M.V.PERFORMANCE OF THE BOWEN RATIO-ENERGY BALANCE METHOD FOR THE ESTIMATION OF REFERENCE EVAPOTRANSPIRATION 2 ABSTRACT This study aimed to evaluate the performance of Bowen ratio-Energy balance (BREB) and Penman-Monteith (PM) methods for the estimation of daily reference evapotranspiration (ETo) in relation to measurements of a weighing lysimeter. The experiment was carried out in Piracicaba-SP, in an area cultivated with Bahia grass (Paspalum notatumFlügge) from June 11th to 25th, 2000. ETo estimation accuracy was evaluated based on the Willmott agreement index (d) and on the standard error estimation (SEE), and its precision through the determination coefficient (r²) of the linear regression between estimated and measured ETo. The performance was evaluated using the confidence index (c = d x r) of Camargo and Sentelhas. The means of ETo estimates through BREB and PM did not show significant statistical differences (ANOVA p < 0.05) compared with the means of ETo measured in the lysimeter. The PM method showed higher agreement (d = 0.99 and SEE = 0.09 mm d-1) and precision (r² = 0.95) compared with BREB (d = 0.92, SEE = 0.15 mm d-1 and r² = 0.86). However, the performances of both BREB (c = 0.85) and PM (c = 0.97) methods were above 0.85, which is considered optimal according to the index c. Keywords: energy balance; water consumption; Penman-Monteith model; weighing lysimeter

Abstract Background Clonal Hematopoiesis (CH) is a well-established risk factor for adverse clinical outcomes including all-cause mortality, cardiovascular disease, and progression to hematologic malignancies. The presence of CH has been shown to adversely impact overall survival in non-hematologic cancers, however whether CH modulates response to specific therapies in breast cancer is not known. Here we investigate the impact of CH mutations on disease progression in patients with metastatic estrogen receptor (ER) positive breast cancer undergoing treatment with first line CDK4/6 inhibitors and endocrine therapy (CDK4/6i+ET). Methods We analyzed data from a well annotated cohort of patients with ER+ breast cancer who received endocrine therapy and CDK4/6 inhibitors. All patients underwent prospective tumor and matched WBC sequencing utilizing the MSK-IMPACT assay. CH variants were detected in blood samples utilizing the well-validated variant detection and filtration pipeline of MSK-IMPACT. CH mutations were defined as putative drivers (CH-PD) or non-putative drivers (CH) as previously described. To ensure the presence of CH at the time of therapy initiation, only patients who had CH sampling performed from 6 months before through 4 months after initiation of CDK4/6i+ET were included. We compared progression free survival (PFS) in patients with and without CH, as well as by CH-PD status and DNMT3A CH mutations. We investigated clinical covariates including type of endocrine therapy, receipt of prior neoadjuvant or adjuvant chemotherapy, and age at start of CDK4/6i+ET. Results The final cohort was comprised of 378 patients, of whom 135 (35.7%) had CH. The median time between sample collection and CDK4/6i+ET initiation was 0 (IQR -0.79 to 0.47 months). Patients with CH were older at time of therapy initiation (median 63.0 versus 54.7 years, p &lt; 0.001). There were no significant differences between groups in terms of endocrine therapy (aromatase inhibitor or fulvestrant), prior chemotherapy, and time from CH sample collection to CDK4/6i+ET start. Univariate Cox-proportional hazard analysis did not reveal a difference between progression free survival and overall CH (HR 0.96, 95% CI 0.75 – 1.23, p = 0.76), CH-PD (HR 1.05, 0.77 – 1.43, p = 0.77), or DNMT3A mutations (HR 1.12, 0.80 – 1.60, p = 0.52) compared to patients without CH. Interestingly, age less than 60 years was found to be associated with PFS outcome (univariate HR 1.57, 1.22 – 2.01, p = 0.0004). Multivariate analysis adjusted for endocrine therapy partner and age at CDK4/6i+ET therapy did not reveal an association between outcome and overall CH (HR 1.07, 0.83 – 1.39, p = 0.59). In patients younger than age 60, presence of overall CH did not confer a significant PFS difference (HR 0.90, 0.63 – 1.29, p = 0.57). In the subset of patients older than 60 (n = 168) presence of CH conferred numerically, but not statistically, significant shorter PFS (HR 1.41 [0.96 – 2.09], p = 0.08). In this population, CH-PD conferred a shorter PFS (HR 1.75, 1.12 – 2.72, p = 0.02). Conclusion We found that CH, CH-PD and DNMT3A CH mutations did not affect PFS among metastatic ER+ breast cancer patients treated with first line CDK4/6 inhibitors. Younger age was associated with increased risk of progression, warranting further investigation. In the subset of patients with age older than 60, CH-PD conferred a shorter PFS. Further data, incorporating records of dose reductions, will be presented at the meeting. Citation Format: Jacqueline Tao, Pablo Sanchez Vela, Anton Safonov, Emanuela Ferraro, Sebastia Franch Exposito, Kamal Menghrajani, Ryan Ptashkin, Elizabeth Comen, Lior Z. Braunstein, Mark E. Robson, Sarat Chandarlapaty, Jorge Reis-Filho, Michael Berger, Ahmet Zehir, Larry Norton, Ross Levine, Pedram Razavi. Impact of clonal hematopoiesis on disease progression following CDK4/6 inhibitor therapy [abstract]. In: Proceedings of the 2022 San Antonio Breast Cancer Symposium; 2022 Dec 6-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2023;83(5 Suppl):Abstract nr P4-02-18.

The introduction of basic computer media for early childhood is very important because it is one of the skills that children need in this century. Need to support parents and teachers in developing the implementation of the use of computer technology at home or at school. This study aims to determine and understand the state of learning conducted based on technology. This research uses a qualitative approach with a case study model. This study involved 15 children and 5 parents. Data obtained through interviews (children and parents) and questionnaires for parents. The results showed that children who were introduced to and taught basic computers earlier became more skilled in learning activities. Suggestions for further research to be more in-depth both qualitatively and quantitatively explore the use of the latest technology to prepare future generations who have 21st century skills. 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The Franciscan Monastery of St Domnius at Kraj on the island of Pašman houses an incunable edition of Augustine’s The City of God (De Civitate Dei) which was printed in Venice by Nicolas Jenson in 1475. The incunable features beautiful Renaissance multi-coloured illuminations painted in tempera, sepia, ink and water colours while gold foils and gold dust were used on fol. 17 (the page number is not original but was subsequently added in pencil; this folio contains the beginning of Book 1) and a number of other folios. The illumination on fol. 17 consists of two phytomorphic initials, a decorative border and independent figural scenes while a number of other folios are decorated with phytomorphic initials of the littera notabilior type, the height of which corresponds to two lines, painted in red or blue. The top and left margin of the first page of Book 1 are filled with a decorative border terminating in trilobes on each end. The ornamental scheme of the border consists of a band made up of five thin lines which undulates in a spiral and thus forms circles. These are filled with flowers, leaves and berries painted in blue, green and cyclamen purple but also with gold stylized burdock flowers (Lat. Arctium lappa; some scholars call them gold dots, that is, bottoni dorati). The remaining fields are filled with bent scrolls. In the upper left corner of the frame is a goldfinch. The initial I, composed of phytomorphic motifs in blue, green and cyclamen purple and their shades, is painted against a gold background of the rectangular field situated at the beginning of the text column on the left-hand side. Inside the decorative border, placed at the height which corresponds to the centre of the initial, is a medallion with the bust of St Augustine depicted in the open sky with elongated white clouds and no other details. The illusion of the spatial depth was achieved through the use of tonal gradations: the shades of blue are darker at the top and lighter in the lower half of the sky. St Augustine is dressed in a white robe and a red cloak with a black hood. He is wearing a white mitre with a horizontal and perpendicular band highlighted with gold dust. The shadows and folds of his clothes were articulated with black and white lines. His right hand is pointing to the open book which was painted at the height of his chest. The fingers on his right hand are elongated and thin. St Augustine’s gold nimbus was painted as a full circle the left half of which was outlined in white and the right half in black. St Augustine is directing his gentle and sad gaze upwards. His head is slightly bent. His round and bony head is marked by the large round eyes with prominent sclera and dark circles underneath while the arched eyebrows are thinner at their ends. The nose is small and the mouth is turned downwards. The plasticity of the face and its complexion were articulated with white and pink shades. The trimmed dark beard is depicted with short lines in lighter and darker shades. The ornamental frame which fills the top margin corresponds to the one in the left margin but was decorated more modestly because the miniaturist placed the scroll bearing the printer’s name and the scroll identifying the text as belonging to Book 1 at the centre of the frame which left only the beginning and the end of the frame to be decorated. The scroll with the printer’s name is emphasized by a golden burdock flower at the top of the frame and a golden teasel flower (Lat. Dipsacus fullonum) at the bottom. The lower margin features two symmetrical angels, rendered in a somewhat imprecise drawing, who kneel on the ground painted in the shades of green and brown. The physiognomy of the angels is similar to that of St Augustine. Their round heads have small eyes and noses, shaded circles under the eyes and arched eyebrows. The mouths are depicted as thin lines with pronounced ends and are further accentuated by a dot beneath the lower lip. The plasticity of their faces was achieved through the tonal gradation of pink and white. The angels’ hair, ochre in colour and highlighted with gold dust, is thick and short and covers the tops of their heads like a helmet. The outspread wings were painted in dark and light shades of blue. Two wide red scrolls with white highlights emerge symmetrically from behind the angels at their waist height. Wavy tendrils and gold stylized teasel flowers extend from the red scroll. The angels hold a laurel wreath between them. The colour of the circular field inside the wreath is cyclamen purple. The wreath is formed by three rows of leaves which are bound by four regularly spaced ties. The leaves’ edges and tips were painted in light and dark shades of green. Inside the wreath is a Renaissance crest surrounded by thin white wiggly tendrils with sprouting leaves. The shield, in the shape of a horse’s head, is divided horizontally into the dark blue upper half and the red lower half. It features a gold lion with his mouth wide open who is facing right and holding a tree with his front paws. The tree’s pyramidal top is decorated with small dots indicating leaves and fruit. The shield’s right half is outlined in white and the left one in black. The second text column on the first page of Book 1 is decorated with the painted initial letter G. It consists of phytomorphic motifs in blue, red, yellow and cyclamen purple and their shades. Two small leaves are attached to the initial on its left-hand side. As is the case with the crest, the initial was additionally decorated with elegant white tendrils sprouting leaves and highlighted with gold dust. The background is also gold while the rectangular field around the initial is outlined in a thin black line. Two wavy tendrils and two gold stylized teasel flowers emerge from the corners of the frame on the left-hand side while a green leaf appears at the centre. Apart from these illuminations and initials on fol. 17, the incunable contains other initials, one for the beginning of each of the remaining twenty one book, and all of them consist of blue, green and cyclamen pink phytomorphic motifs painted against a gold background inside a black rectangular frame. The plasticity of these initials was achieved through tonal gradation and the use of yellow while thin white undulating tendrils with variations in width and highlights in gold dust enriched the decoration. Some sentences in the text were emphasized by numerous initials in red or blue of the littera notabilior type the height of which corresponds to two lines of the text. The illuminations of this incunable edition of the De Civitate Dei belong to north Italian or Venetian Renaissance painting and they demonstrate numerous significant similarities with the works of the well-known Venetian miniaturist whom the scholarly literature identified as Maestro del Plinio di Giovanni Pico della Mirandola (Maestro del Plinio di Pico or, more commonly, Maestro di Pico). The attribution of the illuminations in this incunable to Maestro di Pico, who may have been helped by his workshop and assistants especially during the painting of the decorative frame and initials, is based on the figure of St Augustine and the angels who support the crest. Their features display the same typology which characterizes the works of Maestro di Pico. Identical angels appear in the bottom margin of Brunetto Latini’s Il Tesoro (Gerardus de Lisa, Treviso, 1474; Cambridge, Mass., Harvard, Houghton Library, Inc. 6459, c. 7). The figure of St Augustine shows pronounced similarities with the figure of a Dominican monk, set inside the initial O of the littera historiata type, in Nicolaus de Auximo’s Supplementum (Franciscus Renner et Nicolaus de Frankofordia, Venice, 1474; Biblioteca Marciana, Inc. Ven. 494, c.2). Identical angels and putti can be found in the bottom margins of Strabo’s Geographica (Minneapolis, Univ. of Minnesotta Library, Ms. 1460/f St., c.1), and in two copies of Pliny’s Historia Naturalis (Venice, N. Jenson, 1472, Paris, Bibliothèque Nationale, Vèlins 498 and Venice, N. Jenson, 1472, San Marino, CA, Huntington Library, n. 2289). A beautiful comparative example is the Biblia Latina (Franciscus Renner & Nicolaus de Frankfordia, 1475, Dallas, Texas, Southern Methodist University, Bridwell Library) and its first page which has a similar composition to that in the incunable from Kraj. The figure of St Jerome, depicted inside a littera historiata provides a plethora of specific Morellian details which are essential for the attribution of the illuminations in the incunable from Kraj to Maestro di Pico. Striking similarities in the depictions of saints, phytomorphic initials and decorative frames can also be found in two psalters (one in Venice, Biblioteca Querini Stampaglia, Inc. 6, the other in Siena, Biblioteca S. Bernardino del Convento dell’Osservanza) and in the first page of the Psalms in a breviary from Paris (Bibliothèque Ste-Geneviève, OE XV 147 Rés). Similar saints and angels all of which belong to the same figural typology were used to decorate three copies from the Commissioni series made for Doge Agostino Barbarigo (Commissione del doge Agostino Barbarigo a Girolamo Capello, 1487, Venice, Bib. Del Museo Correr, MS Cl. III. 33 (fig. 15); Commissione del doge Agostino Barbarigo a Paolo di Canale, 1489, Paris, Bibliothèque Nationale, Lat. 4729, c.2, and Commissione del doge Agostino Barbarigo a Tommaso Loredano, 1490, Paris, Bibliothèque Nationale, Lat. 4730, c.1). Further parallels can be found in the illuminations of a breviary from Augsburg (c. 1480, Universitätsbibl., Cod. I.2.2o 35) the first page of which has a lettera istoriata with the figure of St Paul whose physiognomy closely resembles that of St Augustine in the incunabule from Kraj, while the bottom margin features centrally placed angels which are identical to those at Kraj. Equally important comparative material is found in three Paduan incunables (Biblioteca del Seminario Vescovile) which contain illuminations attributed to Maestro di Pico. The distinctive features of the angels, putti and saints as well as the type of decoration used in the margins of these incunables also demonstrate striking similarities with the illuminations from Kraj. Other examples include Lattanzi’s Opera (Giovanni da Colonia and Johannes Manthen, Venice, 1478; Forc. M. 3.2), Jacopo da Varagine’s Legenda aurea (Gabriele di Pietro, Venice, 1477, with a likely contribution of his workshop; Forc. M. 2.22) and Cipriano’s Opera (Vindelino da Spira, Venice, 1471; Forc. K. 2.12). On the basis of the comparative analyses outlined above and the similarities which have been noted, it can be concluded that the illuminations in the incunable of St Augustine’s De Civitate Dei (Nicolas Jenson, Venice, 1475), housed in the Monastery of St Domnius at Kraj, were painted by the well-known Venetian Renaissance miniaturist Maestro di Pico. Regardless of the possible input of his workshop and assistants during the painting process of the decorative frame and initials, these illuminations help expand the catalogue of Maestro di Pico’s works and represent valuable contribution to the painting in Renaissance Dalmatia.

During the ideological crisis of the 1950s, through the studies of Gianfranco Contini and Antonio Gramsci, the Divine Comedy proposed itself as an authorial, existential and political model and as a multilingual model, to which Auerbach's concept of Mimesis was added from 1957. A concept already prophetically sensitive to the arrival of neo-capitalism in the 1960s, which coincided, not by chance, with the triumph of the neo-avant-garde and the Gruppo 63. An artistic witness to the agonizing struggle against this arrival is La Divina Mimesis, an unfinished remake of Dante's poem, in which Pier Paolo Pasolini depicts the crisis of his mimetic poetics in the encounter between his 1950s self and his 1960s self. The characterization of the three beasts constitutes a sociolinguistic framework in which the author-actor does not renounce allegorical dialectics, identifying, in each one of them (lion-illusion, lion-superbia, she-wolf-conformism), the evil he recognizes in himself and in reality. La Divina Commedia si propone, durante la crisi ideologica degli anni ’50, tramite gli studi di Gianfranco Contini e di Antonio Gramsci, come modello autoriale, esistenziale e politico e come modello plurilinguistico, ai quali si unisce, a partire dal 1957, il concetto di Mimesi di Auerbach, già profeticamente sensibile all’avvento del neocapitalismo degli anni ’60, coincidente in modo non casuale con il trionfo della neoavanguardia e del Gruppo 63. Testimone artistico dell’agonica lotta contro tale avvento è La Divina Mimesis, incompiuto rifacimento del poema dantesco, in cui Pier Paolo Pasolini raffigura la crisi della sua poetica mimetica nell’incontro fra il suo io degli anni ’50 e quello degli anni ’60. La caratterizzazione delle tre fiere costituisce un quadro sociolinguistico in cui l’autore-attore non rinuncia alla dialettica allegorica, individuando, in ognuna di esse (lonza-illusione, leone-superbia, lupa-conformismo), i mali che riconosce in sé e nella realtà. La Divina Commedia si propone, durante la crisi ideologica degli anni ’50, tramite gli studi di Gianfranco Contini e di Antonio Gramsci, come modello autoriale, esistenziale e politico e come modello plurilinguistico, ai quali si unisce, a partire dal 1957, il concetto di Mimesi di Auerbach, già profeticamente sensibile all’avvento del neocapitalismo degli anni ’60, coincidente in modo non casuale con il trionfo della neoavanguardia e del Gruppo 63. Testimone artistico dell’agonica lotta contro tale avvento è La Divina Mimesis, incompiuto rifacimento del poema dantesco, in cui Pier Paolo Pasolini raffigura la crisi della sua poetica mimetica nell’incontro fra il suo io degli anni ’50 e quello degli anni ’60. La caratterizzazione delle tre fiere costituisce un quadro sociolinguistico in cui l’autore-attore non rinuncia alla dialettica allegorica, individuando, in ognuna di esse (lonza-illusione, leone-superbia, lupa-conformismo), i mali che riconosce in sé e nella realtà.

Abstract A new distribution map is provided for Carnation mottle virus. Tombusviridae: Carmovirus. Hosts: carnation (Dianthus caryophyllus), sweet william (D. barbatus), Begonia elatior [B. hiemalis], B. cheinamantha, Daphne odorata, calla lily (Zantedeschia sp.) and garden lettuce (Lactuca sativa). Information is given on the geographical distribution in Europe (Belgium, Bulgaria, Czech Republic, Denmark, Finland, France, Germany, Hungary, Italy, Latvia, Lithuania, Moldova, Netherlands, Poland, Romania, Russia, Serbia, Spain, UK and Ukraine) and Asia (Fujian, Hebei, Jiangsu, Yunnan and Zhejiang, China; Gujarat and Uttar Pradesh, India; Iran, Israel; Honshu, Japan; Korea Republic; Lebanon; and Taiwan), Africa (Egypt), North America (British Columbia and Ontario, Canada; Mexico; and California, Colorado, Ohio, Pennsylvania and Wisconsin, USA), Central America and Carribean (Cuba), South America (Argentina, Chile, Colombia, Venezuela, and São Paulo, Brazil) and Oceania (Victoria, Australia, and New Zealand).

O presente artigo acad�mico se concentrou no estudo da atua��o da maior for�a policial das am�ricas, a Pol�cia Militar do Estado de S�o Paulo, focando a pesquisa nos conceitos de norma jur�dica, san��o jur�dica e nas teorias cl�ssicas e modernas dedicadas � perquiri��o dos objetivos da coercibilidade do Estado, visando � busca de um paralelo entre os regramentos legais p�trios dispon�veis de controle e regula��o da atua��o da for�a policial militar paulista e a an�lise da sua efic�cia nos casos em concreto. Com efeito, destacam-se temas como: os limites do exerc�cio do poder de pol�cia e o monop�lio do uso da viol�ncia.

Quo usque tandem abutere, Catilina, patientia nostra? (‘Just how much longer, really, Catiline, will you abuse our patience?’). The famous incipit—‘And what are you reading, Master Buddenbrook? Ah, Cicero! A difficult text, the work of a great Roman orator. Quousque tandem, Catilina. Huh-uh-hmm, yes, I've not entirely forgotten my Latin, either’— already impressed contemporaries, including some ordinarily not so readily impressed. It rings through Sallust's version of Catiline's shadowy address to his followers, when he asks regarding the injustices they suffer (Cat. 20.9): quae quousque tandem patiemini, o fortissumi uiri? (‘Just how much longer, really, will you put up with these, o bravest men?’). More playfully, and less well-known, Sallust employed the expression again in a speech by Philippus (Hist. 1.77.17 M./67 R.): uos autem, patres conscripti, quo usque cunctando rem publicam intutam patiemini et uerbis arma temptabitis? (‘But you, members of the Senate, just how much longer will you suffer our Republic to be unsafe by your hesitation and make an attempt on arms with words?’). Soon afterwards it served Cicero's son, who, as governor of Asia, put down Hybreas fils for having dared to quote from his father's work in his presence (Sen. Suas. 7.14): ‘age’, inquit [sc. Marcus Tullius], ‘non putas me didicisse patris mei: “quousque tandem abutere, Catilina, patientia nostra”?’ (‘“Come now”, he said, “do you think that I do not know by heart my father's ‘Just how much longer, really, Catiline, will you abuse our patience’?”’). Just about the same time, Livy recalled it in order to colour Manlius’ exhortation of his followers (6.18.5): quousque tandem ignorabitis uires uestras, quas natura ne beluas quidem ignorare uoluit? … audendum est aliquid uniuersis aut omnia singulis patienda. quousque me circumspectabitis? (‘Just how much longer, really, will you remain ignorant of your own strength, which nature has willed even brutes to know? … We must dare all together, or else, separately, suffer all. Just how much longer will you keep looking round for me?’). Thereafter Quintilian would refer to it twice, when discussing apostrophe and rhetorical questions (Inst. 4.1.68, 9.2.7), just a couple of years before Tacitus has the maladroit Q. Haterius encourage Tiberius to seize the reins—quo usque patieris, Caesar, non adesse caput rei publicae? (‘Just how much longer, Caesar, will you suffer the absence of the head of state?’, Ann. 1.13.4); a few decades later still, Apuleius puts it into the mouth of the slave who chastises his master, now in asinine form (Met. 3.27): ‘quo usque tandem’, inquit, ‘cantherium patiemur istum paulo ante cibariis iumentorum, nunc etiam simulacris deorum infestum?’ (‘“Just how much longer, really,” he said, “will we suffer this old gelding to attack the animals’ food just a little while ago and now even the gods’ statues?”’). He trusted, no doubt, that the famous question would alert his readers more than anything to the many ‘similarities between Catiline and Lucius’, in order to have them appreciate this ‘ludicrous copy of Cicero's arch-enemy’. Some time after, and in a different corner of the Empire altogether, a teacher's bronze statue would carry the inscription: VERBACICRO | NISQVOVSQ | TANDEMABVTE | RECATELINAPA | TIENTIANOS | TRA.

Amy’s Marathon of Reading continues westward. Her Marathon of Hope project was mentioned in this column before but as it continues to gather momentum and as it relevant to the topic of this special issue, I thought it pertinent to mention it again. From her website: “ Inspired by Terry Fox’s and Rick Hansen’s Canadian journeys, Amy Mathers decided to honour her passion for reading and Canadian teen literature while working around her physical limitations through a Marathon of Books. Realising that Terry Fox could run a kilometre in six minutes during his Marathon of Hope, she figured out that she could read ten pages in the same amount of time. Thus, on her journey, ten pages will represent one kilometre travelled across Canada. Amy will be reading teen fiction books from every province and territory, exploring Canada and promoting Canadian teen authors and books by finishing a book a day for each day of 2014. She will write a review for each book she reads, and invites people to share their thoughts on the books she reads too.” For more information and to see how far Amy’s marathon has taken her so far, go to http://amysmarathonofbooks.ca/Upcoming events and exhibitsKAMLOOPS WRITERS FESTIVAL, Nov. 7-9, 2014, Old Courthouse Cultural Centre. Guest authors include children’s author Lois Peterson.WORKSHOP: Reading Challenges and Options for Young People with Disabilities. Friday, November 14, 2014; 11:30 am to 1:00 pm. REGISTRATION and more information: https://www.microspec.com/tix123/eTic.cfm?code=BOOKFAIR14 International and Canadian experts will discuss reading challenges and options for children and teens with disabilities, with examples from the IBBY Collection of Books for Young People with Disabilities. This outstanding international collection, formerly in Norway and now housed at North York Central Library, encompasses 3,000 books in traditional formats and accessible formats including sign language, tactile, Braille, and Picture Communication Symbols.There are two major opportunities to hear award winning author Kit Pearson in Toronto and Vancouver in the upcoming months. Kit will be presenting “The Sanctuary of Story” for the 8th Annual Sybille Pantazzi Memorial Lecture on Thursday November 13, 8 p.m., in the Community room, Lillian H. Smith branch of the Toronto Public Library.Kit Pearson will also be the guest speaker at A Celebration of Award Winning BC Authors and Illustrators of 2014 at A Wine and Cheese event from 7 – 9 p.m. at January 21, 2015. (Event venue still to be confirmed. Please check www.vclr.ca for updates.) The event celebrates many other BC winners and finalists of the Governor General’s Literary Awards, the BC Book Prizes, the VCLR Information Book Award, and several other important awards.For those of you in the Toronto area be sure to check out the exhibit Lest We Forget: War in Books for Young Readers, September 15 – December 6, 2014, at the Osborne Collection. In commemoration of the 100th anniversary of the beginning of the First World War.Do not forget to Celebrate Freedom to Read Week, February 22-28, 2015, the annual event that encourages Canadians to think about and reaffirm their commitment to intellectual freedom, which is guaranteed them under the Charter of Rights and Freedoms.Serendipity 2015 promises to be a tantalizing affair. An Edgy, Eerie, Exceptional Serendipity 2015 (Saturday March 7, 2015) with Holly Black, Andrew Smith, Mariko Tamaki, Molly Idle, and Kelli Chipponeri will have captivating discussions ranging from haunted dolls and worlds of nightmare, to the raw emotion and exceptional beauty of growing up. The event, a members-only event, includes breakfast, lunch, and snacks. [This may be a very good incentive to become a member!] More information at http://vclr.ca/serendipity-2015/Call for papers and presentationsYALSA is currently seeking program proposals and paper presentations for its 2015 Young Adult Services Symposium, Bringing it All Together: Connecting Libraries, Teens & Communities, to be held Nov. 6-8, 2015, in Portland, Ore. The theme addresses the key role of connection that librarians have for the teens in their community. YALSA invites interested parties to propose 90-minute programs centering on the theme, as well as paper presentations offering new, unpublished research relating to the theme. Applications for all proposals can be found http://www.ala.org/yalsa/yasymposium . Proposals for programs and paper presentations must be completed online by Dec. 1, 2014. Applicants will be notified of their proposals’ status by Feb. 1, 2015.Book Award newsThe 2014 Information Book Award Finalists. The winner and honor title, voted by members of the Children’s Literature Roundtables, will be announced November 17, 2014 in Vancouver.Before the World Was Ready: Stories of Daring Genius in Science by Claire Eamer. Annick Press. Follow Your Money by Kevin Sylvester and Michael Hlinka. Annick Press.Looks Like Daylight: Voices of Indigenous Kids by Deborah Ellis. Groundwood Books. Pay It Forward Kids: Small Acts, Big Change by Nancy Runstedler. Fitzhenry & Whiteside.Pedal It! How Bicycles are Changing the World by Michelle Mulder. Orca Book Publishers.The list of nominees for the 2015 Astrid Lindgren Memorial Award (ALMA) includes 50 first-time nominees among a total of 197 candidates from 61 countries. Canadian nominees include The Canadian Children’s Book Centre (Organisation, nominated by IBBY Canada) and authors Sarah Ellis and Marie-Francine Hébert. Full list available at http://www.alma.se/en/Nominations/Candidates/2015/The winners of the 2014 Governor General’s Literary Award will be announced November 18, 2014. The nominated titles for children’s literature (English text) are:Jonathan Auxier, (Pittsburgh, Pa.) – The Night Gardener (Penguin Canada)Lesley Choyce, (East Laurencetown, N.S.) – Jeremy Stone (Red Deer Press)Rachel and Sean Qitsualik-Tinsley – Skraelings (Inhabit Media Inc.)Raziel Reid, (Vancouver) – When Everything Feels like the Movies (Arsenal Pulp Press)Mariko Tamaki, (Oakland, Calif.) – This One Summer (Groundwood Books/House of Anansi Press)Nominations for illustration in (English) children’s literature are:Marie-Louise Gay, (Montreal) – Any Questions?, text by Marie-Louise Gay (Groundwood Books/House of Anansi Press)Qin Leng, (Toronto) – Hana Hashimoto, Sixth Violin, text by Chieri Uegaki (Kids Can Press)Renata Liwska, (Calgary) – Once Upon a Memory, text by Nina Laden (Little, Brown and Company)Julie Morstad, (Vancouver) – Julia, Child, text by Kyo Maclear (Tundra Books)Jillian Tamaki, (Brooklyn, N.Y.) – This One Summer, text by Mariko Tamaki (Groundwood Books/House of Anansi Press)Nominations for (French) children’s literature (text) are:Linda Amyot, (St-Charles-Borromée, Que.) – Le jardin d'Amsterdam (Leméac Éditeur)India Desjardins, (Montreal) – Le Noël de Marguerite (Les Éditions de la Pastèque)Patrick Isabelle, (Montreal) – Eux (Leméac Éditeur)Jean-François Sénéchal, (Saint-Lambert, Que.) – Feu (Leméac Éditeur)Mélanie Tellier, (Montreal) – Fiona (Marchand de feuilles)Nominations for (French) children’s literature (illustration):Pascal Blanchet, (Trois-Rivières, Que.) – Le Noël de Marguerite, text by India Desjardins (Les Éditions de la Pastèque)Marianne Dubuc, (Montreal) – Le lion et l'oiseau, text by Marianne Dubuc (Les Éditions de la Pastèque)Manon Gauthier, (Montreal) – Grand-mère, elle et moi…, text by Yves Nadon (Éditions Les 400 coups)Isabelle Malenfant, (Montreal) – Pablo trouve un trésor, text by Andrée Poulin (Éditions Les 400 coups)Pierre Pratt, (Montreal) – Gustave, text by Rémy Simard (Les Éditions de la Pastèque)Online resources:Welcome to the Teachers' Book Bank! This database of Canadian historical fiction and non-fiction books is brought to you by the Canadian Children's Book Centre with Historica Canada, and funded by the Government of Canada. These titles may be used by teachers to introduce topics and themes in Canadian history and by students carrying out research projects. Many of the books also offer opportunities for cross-curricular connections in language arts, geography, the arts, science and other subjects. In most cases, publishers have indicated specific grade levels and age ranges to guide selection. For lesson plans to go with these books, visit Historica Canada's Canadian Encyclopedia. http://bookbank.bookcentre.ca/index.php?r=site/CCBCChairing Stories on Facebook Created in response to requests from former students of Gail de Vos’s online courses on Canadian Children’s Literature and Graphic Novels and comic books, this page celebrates books, their creators, and their audiences. Postings for current students too! Check it out at https://www.facebook.com/ChairingStoriesPresented by Gail de VosGail de Vos, an adjunct instructor, teaches courses on Canadian children's literature, Young Adult Literature and Comic Books and Graphic Novels at the School of Library and Information Studies for the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades

Introduction In The X-Files episode “Humbug”, agents Scully and Mulder travel to Florida to investigate a series of murders taking place in a community of sideshow performers, or freaks. At the episode’s end, one character, a self-made freak and human blockhead, muses on the future of the freak community:twenty-first century genetic engineering will not only eradicate the Siamese twins and the alligator-skinned people, but you’re going to be hard-pressed to find a slight overbite or a not-so-high cheek bone … . Nature abhors normality. It can’t go very long without creating a mutant. (“Humbug”) Freaks, he says, are there to remind people of the necessity of mutations. His observation that genetic engineering will eradicate anomalies of nature accurately illustrates the gradual shift that society was witnessing in the late twentieth century away from the anomalous freak and toward surgical perfection. Yet this desire for perfection, which has manifested itself in often severe surgical deformities, has seen a shift in what constitutes the freak for a contemporary audience, turning what was once an anomaly into a mass-produced creation. While the freaks of the nineteenth and early twentieth century were born with facial or anatomical deformities that warranted their place in the sideshow performance (bearded ladies, midgets, faints, lobster men, alligator-skinned people, etc.), freaks of the twenty-first century can be seen as something created by a plastic surgeon, a shift which undermines the very understanding of freak ontology. As Katherine Dunne put it: “a true freak cannot be made. A true freak must be born” (28). In her discussion of the monstrous body, Linda Williams writes that “the monster’s body is perceived as freakish in its possession of too much or too little” (63). This may have included a missing or additional limb, distorted sizes and heights, and anatomical growths. John Merrick, or the “Elephant Man” (fig. 1), as he was famously known, perfectly embodied this sense of excess that is vital to what people perceive as the monstrous body. In his discussion of freaks and the freakshow, Robert Bogdan notes that promotional posters exaggerated the already-deformed nature of freaks by emphasising certain physical anomalies and turning them into mythological creatures: “male exhibits with poorly formed arms were billed as ‘The Seal Man’; with poorly formed legs, ‘the Frog Man’; with excesses of hair, ‘The Lion Man’ or ‘Dog Boy’” (100). Figure 1: John Merrick (the Elephant Man) <https://www.pinterest.com.au/pin/193584483966192229/>.The freak’s anomalous nature made them valuable, financially but also culturally: “in many ways, the concept of ‘freak,’ is an anomaly in current social scientific thinking about demonstrable human variation. During its prime the freak show was a place where human deviance was valuable, and in that sense valued” (Bogdan 268). Many freaks were presented as “human wonders”, while “their claims to fame were quite commonplace” (Bogdan 200). Indeed, Bogdan argues that “while highly aggrandized exhibits really were full of grandeur, with respectable freaks the mundane was exploited as amazing and ordinary people were made into human wonders” (200). Lucian Gomoll similarly writes that freakshows “directed judgement away from the audience and onto the performers, assuring observers of their own unmarked normalcy” (“Objects of Dis/Order” 205).The anomalous nature of the freak therefore promoted the safety of normality at the same time as it purported to showcase the brilliance of the extraordinary. While the freaks themselves were normal, intelligent people, the freakshow served as a vehicle to gaze at oneself with a sense of relief. As much as many freakshows attempt to dismantle notions of normality, they serve to emphasise empathy, not envy. The anomalous freak is never an envied body; the particular dimensions of the freakshow mean that it is the viewer who is to be envied, and the freak who is to be pitied. From Freakshow to SideshowIn nineteenth-century freakshows, exploitation was rife; as Alison Piepmeier explains, “many of the so-called Aztecs, Pinheads, and What Is Its?”, were, in fact, “mentally disabled people dressed in wild costumes and forced to perform” (53). As a result, “freakishness often implied loss of control over one’s self and one’s destiny” (53). P.T. Barnum profited from his exploitation of freaks, while many freaks themselves also benefited from being exhibited. As Jessica Williams writes, “many freak show performers were well paid, self-sufficient, and enjoyed what they did” (69). Bogdan similarly pointed out that “some [freaks] were exploited, it is true, but in the culture of the amusement world, most human oddities were accepted as showmen. They were congratulated for parlaying into an occupation [that], in another context, might have been a burden” (268). Americans of all classes, Anissa Janine Wardi argues, enjoyed engaging in the spectacle of the freak. She writes that “it is not serendipitous that the golden age of the freak show coincided with the building of America’s colonial empire” (518). Indeed, the “exploration of the non-Western world, coupled with the transatlantic slave trade, provided the backdrop for America’s imperialist gaze, with the native ‘other’ appearing not merely in the arena of popular entertainment, but particularly in scientific and medical communities” (518). Despite the accusations levelled against Barnum, his freakshows were seen as educational and therefore beneficial to both the public and the scientific community, who, thanks to Barnum, directly benefited from the commercialisation of and rising public interest in the freak. Discussing “western conventions of viewing exotic others”, Lucian Gomoll writes that “the freak and the ‘normal’ subject produced each other in a relationship of uneven reciprocity” (“Feminist Pleasures” 129). He writes that Barnum “encouraged onlookers to define their own identities in contrast to those on display, as not disabled, not animalistic, not androgynous, not monstrous and so on”. By the twentieth century, he writes, “shows like Barnum’s were banned from public spaces as repugnant and intolerable, and forced to migrate to the margins” (129).Gomoll commends the Freakatorium, a museum curated by the late sword swallower Johnny Fox, as “demonstrating and commemorating the resourcefulness and talents of those pushed to the social margins” (“Objects of Dis/Order” 207). Gomoll writes that Fox did not merely see freaks as curiosities in the way that Barnum did. Instead, Fox provided a dignified memorial that celebrated the uniqueness of each freak. Fox’s museum displays, he writes, are “respectable spaces devoted to the lives of amazing people, which foster potential empathy from the viewers – a stark contrast to nineteenth-century freakshows” (205). Fox himself described the necessity of the Freakatorium in the wake of the sideshow: New York needs a place where people can come see the history of freakdom. People that were born with deformities that were still amazing and sensitive people and they allowed themselves to be viewed and exhibited. They made a good living off doing that. Those people were to be commended for their courageousness and bravery for standing in front of people. (Hartzman)Fox also described the manner in which the sideshow circuit was banned over time:then sideshows went out because some little girl was offended because she thought the only place she could work was the sideshow. Her mother thought it was disgraceful that people exhibited themselves so she started calling the governor and state’s attorney trying to get sideshows banned. I think it was Florida or South Carolina. It started happening in other states. They said no exhibiting human anomalies. These people who had been working in sideshows for years had their livelihood taken away from them. What now, they’re supposed to go be institutionalized? (Hartzman) Elizabeth Stephens argues that a shift occurred in the early twentieth century, and that by the late ‘30s “people with physical anomalies had been transformed in the cultural imagination from human oddities or monsters to sick people requiring diagnoses and medical intervention” (Stephens). Bogdan noted that by the 1930s, “the meaning of being different changed in American society. Scientific medicine had undermined the mystery of certain forms of human variation, and the exotic and aggrandized modes had lost their flamboyant attractiveness” (274). So-called freaks became seen as diseased bodies who “were now in the province of physicians, not the general public” (274). Indeed, scientific interest transformed the freak into a medical curiosity, contributing to the waning popularity of freakshows. Ironically, although the freaks declined in popularity as they moved into the medical community, medicine would prove to be the domain of a new kind of freak in the ensuing years. The Manufactured Freak As the freakshow declined in popularity, mainstream culture found other subjects whose appearance provoked curiosity, awe, and revulsion. Although plastic surgery is associated with the mid-to-late twentieth century and beyond, it has a long history in the medical practice. In A History of Plastic Surgery, Paolo Santoni-Rugiu and Philip J. Sykes note that “operations for the sole purpose of improving appearances came on the scene in 1906” (322). Charles C. Miller was one of the earliest pioneers of plastic surgery; Santoni-Rugiu and Sykes write that “he never disguised the fact that his ambition was to do Featural Surgery, correcting imperfections that from a medical point of view were not considered to be deformities” (302). This attitude would fundamentally transform notions of the “normal” body. In the context of cosmetic surgery, it is the normal body that becomes manipulated in order to produce something which, despite intentions, proves undoubtedly freakish. Although men certainly engage in plastic surgery (notably Igor and Grichka Bogdanoff) the twenty-first century surgical freak is synonymous with women. Kirsty Fairclough-Isaacs points out the different expectations levelled against men and women with respect to ageing and plastic surgery. While men, she says, “are closely scrutinised for attempting to hide signs of ageing, particularly hair loss”, women, in contrast, “are routinely maligned if they fail to hide the signs of ageing” (363). She observes that while popular culture may accept the ageing man, the ageing woman is less embraced by society. Consequently, women are encouraged—by the media, their fans, and by social norms around beauty—to engage in surgical manipulation, but in such a way as to make their enhancements appear seamless. Women who have successful plastic surgery—in the sense that their ageing is well-hidden—are accepted as having successfully manipulated their faces so as to appear flawless, while those whose surgical exploits are excessive or turn out badly become decidedly freakish. One of the most infamous plastic surgery cases is that of Jocelyn Wildenstein, also known as “catwoman”. Born Jocelynnys Dayannys da Silva Bezerra Périsset in 1940, Wildenstein met billionaire art dealer Alec N. Wildenstein whom she married in the late 1970s. After discovering her husband was being unfaithful, Wildenstein purportedly turned to cosmetic surgery in order to sculpt her face to resemble a cat, her husband’s favourite animal. Ironically but not surprisingly, her husband purportedly screamed in terror when he saw his wife’s revamped face for the first time. And although their relationship ended in divorce, Wildenstein, dubbed “the Bride of Wildenstein”, continued to visit her plastic surgeon, and her face became progressively more distorted over the years (Figure 2). Figure 2: Jocelyn Wildenstein over the years <https://i.redd.it/vhh3yp6tgki31.jpg>. The exaggerated and freakish contours of Wildenstein’s face would undoubtedly remind viewers of the anatomical exaggerations seen in traditional freaks. Yet she does not belong to the world of the nineteenth century freak. Her deformities are self-inflicted in an attempt to fulfil certain mainstream beauty ideals to exaggerated lengths. Like many women, Wildenstein has repeatedly denied ever having received plastic surgery, claiming that her face is natural, while professing admiration for Brigitte Bardot, her beauty idol. Such denial has made her the target of further criticism, since women are not only expected to conceal the signs of ageing successfully but are also ironically expected to be honest and transparent about having had work done to their faces and bodies, particularly when it is obvious. The role that denial plays not just in Wildenstein’s case, but in plastic surgery cases more broadly, constitutes a “desirability of naturalness” (122), according to Debra Gimlin. There is, she argues, an “aesthetic preference for (surgically enhanced) ‘naturalness’” (122), a desire that sits between the natural body and the freak. This kind of appearance promotes more of an uncanny naturalness that removes signs of ageing but without being excessive; as opposed to women whose use of plastic surgery is obvious (and deemed excessive according to Williams’ “monstrous body”) the unnatural look that some plastic surgery promotes is akin to an absence of normal features, such as wrinkles. One surgeon that Gimlin cites argues that he would not remove the wrinkles of a woman in her 60s: “she’s gonna look like a freak without them”, he says. This admission signifies a clear distinction between what we understand as freakish plastic surgery (Wildenstein) and the not-yet-freakish appearance of women whose surgically enhanced appearance is at once uncanny and accepted, perpetuating norms around plastic surgery and beauty. Denial is thus part of the fabric of performing naturalness and the desire to make the unnatural seem natural, adding another quasi-freakish dimension to the increasingly normalised appearance of surgically enhanced women. While Wildenstein is mocked for her grotesque appearance, in addition to her denial of having had plastic surgery, women who have navigated plastic surgery successfully are congratulated and envied. Although contemporary media increasingly advocates the ability to age naturally, with actresses like Helen Mirren and Meryl Streep frequently cited as natural older beauties, natural ageing is only accepted to the extent that this look of naturalness is appeasing. Unflattering, unaltered naturalness, on the other hand, is demonised, with such women encouraged to turn to the knife after all in order to achieve a more acceptable look of natural ageing, one that will inevitably and ironically provoke further criticism. For women considering plastic surgery, they are damned if they do and damned if they don’t. Grant McCracken notes the similarities between Wildenstein and the famous French body artist Orlan: “like Orlan, Wildenstein had engaged in an extravagant, destructive creativity. But where Orlan sought transformational opportunity by moving upward in the Renaissance hierarchy, toward saints and angels, Wildenstein moved downwards, toward animals” (25). McCracken argues that it isn’t entirely clear whether Orlan and Wildenstein are “outliers or precursors” to the contemporary obsession with plastic surgery. But he notes how the transition of plastic surgery from a “shameful secret” to a ubiquitous if not obligatory phenomenon coincides with the surgical work of Orlan and Wildenstein. “The question remains”, he says, “what will we use this surgery to do to ourselves? Orlan and Wildenstein suggest two possibilities” (26).Meredith Jones, in her discussion of Wildenstein, echoes the earlier sentiments of Williams in regards to the monster’s body possessing too much or too little. In Wildenstein’s case, her freakishness is provoked by excess: “when too many body parts become independent they are deemed too disparate: wayward children who no longer lend harmony or respect to their host body. Jocelyn Wildenstein’s features do this: her cheeks, her eyes, her forehead and her lips are all striking enough to be deemed untoward” (125). For Jones, the combination of these features “form a grotesquery that means their host can only be deemed, at best, perversely beautiful” (125). Wildenstein has been referred to as a “modern-day freak”, and to a certain extent she does share something in common with the nineteenth century freak, specifically through the manner in which her distorted features invite viewers to gawk. Like the Elephant Man, her freakish body possesses “too much”, as Williams put it. Yet her appearance evokes none of the empathy afforded traditional freaks, whose facial or anatomical deformities were inherent and thus cause for empathy. They played no role in the formation of their deformities, only reclaiming agency once they exhibited themselves. While Wildenstein is, certainly, an anomaly in the sense that she is the only known woman who has had her features surgically altered to appear cat-like, her appearance more broadly represents an unnerving trajectory that reconstructs the freak as someone manufactured rather than born, upending Katherine Dunne’s assertion that true freaks are born, not made. Indeed, Wildenstein can be seen as a precursor to Nannette Hammond and Valeria Lukyanova, women who surgically enhanced their faces and bodies to resemble a real-life Barbie doll. Hammond, a woman from Cincinnati, has been called the first ‘Human Barbie’, chronicling the surgical process on her Instagram account. She states that her children and husband are “just so proud of me and what I’ve achieved through surgery” (Levine). This surgery has included numerous breast augmentations, botox injections and dental veneers, in addition to eyelash extensions and monthly fake tans. But while Hammond is certainly considered a “scalpel junkie”, Valeria Lukyanova’s desire to transform herself into a living Barbie doll is particularly uncanny. Michael’s Idov’s article in GQ magazine titled: “This is not a Barbie Doll. This is an Actual Human Being” attests to the uncanny appearance of Lukyanova. “Meeting Valeria Lukyanova is the closest you will come to an alien encounter”, Idov writes, describing the “queasy fear” he felt upon meeting her. “A living Barbie is automatically an Uncanny Valley Girl. Her beauty, though I hesitate to use the term, is pitched at the exact precipice where the male gaze curdles in on itself.” Lukyanova, a Ukrainian, admits to having had breast implants, but denies that she has had any more modifications, despite the uncanny symmetry of her face and body that would otherwise allude to further surgeries (Figure 3). Importantly, Lukyanova’s transformation both fulfils and affronts beauty standards. In this sense, she is at once freakish but does not fit the profile of the traditional freak, whose deformities are never confused with ideals of beauty, at least not in theory. While Johnny Fox saw freaks as talented, unique individuals, their appeal was borne of their defiance of the ideal, rather than a reinforcement of it, and the fact that their appearance was anomalous and unique, rather than reproducible at whim. Figure 3: Valeria Lukyanova with a Barbie Doll <http://shorturl.at/mER06>.Conclusion As a modern-day freak, these Barbie girls are a specific kind of abomination that undermines the very notion of the freak due to their emphasis on acceptance, on becoming mainstream, rather than being confined to the margins. As Jones puts it: “if a trajectory […] is drawn between mainstream cosmetic surgery and these individuals who have ‘gone too far’, we see that while they may be ‘freaks’ now, they nevertheless point towards a moment when such modifications could in fact be near mainstream” (188). The emphasis that is placed on mainstream acceptance and reproducibility in these cases affronts traditional notions of the freak as an anomalous individual whose features cannot be replicated. But the shift that society has seen towards genetic and surgical perfection has only accentuated the importance of biological anomalies who affront the status quo. While Wildenstein and the Barbie girls may provoke a similar sense of shock, revulsion and pity as the Elephant Man experienced, they possess none of the exceptionality or cultural importance of real freaks, whose very existence admonishes mainstream standards of beauty, ability, and biology. References Bogdan, Robert. 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