Articles de revues sur le sujet « Cas privilegiée »

In coronary artery disease (CAD), the disruption of the tunica media immune privilege manifests as increased leukocyte infiltration and the formation of vasa vasorum. We aimed to characterize the immune privilege status of the tunica media in human coronary arteries (CAs) with atherosclerotic plaques, by comparing the abundance and composition of immune-cell infiltrates within the individual arterial-wall layers, and by evaluating vasa vasorum neovascularization of the tunica media. The tissue samples were obtained from 36 symptomatic patients with diffuse CAD (aged 60–72 years) who underwent coronary endarterectomy. T and B cells, macrophages and endothelial cells in the CAs were detected by immunohistochemistry. Morphological analysis of CAs showed significant atherosclerotic changes in all specimens. In the media, we observed damage and loss of smooth muscle cells, destruction of the extracellular matrix architecture, and fibrosis. There were 43.3% of immune cells in the intima, 50% in the adventitia, and 6.7% in the media. In the media, 51.1% of the immune cells were T cells (p ˂ 0.001 compared to B cells and macrophages; ANOVA, Scheffe post hoc analysis), 23.5% were B cells, and 25.4% were macrophages. The number of vasa vasorum in the media was 1 in 38.9% of CAs, 2–3 in 36.1%, and ≥4 in 25% of CAs. Our results indicate that, in atherosclerotic CAs, the immune privilege of the media is disrupted by the infiltration of T and B cells, macrophages, and the presence of vasa vasorum.

Description Los odontoideum ou apophyse odontoide mobile est une malformation rare de la charniere cervicooccipitale interessant la deuxieme vertebre cervicale Methode: Nous rapportons le cas dune patiente qui presente une malformation de la charniere cervico-occipitale diagnostiquee et traitee au service de neurochirurgie ibn tofail du CHU Mohamed VI de Marrakech Resultats: Il sagissait dune patiente de 45 ans, chez qui on a diagnostique un os odentoideum. Apres bilan radiologique complet, la patiente a ete traitee chirurgicalement.Nous avions privilegie la voie dabord posterieure avec fixation C1C2. Conclusion: Lindication chirurgicale de los odontoideum est basee sur la symptomatologie clinique, la technique, quant a elle, depend de la reductibilite par les manœuvres de traction et dextension.

The goal of the Research Committee is to build, in collaboration with the Canadian Institutes of Health Research (CIHR) and the Canadian Association of Gastroenterology (CAG) partners, Canadian capacity and expertise in the discipline of gastroenterology and nutrition, and to promote excellence in research. As chair of the CAG Research Committee, it is my privilege to update the CAG membership andThe Canadian Journal of Gastroenterologyreadership on the activities of the CAG Research Committee (2003-2004), in what has been yet another outstanding year for investment in gastrointestinal (GI) research in Canada.

Introduction: infectious endocarditis is a serious disease with a high morbimortality. Diagnosis relies on modified criteria of Dukes. The main surgical indication in emergency are hemodynamic, infectious and embolic complications. The aim of this work is to present epidemiological, clinical and ultrasonographic characteristics, and report our experience in order to assess the results of surgical treatment of the disease and to improve the management. Methods: This is a monocenter retrospective study of 203 patients operated for infective endocarditis, collected between January 2001and June 2015. This study interested only the operative period. Results: The mean age is 42 years with male predominance (62, 12%). The causal heart disease was predominantly rheumatic in 40 % of cases. 7. %88 had endocarditis on cardiac prosthesis. The causative germ in isolated in only 47% of cases; Staphylococcus and Streptococcus were the most frequent germs. The left ventricular function was altered in 24 % of cases. The patients were operated in emergency in 59 cases and delayed surgery in 144 cases. Valve replacement was done in 84,8 % of cases and valve repair in 15.2 % of cases. Stay in intensive care unit was more than 72 hours in 28 % of cases, intubation procedure < 24 hours in 69%, post-operative stay ≥ 7 days in 70 % and simple post-operative history in 60 % of cases. Conclusion: endocardial infection is a serious disease. Regular studies detailing epidemiology of these infections. The actual trend is in favor of earlier surgery, privileging valve repair.

Abstract There is a clinical need to identify novel treatments for relapsed/refractory DLBCL. Cancer cells engage in novel associations with stromal and immune cells in the TME that provide crucial contributions to disease progression, immune evasion and therapeutic response. However, these hallmark capabilities have been understudied in DLBCL. Given tumor cell genetic complexity, targeting the TME has become a compelling therapeutic strategy. Immune checkpoint blockade therapy (ICB) (e.g. anti-PD-1), which can activate anti-tumor immunity, has provided a new weapon against cancer and serves as an illustrative example of therapeutically re-educating the TME. Clinical results indicate that only a fraction of DLBCL patients currently respond to ICB. Understanding ill-defined TME-driven immune suppression should help optimise ICB and identify novel therapeutic opportunities. Gene expression studies of DLBCL have identified molecular signatures present in both GCB and ABC subtypes related to the TME that correlated with outcome. The prognostically favorable stromal-1 signature reflects reprogrammed stromal cells, extracellular matrix (ECM) and an active immune response. The less favorable stromal-2 signature indicates elevated angiogenesis and blood vessel density. CAFs promote ECM remodelling and angiogenesis in solid cancers. We hypothesized that CAFs play an important role in the pathogenesis of DLBCL including the regulation of subverted host anti-tumor immunity. To assess whether DLBCL tumor cells induce a CAF phenotype in previously healthy stromal cells, we established a co-culture system with subsequent imaging of conditioned cells. Primary human lymphatic fibroblasts (HLFs) were co-cultured for 5 days in direct contact with a panel of GCB (SU-DHL4, SU-DHL6, DOHH2) and ABC (OCI-LY10, RIVA, U2932) DLBCL cell lines or healthy control B-cells. Quantitative analysis revealed a strong induction of CAF molecular marker expression including FAPα and α-SMA in all DLBCL-educated stromal cells compared to healthy B-cell exposed fibroblasts (P<.01). DLBCL-educated HLFs exhibited dramatic cytoskeletal changes including increased stress fibres. More significantly, the ability of DLBCL-educated HLFs to contract collagen gels, a measure of their matrix remodelling functional capacity, significantly increased compared to control HLFs (P<.01). We next investigated the potential immunomodulatory capacity of DLBCL-educated CAFs using 2-part functional assays. First, healthy T cells were co-cultured (24 h) with either DLBCL-educated HLFs or control HLFs. Second, these T cells were purified and used in subsequent immunologic assays. Exposure to DLBCL-educated HLFs resulted in significant impairment of proliferation of CD4+ and CD8+ T cells in response to anti-CD3/-CD28 (P<.01). The ability of T cells to recognize target tumor cells requires formation of the immunological synapse. We utilized the immune synapse bioassay to examine CD8+ T cell interactions with DLBCL tumor cells. We show that prior co-culture with DLBCL-educated HLFs significantly decreased the formation and strength of CD8+ T cell F-actin immune synapses compared with control HLF co-culture (P<.01). Flow cytometric analysis of FAP+ CAFs revealed markedly increased surface expression of the immune checkpoint ligand PD-L1. The up-regulation of PD-L1 led to the pre-treatment of DLBCL-educated HLFs with an anti-PD-L1 blocking antibody that increased T cell synapse activity. Current experiments are investigating this TME checkpoint axes using primary patient DLBCL tumor cells and T cells. IHC/IF image analysis revealed that PD-L1+ stromal cells reside in the DLBCL TME (archival biopsies, n=20). TME biopsies showed increased expression of α-SMA and FAPα in both GCB and ABC subtypes compared to reactive lymph node samples. CAFs were interspersed within the TME and in close proximity to CD20+ DLBCL tumor cells. In conclusion, our results establish the ability of DLBCL tumor cells to reprogram HLFs into CAFs that acquire functional capabilities to modulate the TME. Notably, activated CAFs show a compensatory inhibitory response by up-regulating PD-L1 expression that may represent an important TME-driven immunosuppressive mechanism. We believe this data contributes to the understanding of the biology that underlies stromal signatures in the DLBCL TME, in particular the contribution of CAFs to immune privilege. Disclosures Ramsay: Celgene: Research Funding; MedImmune: Research Funding.

AbstractRetinal gene therapy has recently been at the cutting edge of clinical development in the diverse field of genetic therapies. The retina is an attractive target for genetic therapies such as gene editing due to the distinctive anatomical and immunological features of the eye, known as immune privilege, so that inherited retinal diseases (IRDs) have been studied in several clinical studies. Thus, rapid strides are being made toward developing targeted treatments for IRDs. Gene editing in the retina faces a group of heterogenous challenges, including editing efficiencies, off-target effects, the anatomy of the target organ, immune responses, inactivation, and identifying optimal application methods. As clustered regularly interspaced palindromic repeats (CRISPR)/CRISPR-associated nuclease (Cas) based technologies are at the forefront of current gene editing advances, their specific editing efficiency challenges and potential off-target effects were assessed. The immune privilege of the eye reduces the likelihood of systemic immune responses following retinal gene therapy, but possible immune responses must not be discounted. Immune responses to gene editing in the retina may be humoral or cell mediated, with immunologically active cells, including microglia, implicated in facilitating possible immune responses to gene editing. Immunogenicity of gene therapeutics may also lead to the inactivation of edited cells, reducing potential therapeutic benefits. This review outlines the broad spectrum of potential challenges currently facing retinal gene editing, with the goal of facilitating further advances in the safety and efficacy of gene editing therapies.

The discovery of the CRISPR/Cas system and its development into a powerful genome engineering tool have revolutionized the field of molecular biology and generated excitement for its potential to treat a wide range of human diseases. As a gene therapy target, the retina offers many advantages over other tissues because of its surgical accessibility and relative immunity privilege due to its blood–retinal barrier. These features explain the large advances made in ocular gene therapy over the past decade, including the first in vivo clinical trial using CRISPR gene-editing reagents. Although viral vector-mediated therapeutic approaches have been successful, they have several shortcomings, including packaging constraints, pre-existing anti-capsid immunity and vector-induced immunogenicity, therapeutic potency and persistence, and potential genotoxicity. The use of nanomaterials in the delivery of therapeutic agents has revolutionized the way genetic materials are delivered to cells, tissues, and organs, and presents an appealing alternative to bypass the limitations of viral delivery systems. In this review, we explore the potential use of non-viral vectors as tools for gene therapy, exploring the latest advancements in nanotechnology in medicine and focusing on the nanoparticle-mediated delivery of CRIPSR genetic cargo to the retina.

Abstract The papers in this special section examine how people in various contexts of the Global South “construct the self” in online spaces. With examples from Chile, Senegal, and Trinidad, the papers show the wide range of discursive practices, encompassing the textual and the aesthetic, which individuals use to enact gendered and sexual selves online. By privileging gender and sexuality as central components of selfhood, we draw from the longstanding attention paid to gender and sexuality in linguistic studies of identification (see Bucholtz & Hall 2004). In placing this concept within digital worlds, we pay attention to the ways in which daily life is now lived and experienced online. Authors in this issue think critically about practices of self-formation and the performance of gender and sexuality that differ from those that have normalized in the Global North, considering both revolutionary possibility, and re-entrenchment of constraint.

Insider attack and espionage on computer-based information is a major problem for business organizations and governments. Knowledge Management Systems (KMSs) are not exempt from this threat. Prior research presented the Congenial Access Control Model (CAC), a relationship-based access control model, as a better access control method for KMS because it reduces the adverse effect of stringent security measures on the usability of KMSs. However, the CAC model, like other models, e.g., Role Based Access Control (RBAC), Time-Based Access Control (TBAC), and History Based Access Control (HBAC), does not provide adequate protection against privilege abuse by authorized users that can lead to industrial espionage. In this paper, the authors provide an Espionage Prevention Model (EP) that uses Semantic web-based annotations on knowledge assets to store relevant information and compares it to the Friend-Of-A-Friend (FOAF) data of the potential recipient of the resource. It can serve as an additional layer to previous access control models, preferably the Congenial Access Control (CAC) model.

During the 25-year history of the American Society for Neural Therapy and Repair (ASNTR) there have been several breakthroughs in the area of neurotherapeutics, which was the case during the 2014–2105 year when one of us (GLD) had the privilege of serving as its president. During that year, the use of a newly developed gene-editing tool, the CRISPR-Cas9 system, started to skyrocket. Although scientists unraveled the use of “clustered regularly interspaced short palindromic repeats” (CRISPR) and its associated genes from the Cas family as an evolved mechanism of some bacterial and archaeal genomes to protect themselves from being hijacked by invasive viral genes, its use as a therapeutic tool was not fully appreciated until further research revealed how this system operated and how it might be developed technologically to manipulate genes of any species. By 2015, this technology had exploded to the point that close to 2,000 papers that used this technology were published during that year alone.

El presente artículo intenta establecer, sobre la base de una investigación empírica realizada en la empresa Cascades que las "culturas organizacionales" que realmente llegan a forjarse e instalarse no se logran como resultado de una acción deliberada y artificial de "ingeniería". Estas culturas sólo pueden construirse mediante un compartir ante todo cosas concretas. Los elementos claves en este proceso son: el compartir al máximo aspectos de la vida de la organización, como las utilidades, la información, las decisiones, los locales, los materiales, etc. y la aplicación en los hechos de un discurso y una filosofía empresarial que deliberadamente rompa con las tradiciones administrativas más cimentadas, mediante el privilegio absoluto de lo oral, la apertura y la transparencia, la confianza y la autonomía generalizadas, el respeto y la valoración del empleado, la ausencia de puestos de supervisión y control, la cercanía y disponibilidad de los directivos, etc.* Omar Aktouf y Michel Chrétien. L 'A nthropologieie la communicationet la culture d'entreprise: le cas Cascades. Ponencia en lnternational Conference on Organizational Symbolism, Universidad del Québec. Montreal, junio de 1986.

Introduction :Lanesthesie doit etre mener avec un maximum de securite, de nombreuses etudes preconisent la rationalisation de la prescription des bilans preoperatoires afin de ne pas multiplier les examens inutiles.Lobjectif de letude etait devaluer la prescription des examens paracliniques chez les patients programmes pour la chirurgie ambulatoire. Materiel Et Methode :Il sagissait dune etude prospective pendant une periode de 3 mois de Mai 2019 à Aout 2019 au bloc ambulatoire de lhopital ibn tofail de Marrakech. Notre serie etait de 126 cas, les specialites requises etaient la chirurgie ORL, traumatologie, cardiovasculaire, ophtalmologie et viscerale. A partir de la fiche dexploitation plusieurs paramètres ont ete analyses : Age, sexe, classification ASA, type dacte chirurgical, donnees de la CPA, conditions de lanesthesie et la surveillance post-operatoire. Resultats :Tous les patients inclus dans letude etaient ASA I (American score of anesthesia) avec une moyenne dage de 37 ans et ayant tous beneficies dune consultation preanesthesique. La prescription de la NFS/PLQT et TP/TCK etaient faite chez 100% des patients. 5% des examens paracliniques rapportaient une anomalie, dont aucune na conduit au report de lintervention. Conclusion : La consultation pre anesthesique reste le moment privilegie de la relation anesthesiste- malade. Son mot dordre est detablir une hierarchisation des examens complementaires et de reduire leur prescription abusive.

Citizenship is a privilege as it brings many rights and provides protection from the government. But refugees being out of their countries becomes like stateless people. The CAA, 2019, is a law enforced to give citizenship to refugees living in India but it has been opposed and criticized on several grounds. The law is a good step toward the recognition of refugees. The law gives citizenship to refugees who will give them an identity in the country as being a non-citizen make their lives poor and also becomes a hindrance to the enjoyment of basic rights.

Les systemes de couvrement dans les eglises libanaises construites entre les XIII' et XIX' siec1es adoptaient deux solutions principales : Ie couvrement avec une voute en berceau auquel est associe Ie systeme structural base sur les murs porteurs, et Ie couvrement avec des voutes d'aretes auquel est associe Ie procede structural base sur des piliers. Certains monuments proposaient par ailleurs des solutions mixtes en joignant les deux principes. L'usage de la voute en berceau semble avoir ete Ie plus repandu au cours du Moyen Age, tandis que celui de la voute II aretes seraitdevenu de plus en plus courant aux epoques tardives. Utilise dans certaines des eglises de I' epoque mamelouke et dans d'autres des XVI' et XVII' siec1es, ce demier est presque systematiquement privilegie dans les eglises des XVIII' et XIX' siecles, tel que Ie constate L. Nordiguian (1985 : 69). II marque en tout cas un progres dans la comprehension de la logique structurale de la pierre et du principe de la descente des charges. Celle-ci se fait Ie long des murs lateraux dans Ie systeme des voOtes en berceau, ce qui induit, d' une part, un epaississement des murs qui les supportent et donc un cout economique consequent, et, d'autre part, un assombrissement de l'interieur des monuments dO au nombre limite d'ouvertures qu'il est possible de pratiquer dans ce genre de structure.

Introducción: este artículo analiza dos estrategias de investigación puestas en acción en tres proyectos de estudio de la genética humana en México, entre 1960 y 2009. Se distingue entre una estrategia que incorpora recursos multidisciplinarios en el diseño del muestreo, el análisis e interpretación de datos (a la que se le denomina de exhibición), y una que privilegia consideraciones pragmáticas sobre los análisis multidisciplinarios (a la que se le denomina de aplanamiento). Desarrollo: se analizó el trabajo del médico hematólogo Rubén Lisker en la década de 1960, el mapeo de la diversidad genómica mexicana realizado por investigadores del Instituto Nacional de Medicina Genómica entre 2004 y 2009, y el análisis de la variación nativa llevado a cabo por el genetista Andrés Moreno (en la Universidad de Stanford en ese entonces), y sus colegas en años recientes. Conclusiones: las decisiones estratégicas que toman los científicos tienen consecuencias en la medición y caracterización de la variación genética en las poblaciones humanas, pero también sobre las prácticas sociales demográ cas y biomédicas relacionadas con su estudio. Mientras la primera estrategia exhibe de forma detallada la variación genética oculta en las poblaciones humanas, favoreciendo así la precisión y el realismo, la segunda tiende a aplanar las diferencias individuales y a perder profundidad histórica, pero privilegiando la generalización y la descripción de los grandes rasgos de una población.

En su novela La Confession d'une jeune fille (1865), George Sand (pseudónimo de Aurore Dupin, 1804-1876) combate dos prejuicios mayores de su tiempo: la segregación social y la discriminación de género. Através de su heroína Luciennede Valangis, la autora demuestra que se puede reconciliar al pueblo con la aristocracia gracias a una educación de tipo preceptoril a la vez femenina y varonil, según los criterios del siglo XIX. Frumence Costei, el humilde preceptor de Lucienne, la convierte en una persona culta y de libre pensamiento, o sea en un sujeto capaz de sacrificar no sólo su fortuna y sus privilegios de clase, sino hasta su título nobiliario, a fin de identificarse con el pueblo. Según Sand, la igualdad es posible con el desarrollo del valor personal. El ideal que la escritora esboza en esta ficción se funda en una reflexión sobre un posible equilibrio social que no cae en la trampa de la inversión de los roles, ni de género ni de clase social.

When the Qing court adjudicated illicit sex cases involving imperial clansmen, a clear distinction was made between the nature of the crime and the applicability of punishment. This distinction reveals an imbalance in the way law was normalized in Qing China. Definitions of illicit sexual behavior reflected a relatively uniform standard that applied to different social statuses and ethnicities, while punishment for offenders was often differentiated and proved to be much more closely related to social standing. Thus, in terms of their behavior, imperial clansmen were generally subject to the same legal liability as the rest of the population, but when it came to punishment their status was emphasized, and consequently they often enjoyed special legal privilege. Lorsque la cour des Qing jugeait des cas de crimes sexuels impliquant des membres du clan impérial, elle faisait clairement la distinction entre la nature du délit et l’application de la peine. Cette distinction révèle un déséquilibre dans le processus de normalisation du droit dans la Chine des Qing. La définition des comportements sexuels illicites reflétait la norme relativement uniforme s’appliquant à différents statuts sociaux et différents groupes ethniques; en revanche les peines infligées aux coupables étaient volontiers différenciées et s’avéraient dépendre beaucoup plus de leur situation sociale. Ainsi, du point de vue de leurs comportements les membres du clan impérial étaient en général tenus pour légalement responsables de la même façon que le reste de la population, alors que lorsqu’il s’agissait de leur appliquer des sanctions on faisait valoir leur statut, si bien qu’ils bénéficiaient souvent de privilèges légaux.

Gross anatomy has been seen as one of the basic bodies of knowledge that must be mastered as part of medical training. Likewise, neuroanatomy has been seen as foundational to clinical neurosciences. However, Neuroanatomy is different from gross anatomy and this is due to the complexity of the central nervous system, moreover, some of its structures cannot be dissected or demonstrated in anatomy cadaveric lab. The use of anatomical models in medical curricula has been reported as an effective way in teaching and learning anatomy. They have been used to replace cadaveric material when the latter is difficult to acquire, or when the anatomical structures cannot be dissected like the brain ventricles for instance, moreover they have the privilege of visualizing the structures in a 3 dimensional modality. The goal of this study was to create a 3 D printed neuroanatomy model in order to complement the University of Ottawa anatomy models’ library, and help medical students visualize the pathway of different nervous tracts on a 3 D simulation model.To assist with this, 2D images of slices of the cerebrum, brainstem, cervical, thoracic, and lumbar spinal cord were downloaded online to be imported to Adobe Photoshop CC 2015. The images were manually converted to black and white, and separated into different layers to export each components separately into Tinker CAD (online software). The different components were then assembled on Tinker CAD to create 3D printer compatible files. The files were printed using white ABS on a Replicator 2X MakerBot printer at the library of University of Ottawa.

This paper explores mediator interactions from within the mediation process. It is difficult to obtain access to mediations due to issues of confidentiality and litigation privilege, thus restricting direct empirical research. During a yearlong ethnographic study during which the author was a participant-observer of a number of commercial mediations, the nature of mediations was explored from an independent observational perspective – separate from the process yet within the process. In this study, real life patterns of interactions are examined through case study analysis. It offers a reconceptualization of the nature of mediator interventions, one that moves beyond the accepted understanding of third party intervention. It suggests that the mediator has a fugitive identity in mediation, reflecting a traditional neutral third party intervener role, a party role and an adviser role.Dans le présent document, l‟auteure explore les interactions des médiateurs dans le cadre du processus de médiation. Il est difficile d‟obtenir l‟accès aux séances de médiation en raison du secret professionnel et du privilège relatif au litige, et cette difficulté limite la recherche empirique directe. Au cours d‟une étude ethnographique qui s‟est déroulée sur une année et à laquelle l‟auteure a participé comme observatrice d‟un certain nombre de médiations commerciales, la nature des médiations a été explorée d‟un point de vue observationnel indépendant – distinct du processus bien qu‟au sein du processus. Dans la présente étude, des situations réelles d‟interaction sont examinées au moyen de l‟analyse d‟études de cas. L‟auteure offre une reconceptualisation de la nature des interventions du médiateur, qui va au-delà de ce qui est reconnu comme l‟intervention d‟une tierce partie. Le médiateur aurait une identité fugace dans le processus de médiation, cette identité s‟expliquant par un rôle traditionnel de tiers intervenant neutre, un rôle de partie et un rôle de conseiller.

This essay examines C.S. Lewis’ criticism of St. Augustine in The Four Loves and his development of Augustinian themes in Till We Have Faces. Lewis reads Augustine, in his discussion of his friend’s death in Confessions Book IV, as endorsing the moral that one should love only that which will not bring us heartbreak. This, according to Lewis, is the wrong way to privilege the love of God over human loves, one that owes more to Augustine’s philosophical context than to Christianity. I argue that Lewis’ reading of Augustine is mistaken, that Augustine is saying something very different and much more profound, and that Lewis himself explores these same depths in Till We Have Faces. Both Lewis’ novel and Augustine’s Confessions IV meditate on time and eternity, complete and incomplete love, truth and falsehood, and the severe shortcomings in our self-knowledge. Augustine, like Lewis’ narrator, is examining the untruth, in both the moral and intellectual senses of the term, of his human love. Loving the beloved in God, for both Lewis and Augustine, does not mean choosing security over the possibility of heartbreak as such; rather it means seeing the beloved truly, as a complete person, for the first time.

<p>O crítico norte-americano Brooks Otis propôs, em seu estudo <em>Virgil: a study in civilized poetry</em>, a distinção entre “estilo objetivo” e “estilo subjetivo” nas obras do poeta romano. No primeiro caso, os traços empregado na composição privilegiam a fria tessitura da narrativa, enquanto, no segundo, ocorreria o envolvimento afetivo do narrador com o dito. Para Otis, o relato do mito de Orfeu, segundo se faz em <em>Geórgicas </em>IV 453-527, exemplifica o “estilo subjetivo”, com a “comoção” do narrador diante da dupla morte de Eurídice e da loucura e morte do próprio Orfeu. Assim, após a apresentação ilustrada desse instrumental analítico, comparamos com Virgílio certos pontos da tradução oitocentista do mito de Orfeu pelo Visconde Antônio Feliciano de Castilho, numa tentativa de verificar o grau de recuperação do estilo do original latino no poema traduzido.</p> <p>Le critique américain Brooks Otis a proposé, dans son ouvrage <em>Virgil: a study in civilized poetry</em>, la différentiation entre “style objectif ” et “style subjectif ” à l’oeuvre du poète romain. Dans le premier cas, les traits employés à la composition privilégient le “froid” tissage du récit, tandis que, dans le deuxième, il y aurait l’engagement affectif entre le narrateur et ce qu’il dit. Pour Otis, le récit du mythe d’Orphée, tel qu’on le fait aux <em>Géorgiques </em>IV 453-527, exemplifie le “style subjectif ”, avec la “commotion” du narrateur en face de la double mort d’Euridice et en face de la folie et mort d’Orphée même. Alors, après la presentation illustrée de cet instrumental analythique, nous comparons avec Virgile certaines parties de la traduction du 19ème. siècle du mythe d’Orphée par le Vicomt Antônio Feliciano de Castilho, en essayant de vérifier l’extention de la récuperation du style de l’original latin dans le poème traduit.</p>

Este artigo busca compreender como, a partir da expansão urbana e da modernização da América Latina, a estruturação dos espaços urbanos - espaços públicos - começou a sujeitar-se a uma motorização privada, tornando o planejamento urbano um consentimento ao investimento de uma cultura que acaba por deteriorar as cidades, assim como a qualidade de vida nas mesmas. Neste sentido, é também objetivo deste artigo pensar em como o urbanismo contemporâneo, advindo das críticas à modernidade, inicia uma nova reflexão quanto aos espaços a fim de reabilitá-los em busca de sustentabilidade e de revitalização das cidades. Essas reflexões são realizadas mediante dados da Corporação Andina de Fomento; do Observatório de Mobilidade Urbana para América Latina (CAF), Comissão Económica para América Latina e o Caribe (CEPAL); da Organização Mundial da Saúde (OMS); do Banco Mundial (BM); BBVA-research. Assim as análises realizadas, confirmam que o uso intensivo e indiscriminado do automóvel, os investimentos públicos, os impactos na mobilidade urbana (congestionamentos, redução de espaços públicos, emissão de poluentes entre outros) e os impactos na organização das cidades da América Latina no século XXI, são resultados das ações do poder público que privilegia a lógica corporativa da produção da indústria automobilística favorecendo o capital privado. Desta forma, na América Latina, há uma consciência da necessidade de um modelo alternativo ao sistema de transportes vigente, porém, o que se confirma é uma renúncia nesse sentido, ou seja, não há compromisso dos poderes públicos que evidenciam uma mudança.

RésuméIMAGE DE SOI ET CRIMINALITECet article represente la seconde partie d'une etude en deux tranches du phenomene de la delinquance et de la criminalite feminines au Canada, aux Etats-Unis, en France et en Belgique, intitulee: Self-Image and Social Representations of Female Offenders, du meme auteur.La premiere partie s'attache a la valeur de « representation sociale » de la criminalite. On y etudie le volume relatif de la criminalite des femmes, la nature specifique des delits et crimes qu'elles commettent et pour lesquels elles sont arretees et inculpees, le traitement qu'on leur fait subir, compare aux dispositions prises a l'endroit des criminels de sexe masculin trouves coupablesdes memes mefaits, les dispositions particulieres des codes criminels qui, en plusieurs cas, prevoient des delits limites aux femmes mais aussi les excluent comme auteurs possibles de plusieurs crimes. Ce sont la des indices des roles assignes aux femmes dans une societe donnee.Les representations sociales ainsi analysees nous ont suggere que non seulement les lois et les sanctions prevues, mais aussi le choix des penalites imposees au moment du prononce de la sentence offrent la meilleure explication de ce taux comparativement tres bas et relativement constant de la criminalite feminine a travers le monde. Ces representations sociales sont des renforcements de roles precedemment prescrits a la femme. Ainsi, la theorie du role (role theory) nous semble la meilleure base d'explication de cet ecart entre la criminalite masculine et la criminalite feminine.La seconde partie, dont le present article est tire, resume une recherche empirique qui a dure pres d'une annee (aout 1966, juin 1967).InstrumentPour mesurer la perception de soi, nous avons utilise un questionnaire bref et direct compose essentiellement de quatre parties. La premiere partie fait appel, chez le repondant, a des donnees conscientes, en l'amenant a decrire la decision la plus importante qu'il juge avoir prise au cours des quelques dernieres annees et les motifs qui ont inspire cette decision. La deuxieme et la troisieme parties referent a du materiel psychologique (intra-psychique) preconscient ou inconscient, par mode de projection, c'est-a-dire que le repondant choisit de nommer les « grandes figures » de bienfaiteur (personnel ou non personnel) et de malfaiteur, resume les «grands gestes» qu'il leur attribue et donne sa perception de leur motivation. La derniere partie est constituee par une fiche bio-socio-psycho-educationnelle ou petite histoire de cas en resume.Rationnel de l'instrument: cet instrument d'analyse est base sur une polarite bien decrite dans l'oeuvre du psychologue et psychanalyste Erikson (1964). Il s'agit d'un continuum allant de la notion d'agent a celle de patient: « agens vs patiens ». Cette polarite est reprise dans les travaux de R.R. Korn (1966) dans les termes suivants: «agent-acteur vs object-spectateur ».Quelle est la signification precise des categories ainsi nommees ? XJagent est, pour Erikson et pour Korn, celui qui se percoit comme capable d influencer le monde, les evenements, les personnes. Il a une prise sur sa vie. Il ne se sent pas « brise » dans ses elans (« unbroken in initiative »). L'objet est celui a qui les choses arrivent («to whom things happen»), celui qui se sent pousse par des forces, internes ou externes, a poser des gestes qui lui paraissent inevitables.Hypotheses: nous avons choisi cet instrument a cause de nos deux grandes hypotheses de depart, l'une etant la condition sociale faite a la femme dans les societes dominees par l'homme (condition d'instrument, d'objet), l'autre etant la position sociale de la femme criminelle et de la jeune fille delinquante dans les societes structurees, position determinee par les codes penaux et par l'organisation repressive, mais aussi par la culture qui privilegie certaines valeurs et fait de la femme leur gardienne (position d'instrument mais aussi de victime). La condition sociale de la femme normale et la position sociale de la femme criminelle sont des « miroirs » (« looking-glass self »), selon la theorie de G.H. Mead, « miroirs » dans lesquels la femme normale et la delinquante trouvent une image d'elles-memes.ResultatsNos resultats peuvent se resumer comme suit: Premiere hypothese: « Les femmes adultes normales d'une societe donnee se percoivent moins que les hommes de la meme couche socio-economique et du meme groupe d'age, comme des agents. » Cette hypothese ne s'est pas verifiee en ce qui touche les Canadiennes francaises. La difference entre hommes et femmes n'est pas significative dans ce groupe. Notre hypothese s'est verifiee chez les Canadiens anglais mais a un niveau de signification peu eleve (x2:0.20). Seconde hypothese: «Les femmes adultes criminelles se percoivent plus comme desobjets et des victimes que les non criminelles d'une part et que les hommes criminels d'autre part. » Cette hypothese s'est verifiee statistiquement et la difference est tres significative dans le premier cas (0.01) et un peu moins dans le second (0.10).Il ressort que si la femme non delinquante, suivant le test « agent-objet », ne se percoit pas de facon sensiblement differente de l'homme non delinquant, par contre la femme criminelle, elle, se percoit nettement comme un objet-spectateur, comme une victime, plus que l'homme criminel et beaucoup plus que la femme non delinquante.

<p>My seven years with Acta Polytechnica ended on June 30. The opportunity to lead this journal from a local list of reviewed periodicals to the prestigious databases – Web of Science, Scopus, Inspec, CAS and more – was a rewarding experience and privilege for me.</p><p>All this would have not been possible without the continual cooperation and understanding of many individuals, who contribute to putting the journal together.</p><p>In the first place there are authors of excellent submissions and reviewers who contributed their time, expertise, knowledge and experience to help the authors to improve their manuscripts and, through their comments and questions, gave them an inspiration for their further research. During my tenure I saw very satisfying trends in our submissions, mainly the increasing quality of the manuscripts submitted by young researchers.</p><p>I very appreciate the continual support of all the members of the editorial board. As experts in their field they contributed to the editorial process, provided invaluable advices and recommendations. In particular I would like to thank the internal board members, who collaborated with their colleagues from faculties and institutes. Without this motivating communication and cooperation across the university the AP would not be what it is.</p><p>A special thanks belongs to Tomáš Hejda. Seven years ago he created the image of the journal and set up typographic rules and standards. Last but not least, AP could not grow without the work of the language editors, especially Robin Healey.</p><p>And, of course, I would like to thank all the colleagues from the CTU Central Library for their support and intensive cooperation. Without them it would not be possible to set the necessary publishing standards and processes. Especially I would like to thank Lenka Němečková for being a source of energy and inspiration for the AP, and thank to the director of the CTU Central Library Marta Machytková for her support.</p><p>Finally, I would like to introduce and welcome an outstanding colleague and the new Editor-in-Chief Tereza Karlová. I very respect her professional skills, I am convinced that she has the right motivation for the successful management of Acta Polytechnica and I wish her all the best.</p><p>Iva Adlerová Outgoing Editor-in-Chief</p>

AbstractControl over and access to land in Nso, Cameroon, has always depended on social identity. Control over land is a central symbol of leadership, both historically and today. Since the mid-1970s the Cameroonian state has instituted land ordinances and stressed privatisation and land titling, while Nso ideology has continued to emphasise access to land as a right of Nso citizenship. The contradictions set up by these two differing views are exacerbated by disputes between the Fon Nso and his sub-chiefs, in this case the Fon Nseh, over the right to control access to land. This prerogative, represented by the licence to collect taxes for the people farming on the land, is further complicated by the relationship of the two rulers and their constituents to the national state. Each Fon reinvents tradition by reinterpreting a series of historical events to buttress his claim, the Fon Nso stressing rights in people and the Fon Nseh stressing rights in territory by virtue of his ritual obligation to the ancestors residing there. This article examines the complex relationships and the distribution of power among these traditional rulers, the new elites and the national state.RésuméLe contrôle et l'accession à la terre à Nso, au Cameroun, a toujours dépendu de l'identité sociale. Le controle de la terre symbolise l'idée de chef, à la fois dans le passé et encore de nos jours. Depuis le milieu des années 1970, l'état camerounais a établi des arrêtes fonciers et renforce la privatisation et le droit foncier, alors que l'idéologie Nso a continué à accentuer l'accession à la terre comme un droit de citoyenneté Nso. Les contradictions produites par ces deux points de vues différents sont encore plus exacerbées par les désaccords entre le Fon Nso et ses sous-chefs, dans ce cas le Fon Nseh, sur le droit de controler l'accession à la terre. Ce privilege, representé par le droit de percevoir les impôts payables par les fermiers travaillant sur la terre, se complique encore davantage quant au rapport des deux chefs et de leurs partisans à l'état moderne. Chaque Fon réinvente la tradition en dormant une nouvelle interpretation à certains événement historiques pour étayer sa revendication: le Fon Nso met en valeur les droits du point de vue des gens, alors que le Fon Nseh renforce les droits dans la perspective du territoire en vertue de l'engagement rituel qu'il porte envers les ancêtres qui y résident. Cet article analyse les rélations complexes et la repartition du pouvoir parmi ces chefs traditionnels, les nouvelles élites et l'état moderne.

Road connection has high impact on the city development. It helps boost the economic environment along the road. Therefore, it is important to maintain and divide by their traffic flow and road reserve well to determine the privilege of maintenance and budget contribution for every year. Road opens up the relation of intercity and urban as it gives the impact of development along the road. To manage road over the country, geometry data of road is needed for decision making and project well management. The primary data is usually contributed by field technical support persons, such as surveyor, engineer, and others for conventional method of survey, image along the road, computer aid drawing (cad data) as built drawing or topographical plan, and others. This study proposes an urban road mapping with optimal flight parameter and flying low for detail texture acquisition of feature. It ensures the high efficiency, low cost, short cycle, strong maneuverability, convenient operation, and others of a product. The objective of the project is to determine the optimal flight parameter in mapping out a road feature inside the road reserve with detailed digital orthophoto model (DOM) and digital elevation model (DEM). The flight parameters of unmanned aerial vehicle (UAV) and requirements for focal length effectiveness, flight planning preparation, image lap percentage, UAV altitude, and ground control point (GCP) distribution setup were outlined. The study investigated the effect of different focal length effects, GCP shape-based network (pyramid square-, square-, and linear-based networks), UAV altitude (90m, 65m, and 35m), and end lap percentage of image (90%, 80%, and 70%) on the photogrammetry-derived product. The 95m and 65m altitudes gave the lowest root mean square error (RMSE) value (±5cm horizontal and ±8cm vertical). In addition, 80% consistently showed the lowest RMSE for all end lap percentage options. Meanwhile, the pyramid square-based network recovered a total of 40% accuracy higher than square- and linear-based networks. This study could help the local authorities to implement smart road maintenance within their region.

Plurilingual approaches to pre-service teacher education hold promise for critical engagement with linguistic, cultural, and racial diversity in equity-supportive ways. Employing critical action research, we as teacher educators implemented an equity-oriented plurilingual approach across three literacy methods courses for pre-service elementary teachers at one Canadian university. Using case study methods and a poststructuralist theory of identity, this paper examines implications of the equity-oriented plurilingual approach for the evolving teacher identities and beliefs about plurilingual pedagogical possibilities of two preservice teachers: one Chinese Canadian and one White Canadian. Findings from an analysis of field notes, teacher education artefacts, and interview transcripts demonstrate that pre-service teachers’ linguistic and racial backgrounds shaped their learning and identity trajectories vis-à-vis plurilingualism, and that critical personal reflection and practicum experiences were key mediators of participants’ orientations towards plurilingual pedagogies. Plurilingualism, in concert with multiliteracies, supported a Chinese Canadian pre-service teacher to develop a resource orientation to her own plurilingualism and racialized identity, while challenging a White English-dominant pre-service teacher to confront power inequities and her English-speaker privilege. Implications centre on the importance of greater critical engagement with systemic issues of race and Anglonormativity and the need for more systematic integration of equity-oriented plurilingual approaches throughout teacher education programs. Les approches plurilingues des formations initiales des enseignants promettent l’engagement critique vis-à-vis de la diversité linguistique, culturelle et raciale de manière égalitaire. En se servant de la recherche en action critique, en tant qu’enseignantes, nous avons mis en place une approche plurilingue orientée vers l’égalité dans trois cours méthodologiques de littératie de formation initiale pour enseignants du primaire dans une université canadienne. En utilisant des méthodes d’études de cas ainsi qu’une théorie poststructuraliste de l’identité, cet article examine les implications d’une approche plurilingue orientée vers l’égalité pour les identités et les croyances changeantes des enseignants à propos des possibilités pédagogiques plurilingues de deux enseignantes en formation : une Canadienne chinoise et une Canadienne blanche. Les résultats tirés d’une analyse de notes d’observation, d’artéfacts de formation d’enseignant, et de transcriptions d’entrevues montrent que les origines linguistiques et culturelles des enseignants en formation informaient leur apprentissage et leur trajectoires identitaires par rapport au plurilinguisme et que la réflexion critique personnelle et les expériences de stage se sont révélées être de médiateurs clés eu égard à l’orientation des participants envers les pédagogies plurilingues. Le plurilinguisme, de concert avec les multilittératies, ont encouragé une candidate enseignante canadienne chinoise à élaborer une orientation de ressources vers son propre plurilinguisme et son identité racialisée, tout en défiant une candidate blanche anglaise de faire face aux inégalités de pouvoir et à son privilège d’anglophone. Les implications se centrent sur l’importance d’un plus grand engagement critique eu égard aux problèmes systémiques de race et d’anglonormativité, ainsi que le besoin d’une intégration plus systématique des approches plurilingues orientées vers l’égalité dans tous les programmes de formation des enseignants.

It was a great honor and personal privilege for us to organize the 9th Eurasia Conference on Chemical Sciences (EuAs C2S-9) in Antalya, Turkey, 9-13 September 2006. The choice of Turkey as a venue was especially appropriate in view of its special location and character as a bridge between Europe and Asia. Turkey's rich history and diversified cultural heritage provided an extra dimension to the atmosphere of the conference. The aim of the Eurasia Conferences is to support the scientific research of chemists in the Eurasia continent by inviting the participation of leading scientists from around the world. The Eurasia region has increased its profile in chemistry, particularly in chemical biology, over the last 20 years.The growing role of chemistry and the contributions of the chemical and pharmaceutical industries to science are significant. The next century will witness more momentous achievements in chemistry as well as its application in different fields for the benefit of mankind in terms of healthy, productive, long, and comfortable life.We particularly thank the participants who contributed scientific studies as oral and poster presentations at this conference. With the participation of the world's leading scientists from 39 countries, the conference was a good opportunity for all researchers to access recent information on achievements in the chemical sciences as well as to share and exchange their experiences during the conference.The scientific program consisted of 10 plenary lectures, 35 invited lectures, 12 session lectures, 24 oral presentations, and 128 poster presentations. The topics covered included biodiversity and natural product chemistry, biomolecular chemistry, catalysis and nanotechnology, computational chemistry, coordination chemistry (organized as a mini-symposium through the efforts of Prof. Dr. Susumu Kitagawa), environmental and analytical chemistry, and materials science and solution chemistry.The IUPAC-sponsored conference was attended by 268 participants from 39 countries. The participation of a large group of active young Turkish chemists was made possible by the financial support of the TUBITAK. In addition, a half-day excursion was organized for participants to Aspendos, Perge, and Side.The lecturers included: Prof. Dr. Robert Huber, Nobel laureate, from Germany and keynote speaker; HRH Princess Prof. Dr. Chulabhorn Mahidol from Thailand; Prof. Dr. U. K. Pandit; Prof. Dr. B. M. Rode; Prof. Dr. T. Norin; Prof. Dr. M. Isobe; Prof. Dr. S. Kitagawa; and Prof. Dr. H. Ohtaki.Six plenary lectures are published in this issue of Pure and Applied Chemistry along with the manuscripts from the project "Chemistry for Biology". The conference proceedings are being published by Springer-Verlag as Innovations in Chemical Biology.The news of the sudden and untimely death of Prof. Dr. Hitoshi Ohtaki on 5 November 2006 was received after the conference. He enthusiastically promoted international cooperation and took it upon himself to publicize Japanese science to the wider world. His plenary lecture will serve as a memorable contribution to that goal. He also prepared a separate chapter, including tributes, in the proceedings. Prof. Dr. Ohtaki will be missed by all of us.The next Eurasia conference, the 10th Eurasia Conference on Chemical Sciences (EuAs C2S-10), will be held in Manila, Philippines in 2008.Prof. Dr. Bilge SenerChair, National Organizing Committee

e4468013During the COVID-19 pandemic period that forced the closure of schools across the country, the Ministry of Education (MEC) hurried to publish the National High School Examination (ENEM) Notice keeping the starting dates for the tests. The federal government tried to instill in the exam the defense of President Jair Bolsonaro in favor of maintaining artificial normality, contrary to the recommendation of social isolation. After the announcement, many sectors were opposed and the Senate passed a bill determining the postponement. Seeking to understand this scenario, this article aims to expose the concepts of evaluation present in documents and in public manifestations of MEC. Among the questions that guide this article are: which conceptions of evaluation permeate the case? What would the decision to maintain the dates mean? And in what ways does this case favor the maintenance of a culture of tests? In this way, a documentary analysis of the public notice, ordinances related to the exam, advertising pieces, and statements by the minister of education was carried out. Based on the analyzes, it was possible to elucidate many contradictions, such as the fact that the position of the MEC undermines the purposes of the exam and has the potential to cause distortions that would make it impossible to use the data for education assessment. In addition, the disparity in access conditions tends to make the test even less equitable, which can lead to an increase in inequality in access to higher education.ResumoDurante o período de pandemia de COVID-19 que obrigou o fechamento das escolas em todo o país, o Ministério da Educação (MEC) se apressou para publicar o edital do Exame Nacional do Ensino Médio (ENEM) mantendo as datas iniciais das provas. Assim, o governo federal tentava incutir no exame a defesa do presidente Jair Bolsonaro (sem partido) a favor da manutenção de uma normalidade artificial, contrária à recomendação de isolamento social. Após o anúncio, muitos setores se manifestaram contrários e o Senado aprovou um projeto de lei determinando o adiamento. Buscando compreender esse cenário, este artigo tem o objetivo de desnudar as concepções de avaliação presentes nos documentos e nas manifestações públicas do MEC. Entre as questões que guiam o artigo, estão: quais as concepções de avaliação que permeiam o caso em tela? O que significaria a decisão de manutenção das datas? E de que formas esse caso privilegia a manutenção de uma cultura de provas onde o desempenho se apresenta como objetivo final do ensino? Nesse caminho, foi realizada uma análise documental do edital, portarias relacionadas ao exame, peças publicitárias e pronunciamentos do ministro de educação. A partir das análises foi possível elucidar muitas contradições, como o fato do posicionamento do MEC atentar contra as finalidades do exame e ter o potencial de causar distorções que impossibilitariam o uso dos dados para avaliação da educação. Além disso, a disparidade nas condições de acesso tende a tornar a prova ainda menos equitativa, podendo acarretar o aumento da desigualdade no acesso ao ensino superior.Palavras-chave: Avaliação da educação, Avaliação externa, Políticas públicas em educação, Exame nacional do ensino médio. Keywords: Student evaluation, Educational testing, Politics of education, National high school exam.ReferencesAFONSO, Almerindo Janela. Avaliação educacional: regulação e emancipação: para uma sociologia das políticas avaliativas contemporâneas. Cortez, 2009.AFONSO, Almerindo Janela. Políticas educativas e avaliação: esboço para uma rearticulação crítica. Educação Sociedade, Campinas, Cedes, n. 69, p. 139-164, dez. 1999.BALL, Sthepen. 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Acesso em: 10 junho 2020.FERNANDES, Claudia de Oliveira. A necessária superação da dicotomia no debate séries-ciclos na escola obrigatória. Cadernos de pesquisa, v. 40, n. 141, p. 881-894, 2010.FERNANDES, Claudia de Oliveira. Uma breve análise das políticas de avaliação e sua relação com a organização escolar por ciclos: resultados de pesquisa. Educ. rev., Curitiba , n. spe1, p. 17-33, 2015 . Available from http://www.scielo.br/scielo.php?script=sci_arttextpid=S0104-40602015000500017lng=ennrm=iso. access on 10 June 2020. https://doi.org/10.1590/0104-4060.41420.FERNANDES, Domingos. Para uma teoria da avaliação formativa. Rev. Port. de Educação, Braga , v. 19, n. 2, p. 21-50, 2006 . Disponível em http://www.scielo.mec.pt/scielo.php?script=sci_arttextpid=S0871-91872006000200003lng=esnrm=iso. Acesso em 13 jun. 2020.FETZNER, Andrea Rosana. Ciclos em revista: implicações curriculares de uma escola não seriada. Rio de Janeiro: Wak, v. 2, 2007.FREITAS, Dirce Nei Teixeira de. A avaliação da educação básica no Brasil: dimensão normativa, pedagógica e educativa. Campinas: Autores Associados, v. 81, 2007.INSTITUTO BRASILEIRO DE GEOGRAFIA E ESTATÍSTICA (IBGE). Pesquisa Nacional por Amostra de Domicílios Contínua Educação. 2018. Disponível em: https://biblioteca.ibge.gov.br/visualizacao/livros/liv101657_informativo.pdf. Acesso em: 10 de jun. de 2020.INSTITUTO NACIONAL DE ESTUDOS E PESQUISAS EDUCACIONAIS ANÍSIO TEIXEIRA (INEP). ENEM Histórico. 2019 Disponível em:http://portal.inep.gov.br/web/guest/enem/historico. Acesso em: 10 de jun. de 2020.JORNAL DA USP. Resultados do Enem aprofundam diferenças entre escolas públicas e privadas, diz especialista. Jornal da USP, São Paulo, 17 de outubro 2016. Disponível em:https://jornal.usp.br/atualidades/resultados-do-enem-aprofundam-diferencas-entre-escolas-publicas-e-privadas-diz-especialista/. Acesso em: 10 junho 2020.LEMOS, Iara. Em reunião com senadores, Weintraub diz que Enem não foi feito para corrigir injustiças. Folha de São Paulo, São Paulo, 5 de maio 2020. Disponível em: https://www1.folha.uol.com.br/amp/educacao/2020/05/em-reuniao-com-senadores-weintraub-diz-que-enem-nao-foi-feito-para-corrigir-injusticas.shtml. Acesso em: 10 junho 2020.MARTINS, Carlos Benedito. A reforma universitária de 1968 e a abertura para o ensino superior privado no Brasil. Educ. Soc., Campinas , v. 30, n. 106, p. 15-35, Apr. 2009 . Available from http://www.scielo.br/scielo.php?script=sci_arttextpid=S0101-73302009000100002lng=ennrm=iso. access on 18 May 2020. https://doi.org/10.1590/S0101-73302009000100002.MINISTÉRIO DA EDUCAÇÃO (MEC). Enem 2020 – inscrições. 2020. (1 min). Disponível em: https://www.youtube.com/watch?v=apufjiGlIY0. Acesso em: 11 maio 2020.MINISTÉRIO DA EDUCAÇÃO (MEC). Enem digital será aplicado em 11 e 18 de outubro e o impresso, 1º e 8 de novembro. 2020a. (1 min). Disponível em: https://www.youtube.com/watch?v=3h9iKvXGDl4. Acesso em: 11 maio 2020.PIVA, Juliana Dal. Justiça Federal do Rio proíbe governo de divulgar campanha 'O Brasil Não Pode Parar'. Jornal O Globo, Rio de Janeiro, 28 de março 2020. Disponível em: https://oglobo.globo.com/brasil/justica-federal-do-rio-proibe-governo-de-divulgar-campanha-brasil-nao-pode-parar-24335499. Acesso em: 10 junho 2020.SANTOS, Hélia Maria Matos. Democratização e universalização da escola pública: um direito de ter direito à diversidade. Revista Ambivalências. Sergipe. v. 2, n. 4, p. 165-188, 2014.SHIROMA, Eneida Oto; SANTOS, Fabiano Antonio dos. Slogans para a construção do consentimento ativo. In:EVANGELISTA, Olinda. O que revelam os slogans na política educacional. Araraquara, SP: JunqueiraMarin Editores, 2016.TOKARNIA, Mariana. Inep estima que Enem custará R$ 105,52 por participante. Agência Brasil, Brasília, 10 outubro 2019. Disponível em: https://agenciabrasil.ebc.com.br/educacao/noticia/2019-10/enem-devera-custar-r-105-52-por-participante-estima-inep. Acesso em: 10 junho 2020.TOKARNIA, Mariana. Mais crianças estão na escola, mas ainda é preciso incluir 1,9 milhão. Agência Brasil, Brasília, 7 junho 2018. Disponível em:https://agenciabrasil.ebc.com.br/educacao/noticia/2018-06/mais-criancas-estao-na-escola-mas-ainda-e-preciso-incluir-19-milhao. Acesso em: 10 junho 2020.

Abstract The development of clustered regularly interspaced short-palindromic repeat (CRISPR)-Cas systems for genome editing has transformed the way life science research is conducted and holds enormous potential for the treatment of disease as well as for many aspects of biotechnology. Here, I provide a personal perspective on the development of CRISPR-Cas9 for genome editing within the broader context of the field and discuss our work to discover novel Cas effectors and develop them into additional molecular tools. The initial demonstration of Cas9-mediated genome editing launched the development of many other technologies, enabled new lines of biological inquiry, and motivated a deeper examination of natural CRISPR-Cas systems, including the discovery of new types of CRISPR-Cas systems. These new discoveries in turn spurred further technological developments. I review these exciting discoveries and technologies as well as provide an overview of the broad array of applications of these technologies in basic research and in the improvement of human health. It is clear that we are only just beginning to unravel the potential within microbial diversity, and it is quite likely that we will continue to discover other exciting phenomena, some of which it may be possible to repurpose as molecular technologies. The transformation of mysterious natural phenomena to powerful tools, however, takes a collective effort to discover, characterize, and engineer them, and it has been a privilege to join the numerous researchers who have contributed to this transformation of CRISPR-Cas systems.

RESUMO O estudo centra seu interesse nas influências internacionais como variável para compreender algumas das práticas educacionais e curriculares que se gestaram a partir da década de 1950, na Espanha. Tem como objetivo principal analisar a fundação e a projeção do Colegio Mayor Universitario Casa de Brasil, localizado em Madri, em um contexto de modernização do ensino superior espanhol, e a sua interlocução com os contextos europeu e latino-americano. A pesquisa documental privilegia documentos escritos originais e inéditos, tais como: o primeiro estatuto e os regulamentos, bem como os relatórios dos cursos acadêmicos, eventos e atividades culturais promovidos durante a década de 1960. A Casa de Brasil, além da função de residência de universitários brasileiros, divulgou o Brasil na Espanha, assim como recepcionou e acolheu culturas de outros países, especialmente da América Latina e da Península Ibérica - Espanha e Portugal -, por meio de eventos internos e públicos semanais.

Históricamente, la preocupación por la creación intelectual ha tendido a ocultar, de manera fetichista, el trabajo y la materialidad necesarios para su circulación. Ello implica que se privilegia la mente o el genio del creador (pensando generalmente en términos masculinos). En esta obliteración cae incluso la preocupación contemporánea por la materialidad, que suele pasar por alto su propia materialidad, es decir, pasa por alto sus mismas condiciones contextuales y de producción. El presente ensayo reflexiona sobre el lugar de la página sobre la que el pensamiento se inscribe, pero, al mismo tiempo, explicitando que se lo hace desde una mano articulada a un cerebro, a un cuerpo.

Blindness and deafness are the most frequent sensory disorders in humans. Whatever their cause — genetic, environmental, or due to toxic agents, or aging — the deterioration of these senses is often linked to irreversible damage to the light-sensing photoreceptor cells (blindness) and/or the mechanosensitive hair cells (deafness). Efforts are increasingly focused on preventing disease progression by correcting or replacing the blindness and deafness-causal pathogenic alleles. In recent years, gene replacement therapies for rare monogenic disorders of the retina have given positive results, leading to the marketing of the first gene therapy product for a form of childhood hereditary blindness. Promising results, with a partial restoration of auditory function, have also been reported in preclinical models of human deafness. Silencing approaches, including antisense oligonucleotides, adeno-associated virus (AAV)–mediated microRNA delivery, and genome-editing approaches have also been applied to various genetic forms of blindness and deafness The discovery of new DNA- and RNA-based CRISPR/Cas nucleases, and the new generations of base, prime, and RNA editors offers new possibilities for directly repairing point mutations and therapeutically restoring gene function. Thanks to easy access and immune-privilege status of self-contained compartments, the eye and the ear continue to be at the forefront of developing therapies for genetic diseases. Here, we review the ongoing applications and achievements of this new class of emerging therapeutics in the sensory organs of vision and hearing, highlighting the challenges ahead and the solutions to be overcome for their successful therapeutic application in vivo.

Alopecia areata is an autoimmune disease that causes a non-healing form of hair loss. Stress is one of the crucial factors, which contributes to its development as it increases the corticotropin releasing hormone, creating an inflammatory environment and the immune privilege loss around the hair follicle. Case report: A 37-year-old woman with a history of alopecia areata, who presents progressive hair loss after a twin pregnancy announcement, which triggers a considerable level of psychological stress. The physical examination shows absence of hair on the entire body surface. Once lactation ended, treatment with topical corticosteroids and tofacitinib (janus kinase inhibitor) was started, resulting in hair recovery. Within the environmental factors that contribute to the development of alopecia areata, stress is one of the most important ones. Therefore, knowing about its physiopathology allows for the understanding of how stress triggers some autoimmune diseases, as well as why novel therapies including januskinase inhibitors are useful for treating them.

Abstract Background Spermine is frequently elevated in tumor tissues and body fluids of cancer patients and is critical for cancer cell proliferation, migration and invasion. However, the immune functions of spermine in hepatocellular carcinoma progression remains unknown. In the present study, we aimed to elucidate immunosuppressive role of spermine in hepatocellular carcinoma and to explore the underlying mechanism. Methods Whole-blood spermine concentration was measured using HPLC. Human primary HCC tissues were collected to examine the expression of CaSR, p-Akt, β-catenin, STT3A, PD-L1, and CD8. Mouse model of tumorigenesis and lung metastasis were established to evaluate the effects of spermine on hepatocellular carcinoma. Western blotting, immunofluorescence, real time PCR, digital Ca2+ imaging, and chromatin immunoprecipitation assay were used to investigate the underlying mechanisms by which spermine regulates PD-L1 expression and glycosylation in hepatocellular carcinoma cells. Results Blood spermine concentration in the HCC patient group was significantly higher than that in the normal population group. Spermine could facilitate tumor progression through inducing PD-L1 expression and decreasing the CD8+ T cell infiltration in HCC. Mechanistically, spermine activates calcium-sensing receptor (CaSR) to trigger Ca2+ entry and thereby promote Akt-dependent β-catenin stabilization and nuclear translocation. Nuclear β-catenin induced by spermine then activates transcriptional expression of PD-L1 and N-glycosyltransferase STT3A, while STT3A in turn increases the stability of PD-L1 through inducing PD-L1 protein N-glycosylation in HCC cells. Conclusions This study reveals the crucial function of spermine in establishing immune privilege by increasing the expression and N-glycosylation of PD-L1, providing a potential strategy for the treatment of hepatocellular carcinoma.

Citizenship is the most privileged kind of nationality since it allows people to live in the state in a pleasant, honourable, and harmonious manner. The term citizenship refers to the relationship between an individual and a state that entitle an individual with rights, duties, privileges and other benefits whereas noncitizens and migrated residents are denied or only partially provided. Thus, Citizenship is the privilege of the marked citizens to get benefits from the government of India through welfare and developmental programmes but crores of unmarked citizens (people from various countries have been settling in India without citizenship) are getting same benefits and privileges on par with citizens as they are living in India. Thus, the government of india have introduced CAA and NRC which are useful to identify the unmarked citizens and to make the needful acts to control unmarked citizens. If the government is failed to control the unmarked citizens, then the actual target group (Below Poverty Line people) won’t get the privileges.In this context the paper examines its central themes—concept, context and present status of citizenship in India. The objectives of this paper are firstly to analyse the concept of citizenship; secondly, to elaborate the neutral laws of citizenship along with misconceptions of citizenship acts in India particularly in the context of minorities and refugees about rendering their citizenship in India. The study has collected secondary data both qualitative and quantitative data and analysed with descriptive analysis method.

IntroductionThe Internet (especially in the so-called Web 2.0 phase), digital media and file-sharing networks have thrust copyright law under public scrutiny, provoking discourses questioning what is fair in the digital age. Accessible hardware and software has led to prosumerism – creativity blending media consumption with media production to create new works that are freely disseminated online via popular video-sharing Web sites such as YouTube or genre specific music sites like GYBO (“Get Your Bootleg On”) amongst many others. The term “prosumer” is older than the Web, and the conceptual convergence of producer and consumer roles is certainly not new, for “at electric speeds the consumer becomes producer as the public becomes participant role player” (McLuhan 4). Similarly, Toffler’s “Third Wave” challenges “old power relationships” and promises to “heal the historic breach between producer and consumer, giving rise to the ‘prosumer’ economics” (27). Prosumption blurs the traditionally separate consumer and producer creating a new creative era of mass customisation of artefacts culled from the (copyrighted) media landscape (Tapscott 62-3). Simultaneously, corporate interests dependent upon the protections provided by copyright law lobby for augmented rights and actively defend their intellectual property through law suits, takedown notices and technological reinforcement. Despite a lack demonstrable economic harm in many cases, the propertarian approach is winning and frequently leading to absurd results (Collins).The balance between private and public interests in creative works is facilitated by the doctrine of fair use (as codified in the United States Copyright Act 1976, section 107). The majority of copyright laws contain “fair” exceptions to claims of infringement, but fair use is characterised by a flexible, open-ended approach that allows the law to flex with the times. Until recently the defence was unique to the U.S., but on 2 January Israel amended its copyright laws to include a fair use defence. (For an overview of the new Israeli fair use exception, see Efroni.) Despite its flexibility, fair use has been systematically eroded by ever encroaching copyrights. This paper argues that copyright enforcement has spun out of control and the raison d’être of the law has shifted from being “an engine of free expression” (Harper & Row, Publishers, Inc. v. Nation Enterprises 471 U.S. 539, 558 (1985)) towards a “legal regime for intellectual property that increasingly looks like the law of real property, or more properly an idealized construct of that law, one in which courts seeks out and punish virtually any use of an intellectual property right by another” (Lemley 1032). Although the copyright landscape appears bleak, two recent cases suggest that fair use has not fallen by the wayside and may well recover. This paper situates fair use as an essential legal and cultural mechanism for optimising creative expression.A Brief History of CopyrightThe law of copyright extends back to eighteenth century England when the Statute of Anne (1710) was enacted. Whilst the length of this paper precludes an in depth analysis of the law and its export to the U.S., it is important to stress the goals of copyright. “Copyright in the American tradition was not meant to be a “property right” as the public generally understands property. It was originally a narrow federal policy that granted a limited trade monopoly in exchange for universal use and access” (Vaidhyanathan 11). Copyright was designed as a right limited in scope and duration to ensure that culturally important creative works were not the victims of monopolies and were free (as later mandated in the U.S. Constitution) “to promote the progress.” During the 18th century English copyright discourse Lord Camden warned against propertarian approaches lest “all our learning will be locked up in the hands of the Tonsons and the Lintons of the age, who will set what price upon it their avarice chooses to demand, till the public become as much their slaves, as their own hackney compilers are” (Donaldson v. Becket 17 Cobbett Parliamentary History, col. 1000). Camden’s sentiments found favour in subsequent years with members of the North American judiciary reiterating that copyright was a limited right in the interests of society—the law’s primary beneficiary (see for example, Wheaton v. Peters 33 US 591 [1834]; Fox Film Corporation v. Doyal 286 US 123 [1932]; US v. Paramount Pictures 334 US 131 [1948]; Mazer v. Stein 347 US 201, 219 [1954]; Twentieth Century Music Corp. v. Aitken 422 U.S. 151 [1975]; Aronson v. Quick Point Pencil Co. 440 US 257 [1979]; Dowling v. United States 473 US 207 [1985]; Harper & Row, Publishers, Inc. v. Nation Enterprises 471 U.S. 539 [1985]; Luther R. Campbell a.k.a. Luke Skyywalker, et al. v. Acuff-Rose Music, Inc. 510 U.S 569 [1994]). Putting the “Fair” in Fair UseIn Folsom v. Marsh 9 F. Cas. 342 (C.C.D. Mass. 1841) (No. 4,901) Justice Storey formulated the modern shape of fair use from a wealth of case law extending back to 1740 and across the Atlantic. Over the course of one hundred years the English judiciary developed a relatively cohesive set of principles governing the use of a first author’s work by a subsequent author without consent. Storey’s synthesis of these principles proved so comprehensive that later English courts would look to his decision for guidance (Scott v. Stanford L.R. 3 Eq. 718, 722 (1867)). Patry explains fair use as integral to the social utility of copyright to “encourage. . . learned men to compose and write useful books” by allowing a second author to use, under certain circumstances, a portion of a prior author’s work, where the second author would himself produce a work promoting the goals of copyright (Patry 4-5).Fair use is a safety valve on copyright law to prevent oppressive monopolies, but some scholars suggest that fair use is less a defence and more a right that subordinates copyrights. Lange and Lange Anderson argue that the doctrine is not fundamentally about copyright or a system of property, but is rather concerned with the recognition of the public domain and its preservation from the ever encroaching advances of copyright (2001). Fair use should not be understood as subordinate to the exclusive rights of copyright owners. Rather, as Lange and Lange Anderson claim, the doctrine should stand in the superior position: the complete spectrum of ownership through copyright can only be determined pursuant to a consideration of what is required by fair use (Lange and Lange Anderson 19). The language of section 107 suggests that fair use is not subordinate to the bundle of rights enjoyed by copyright ownership: “Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work . . . is not an infringement of copyright” (Copyright Act 1976, s.107). Fair use is not merely about the marketplace for copyright works; it is concerned with what Weinreb refers to as “a community’s established practices and understandings” (1151-2). This argument boldly suggests that judicial application of fair use has consistently erred through subordinating the doctrine to copyright and considering simply the effect of the appropriation on the market place for the original work.The emphasis on economic factors has led courts to sympathise with copyright owners leading to a propertarian or Blackstonian approach to copyright (Collins; Travis) propagating the myth that any use of copyrighted materials must be licensed. Law and media reports alike are potted with examples. For example, in Bridgeport Music, Inc., et al v. Dimension Films et al 383 F. 3d 400 (6th Cir. 2004) a Sixth Circuit Court of Appeals held that the transformative use of a three-note guitar sample infringed copyrights and that musicians must obtain licence from copyright owners for every appropriated audio fragment regardless of duration or recognisability. Similarly, in 2006 Christopher Knight self-produced a one-minute television advertisement to support his campaign to be elected to the board of education for Rockingham County, North Carolina. As a fan of Star Wars, Knight used a makeshift Death Star and lightsaber in his clip, capitalising on the imagery of the Jedi Knight opposing the oppressive regime of the Empire to protect the people. According to an interview in The Register the advertisement was well received by local audiences prompting Knight to upload it to his YouTube channel. Several months later, Knight’s clip appeared on Web Junk 2.0, a cable show broadcast by VH1, a channel owned by media conglomerate Viacom. Although his permission was not sought, Knight was pleased with the exposure, after all “how often does a local school board ad wind up on VH1?” (Metz). Uploading the segment of Web Junk 2.0 featuring the advertisement to YouTube, however, led Viacom to quickly issue a take-down notice citing copyright infringement. Knight expressed his confusion at the apparent unfairness of the situation: “Viacom says that I can’t use my clip showing my commercial, claiming copy infringement? As we say in the South, that’s ass-backwards” (Metz).The current state of copyright law is, as Patry says, “depressing”:We are well past the healthy dose stage and into the serious illness stage ... things are getting worse, not better. Copyright law has abandoned its reason for being: to encourage learning and the creation of new works. Instead, its principal functions now are to preserve existing failed business models, to suppress new business models and technologies, and to obtain, if possible, enormous windfall profits from activity that not only causes no harm, but which is beneficial to copyright owners. Like Humpty-Dumpty, the copyright law we used to know can never be put back together.The erosion of fair use by encroaching private interests represented by copyrights has led to strong critiques leveled at the judiciary and legislators by Lessig, McLeod and Vaidhyanathan. “Free culture” proponents warn that an overly strict copyright regime unbalanced by an equally prevalent fair use doctrine is dangerous to creativity, innovation, culture and democracy. After all, “few, if any, things ... are strictly original throughout. Every book in literature, science and art, borrows, and must necessarily borrow, and use much which was well known and used before. No man creates a new language for himself, at least if he be a wise man, in writing a book. He contents himself with the use of language already known and used and understood by others” (Emerson v. Davis, 8 F. Cas. 615, 619 (No. 4,436) (CCD Mass. 1845), qted in Campbell v. Acuff-Rose, 62 U.S.L.W. at 4171 (1994)). The rise of the Web 2.0 phase with its emphasis on end-user created content has led to an unrelenting wave of creativity, and much of it incorporates or “mashes up” copyright material. As Negativland observes, free appropriation is “inevitable when a population bombarded with electronic media meets the hardware [and software] that encourages them to capture it” and creatively express themselves through appropriated media forms (251). The current state of copyright and fair use is bleak, but not beyond recovery. Two recent cases suggest a resurgence of the ideology underpinning the doctrine of fair use and the role played by copyright.Let’s Go CrazyIn “Let’s Go Crazy #1” on YouTube, Holden Lenz (then eighteen months old) is caught bopping to a barely recognizable recording of Prince’s “Let’s Go Crazy” in his mother’s Pennsylvanian kitchen. The twenty-nine second long video was viewed a mere twenty-eight times by family and friends before Stephanie Lenz received an email from YouTube informing her of its compliance with a Digital Millennium Copyright Act (DMCA) take-down notice issued by Universal, copyright owners of Prince’s recording (McDonald). Lenz has since filed a counterclaim against Universal and YouTube has reinstated the video. Ironically, the media exposure surrounding Lenz’s situation has led to the video being viewed 633,560 times at the time of writing. Comments associated with the video indicate a less than reverential opinion of Prince and Universal and support the fairness of using the song. On 8 Aug. 2008 a Californian District Court denied Universal’s motion to dismiss Lenz’s counterclaim. The question at the centre of the court judgment was whether copyright owners should consider “the fair use doctrine in formulating a good faith belief that use of the material in the manner complained of is not authorized by the copyright owner, its agent, or the law.” The court ultimately found in favour of Lenz and also reaffirmed the position of fair use in relation to copyright. Universal rested its argument on two key points. First, that copyright owners cannot be expected to consider fair use prior to issuing takedown notices because fair use is a defence, invoked after the act rather than a use authorized by the copyright owner or the law. Second, because the DMCA does not mention fair use, then there should be no requirement to consider it, or at the very least, it should not be considered until it is raised in legal defence.In rejecting both arguments the court accepted Lenz’s argument that fair use is an authorised use of copyrighted materials because the doctrine of fair use is embedded into the Copyright Act 1976. The court substantiated the point by emphasising the language of section 107. Although fair use is absent from the DMCA, the court reiterated that it is part of the Copyright Act and that “notwithstanding the provisions of sections 106 and 106A” a fair use “is not an infringement of copyright” (s.107, Copyright Act 1976). Overzealous rights holders frequently abuse the DMCA as a means to quash all use of copyrighted materials without considering fair use. This decision reaffirms that fair use “should not be considered a bizarre, occasionally tolerated departure from the grand conception of the copyright design” but something that it is integral to the constitution of copyright law and essential in ensuring that copyright’s goals can be fulfilled (Leval 1100). Unlicensed musical sampling has never fared well in the courtroom. Three decades of rejection and admonishment by judges culminated in Bridgeport Music, Inc., et al v. Dimension Films et al 383 F. 3d 400 (6th Cir. 2004): “Get a license or do not sample. We do not see this stifling creativity in any significant way” was the ruling on an action brought against an unlicensed use of a three-note guitar sample under section 114, an audio piracy provision. The Bridgeport decision sounded a death knell for unlicensed sampling, ensuring that only artists with sufficient capital to pay the piper could legitimately be creative with the wealth of recorded music available. The cost of licensing samples can often outweigh the creative merit of the act itself as discussed by McLeod (86) and Beaujon (25). In August 2008 the Supreme Court of New York heard EMI v. Premise Media in which EMI sought an injunction against an unlicensed fifteen second excerpt of John Lennon’s “Imagine” featured in Expelled: No Intelligence Allowed, a controversial documentary canvassing alleged chilling of intelligent design proponents in academic circles. (The family of John Lennon and EMI had previously failed to persuade a Manhattan federal court in a similar action.) The court upheld Premise Media’s arguments for fair use and rejected the Bridgeport approach on which EMI had rested its entire complaint. Justice Lowe criticised the Bridgeport court for its failure to examine the legislative intent of section 114 suggesting that courts should look to the black letter of the law rather than blindly accept propertarian arguments. This decision is of particular importance because it establishes that fair use applies to unlicensed use of sound recordings and re-establishes de minimis use.ConclusionThis paper was partly inspired by the final entry on eminent copyright scholar William Patry’s personal copyright law blog (1 Aug. 2008). A copyright lawyer for over 25 years, Patry articulated his belief that copyright law has swung too far away from its initial objectives and that balance could never be restored. The two cases presented in this paper demonstrate that fair use – and therefore balance – can be recovered in copyright. The federal Supreme Court and lower courts have stressed that copyright was intended to promote creativity and have upheld the fair doctrine, but in order for the balance to exist in copyright law, cases must come before the courts; copyright myth must be challenged. As McLeod states, “the real-world problems occur when institutions that actually have the resources to defend themselves against unwarranted or frivolous lawsuits choose to take the safe route, thus eroding fair use”(146-7). ReferencesBeaujon, Andrew. “It’s Not the Beat, It’s the Mocean.” CMJ New Music Monthly. April 1999.Collins, Steve. “Good Copy, Bad Copy: Covers, Sampling and Copyright.” M/C Journal 8.3 (2005). 26 Aug. 2008 ‹http://journal.media-culture.org.au/0507/02-collins.php›.———. “‘Property Talk’ and the Revival of Blackstonian Copyright.” M/C Journal 9.4 (2006). 26 Aug. 2008 ‹http://journal.media-culture.org.au/0609/5-collins.php›.Donaldson v. Becket 17 Cobbett Parliamentary History, col. 953.Efroni, Zohar. “Israel’s Fair Use.” The Center for Internet and Society (2008). 26 Aug. 2008 ‹http://cyberlaw.stanford.edu/node/5670›.Lange, David, and Jennifer Lange Anderson. “Copyright, Fair Use and Transformative Critical Appropriation.” Conference on the Public Domain, Duke Law School. 2001. 26 Aug. 2008 ‹http://www.law.duke.edu/pd/papers/langeand.pdf›.Lemley, Mark. “Property, Intellectual Property, and Free Riding.” Texas Law Review 83 (2005): 1031.Lessig, Lawrence. The Future of Ideas. New York: Random House, 2001.———. Free Culture. 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Fair Use: The Story of the Letter U and the Numeral 2. Concord: Seeland, 1995.Patry, William. The Fair Use Privilege in Copyright Law. Washington DC: Bureau of National Affairs, 1985.———. “End of the Blog.” The Patry Copyright Blog. 1 Aug. 2008. 27 Aug. 2008 ‹http://williampatry.blogspot.com/2008/08/end-of-blog.html›.Tapscott, Don. The Digital Economy: Promise and Peril in the Age of Networked Intelligence. New York: McGraw Hill, 1996.Toffler, Alvin. The Third Wave. London, Glasgow, Sydney, Auckland. Toronto, Johannesburg: William Collins, 1980.Travis, Hannibal. “Pirates of the Information Infrastructure: Blackstonian Copyright and the First Amendment.” Berkeley Technology Law Journal, Vol. 15 (2000), No. 777.Vaidhyanathan, Siva. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York; London: New York UP, 2003.

In my article, "A New Sound; a New Sensation: A Cultural and Literary Reconsideration of the Motorcar in Modernity" (Ryder), I propose that "a range of semiotic engines" may be mobilised "to argue that, in the first quarter of the twentieth century, the motorcar is received as relatum profundis of freedom". In that 2019 article I further argue that, as Roland Barthes has indirectly proposed, the automobile fits into a "highway code" and into a broader "car system" in which its attributes—including its architectural details—are received as signs of liberation (Barthes Elements, 10, 29). While extending that argument, with near exclusive focus on F. Scott Fitzgerald’s The Great Gatsby (1925) and with special reference to the hero’s Rolls Royce, I argue here that the automobile is offered as a sign of both conquest and destruction; as both dream machine and vehicle of nightmare. This is not to suggest that the motorcar was, prior to 1925, seen in absolutely idealistic terms. Nor is it to suggest that by the end of the first quarter of the twentieth century the automobile had been unequivocally condemned. As observed in my 2019 article for the Southern Semiotic Review, while The Wind in the Willows (1908) is the first novel written in English to deal with the deleterious effects of the motorcar, "it is [nonetheless] impossible to find a literary text from the early part of the twentieth century that flatly condemns the machine". So, from Gatsby’s emblematic "circus wagon" to narrator Nick Carraway’s equally symbolic "Dodge", I argue that the motorcar is represented by Fitzgerald as an emblem of both dreams and wreckage.The first motorcar noted in The Great Gatsby is the "old Dodge" belonging to Nick Carraway—the novel’s narrator and greatest dodger (Fitzgerald Great Gatsby, 17). Dreaming of success, and having declared himself restless, Nick claims to have come East to try his luck in the bond business (16). But, reflecting a propensity to dishonesty, the unreliable narrator (Abrams, 168) eventually reveals that at least one of the reasons for his migration East is to escape his emotional responsibilities to a girl "out West" (Fitzgerald Great Gatsby, 30); a girl to whom he continues to write letters signed "Love, Nick" (61). While these notions of being dodgy and dodging—and their connection to Carraway’s car—seem to have escaped the attention of commentators, several have nonetheless observed that the make suits its owner for another reason: a work-a-day mass-produced machine, the vehicle is surely a sign of the narrator’s conservatism. Tad Burness, for instance, notes that in the early twentieth century the Dodge was a make that particularly appealed to conservative and careful drivers (91). Certainly, the Dodge brothers’ advertising of the nineteen-twenties, which steadfastly emphasised staunchness and stability, reinforces this conclusion. The make, therefore, is entirely appropriate to Nick: a man who evades the vicissitudes of romance; who shuns excitement, who aligns himself with mainstream Midwestern values, who identifies more with the mechanical than with the human, and who, until the very end, fails to commit to the extraordinary. Apropos, in reviewing the manuscript of Gatsby, Keath Fraser records an exchange between Jordan Baker and Nick Carraway that was finally, and perhaps unfortunately, excised: "You appeal to me,” she said suddenly as we strolled away.“You’re sort of slow and steady ... you’ve got everything adjusted just right.” (Qtd. in Bloom, 67)To have been included at the end of the third chapter, Jordan’s assessment of Nick suggests that the narrator has over-tuned the cognitive machinery necessary to navigation through a social milieu to which he does not belong. While Fitzgerald may have felt this to be too blunt a narrative tool, the ‘slow and steady’ approach to life attributed to Nick in the finished novel clearly suggests that the narrator lives life by the manual.It may be argued, then, that while ostensibly facilitating a new start and an associated desire for upward social mobility, Nick’s old Dodge symbolises a perfunctory approach to the business of living, a shabby escape from a "tangle back home", and an escape from self (Fitzgerald Great Gatsby, 61). Certainly, it represents no "on the road" conquest. Indeed, Nick’s clinical and mechanical approach to life comes close to ruining him. Short of his identification with Gatsby at the end—and the subsequent telling of a tragic tale—Nick is an archetypal loser. While claiming to identify with the "racy, adventurous" feel of New York (59), his instinct is to fall back on "interior rules that act as brakes on [his] desires" (61). He therefore fails to connect with Jordan Baker—his racy and attractive would-be lover, herself named after the Jordan Playboy automobile: the "first car to be marketed on emotional appeal alone" (Heimann and Patton, 14). So, it turns out that Nick is one of life’s "rotten drivers" (Fitzgerald Great Gatsby, 60)—an accusation he ironically levels at Jordan Baker who eventually tackles him on this point:"You said a bad driver was only safe until she met another bad driver? Well, I met another bad driver, didn’t I? I mean it was careless of me to make such a wrong guess. I thought you were rather an honest, straightforward person." (154)As Fraser has pointed out, the mechanical and shifty Nick is far from honest (Bloom, 68). Rather than achieving any sort of emotional consummation, his already muted desires idle, misfire, or stall. Declaring himself to be "one of the few honest people that [he has] ever known" (Fitzgerald Great Gatsby, 154), Nick’s self-deception is, from the outset, complete. Left without the stimulus of the hero, one wonders if perhaps Nick might become a George B. Wilson.Despite his dream of pecuniary success (something shared with Nick Carraway), garage proprietor George B. Wilson is impoverished by the automobile. A dissolute dealer in second-hand machines, this once-handsome but "spiritless man" (Fitzgerald Great Gatsby, 33) has worked for years on scant margins. James Flink notes that dealers in used automobiles had a particularly hard time in the mid to late 1920s when profits on sales were very slight (144). The fact that Wilson is a second-hand car dealer also reinforces that everything else in his life is second-hand: built on the enterprise of others, his dream is second hand; his premises are second-hand; even his wife is second-hand. And, of course, he himself is used. Fitzgerald, then, is at pains to highlight the cultural meaning of the common or inferior car. Indeed, in the dark recesses of Wilson’s garage—which itself rests precariously on the edge of a wasteland under the faded and failed eyes of Doctor T. J. Eckleburg—sits a "dust-covered wreck of a Ford" (Fitzgerald Great Gatsby, 33). Emblematic of the garage proprietor’s broken dreams, Wilson’s psychic paralysis is variously foregrounded—principally by the broken car. Here we have nothing less than Heidegger’s das Gestell: the mechanised consciousness as discussed in his essay "The Question Concerning Technology" (in Krell, 227). Significantly, only automobiles elicit a spark of interest from Wilson—but the irony, as suggested above, is that these are signs of the technical spirit to which he has so utterly acquiesced.It is often, if not always, the case in Gatsby that automobiles signpost derailed agency and, therefore, broken dreams. After all, Gatsby’s own death and funeral are foreshadowed through the automobile. In the first chapter, for example, Nick tells his cousin Daisy that "all the cars in Chicago have the left rear wheel painted black as a mourning wreath" for her (Fitzgerald Great Gatsby, 22). More portentously, during Nick and Gatsby’s drive to Astoria, "a dead man" passes the hero’s Rolls-Royce "in a hearse heaped with blooms" (68). While Myrtle’s death and Gatsby’s murder are contemporaneously suggested, in this emblematic tableau Gatsby’s Rolls-Royce is also overtaken by a limousine—and so the final chapter’s depressing "procession of three cars" is subtly anticipated (153). A "horribly black and wet" motor hearse bears Gatsby’s corpse to the cemetery while the narrator arrives with Gatsby’s father and the minister in a limousine. Then come the servants and the postman in Gatsby’s yellow station wagon. That the yellow and black cars are so incongruously and so tragically juxtaposed is a structurally and semantically significant feature of the text. The yellow car that once bore cheerful guests to Gatsby’s parties now follows the black hearse—the novel’s ultimate and, arguably, most awful death car. Thus, Fitzgerald presents us with one last reminder that, corrupted by our materialistic drives, our dreams wither and die; that there is, in the end, no magic.As Robert Long points out, however, the manuscript of Gatsby confirms that Fitzgerald had originally intended such foreshadowing to be much more obvious. For instance, in the manuscript, when Gatsby drives Nick to New York he declares his car to be "the handsomest in New York" and that he "wouldn’t want to ride around in a big hearse like some of those fellas do" (Long, 193). Further confirmation of Fitzgerald’s determination to mute the novel’s funereal symbolism is provided in chapter two when, along with the word "sepulchrally", the phrase "reeks of death" is crossed out (Long, 194). As published, then, the automobile travels much more subtly in The Great Gatsby. While a ghostly machine turns up to the hero’s house shortly after the funeral, the end of the road for Nick is suggested when he sells his plain old Dodge to a plain old grocer (Fitzgerald Great Gatsby, 157-158).The counterpoint to Nick’s old Dodge is, of course, Gatsby’s magnificent Rolls Royce: literature’s ultimate dream car. C.S. Rolls knew very well that his automobile was the new haute couture of the privileged. In his famous article on motorcars in the 1911 edition of Encyclopaedia Britannica, he declares the upmarket machine to be "the private carriage of the wealthier classes to be used on all occasions" (223). To set it apart from competitors, the Rolls Royce not only offered an extraordinarily robust and responsive chassis, but boasted bodywork hand-crafted by a range of highly skilled artisans. W.A. Robotham writes that "one of the more fascinating aspects of Rolls-Royce car production in the twenties was the manufacture of the body at the many coachbuilding establishments that existed in London, the provinces, and Paris" (14). Once an order for a chassis was placed, an appointed carrossier would prescribe and detail coachwork and agonise over every internal appointment. With its "interior of glittering plate glass and rich morocco", the unnamed machine that so hopelessly besots the Toad in the third chapter of The Wind in the Willows is undoubtedly the result of such a special order—and seems likely to have goaded Fitzgerald into a fit of imitation (Grahame, 30). Apposite to a novel that contrasts dream and reality and pertinent to the near nonchalant agency of its wraithlike, almost ethereal, hero, Gatsby’s car is a cream-yellow Rolls Royce: a Silver Ghost. When C.S. Rolls conceived the model, he wrote: "the motion of the car must be absolutely silent. The car must be free from the objectionable rattling and buzzing and inconvenience of chains. ... The engine must be smokeless and odourless" (Robson, 27). Reflecting its whisper-quiet locomotion and its extensive use of silver, nickel, and aluminium plating, Rolls’s partner Claude Johnson gave the model its perfect name. Manufactured between 1906 and 1925, the Silver Ghost was the automobile of choice for F. Scott Fitzgerald himself. In 1922, the year in which Gatsby is set, Scott and his wife Zelda owned a second-hand Silver Ghost which they drove, with much joy, between Great Neck and New York. Here, then, lies one of those rare and fortuitous connections between one’s personal drives and one’s work; really, the hero of Fitzgerald’s third novel could have no other motorcar.Like the machine he drives, and in keeping with Roland Barthes’ idea that automobiles are somehow "magical" (Mythologies, 88), Gatsby would appear to have arrived from the heavens. Ghost-like, he glides in and out of the narrative and is, moreover, ineluctably associated with silver. He has pursued silver for much of his life and is, on numerous occasions, specifically identified with this powerful symbol of privilege and betrayal. While Nick finds him "regarding the silver pepper of the stars" (Fitzgerald Great Gatsby, 31), later the "pale", wraithlike hero wears a "silver shirt" (80). So much the object of Gatsby’s yearnings, along with Jordan Baker, Daisy Buchanan is likened to a "silver idol" (105), has a "voice full of money", and wears a hat of "metallic cloth" (109). A trophy held in hopeless memory, Daisy may be said to be one of an extensive collection of enchanted objects beheld and worshipped by an all-too-flawed hero—but while Fitzgerald’s numerous references to silver undoubtedly highlight a double-edged significance, it is nonetheless suggestions of glamour that first strike us. Early in the novel, then, aside from the portentous foreshadowing of disasters to come, Gatsby’s car emerges as a powerful archetype: an image coupled with enormous emotive significance (Jung, 87); a sign of uncompromised and near-miraculous opulence. Terraced with windshields and sporting a green leather interior, his magnificent cream-yellow Rolls Royce is "bright with nickel" (a very expensive plating used for Rolls Royce radiators) and is "swollen here and there in its monstrous length with triumphant hat-boxes and supper boxes and tool boxes" (Fitzgerald Great Gatsby, 64). Fitzgerald’s parataxis here seems to encourage breathless awe at the near obscene luxury of the vehicle, yet the depiction is historically accurate.In an Autocar article of 1921 there appears a closely-annotated plan of a two-seater Rolls Royce. Numerous fittings are noted: food lockers, tool cupboards, hot-and-cold water-locker, wash-basin compartment, spares cupboard, kodak photography compartment, cooking utensil compartment, suit and dressing cases, spare accumulator compartment, and recess for spare petroleum tins (Garnier and Allport, 50). Like Toad’s, Gatsby’s chimerical car is undoubtedly the creation of a carrossier. Its standard of appointment, moreover, suggests royal status. Since the Rolls-Royce is an English car, its presence in America, where it was manufactured under licence for a time, also points to a desire to recapture something left behind. This, as all readers of Fitzgerald will know, is a major thematic thread in Gatsby. To be explored in a forthcoming article, the relationship between this theme of "backing up" (that is, recapturing the past) and representations of the motorcar in the novel is profound, but for the moment I focus on the Silver Ghost as a sign of Gatsby’s outrageous aristocratic pretensions. Perhaps an expression of Fitzgerald’s own fantasy that he wasn’t the son of his parents at all, but the child of a world-ruling king, Gatsby claims to have lived "like a young rajah in all the capitals of Europe" (Fitzgerald Great Gatsby, 65). If not actually a Rolls-Royce-loving rajah, Gatsby certainly lives like a king and even signs himself "in a majestic hand" (47). Indeed, in these senses and more, the hero is "circus master" and performer par excellence.As a letter from Fitzgerald to Maxwell Perkins tells us, Petronius’s Satyrica furnished one of several alternative titles for Gatsby (Fitzgerald Letters, 169). Pointing to a delight in comedic hedonism, "Trimalchio in West Egg" was one of several titular options entertained by Fitzgerald (Gatsby is actually referred to as Trimalchio at the start of the novel’s seventh chapter) and so it is fitting that Brian Way declares Gatsby’s Rolls Royce to be "not so much a means of transport as a theatrical gesture"—one commensurate with the hero’s "non-stop theatrical performance" (Way in Bloom, 102). Similarly, in their 2019 article "Comfortably Cocooned: Onboard Media and Sydney’s Ongoing Gridlock", Richardson and Ryder argue that the automobile is far greater than the sum of its collective parts. In a similar vein, Leo Marx writes that Gatsby has about him a "gratifying sense of a dream about to be consummated" and argues that the hero’s dream car is one of many objects in the novel that speak to Gatsby’s attempt to locate, in the real world, the stuff of unutterable visions (Marx, 77). As "circus wagon" (Fitzgerald Great Gatsby, 109), the machine also makes a substantial contribution to Fitzgerald’s comedy of the excess: cars driven by clowns at circuses stereotypically seem to operate according to a set of physical laws distinct from those governing the real world. However, with its "fenders spread like wings" (67), the hero’s car seems destined to fly. But, like Daisy’s white roadster, a machine that ironically bespeaks innocence and purity while sitting portentously "under … dripping bare lilac-trees" (81), Gatsby’s machine—one of the most heavenly automobiles in literature—is also literature’s most famous death car. While, in the end, the make of the killing machine is not spelled out for us, we may nonetheless be sure that it is Gatsby’s ever-so-aptly owned Silver Ghost. After the dreadful accident in the seventh chapter, the fender of the hero’s carefully hidden open car is in need of repair. That the death car is an open one is highlighted for us before the accident, when Gatsby feels the pleated leather seats of the machine that will mow Myrtle down. The point is reinforced in chapter eight, after the accident, when Gatsby orders that his open car not be taken out. Moreover, while automobile upholstery specification varied in the nineteen-twenties, open cars generally had pleated leather seat cushions while mohair or broadcloth featured in closed tourers. This, too, narrows down the options confronting readers. Finally, the focus on the Rolls Royce’s great fenders (these are referred to at least three times before Myrtle is killed) also establishes a clear connection between the calamity and Gatsby’s "winged" Rolls. And, finally, there is the crucial matter of the ambiguous paintwork.Nick tells us that Gatsby’s Rolls-Royce is a "rich cream colour" (64) while Mavro Michaelis claims that the death car is "light green" (123). Another witness to the accident claims that the vehicle involved is "a yellow car"; "a big yellow car" (125). In fact, they are all right. Like Gatsby himself, his motorcar suggests one thing at one time and another at another. From about the mid-nineteen-tens, Rolls-Royce painted a good many Silver Ghosts a rather uncertain cream-yellow and, in fading light, the lacquer betrays a greenish hue. We remember that the party drives "towards death through the cooling twilight" (122); that Myrtle runs out "into the dusk"; and that the death car comes "out of gathering darkness" (123). While an earlier 1914 model, there is an excellent example of this ambiguous colour used on a Silver Ghost in Turin’s Museo dell’automobile. Finally, of course, the many references to ‘ghosts’ and to ‘silver’ connected with both the hero and Daisy Buchanan cannot be considered accidental. In one of modern literature’s greatest novels, then, behind the dream of the automobile falls the depressingly foul dust of betrayal and death.ReferencesAbrams, Meyer H. A Glossary of Literary Terms. Fort Worth: Harcourt Brace Jovanovich, 1957/1993.Barthes, Roland. Elements of Semiology. Trans. A. Lavers. NY: Hill and Wang, 1964/1977.———. Mythologies. Trans. A. Lavers. NY: Hill & Wang, 1957/1974.Bloom, Harold, ed. F. Scott Fitzgerald’s The Great Gatsby: Modern Critical Interpretations. NY: Chelsea House, 1986.Burness, Tad. Cars of the Early Twenties. NY: Galahad, 1968.Fitzgerald, F. Scott. The Great Gatsby. London: The Folio Society, 1926/1968.———. The Letters of F. Scott Fitzgerald. Ed. A. Turnbull. London: The Bodley Head, 1964.Flink, James. The Car Culture. Mass.: MIT Press, 1975.Garnier, Peter, and Warren Allport. Rolls Royce: From the Archives of Autocar. London: Hamlyn, 1978.Grahame, Kenneth. The Wind in the Willows. NY: Methuen, 1908/1980.Heimann, Jim, and Phil Patton. 20th Century Classic Cars. Köln: Taschen, 2009/2015.Jung, Carl G. Man and His Symbols. NY: Dell, 1964/1984.Krell, David, ed. Heidegger: Basic Writings. London: Routledge, 2011.Long, Robert E. The Achieving of The Great Gatsby. London: Bucknell UP., 1979.Marx, Leo. "The Puzzle of Anti-Urbanism in Classic American Literature." Literature & Urban Experience: Essays on the City and Literature. Eds. M.C. Jaye and A.C. Watts. New Brunswick: Rutgers UP, 1981.Richardson, Nicholas, and Paul Ryder. "Comfortably Cocooned: Onboard Media and Sydney’s Ongoing Gridlock." Global Media Journal (Australian Edition) 13.1 (2019). 1 Mar. 2020 <https://www.hca.westernsydney.edu.au/gmjau/?p=3302>.Robotham, W. Arthur. Silver Ghosts & Silver Dawn. London: Constable & Co., 1970.Robson, Graham. Man and the Automobile. Maidenhead: McGraw Hill, 1979.Rolls, Charles S. In Encyclopaedia Britannica. Chicago: Encyclopaedia Britannica, 1911.Ryder, Paul. "A New Sound; A New Sensation: A Cultural and Literary Reconsideration of the Motorcar in Modernity." Southern Semiotic Review 11 (2019). 1 Mar. 2020 <http://www.southernsemioticreview.net/wp-content/uploads/2019/11/Ryder_Issue-11_1_-2019-SSR.pdf>.

IntroductionIn Nancy Meyers’s 2015 film The Intern a particular kind of masculinity is celebrated through the material accoutrements of Ben Whittaker (Robert De Niro). A retired 70-year-old manager, Ben takes up a position as a “senior” Intern in an online clothing distribution company run by Jules Ostin (Anne Hathaway). Jules’s company, All About Fit, is the embodiment of the Gen Y creative workplace operating in an old Brooklyn warehouse. Ben’s presence in this environment is anachronistic and yet also stylishly retro in an industry where “vintage” is a mode of dress but also offers alternative ethical values (Veenstra and Kuipers). The alternative that Ben offers is figured through his sartorial style, which mobilises a specific kind of retro masculinity made available through his senior white male body. This paper investigates how and why retro masculinity is materialised and embodied as both a set of values and a set of objects in The Intern.Three particular objects are emblematic of this retro masculinity and come to stand in for a body of desirable masculine values: the business suit, the briefcase, and the handkerchief. In the midst of an indie e-commerce garment business, Ben’s old-fashioned wardrobe registers a regular middle class managerial masculinity from the past that is codified as solidly reliable and dependable. Sherry Turkle reminds us that “material culture carries emotions and ideas of startling intensity” (6), and these impact our thinking, our emotional life, and our memories. The suit, briefcase, and handkerchief are material reminders of this reliable masculine past. The values they evoke, as presented in this film, seem to offer sensible solutions to the fast pace of twenty-first century life and its reconfigurations of family and work prompted by feminism and technology.The film’s fetishisation of these objects of retro masculinity could be mistaken for nostalgia, in the way that vintage collections elide their political context, and yet it also registers social anxiety around gender and generation amid twenty-first century social change. Turner reminds us of the importance of film as a social practice through which “our culture makes sense of itself” (3), and which participates in the ongoing negotiation of the meanings of gender. While masculinity is often understood to have been in crisis since the advent of second-wave feminism and women’s mass entry into the labour force, theoretical scrutiny now understands masculinity to be socially constructed and changing, rather than elemental and stable; performative rather than innate; fundamentally political, and multiple through the intersection of class, race, sexuality, and age amongst other factors (Connell; Butler). While Connell coined the term “hegemonic masculinity,” to indicate “masculinity which occupies the hegemonic position in a given pattern of gender relations” (76), it is always intersectional and contestable. Ben’s hegemonic position in The Intern might be understood in relation to what Buchbinder identifies as “inadequate” or “incompetent” masculinities, which offer a “foil for another principal character” (232), but this movement between margin and hegemony is always in process and accords with the needs that structure the story, and its attendant social anxieties. This film’s fetishising of Ben’s sartorial style suggests a yearning for a stable and recognisable masculine identity, but in order to reinstall these meanings the film must ignore the political times from which they emerge.The construction of retro masculinity in this case is mapped onto Ben’s body as a “senior.” As Gilleard notes, ageing bodies are usually marked by a narrative of corporeal decline, and yet for men of hegemonic privilege, non-material values like seniority, integrity, wisdom, and longevity coalesce to embody “the accumulation of cultural or symbolic capital in the form of wisdom, maturity or experience” (1). Like masculinity, then, corporeality is understood to be a set of unstable signifiers produced through particular cultural discourses.The Business SuitThe business suit is Ben Whittaker’s habitual work attire, so when he comes out of retirement to be an intern at the e-commerce company he re-adopts this professional garb. The solid outline of a tailored and dark-coloured suit signals a professional body that is separate, autonomous and impervious to the outside world, according to Longhurst (99). It is a body that is “proper,” ready for business, and suit-ed to the professional corporate world, whose values it also embodies (Edwards 42). In contrast, the costuming code of the Google generation of online marketers in the film is defined as “super cas[ual].” This is a workplace where the boss rides her bicycle through the open-space office and in which the other 219 workers define their individuality through informal dress and decoration. In this environment Ben stands out, as Jules comments on his first day:Jules: Don’t feel like you have to dress up.Ben: I’m comfortable in a suit if it’s okay.Jules: No, it’s fine. [grins] Old school.Ben: At least I’ll stand out.Jules: I don’t think you’ll need a suit to do that.The anachronism of a 70-year-old being an intern is materialised through Ben’s dress code. The business suit comes to represent Ben not only as old school, however, but as a “proper” manager.As the embodiment of a successful working woman, entrepreneur Jules Ostin appears to be the antithesis of the business-suit model of a manager. Consciously not playing by the book, her company is both highly successful, meeting its five-year objectives in only nine months, and highly vulnerable to disasters like bedbugs, delivery crises, and even badly wrapped tissue. Shaped in her image, the company is often directly associated with Jules herself, as Ben continually notes, and this comes to include the mix of success, vulnerability, and disaster. In fact, the success of her company is the reason that she is urged to find a “seasoned” CEO to run the company, indicating the ambiguous, simultaneous guise of success and disaster.This relationship between individual corporeality and the corporate workforce is reinforced when it is revealed that Ben worked as a manager for 40 years in the very same warehouse, reinforcing his qualities of longevity, reliability, and dependability. He oversaw the printing of the physical telephone book, another quaint material artefact of the past akin to Ben, which is shown to have literally shaped the building where the floor dips over in the corner due to the heavy printers. The differences between Ben and Jules as successive generations of managers in this building operate as registers of social change inflected with just a little nostalgia. Indeed, the name of Jules’s company, All About Fit, seems to refer more to the beautifully tailored “fit” of Ben’s business suit than to any of the other clothed bodies in the company.Not only is the business suit fitted to business, but it comes to represent a properly managed body as well. This is particularly evident when contrasted with Jules’s management style. Over the course of the film, as she endures a humiliating series of meetings, sends a disastrous email to the wrong recipient, and juggles her strained marriage and her daughter’s school schedule, Jules is continuously shown to teeter on the brink of losing control. Her bodily needs are exaggerated in the movie: she does not sleep and apparently risks “getting fat” according to her mother’s research; then when she does sleep it is in inappropriate places and she snores loudly; she forgets to eat, she cries, gets drunk and vomits, gets nervous, and gets emotional. All of these outpourings are in situations that Ben remedies, in his solid reliable suited self. As Longhurst reminds us,The suit helps to create an illusion of a hard, or at least a firm and “proper,” body that is autonomous, in control, rational and masculine. It gives the impression that bodily boundaries continually remain intact and reduce potential embarrassment caused by any kind of leakage. (99)Ben is thus suited to manage situations in ways that contrast to Jules, whose bodily emissions and emotional dramas reinforce her as feminine, chaotic, and emotionally vulnerable. As Gatens notes of our epistemological inheritance, “women are most often understood to be less able to control the passions of the body and this failure is often located in the a priori disorder or anarchy of the female body itself” (50). Transitioning these philosophical principles to the 21st-century workplace, however, manifests some angst around gender and generation in this film.Despite the film’s apparent advocacy of successful working women, Jules too comes to prefer Ben’s model of corporeal control and masculinity. Ben is someone who makes Jules “feel calm, more centred or something. I could use that, obviously,” she quips. After he leads the almost undifferentiated younger employees Jason, Davis, and Lewis on a physical email rescue, Jules presents her theory of men amidst shots at a bar to celebrate their heist:Jules: So, we were always told that we could be anything, do anything, and I think guys got, maybe not left behind but not quite as nurtured, you know? I mean, like, we were the generation of You go, Girl. We had Oprah. And I wonder sometimes how guys fit in, you know they still seem to be trying to figure it out. They’re still dressing like little boys, they’re still playing video games …Lewis: Well they’ve gotten great.Davis: I love video games.Ben: Oh boy.Jules: How, in one generation, have men gone from guys like Jack Nicholson and Harrison Ford to … [Lewis, Davis, and Jason look down at themselves]Jules: Take Ben, here. A dying breed. Look and learn boys, because if you ask me, this is what cool is.Jules’s excessive drinking in this scene, which is followed by her vomiting into a rubbish bin, appears to reinforce Ben’s stable sobriety, alongside the culture of excess and rapid change associated with Jules through her gender and generation.Jules’s adoption of Ben as the model of masculinity is timely, given that she consistently encounters “sexism in business.” After every meeting with a potential CEO Jules complains of their patronising approach—calling her company a “chick site,” for example. And yet Ben echoes the sartorial style of the 1960s Mad Men era, which is suffused with sexism. The tension between Ben’s modelling of old-fashioned chivalry and those outdated sexist businessmen who never appear on-screen remains linked, however, through the iconography of the suit. In his book Mediated Nostalgia, Lizardi notes a similar tendency in contemporary media for what he calls “presentist versions of the past […] that represent a simpler time” (6) where viewers are constructed as ”uncritical citizens of our own culture” (1). By heroising Ben as a model of white middle-class managerial masculinity that is nostalgically enduring and endearing, this film betrays a yearning for such a “simpler time,” despite the complexities that hover just off-screen.Indeed, most of the other male characters in the film are found wanting in comparison to the retro masculinity of Ben. Jules’s husband Matt appears to be a perfect modern “stay-at-home-dad” who gives up his career for Jules’s business start-up. Yet he is found to be having an affair with one of the school mums. Lewis’s clothes are also condemned by Ben: “Why doesn’t anyone tuck anything in anymore?” he complains. Jason does not know how to speak to his love-interest Becky, expecting that texting and emailing sad emoticons will suffice, and Davis is unable to find a place to live. Luckily Ben can offer advice and tutelage to these men, going so far as to house Davis and give him one of his “vintage” ties to wear. Jules endorses this, saying she loves men in ties.The BriefcaseIf a feature of Ben’s experienced managerial style is longevity and stability, then these values are also attached to his briefcase. The association between Ben and his briefcase is established when the briefcase is personified during preparations for Ben’s first day: “Back in action,” Ben tells it. According to Atkinson, the briefcase is a “signifier of executive status […] entwined with a ‘macho mystique’ of concealed technology” (192). He ties this to the emergence of Cold War spy films like James Bond and traces it to the development of the laptop computer. This mix of mobility, concealment, glamour, and a touch of playboy adventurousness in a mass-produced material product manifested the values of the corporate world in latter 20th-century work culture and rendered the briefcase an important part of executive masculinity. Ben’s briefcase is initially indicative of his anachronistic position in All About Fit. While Davis opens his canvas messenger bag to reveal a smartphone, charger, USB drive, multi-cable connector, and book, Ben mirrors this by taking out his glasses case, set of pens, calculator, fliptop phone, and travel clock. Later in the film he places a print newspaper and leather bound book back into the case. Despite the association with a pre-digital age, the briefcase quickly becomes a product associated with Ben’s retro style. Lewis, at the next computer console, asks about its brand:Ben: It’s a 1973 Executive Ashburn Attaché. They don’t make it anymore.Lewis: I’m a little in love with it.Ben: It’s a classic Lewis. It’s unbeatable.The attaché case is left over from Ben’s past in executive management as VP for sales and advertising. This was a position he held for twenty years, during his past working life, which was spent with the same company for over 40 years. Ben’s long-serving employment record has the same values as his equally long-serving attaché case: it is dependable, reliable, ages well, and outlasts changes in fashion.The kind of nostalgia invested in Ben and his briefcase is reinforced extradiagetically through the musical soundtracks associated with him. Compared to the undifferentiated upbeat tracks at the workplace, Ben’s scenes feature a slower-paced sound from another era, including Ray Charles, Astrud Gilberto, Billie Holiday, and Benny Goodman. These classics are a point of connection with Jules, who declares that she loves Billie Holiday. Yet Jules is otherwise characterised by upbeat, even frantic, timing. She hates slow talkers, is always on the move, and is renowned for being late for meetings and operating on what is known as “Jules Standard Time.” In contrast, like his music, Ben is always on time: setting two alarm clocks each night, driving shorter and more efficient routes, seeing things at just the right time, and even staying at work until the boss leaves. He is reliable, steady, and orderly. He restores order both to the office junk desk and to the desk of Jules’s personal assistant Becky. These characteristics of order and timeliness are offered as an alternative to the chaos of 21st-century global flows of fashion marketing. Like his longevity, time is measured and managed around Ben. Even his name echoes that veritable keeper of time, Big Ben.The HandkerchiefThe handkerchief is another anachronistic object that Ben routinely carries, concealed inside his suit rather than flamboyantly worn on the outside pocket. A neatly ironed square of white hanky, it forms a notable part of Ben’s closet, as Davis notices and enquires about:Davis: Okay what’s the deal with the handkerchief? I don’t get that at all.Ben: It’s essential. That your generation doesn’t know that is criminal. The reason for carrying a handkerchief is to lend it. Ask Jason about this. Women cry Davis. We carry it for them. One of the last vestiges of the chivalrous gent.Indeed, when Jules’s personal assistant Becky bursts into tears because her skills and overtime go unrecognised, Ben is able to offer the hanky to Jason to give her as a kind of white flag, officially signaling a ceasefire between Becky and Jason. This scene is didactic: Ben is teaching Jason how to talk to a woman with the handkerchief as a material prop to prompt the occasion. He also offers advice to Becky to keep more regular hours, and go out and have fun (with Jason, obviously). Despite Becky declaring she “hates girls who cry at work,” this reaction to the pressures of a contemporary work culture that is irregular, chaotic, and never-ending is clearly marking gender, as the handkerchief also marks a gendered transaction of comfort.The handkerchief functions as a material marker of the “chivalrous gent” partly due to the number of times women are seen to cry in this film. In one of Ben’s first encounters with Jules she is crying in a boardroom, when it is suggested that she find a CEO to manage the company. Ben is clearly embarrassed, as is Jules, indicating the inappropriateness of such bodily emissions at work and reinforcing the emotional currency of women in the workplace. Jules again cries while discussing her marriage crisis with Ben, a scene in which Ben comments it is “the one time when he doesn’t have a hanky.” By the end of the film, when Jules and Matt are reconciling, she suggests: “It would be great if you were to carry a handkerchief.” The remaking of modern men into the retro style of Ben is more fully manifested in Davis who is depicted going to work on the last day in the film in a suit and tie. No doubt a handkerchief lurks hidden within.ConclusionThe yearning that emerges for a masculinity of yesteryear means that the intern in this film, Ben Whittaker, becomes an internal moral compass who reminds us of rapid social changes in gender and work, and of their discomfits. That this should be mapped onto an older, white, heterosexual, male body is unsurprising, given the authority traditionally invested in such bodies. Ben’s retro masculinity, however, is a fantasy from a fictional yesteryear, without the social or political forces that render those times problematic; instead, his material culture is fetishised and stripped of political analysis. Ben even becomes the voice of feminism, correcting Jules for taking the blame for Matt’s affair. Buchbinder argues that the more recent manifestations in film and television of “inadequate or incomplete” masculinity can be understood as “enacting a resistance to or even a refusal of the coercive pressure of the gender system” (235, italics in original), and yet The Intern’s yearning for a slow, orderly, mature, and knowing male hero refuses much space for alternative younger models. Despite this apparently unerring adulation of retro masculinity, however, we are reminded of the sexist social culture that suits, briefcases, and handkerchiefs materialise every time Jules encounters one of the seasoned CEOs jostling to replace her. The yearning for a stable masculinity in this film comes at the cost of politicising the past, and imagining alternative models for the future.ReferencesAtkinson, Paul. “Man in a Briefcase: The Social Construction of the Laptop Computer and the Emergence of a Type Form.” Journal of Design History 18.2 (2005): 191-205. Buchbinder, David. “Enter the Schlemiel: The Emergence of Inadequate of Incompetent Masculinities in Recent Film and Television.” Canadian Review of American Studies 38.2 (2008): 227-245.Butler, Judith. Gender Trouble. New York: Routledge, 1990.Connell, R.W. Masculinities. 2nd ed. Cambridge: Polity Press, 2005.Edwards, Tim. Fashion in Focus: Concepts, Practices and Politics. London: Routledge, 2010.Gatens, Moira. Imaginary Bodies: Ethics, Power and Corporeality. New York: Routledge, 1996.Gilleard, Chris, and Paul Higgs. Ageing, Corporeality and Embodiment. London: Anthem, 2014.Lizardi, Ryan. Mediated Nostalgia: Individual Memory and Contemporary Mass Media. London: Lexington Books, 2015.Longhurst, Robyn. Bodies: Exploring Fluid Boundaries. London: Routledge, 2001.Meyers, Nancy, dir. The Intern. Warner Bros. Pictures, 2015.Turkle, Sherry. “The Things That Matter.” Evocative Objects: Things We Think With. Ed. Sherry Turkle. Cambridge MA: MIT Press, 2007.Turner, Graeme. Film as Social Practice. 3rd ed. London: Routledge, 2002.Veenstra, Aleit, and Giselinde Kuipers. “It Is Not Old-Fashioned, It Is Vintage: Vintage Fashion and the Complexities of 21st Century Consumption Practices.” Sociology Compass 7.5 (2013): 355-365.

There is, in our sense of place, little cognisance of what lies underground. Yet our sense of place, instinctive, unconscious, primeval, has its own underground: the secret spaces which mirror our insides; the world beneath the skin. Our roots lie beneath the ground, with the minerals and the dead. (Hughes 83) The-Home-and-Away-Game Imagine the earth-grounded, “diagrammatological” trajectory of a footballer who as one member of a team is psyching himself up before the start of a game. The siren blasts its trumpet call. The footballer bursts out of the pavilion (where this psyching up has taken place) to engage in the opening bounce or kick of the game. And then: running, leaping, limping after injury, marking, sliding, kicking, and possibly even passing out from concussion. Finally, the elation accompanying the final siren, after which hugs, handshakes and raised fists conclude the actual match on the football oval. This exit from the pavilion, the course the player takes during the game itself, and return to the pavilion, forms a combination of stasis and movement, and a return to exhausted stasis again, that every player engages with regardless of the game code. Examined from a “diagrammatological” perspective, a perspective Rowan Wilken (following in the path of Gilles Deleuze and W. J. T. Mitchell) understands as “a generative process: a ‘metaphor’ or way of thinking — diagrammatic, diagrammatological thinking — which in turn, is linked to poetic thinking” (48), this footballer’s scenario arises out of an aerial perspective that depicts the actual spatial trajectory the player takes during the course of a game. It is a diagram that is digitally encoded via a sensor on the footballer’s body, and being an electronically encoded diagram it can also make available multiple sets of data such as speed, heartbeat, blood pressure, maybe even brain-wave patterns. From this limited point of view there is only one footballer’s playing trajectory to consider; various groupings within the team, the whole team itself, and the diagrammatological depiction of its games with various other teams might also be possible. This singular imagining though is itself an actuality: as a diagram it is encoded as a graphic image by a satellite hovering around the earth with a Global Positioning System (GPS) reading the sensor attached to the footballer which then digitally encodes this diagrammatological trajectory for appraisal later by the player, coach, team and management. In one respect, this practice is another example of a willing self-surveillance critical to explaining the reflexive subject and its attribute of continuous self-improvement. According to Docker, Official Magazine of the Fremantle Football Club, this is a technique the club uses as a part of game/play assessment, a system that can provide a “running map” for each player equipped with such a tracking device during a game. As the Fremantle Club’s Strength and Conditioning Coach Ben Tarbox says of this tactic, “We’re getting a physiological profile that has started to build a really good picture of how individual players react during a game” (21). With a little extra effort (and some sizeable computer processing grunt) this two dimensional linear graphic diagram of a footballer working the football ground could also form the raw material for a three-dimensional animation, maybe a virtual reality game, even a hologram. It could also be used to sideline a non-performing player. Now try another related but different imagining: what if this diagrammatological trajectory could be enlarged a little to include the possibility that this same player’s movements could be mapped out by the idea of home-and-away games; say over the course of a season, maybe even a whole career, for instance? No doubt, a wide range of differing diagrammatological perspectives might suggest themselves. My own particular refinement of this movement/stasis on the footballer’s part suggests my own distinctive comings and goings to and from my own specific piece of home country. And in this incessantly domestic/real world reciprocity, in this diurnally repetitive leaving and coming back to home country, might it be plausible to think of “Home as Capital of the Region”? If, as Walter Benjamin suggests in the prelude to his monumental Arcades Project, “Paris — the Capital of the Nineteenth Century,” could it be that both in and through my comings and goings to and from this selfsame home country, my own burgeoning sense of regionality is constituted in every minute-by-minutiae of lived experience? Could it be that this feeling about home is manifested in my every day-to-night manoeuvre of home-and-away-and-away-and-home-making, of every singular instance of exit, play/engage, and the return home? “Home, Capital of the Region” then examines the idea that my home is that part of the country which is the still-point of eternal return, the bedrock to which I retreat after the daily grind, and the point from which I start out and do it all again the next day. It employs, firstly, this ‘diagrammatological’ perspective to illustrate the point that this stasis/movement across country can make an electronic record of my own psychic self-surveillance and actualisation in-situ. And secondly, the architectural plan of the domestic home (examined through the perspective of critical regionalism) is used as a conduit to illustrate how I am physically embedded in country. Lastly, intermingling these digressive threads is chora, Plato’s notion of embodied place and itself an ancient regional rendering of this eternal return to the beginning, the place where the essential diversity of country decisively enters the soul. Chora: Core of Regionality Kevin Lynch writes that, “Our senses are local, while our experience is regional” (10), a combination that suggests this regional emphasis on home-and-away-making might be a useful frame of reference (simultaneously spatiotemporal, both a visceral and encoded communication) for me to include as a crucial vector in my own life-long learning package. Regionality (as, variously, a sub-generic categorisation and an extension/concentration of nationality, as well as a recently re-emerged friend/antagonist to a global understanding) infuses my world of home with a grounded footing in country, one that is a site of an Eternal Return to the Beginning in the micro-world of the everyday. This is a point John Sallis discusses at length in his analysis of Plato’s Timaeus and its founding notion of regionality: chora. More extended absences away from home-base are of course possible but one’s return to home on most days and for most nights is a given of post/modern, maybe even of ancient everyday experience. Even for the continually shifting nomad, nightfall in some part of the country brings the rest and recreation necessary for the next day’s wanderings. This fundamental question of an Eternal Return to the Beginning arises as a crucial element of the method in Plato’s Timaeus, a seemingly “unstructured” mythic/scientific dialogue about the origins and structure of both the psychically and the physically implaced world. In the Timaeus, “incoherence is especially obvious in the way the natural sequence in which a narrative would usually unfold is interrupted by regressions, corrections, repetitions, and abrupt new beginnings” (Gadamer 160). Right in the middle of the Timaeus, in between its sections on the “Work of Reason” and the “Work of Necessity”, sits chora, both an actual spatial and bodily site where my being intersects with my becoming, and where my lived life criss-crosses the various arts necessary to articulating a recorded version of that life. Every home is a grounded chora-logical timespace harness guiding its occupant’s thoughts, feelings and actions. My own regionally implaced chora (an example of which is the diagrammatological trajectory already outlined above as my various everyday comings and goings, of me acting in and projecting myself into context) could in part be understood as a graphical realisation of the extent of my movements and stationary rests in my own particular timespace trajectory. The shorthand for this process is ‘embedded’. Gregory Ulmer writes of chora that, “While chorography as a term is close to choreography, it duplicates a term that already exists in the discipline of geography, thus establishing a valuable resonance for a rhetoric of invention concerned with the history of ‘place’ in relation to memory” (Heuretics 39, original italics). Chorography is the geographic discipline for the systematic study and analysis of regions. Chora, home, country and regionality thus form an important multi-dimensional zone of interplay in memorialising the game of everyday life. In light of these observations I might even go so far as to suggest that this diagrammatological trajectory (being both digital and GPS originated) is part of the increasingly electrate condition that guides the production of knowledge in any global/regional context. This last point is a contextual connection usefully examined in Alan J. Scott’s Regions and the World Economy: The Coming Shape of Global Production, Competition, and Political Order and Michael Storper’s The Regional World: Territorial Development in a Global Economy. Their analyses explicitly suggest that the symbiosis between globalisation and regionalisation has been gathering pace since at least the end of World War Two and the Bretton Woods agreement. Our emerging understanding of electracy also happens to be Gregory Ulmer’s part-remedy for shifting the ground under the intense debates surrounding il/literacy in the current era (see, in particular, Internet Invention). And, for Tony Bennett, Michael Emmison and John Frow’s analysis of “Australian Everyday Cultures” (“Media Culture and the Home” 57–86), it is within the home that our un.conscious understanding of electronic media is at its most intense, a pattern that emerges in the longer term through receiving telegrams, compiling photo albums, listening to the radio, home- and video-movies, watching the evening news on television, and logging onto the computer in the home-office, media-room or home-studio. These various generalisations (along with this diagrammatological view of my comings and goings to and from the built space of home), all point indiscriminately to a productive confusion surrounding the sedentary and nomadic opposition/conjunction. If natural spaces are constituted in nouns like oceans, forests, plains, grasslands, steppes, deserts, rivers, tidal interstices, farmland etc. (and each categorisation here relies on the others for its existence and demarcation) then built space is often seen as constituting its human sedentary equivalent. For Deleuze and Guatteri (in A Thousand Plateaus, “1227: Treatise on Nomadology — The War Machine”) these natural spaces help instigate a nomadic movement across localities and regions. From a nomadology perspective, these smooth spaces unsettle a scientific, numerical calculation, sometimes even aesthetic demarcation and order. If they are marked at all, it is by heterogenous and differential forces, energised through constantly oscillating intensities. A Thousand Plateaus is careful though not to elevate these smooth nomadic spaces over the more sedentary spaces of culture and power (372–373). Nonetheless, as Edward S. Casey warns, “In their insistence on becoming and movement, however, the authors of A Thousand Plateaus overlook the placial potential of settled dwelling — of […] ‘built places’” (309, original italics). Sedentary, settled dwelling centred on home country may have a crust of easy legibility and order about it but it also formats a locally/regionally specific nomadic quality, a point underscored above in the diagrammatological perspective. The sedentary tendency also emerges once again in relation to home in the architectural drafting of the domestic domicile. The Real Estate Revolution When Captain Cook planted the British flag in the sand at Botany Bay in 1770 and declared the country it spiked as Crown Land and henceforth will come under the ownership of an English sovereign, it was also the moment when white Australia’s current fascination with real estate was conceived. In the wake of this spiking came the intense anxiety over Native Title that surfaced in late twentieth century Australia when claims of Indigenous land grabs would repossess suburban homes. While easily dismissed as hyperbole, a rhetorical gesture intended to arouse this very anxiety, its emergence is nonetheless an indication of the potential for political and psychic unsettling at the heart of the ownership and control of built place, or ‘settled dwelling’ in the Australian context. And here it would be wise to include not just the gridded, architectural quality of home-building and home-making, but also the home as the site of the family romance, another source of unsettling as much as a peaceful calming. Spreading out from the boundaries of the home are the built spaces of fences, bridges, roads, railways, airport terminals (along with their interconnecting pathways), which of course brings us back to the communications infrastructure which have so often followed alongside the development of transport infrastructure. These and other elements represent this conglomerate of built space, possibly the most significant transformation of natural space that humanity has brought about. For the purposes of this meditation though it is the more personal aspect of built space — my home and regional embeddedness, along with their connections into the global electrosphere — that constitutes the primary concern here. For a sedentary, striated space to settle into an unchallenged existence though requires a repression of the highest order, primarily because of the home’s proximity to everyday life, of the latter’s now fading ability to sometimes leave its presuppositions well enough alone. In settled, regionally experienced space, repressions are more difficult to abstract away, they are lived with on a daily basis, which also helps to explain the extra intensity brought to their sometimes-unsettling quality. Inversely, and encased in this globalised electro-spherical ambience, home cannot merely be a place where one dwells within avoiding those presuppositions, I take them with me when I travel and they come back with me from afar. This is a point obliquely reflected in Pico Iyer’s comment that “Australians have so flexible a sense of home, perhaps, that they can make themselves at home anywhere” (185). While our sense of home may well be, according to J. Douglas Porteous, “the territorial core” of our being, when other arrangements of space and knowledge shift it must inevitably do so as well. In these shifts of spatial affiliation (aided and abetted by regionalisation, globalisation and electronic knowledge), the built place of home can no longer be considered exclusively under the illusion of an autonomous sanctuary wholly guaranteed by capitalist property relations, one of the key factors in its attraction. These shifts in the cultural, economic and psychic relation of home to country are important to a sense of local and regional implacement. The “feeling” of autonomy and security involved in home occupation and/or ownership designates a component of this implacement, a point leading to Eric Leed’s comment that, “By the sixteenth century, literacy had become one of the definitive signs — along with the possession of property and a permanent residence — of an independent social status” (53). Globalising and regionalising forces make this feeling of autonomy and security dynamic, shifting the ground of home, work-place practices and citizenship allegiances in the process. Gathering these wide-ranging forces impacting on psychic and built space together is the emergence of critical regionalism as a branch of architectonics, considered here as a theory of domestic architecture. Critical Regionality Critical regionalism emerged out of the collective thinking of Liane Lefaivre and Alexander Tzonis (Tropical Architecture; Critical Regionalism), and as these authors themselves acknowledge, was itself deeply influenced by the work of Lewis Mumford during the first part of the twentieth century when he was arguing against the authority of the international style in architecture, a style epitomised by the Bauhaus movement. It is Kenneth Frampton’s essay, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” that deliberately takes this question of critical regionalism and makes it a part of a domestic architectonic project. In many ways the ideas critical regionalism espouses can themselves be a microcosm of this concomitantly emerging global/regional polis. With public examples of built-form the power of the centre is on display by virtue of a building’s enormous size and frequently high-cultural aesthetic power. This is a fact restated again and again from the ancient world’s agora to Australia’s own political bunker — its Houses of Parliament in Canberra. While Frampton discusses a range of aspects dealing with the universal/implaced axis across his discussion, it is points five and six that deserve attention from a domestically implaced perspective. Under the sub-heading, “Culture Versus Nature: Topography, Context, Climate, Light and Tectonic Form” is where he writes that, Here again, one touches in concrete terms this fundamental opposition between universal civilization and autochthonous culture. The bulldozing of an irregular topography into a flat site is clearly a technocratic gesture which aspires to a condition of absolute placelessness, whereas the terracing of the same site to receive the stepped form of a building is an engagement in the act of “cultivating” the site. (26, original italics) The “totally flat datum” that the universalising tendency sometimes presupposes is, within the critical regionalist perspective, an erroneous assumption. The “cultivation” of a site for the design of a building illustrates the point that built space emerges out of an interaction between parallel phenomena as they contrast and/or converge in a particular set of timespace co-ordinates. These are phenomena that could include (but are not limited to) geomorphic data like soil and rock formations, seismic activity, inclination and declension; climatic considerations in the form of wind patterns, temperature variations, rainfall patterns, available light and dark, humidity and the like; the building context in relation to the cardinal points of north, south, east, and west, along with their intermediary positions. There are also architectural considerations in the form of available building materials and personnel to consider. The social, psychological and cultural requirements of the building’s prospective in-dwellers are intermingled with all these phenomena. This is not so much a question of where to place the air conditioning system but the actuality of the way the building itself is placed on its site, or indeed if that site should be built on at all. A critical regionalist building practice, then, is autochthonous to the degree that a full consideration of this wide range of in-situ interactions is taken into consideration in the development of its design plan. And given this autochthonous quality of the critical regionalist project, it also suggests that the architectural design plan itself (especially when it utilised in conjunction with CAD and virtual reality simulations), might be the better model for designing electrate-centred projects rather than writing or even the script. The proliferation of ‘McMansions’ across many Australian suburbs during the 1990s (generally, oversized domestic buildings designed in the abstract with little or no thought to the above mentioned elements, on bulldozed sites, with powerful air-conditioning systems, and no verandas or roof eves to speak of) demonstrates the continuing influence of a universal, centralising dogma in the realm of built place. As summer temperatures start to climb into the 40°C range all these air-conditioners start to hum in unison, which in turn raises the susceptibility of the supporting infrastructure to collapse under the weight of an overbearing electrical load. The McMansion is a clear example of a built form that is envisioned more so in a drafting room, a space where the architect is remote-sensing the locational specificities. In this envisioning (driven more by a direct line-of-sight idiom dominant in “flat datum” and economic considerations rather than architectural or experiential ones), the tactile is subordinated, which is the subject of Frampton’s sixth point: It is symptomatic of the priority given to sight that we find it necessary to remind ourselves that the tactile is an important dimension in the perception of built form. One has in mind a whole range of complementary sensory perceptions which are registered by the labile body: the intensity of light, darkness, heat and cold; the feeling of humidity; the aroma of material; the almost palpable presence of masonry as the body senses it own confinement; the momentum of an induced gait and the relative inertia of the body as it traverses the floor; the echoing resonance of our own footfall. (28) The point here is clear: in its wider recognition of, and the foregrounding of my body’s full range of sensate capacities in relation to both natural and built space, the critical regionalist approach to built form spreads its meaning-making capacities across a broader range of knowledge modalities. This tactility is further elaborated in more thoroughly personal ways by Margaret Morse in her illuminating essay, “Home: Smell, Taste, Posture, Gleam”. Paradoxically, this synaesthetic, syncretic approach to bodily meaning-making in a built place, regional milieu intensely concentrates the site-centred locus of everyday life, while simultaneously, the electronic knowledge that increasingly underpins it expands both my body’s and its region’s knowledge-making possibilities into a global gestalt, sometimes even a cosmological one. It is a paradoxical transformation that makes us look anew at social, cultural and political givens, even objective and empirical understandings, especially as they are articulated through national frames of reference. Domestic built space then is a kind of micro-version of the multi-function polis where work, pleasure, family, rest, public display and privacy intermingle. So in both this reduction and expansion in the constitution of domestic home life, one that increasingly represents the location of the production of knowledge, built place represents a concentration of energy that forces us to re-imagine border-making, order, and the dynamic interplay of nomadic movement and sedentary return, a point that echoes Nicolas Rothwell’s comment that “every exile has in it a homecoming” (80). Albeit, this is a knowledge-making milieu with an expanded range of modalities incorporated and expressed through a wide range of bodily intensities not simply cognitive ones. Much of the ambiguous discontent manifested in McMansion style domiciles across many Western countries might be traced to the fact that their occupants have had little or no say in the way those domiciles have been designed and/or constructed. In Heidegger’s terms, they have not thought deeply enough about “dwelling” in that building, although with the advent of the media room the question of whether a “building” securely borders both “dwelling” and “thinking” is now open to question. As anxieties over border-making at all scales intensifies, the complexities and un/sureties of natural and built space take ever greater hold of the psyche, sometimes through the advance of a “high level of critical self-consciousness”, a process Frampton describes as a “double mediation” of world culture and local conditions (21). Nearly all commentators warn of a nostalgic, romantic or a sentimental regionalism, the sum total of which is aimed at privileging the local/regional and is sometimes utilised as a means of excluding the global or universal, sometimes even the national (Berry 67). Critical regionalism is itself a mediating factor between these dispositions, working its methods and practices through my own psyche into the local, the regional, the national and the global, rejecting and/or accepting elements of these domains, as my own specific context, in its multiplicity, demands it. If the politico-economic and cultural dimensions of this global/regional world have tended to undermine the process of border-making across a range of scales, we can see in domestic forms of built place the intense residue of both their continuing importance and an increased dependency on this electro-mediated world. This is especially apparent in those domiciles whose media rooms (with their satellite dishes, telephone lines, computers, television sets, games consuls, and music stereos) are connecting them to it in virtuality if not in reality. Indeed, the thought emerges (once again keeping in mind Eric Leed’s remark on the literate-configured sense of autonomy that is further enhanced by a separate physical address and residence) that the intense importance attached to domestically orientated built place by globally/regionally orientated peoples will figure as possibly the most viable means via which this sense of autonomy will transfer to electronic forms of knowledge. If, however, this here domestic habitué turns his gaze away from the screen that transports me into this global/regional milieu and I focus my attention on the physicality of the building in which I dwell, I once again stand in the presence of another beginning. This other beginning is framed diagrammatologically by the building’s architectural plans (usually conceived in either an in-situ, autochthonous, or a universal manner), and is a graphical conception that anchors my body in country long after the architects and builders have packed up their tools and left. This is so regardless of whether a home is built, bought, rented or squatted in. Ihab Hassan writes that, “Home is not where one is pushed into the light, but where one gathers it into oneself to become light” (417), an aphorism that might be rephrased as follows: “Home is not where one is pushed into the country, but where one gathers it into oneself to become country.” For the in-and-out-and-around-and-about domestic dweller of the twenty-first century, then, home is where both regional and global forms of country decisively enter the soul via the conduits of the virtuality of digital flows and the reality of architectural footings. 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