Articoli di riviste sul tema "Estranged families"

The research explores sibling relationships, and the ways in which they are shaped over the life course by family members, in families with a lifelong disability. In-depth, semistructured interviews were conducted with 15 family units including a parent, a sibling, and an adult sibling with a disability. The content analysis revealed five sibling relationship patterns: (a) “Not a child, but a parent caretaker”—the parent–surrogate sibling; (b) “We somehow grew apart”—the estranged sibling; (c) “It is important for me to maintain some kind of distance”—the bystander sibling; (d) “When there’s something they want to tell him, they always send me”—the mediator sibling; and (e) “I love him to death”—the friend sibling. These patterns of adult sibling relationships are discussed in relation to family dynamics, values, and legacies; recommendations for practice and research are made.

The COVID-19 pandemic has had a major impact on family relationships, as several families have lost family members due to COVID-19 pandemic and become physically and emotionally estranged due to lockdown measures and critically economic periods. Our study contrasted two hypotheses: (1) family functioning changed notably before and after the COVID-19 pandemic initiation in terms of cohesion, flexibility, communication and satisfaction; (2) balanced families have a greater capacity to strictly comply with quarantine (i.e., social confinement), compared to unbalanced families. We performed an observational study comparing family functioning between two independent groups, evaluated before and during the first wave of the COVID-19 pandemic in Peru. A total of 7,980 participants were included in the study. For the first hypothesis, we found that, during the pandemic, families became more balanced in terms of cohesion (adjusted before-during mean difference or β1 = 1.4; 95% CI [1.0–1.7]) and flexibility (β2 = 2.0; 95% CI [1.6–2.4]), and families were less disengaged (β3 = −1.9; 95% CI [−2.3 to −1.5]) and chaotic (β4 = −2.9; 95% CI [−3.3 to −2.4]). Regarding the second hypothesis, we confirmed that families with balanced cohesion (adjusted prevalence ratio or aPR = 1.16; 95% CI [1.12–1.19) and flexibility (aPR = 1.23; 95% CI [1.18–1.27]) allowed greater compliance with quarantine restrictions; while disengaged (aPR = 0.91; 95% CI [0.88–0.93]) and chaotic families (aPR = 0.89; 95% CI [0.87–0.92]) were more likely to partially comply or not comply with the quarantine. Finally, family communication (aPR = 1.17; 95% CI [1.11–1.24]) and satisfaction (aPR = 1.18; 95% CI [1.11–1.25]) also played a role in favouring quarantine compliance. This new evidence enlightens the family systems theory while informing future interventions for improving compliance with quarantine measures in the context of social confinement.

This article examines Penn’s attitudes toward family as displayed in two books (Innocency with Her Open Face Presented and No Cross, No Crown) that he wrote in 1669 while incarcerated in the Tower of London. The examination of Penn’s use of certain biblical references printed in the margins (Mt. 10:37; Mt. 19:29) suggests that Penn used these to create a layered text (similar to twenty-first-century hypertext) that helped to communicate in a veiled, but fervent, fashion his strong estrangement from his own birth family. The use of these Scripture passages renders as credible an early tradition from William Sewel that Penn’s father (Sir William Penn) was complicit in ensuring his son’s imprisonment in the Tower. The pattern of usage also tends to corroborate the generally accepted view that father and son were reconciled in 1670, before the elder Penn’s death. Comparing Penn’s use of these biblical passages on family with those of other Quaker contemporaries, the article demonstrates that at least two other Quakers also demonstrated estrangement from family through use of these Scriptures, but also proposes that the lesser use of such Scripture passages from most travelling Quakers who seem not to have been estranged from their families could be explained by the writers’ desires not to hurt their families with the wounding implication that they were not valued by the author.

Abstract Combining narrative analysis with social network analysis, this article analyses the case of a young Swedish female who had been physically and sexually abused. We show how she became trapped in an abusive relationship at the age of fourteen years following social work intervention in her family home, and how she ultimately escaped from this abuse aged nineteen years. The analysis illustrates the significance of responses to interpersonal violence from the social networks that surround young people; responses that can both entrap them in abusive relationships by blaming them for their problems and enable them to escape abuse by recognising their strengths and facilitating their choices. The article argues that the case for social work approaches that envision young people’s social networks after protective interventions have been implemented. The article explains that such an approach has the potential to reconcile the competing challenges of being responsive to young people’s needs while anticipating the heightened risk of being exposed to sexual abuse young people face when estranged from their families or after their trust in professionals has been eroded.

This paper aims to reveal how a family quarrel plays a major role in disintegration ofthe families in Sam Shepard’s plays. From his earliest plays to one of his most recentworks Shepard has been depicting the American family. Shepard writes about thecomplicated relationships within the American family. Shepard explores the myths ofthe American family using his own style by varying the conventions of nineteenthcentury. The traditional American family in Shepard’s play are build of mainly withthree character types: the father (who used to be a drunkard), the estranged mother andthe torment son. In this paper, we are focusing on Shepard’s family trilogy to depictthe Western Culture. Shepard’s family trilogy includes Curse of the Starving Class(1976), Buried Child (1979), and True West (1980). Curse of the Starving Class - is aplay about American family psyche which leads to the family disintegration. BuriedChild - is a play which reflects the frustration among American people turning out tobe family quarrels. True West - this play is all about the rivalry between two brotherswho met each other after a period of five years time.

While most studies have attempted to identify the causes and consequences of adult children’s estrangement from their parents, this study focuses on a relatively unexplored topic -- factors associated with family relationships in which the adult child and parents reconcile after a period of estrangement. An online survey of 1360 parents who had experienced an estrangement from their adult child provided data concerning three constructs: (a) whether the parents were now still married, remarried, or divorced, (b) secure attachment ratings of self, other parent, and child, from the perspective of the responding parent, and (c) whether the estrangement was continuing or there had been a reconciliation. Parents who were still married described all family members as having a more secure model of attachment than did remarried or divorced parents. Also, continuous ratings of security of attachment by parents in families that had resolved the estrangement were higher than ratings by parents in which the estrangement was continuing. Two exploratory path models tested alternative hypotheses about how marital status and perceived security of attachment combined to differentiate between families in which the adult child reconciled, and families in which the adult child remained estranged. Model A did not find an indirect path leading from attachment security to marital status to reconciliation. Model B found a statistically significant indirect path leading from parents remaining married to higher levels of attachment security in their ratings of family members, to reconciliation rather than continued estrangement of the parent–child relationship. With data obtained at a single point in time, this study represents a first step toward exploring continuity or discontinuity in the relationship between the parents and between the parents and their adult child. Directions for further research and implications for clinical intervention to promote reconciliation are discussed.

France, Belgium and the Netherlands faced the same fundamental challenge in 1945. In spite of differences in institutional setting, chronology or demography, their experience of Nazi occupation had been traumatizing and humiliating. Their national reconstruction required a self-confident image of the recent past. Nonetheless, the contours of the policies of memory pursued in the three countries diverged in a striking measure. In the Netherlands, post-war governments deliberately constructed a forced national consensus around the myth of a unanimous resistance, at the expense of veterans’ movements and all forms of associative memory. However, the latter dominated the commemorations in France and Belgium, continuing a post-1918 tradition. The conflicts between different categories of war veterans and victims and between different political families characterized the conflicting memories in these two countries. Rather than a monolithic resistance myth, different memories of Nazi persecution were rivals for public attention. In France, neither de Gaulle nor the Communist party succeeded in monopolizing the heroic legacy of the resistance. In Belgium, the Royal question, the left–right divide and subsequently the regional tensions between French and Dutch speakers, estranged part of opinion from the memory of the resistance and even ended up favouring, in some quarters, the rehabilitation of collaboration with the Nazi occupier.

The work provides information on the emergency care for post-traumatic stress disorders complicated by psychosis. Emphasis is placed on cases of severe depression with suicidal manifestations and alcoholic complications with disorders of consciousness and psychosis. It is noted that in recent years, typical cases of post-traumatic stress disorder have often become more complicated and aggravated, because the debilitating nature of mental trauma persists in modern life due to military events. Therefore, in the clinical picture of psychogenic disorders, severe depressive states with suicidal tendencies can develop. In such cases, moodiness dominates, as well as episodes of significant melancholy that a patient experiences as torment, physical suffering. Ideas of self-accusation arise, which are closely related to the psychotraumatic situation and constitute the dominant content of a psychogenic complex. Patients blame themselves of the emerging trouble. Under the influence of such experiences, exacerbations develop with an increase in anxiety, hopelessness, suicidal thoughts with intentions and actions; sleep and appetite deteriorate, retardation, apathy, and indifference develop. Such conditions are more likely to occur in conditions of family trouble, in persons with weak personal psychological protection in a decreased tolerance to emotional stress, altered self-esteem. In other cases, patients with post-traumatic stress disorders become withdrawn, alienated, and spiteful. People can experience difficulties when communicating with others, they become irritable, sometimes aggressive. At this time, patients refuse to fulfill the traditional requirements of professional activity. In families, they become strangers, estranged from their relatives. Therefore, over time, they may lose their jobs and families. Characteristics of psychopathic behavior can predispose individuals to alcoholism and drug addiction, which in turn contribute significantly to social and micro-social maladaptation. When providing urgent care to such patients, it is necessary to be guided by the requirements of the legislation on psychiatric care. In the acute period, antidepressant, neuroleptic and sedative therapy in injections should be prescribed to quickly achieve the desired therapeutic effect, followed by switching to oral forms of basic and adjuvant therapy. Psychocorrectional measures should also be an important component of the process of further rehabilitation of patients with post-traumatic stress disorder.

An interesting trend has emerged in Canadian plays lately. Over the past few years quite a number of thirty- and forty-something playwrights have written plays in which estranged siblings reunite to address the death (or impending death) of one of their parents. These three plays are examples of this trend from three different parts of Canada.

The outbreak of COVID-19 in 2020 led to a UK lockdown, where citizens were asked to stay at home for an undefined period. This forced people to make sudden decisions regarding where to live and who they would not see. Through 18 semi-structured interviews with individuals aged 27-72, this paper explores how people maintained friend-based, romantic, familial and professional relationships during lockdown in Spring 2020. The enforced separation following lockdown motivated people to reconsider how they conducted relationships in and outside the home. Within the household, people verbally and physically renegotiated boundaries to ensure relationship harmony. Computer-mediated communication (CMC) was utilised to maintain connections with estranged relationships, as people accessed new platforms to replicate familiar face-to-face (F2F) processes online. This article considers the disruption to relationships experienced during this time, providing an in-the-moment insight into the use of CMC in maintaining relationships during the first UK lockdown.

Abstract This collection celebrates the thirtieth anniversary of the Dutch Society for Old Germanic studies, the Vereniging voor Oudgermanisten. The collection brings together contributions by both veteran and early career members of the society and centres on the theme of the encounter between the familiar and the foreign. This theme is also of central importance in one of the most widely studied Old Germanic poems, the Hildebrandslied. This poem features the culmination of Hildebrand’s thirty-year exile: a one-on-one fight with his estranged son.

The article focuses on the aspect of family in the period after the First World War as portrayed in Georg K. Glaser’s novel Secret and Violence (Geheimnis und Gewalt). The novel depicts the division of a family caused by the brutality of the father, who has returned from the war and has become completely estranged from his family. The paper finds a parallel between the plot of the novel and the political and social events that unfolded in Germany during the first half of the 20th century, which split society and thus often caused a complete alienation among people. In the novel, the Weimar Republic is presented as a battleground of progressive and radically ideological forces, whose success the study seeks to elucidate.

AbstractThis article draws upon 121 in-depth interviews from the Religious Leadership and Diversity Project (RLDP)—a nationwide study of leadership of multiracial religious organizations in the United States—to examine what it means for African American and Asian American pastors to head multiracial churches. We argue that African American and Asian American pastors of multiracial churches are estranged pioneers. They have to leave the familiar to explore a new way of doing church, but their endeavors are not valued by their home religious communities. African American pastors face challenges to their authenticity as black religious leaders for leading multiracial congregations. Asian American pastors experience a sense of ambiguity that stems from a lack of clarity about what it means for them to lead multiracial congregations as Asian Americans. Yet, despite differences in how they experience this alienation, both are left to navigate a racialized society where they are perceived and treated as inferior to their white peers, which has profound personal and social implications for them.

The article is devoted to the “artistic transcription”, the perception which is connected with the image transformation of the modern Northern Caucasus. A.V. Kostynin is familiar with the Caucasus, he likes it passionately and perceives it not with a great impression, which lets see only surface of everything and makes express the delight by crying, but with the close feeling, which penetrates into the essence and depth of the subject which reflects life, traditions and morals. Wanderings are rich of a specific atmosphere. They can make a reader feel himself in the Caucasus, learn about the modern lifestyle, basing on the author’s personal view. An attempt was made with the purpose to control the development of Dagestan’s image: from a negative and estranged perception to a romantic admiration.

The intense, uncanny relationship between intimacy and exclusion, homeliness and strangeness finds evocative expression in the Gothic tales and ghost stories of James Hogg, Robert Louis Stevenson, and Margaret Oliphant. Their narratives resist and open themselves to haunting, with the supernatural alterity they encounter proving oddly familiar and posing fundamental questions about knowledge and subjectivity. In these moments, distinctions between inside and outside in psychic, social and environmental terms are radically unsettled. Using Jacques Lacan’s notion of ‘extimacy,’ an ‘intimate exteriority’ that constitutes an estranged attachment to the stranger within, this article examines the unresolved struggle in Hogg and Stevenson with this intimate yet agitating sense of otherness that disrupts the assertion of identity. Contrastingly, Oliphant attempts to accommodate the extimate, and embraces her obligations to that which haunts.

L’objectiu de l’estudi que es presenta en aquest article, fonamentat en la psicologia cultural, consisteix a descriure la relació entre la cultura familiar i escolar d’una família procedent de Gàmbia que viu a Catalunya, Espanya, per il·lustrar com els docents poden utilitzar els fons de coneixement de les famílies amb l’objectiu d’establir punts de connexió directe entre la vida dels seus alumnes i la instrucció escolar. Es va utilitzar un disseny qualitatiu i es van emprar tècniques etnogràfiques d’entrevista i anàlisi de documents (genograma i sistema d’informació geogràfica). Es resultats il·lustren la varietat de fons de coneixement que les famílies acumulen i utilitzen en la seva vida quotidiana. Específicament, es detecten —en la família entrevistada—coneixements amplis vinculats a la construcció. En la mateixa línia del treball de Sandoval-Taylor, se suggereix un mòdul o unitat curricular basada en fons de coneixement vinculats a la construcció. Aquest article segueix un model pedagògic que il·lustra l’aproximació dels fons de coneixement, així com la teoria ecològica de Bronfenbrenner, que emfatitza l’extensió de l’aprenentatge i l’ensenyança a través de la connexió de microsistemes com la família i l’escola. Les experiències prèvies dels alumnes, les seves experiències culturals adquirides en la vida familiar, afecten el seu rendiment escolar. En aquest sentit, l’article presenta una discussió del model conegut com a continuïtats-discontinuïtats família-escola o model del desajust família-escola, dissenyat per explicar i poder intervenir en l’educació d’estudiants subrepresentats, és a dir, estudiants que posseeixen una de les característiques següents o més d’una: baixos ingressos econòmics, minoria cultural, origen estranger (immigrant, segona generació, sense documentació), accent estranger i/o no ser fluents en català o castellà.

During the First World War, trench newspapers regularly printed parodies of natural history, depicting servicemen as half-human, half-animal creatures. These parodies present a new angle on the role that trench newspapers played in articulating servicemen's senses of identity, in relation both to the experience of joining the military and to human identity in a time of war. Servicemen present themselves simultaneously as estranged war-zone beings and as expert guides to an exotic realm, negotiating complex tensions between alienation and communication, and offering alternative pictures of the war zone to those that have become most familiar. The parodies indicate the representational value of humorous modes for depicting nuanced aspects of servicemen's experiences of the First World War. In using humorous tropes that first arose in response to nineteenth-century scientific advances, in addition, the parodies suggest a new strand to the cultural history of the trench press.

Abstract This article discusses the relationship between religious satire and Christian theology to explore the possibility of satiric theology. It takes its departure from the proclamation of the cross (cf. 1 Cor 1:27) to demonstrate that the Crucified Christ can be a source for satire. To accomplish this, Paul Simpson’s analysis of satire is used to analyse the notorious crucifixion scene of Monty Python’s Life of Brian. Subsequently, by way of Stanley Hauerwas’s theorising of irony, it is argued that satiric theology is theology in iconoclastic fashion. Hence, satiric theology supplies alternative comical stories to estrange people from the familiar and challenge misconceptions, thereby offering a valuable contribution to theological debate and Christian practice.

Kambanellis’ Letter to Orestes constitutes Clytemnestra's apologia for the murder of Agamemnon and is addressed to her estranged son Orestes. Until now, research has concentrated mainly on the content, verbal message and metatheatrical dimension of Clytemnestra's letter, laying emphasis upon Kambanellis’ intertextual links with the ancient Greek tragedies revolving around the Atreid myth. This article focuses attention on the dramatic form of the letter, examining it as a physical object with social connotations and as an active agent in the development of the events. It is argued that in emphasizing these aspects of the letter Kambanellis was probably influenced by the function of letters in two of the Greek tragedies which he clearly draws upon in The Supper trilogy: Euripides’ Iphigenia at Aulis and Iphigenia among the Taurians. However, Kambanellis’ intention was not to reproduce his tragic models but rather to exploit the medium of the letter in order to reconsider a staple of his own work: the disconcerting issue of human, and more particularly of familial, communication.

The article presents a refl ection on the reception of Rodzinna Europa in Hungary and Western Europe (on the example of France) as well as a critical review of this intellectual autobiography of Czesław Miłosz which recently had its new edition in Hungary on the occasion of the centenary of his birth. Two important generic aspects of the book are described: its status as a bildungsroman and a traveller’s account, to show that one of the main ideas of the book derives from an old theory of geographical culture: the place where you live creates your character. Miłosz’s book could be read as an essay on the character of a person from Central Europe. The title and the history of the book’s translation highlight the paradox of experience described by the Polish Nobel laureate: a man from Central Europe feels estranged in the countries of Western Europe, but nevertheless when he encounters Russian or American civilizations he discovers that Europe has its unity and is a familiar rather than an alien place.

AFTER MINA HARKERawakens from Count Dracula's vampiric embrace, she asks the men around her, but more pointedly herself, “What have I done to deserve such a fate, I who have tried to walk in meekness and righteousness all my days?” (285, ch. 21). As she recounts this perverse seduction in her own words, however, she contradicts her earlier disavowal: “strangely enough, I did not want to hinder him” (284). These conflicting statements capture the peculiar double bind with which Mina struggles throughout Bram Stoker'sDracula(1897). Many critics concentrate on Dracula himself and the men who do battle with him; interestingly, the novel also develops Mina's complex subjectivity through her unspoken but deep affinity with the vampire. Van Helsing's paranoid observation, “Madam Mina, our poor, dear Madam Mina, is changing” (319; ch. 24), epitomizes shifting cultural anxieties at the moment when a long-standing ideological conception of proper femininity comes under suspicious attack. Although nothing seems more natural to Mina than her desire to help her husband in the public sphere while maintaining an intimate friendship with Lucy Westenra in the private, these familiar roles become estranged by the new taxonomies of deviancy popularized during the late nineteenth century.

One of the things that strikes one most forcibly in surviving images of early commedia dell'arte is its enigmatic physicality, the manner in which its actors everywhere adopt postures and make gestures that seem not merely emphatic and exaggerated but almost hieroglyphic, full of some additional implication, laden with a figural and emblematic resonance that we sense but no longer see. In general terms, this quality is easily understood, as the body clearly served in commedia as a complex and polyvalent instrument of expression. Its gestures and movements were, as in all theatre, indexically linked to dramatic action, and they also served, as in much masked drama, as surrogates for the facial expression of affect, in that the movements and aspects of the whole body were enlisted to articulate the motions and mien of a veiled face and to overcome or play upon the sensation of estranged speech produced by the half-mask's bifurcation of the visage. Moreover, in a manner less familiar but illustrated well in Fig. 1, these movements and aspects also functioned as expressions in their own right, not articulating the affect or expression attendant upon immediate speech or situation or delineating the lines of external action but signaling the many impulses and various appetites of the world, the varied aspects of all persons and of the body itself, and invoking at times as their implicatory context human nature, common character, and identity rather than situation, attitude, or emotion.

ABSTRACT: The Hague Convention on the Civil Aspects of International Child Abduction is not usually associated with the issue of child adoption: its case law is often complex and focused upon such concepts as "habitual residence" and parental consent, neither of which fit comfortably into the various discourses arising out of adoption law jurisprudence. And yet, aspects of Hague's body of case law arguably hold relevance for adoptees and their estranged birth relatives, in the sense that they touch upon difficult features of family life: kin contact, access to accurate information, abusive relationships, and the notion of relinquished parenthood. Judicial interpretations of such principles as best interests, the voice of the child, the extent of parental responsibility, and the need for child identity, can offer convoluted rights analyses which in turn touch upon the consequences of suffering certain losses, not least original kinships and natal or sociocultural identities. These discourses highlight the implications of maintaining or severing genetic connections: mention is often made of the need for speedy family reunification, the importance of preserving the child's ties to their country of origins, and the benefits of having some form of contact with family members. Significant too is the child's ability—or otherwise—to integrate into new cross-border familial or sociocultural settings. The human rights implications of losing or gaining access to one's "roots" via geographic dislocation (or indeed through a court-ordered return to a place of origin) are therefore key.

Abstract Introduction: Familial hypoparathyroidism is a rare cause of hypocalcaemia. We report a case of long-standing hypocalcaemia secondary to hypoparathyroidism caused by a novel GATA3 variant resulting in multiple organ involvement. Case: A 20 year old girl was referred to our bone metabolic clinic for hypocalcaemia. Her past medical history included Bechet’s disease, epilepsy and depression. She had bilateral sensorineural hearing loss and encephalitis as a child. She underwent right nephrectomy for an atrophic non-functioning kidney at the age of 16. Current medication included hydroxychloroquine, diazepam, oral calcium and cholecalciferol. It was noted that the hypocalcaemia dated back to 8 years, she denied any typical symptoms of hypocalcaemia but she did report visual and auditory hallucinations, fatigue and had low seizure threshold. She sustained recurrent fractures of her arm, elbow and wrist. Initial investigations: Corrected calcium 1.88 (2.20-2.60mmol/L), Phosphate 1.54 (0.80–1.50mmol/L), PTH 1.2 (1.6–6.9pmol/), 25-OH vitamin D 37 (50-120nmol/L). Myeloma screen, thyroid, renal and liver functions were all within the normal reference range. Other bone markers: Serum Procollagen Type 1 Amino Terminal Peptide was mildly raised at 82 (19-69ug/L), CTX 0.42 (0.1-0.5ug/L), 1,25 OH Vitamin D 29 (55-139pmol/L), 24,25-dihydroxyvitamin D was normal with normal 25:24,25 Dihyroxyvitamin D ratio at 18 normal. Bone density was in the normal range for her age. MRI of the brain was normal with no evidence of calcification. There was a family history of hypocalcemia in her estranged father. Subsequent genetic analysis showed a novel likely pathogenic GATA3 missense variant (c.961T>C p.(Cys321Arg). She was started on alfacalcidol and achieved near normocalcemia with adjusted calcium levels of 2.18nmol/L. Conclusion: Pathogenic variants in the GATA3 gene are responsible for Hypoparathyroidism-deafness-renal dysplasia (HDR) syndrome. In our patient, a novel missense variant in GATA3, p.(Cys321Arg), has been detected. This variant disrupts one of four conserved cysteine residues within a zinc-finger domain, which is involved in DNA binding and is presumed to have a deleterious effect on protein function. Patients may have longstanding asymptomatic hypocalcaemia with atypical features hence genetic testing is recommended in patient with multi-organ involvement. Alfacalcidol successfully restored calcium homeostasis in this case.

This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI’s automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. As a result, notable AI-music programmers like composer David Cope and software developers Flow Machines have galvanized the public’s interest in AI-generated music not by creating completely alien sonic forms, but by simulating popular styles like rock and classical music. Consequently, listeners often report AI music sounds unnervingly familiar rather than aesthetically inaccessible. I argue that it is precisely AI music’s devotion to uncannily approximating its human forebears that makes it such an interesting object of contemporary sonic production. It also provides a useful historical parallel to a short-lived musical movement from the 2000s known as sonic hauntology. Much like AI programmers, producers of sonic hauntology applied digital technology to the sonic past. However, they confronted it in more deliberately political and subversive ways. Sampling sonic artifacts and cultural marginalia from the mid-20th century, sonic hauntologists created eerie soundscapes designed to challenge mass culture’s erasure of history’s political depth, or what Fredric Jameson famously referred to as late capitalism’s cultural logic of postmodernism. While AI music has yet to be exploited in this way, I argue its inherently “uneasy listening” carries the potential to further sonic hauntology’s project of repurposing the sonic past to estrange listeners from the present moment.

Resumen: En este artículo se analizan cuatro protagonistasde obras de García Márquez, como representacióndel universo de género creado por el autor. Se concluyeque son mujeres que arrasan a su paso con muchos delos lugares comunes sobre lo femenino y la mujer, y selas analiza desde la concepción de Jean Shinoda Bolensobre los arquetipos de Jung como claves para entenderla psicología femenina. En primer lugar se analiza lafigura de Úrsula Iguarán, quien actúa a la vez como lagran madre, la gran abuela y la columna vertebral de lacordura familiar, y como la autoridad en el conjunto socialmacondiano, llenando el vacío que dejan sus descendientesvarones; se la compara a Hestia, la diosa griega delorden en el hogar, el templo, y el estado. En segundo lugarencontramos el análisis de Ángela Vicario, “virgen” queno lo es, y luego “recupera” su virginidad, pues la prácticade escribir cartas a su amado lejano le permite construiruna autonomía espiritual; se la compara a las diosas vírgenes(Atenea, Artemisa y Hestia) quienes representan laindependencia de las mujeres. In third place, se estudia elpersonaje de María del Rosario Castañeda y Montero, “lamamá grande”, la encarnación hiperbólica de funcionesmaternas, pero sobre todo de Colombia como nación, suclase política, sus clases dirigentes. Se la analiza comola virgen María y como Deméter, la madre universal,nutriente y protectora y Atenea, la Diosa independientey autónoma. Finalmente, Sierva María es la columnavertebral del universo que se nos regala en Del amor yotros demonios.Palabras clave: García Márquez, personajes femeninos,Jung, arquetiposÚrsula, Ángela, María del Rosario and Sierva María:García Marquez’s Feminine CreationsAbstract: This paper analyzes four protagonists inGarcía Márquez’ works as representation of the author’sgendered universe. It is concluded that they are womenwho destroy many conventions about women and femininity,and they are analyzed on the basis of Jean ShinodaBolen’s conception of Jungian archetypes as the key tounderstand feminine psychology. In the first place, thefigure of Ursula Iguarán is analyzed as both the greatmother-and-grandmother, the spine of family sanity, and asthe authority in Macondian society, filling the vacuum leftby her male descendants; she is compared to Hestia, Greekgoddess of order in the hearth, the temple and the state. Inthe second place, we find the analysis of Ángela Vicario,a “non-virgin” who later “recovers” her “virginity” bywriting letters to her estranged lover, in the sense thatshe constructs her spiritual autonomy; she is compared tothe virgin goddesses (Athena, Artemisia and Hestia) whorepresent women’s independence. Finally, the characterof María del Rosario Castañeda y Montero, “Big Mama,”hyperbolic incarnation of maternal functions but above allof Colombia as a nation, its politicians, its elite classes.She is analyzed in terms of the Virgin Mary and Demeter,universal mother providing nourishment and protection,and Athena, the goddess of independence and autonomy.Finally Sierva María is the core of the universe the authorregales us with in Of Love and Other Demons.Key Words: García Márquez, feminine characters,Jung, archetypes

Although some scholars have argued that authoritarianism is characteristic only of the right and not of the left, persuasive reasons exist for doubting this claim. Intuitive observation of left-wing and right-wing regimes as well as radical political movements of the left and right reveals striking parallels in their styles of political engagement, their reliance upon force, their disdain for democratic ideals and practices and their violations of civil liberties. In addition, systematic inquiry into the similarities and differences between far-left and far-right radicals in the United States has been hampered by various methodological difficulties. One can list, among these, such problems as the obvious inappropriateness of the F scale (owing to its strong right-wing content) as a measure for identifying left-wing authoritarians; the difficulty of obtaining adequate samples of true believers of the extreme left and right; the self-image of the American left as a persecuted minority which, for reasons of self-interest, spuriously inflates the degree of support expressed by its members for individual rights and liberties; and the exposure of both extreme camps to the liberal democratic values dominating American political culture, which unmistakably colours their political rhetoric.We have reason to think that a similar study conducted in some – perhaps many – European countries would reveal even greater similarities between the far left and far right than we have turned up in the United States. Unlike the United States, which has enjoyed a strong liberal democratic tradition that has served to weaken and soften the intensity of its radical movements, a number of European countries, less wedded to liberal democratic principles, have developed a more vigorous, less diluted tradition of radical politics. These nations have long had to contend with powerful extremist movements actively and significantly engaged in the political struggles of their respective nations. The radical movements of Europe have been more extreme and zealous – more unequivocally revolutionary and reactionary – than the radical movements of the United States. The sustained confrontation of these extremist movements, in our view, is likely to have intensified the authoritarian propensities of each.In the present article, through a series of surveys in which we have tried to idenify, as best we can, supporters of the far left and far right, we have systematically compared the two camps on a variety of political and psychological characteristics. We find, in keeping with the conventional view, that the far left and the far right stand at opposite end of the familiar left–right continuum on many issues of public policy, political philosophy and personal belief. They hold sharply contrasting views on questions of law and order, foreign policy, social welfare, economic equality, racial equality, women's rights, sexual freedom, patriotism, social conventions, religion, family values and orientations towards business, labour and private enterprise.Nevertheless, while the two camps embrace different programmatic beliefs, both are deeply estranged from certain features of American society and highly critical of what they perceive as the spiritual and moral degeneration of American institutions. Both view American society as dominated by conspiratorial forces that are working to defeat their respective ideological aims.The degree of their alienation is intensified by the zealous and unyielding manner in which they hold their beliefs. Both camps possess an inflexible psychological and political style characterized by the tendency to view social and political affairs in crude, unambiguous and stereotypical terms. They see political life as a conflict between ‘us’ and ‘them’, a struggle between good and evil played out on a battleground where compromise amounts to capitulation and the goal is total victory.The far left and the far right also resemble each other in the way they pursue their political goals. Both are disposed to censor their opponents, to deal harshly with enemies, to sacrifice the well-being even of the innocent in order to serve a ‘higher purpose’, and to use cruel tactics if necessary to ‘persuade’ society of the wisdom of their objectives. Both tend to support (or oppose) civil liberties in a highly partisan and self-serving fashion, supporting freedom for themselves and for the groups and causes they favour while seeking to withhold it from enemies and advocates of causes they dislike.In sum, when the views of the far left and far right are evaluated against the standard left–right ideological dimension, they can appropriately be classifled at opposite ends of the political spectrum. But when the two camps are evaluated on questions of political and psychological style, the treatment of political opponents, and the tactics that they are willing to employ to achieve their ends, the display many parallels that can rightly be labelled authoritarian.

Abstract Objectives The multidimensional features of intergenerational relationships and the mixed feelings among parents with multiple children complicate how intergenerational relationships shape mental health among older parents. This study explores the patterns of intergenerational relationships among Chinese families with multiple children and their associations with older parents’ depressive symptoms. Methods Through three waves (2014, 2016, and 2018) of nationally representative longitudinal data obtained from the China Longitudinal Aging Social Survey (CLASS), we used the k-means clustering method and fixed effects model to address the research questions. Results The findings revealed that over 41.64% of older parents had different types of intergenerational relationships with their different children. The closest parent-child relationship type was associated with the lowest levels of depressive symptoms among older parents, whereas the most estranged parent-child relationship type was associated with the highest levels of depressive symptoms. The most estranged parent-child relationship type (i.e., the alienated type) involving one child could reduce the psychological benefits gained through the closest type (i.e., the tight-knit type) involving another child. However, this moderation effect only manifested among socioeconomically privileged older parents. Discussion These findings highlight the importance of adopting a systematic view for studies regarding intergenerational relationships. The impacts of a single parent-child relationship on parents can be influenced by other parent-child relationships. Moreover, in the context of the dramatic and uneven social changes throughout China, the interactive features of intergenerational relationships have revealed an emerging strong preference for all-round relational harmony across multiple children, particularly among privileged Chinese families.

Polygamy is associated with lower marital satisfaction and is known to involve sexual, physical, and emotional abuse on the part of the husband. Less is known about the experience of mothers in polygamous families. This study was designed to shed light on the experiences of women in polygamous families in a sample of 80 Israeli Arab mothers living in polygamous families who use social services, domestic violence agencies, and health centers. Mothers were asked to draw their experiences in their families and to provide narratives for the drawings. A phenomenological approach was used to analyze the drawings, and yielded five different pictorial phenomena: (1) pseudo-sweetness, (2) houses, (3) the absentee father and the estranged mother, (4) incorporation of graphic symbols and lettering that represented distress, and (5) growth and development. Most of the drawings were restricted and shallow, indicating a complex emotional state of despair and distress. The central feelings that emerged from the drawings were negative emotions of anger, sadness, loneliness, and powerlessness. While some women longed for romantic relationships with their husbands, others expressed the desire for revenge and justice. Dissociation and parentification, as central coping strategies, emerged from the drawings and the narratives. The findings are discussed theoretically and clinically.

Drawing from the life course perspective, we explored patterns of estrangement between mothers and their adult children across time, and the processes through which these ties remained estranged, or moved in or out of estrangement. We used a prospective design in which data were collected in face-to-face semi-structured interviews with 61 older mothers about their relationships with their 274 adult children at two time points 7 years apart. We began by examining the patterns of stability and change in intergenerational estrangement and identified movement in and out of estrangement across time. Qualitative analyses of the processes underlying estrangement revealed that movement in and out of estrangement reflected nuanced changes in contact and closeness over time rather than abrupt changes resulting from recent transitions in either mothers’ or children’s lives. Taken together, these findings illustrate the complexity of patterns and processes of intergenerational estrangement in later-life families.

Abstract In 1960s American science fiction, representations of altered consciousness may function as a novum, framing how protagonists perceive and interact with the storyworld, motivating their actions, and estranging readers. Representations of these states are rooted in the lexical particulars of style, which became of central concern to the rising New Wave subgenre. As a result of the defamiliarized focalization of altered consciousness, estranged readers confront in fresh ways core sociocultural concerns of the era embedded in the thematics of the novels. For this reason, it is fruitful to ask how the language of altered consciousness can be characterized. What lexical elements defamiliarize the focalization giving rise to estrangement? This paper addresses this question through a computational literary linguistic approach. Quantifying the lexical composition of altered states with content analysis dictionaries and performing cluster analysis uncovers underlying similarities within a corpus of 1960s American science fiction novels. The language of altered consciousness is then identified as a language of estrangement through stylistic close reading. This provides one route into understanding how a novum may be constructed of language, estrange the reader, and prompt reexamination of the formerly familiar through staying with strangeness.

This study explored the experience of family estrangement, focusing on the estrangement’s nature (voluntary or involuntary) and approach (direct or indirect), to understand the experiences of individuals who no longer actively speak to family members, as described from the participants’ subjective perspectives. Current family estrangement research focuses on participants based in the United Kingdom, United States, and Australia and this study provides a unique opportunity to view the experiences of estrangement in the Republic of Ireland. A qualitative approach was adopted, with data collected from five adults who are currently estranged from one or more family members for a period no less than 12 months. Specifically, thematic analysis was used to investigate patterns that accurately reflect the experiences of those estranged. The findings indicated that the experience can change over extended periods, with emotions such as anger and sadness and feelings of upset and stress that were present at the time of estrangement becoming less prevalent after a period ranging from 18 months to 10 years. Later experiences of estrangement were characterized by less stress, though sadness was still present for some and anger was present in situations where limited contact with estranged parties continued.

Abstract The impact of social mobility on social relationships is a neglected area of mobility studies in China. Drawing on intensive interviews with 30 migrant families in Beijing, this research aims to investigate the effect of social mobility on the social life and interpersonal relationships of successful migrants, especially regarding family, friends, and locals. It has been shown that the economic success of the interviewees did not estrange them from kin but rather strengthened their ties and obligations toward each other. Their mode of association still followed the principle of chaxu geju. Their friendship circles, however, changed significantly. Old ties that could not move upwards at the same pace were usually left behind. Despite these significant changes, however, their social relationships beyond kin were mainly limited to rural migrants. Very few socialized with or established contacts with the local people in Beijing. The economic success of the migrants did not bring social integration. Their social adaptation was largely a process of assimilating with social groups formed by people similar to themselves rather than a process of integrating into the already established urban classes.

El present article analitza la relació epistolar entre el doctor JoanSolé i Pla i Josep Subirà Puig, dos familiars que des de Barcelona i Madrides van comprometre amb l’ajut material i la promoció dels voluntaris espanyolsi catalans a les files de la Legió Estrangera francesa durant la PrimeraGuerra Mundial. A través de la seva correspondència busquem analitzar lesprojeccions nacionals en disputa dels discursos sobre els voluntaris i comprovaruna qüestió escassament treballada: la important cobertura i organitzacióde la propaganda sobre els voluntaris impel·lida per Josep Subirà,qui, malgrat tot, va mantenir amb Solé i Pla una relació estreta marcadaper la cordialitat familiar i l’entusiasme per les mútues activitats aliadòfiles.

AbstractBackground and aimsProblematic use of the internet (PUI) among adolescents has become one of the public problems around the world. Understanding the developmental trajectory of PUI may be beneficial to develop prevention and intervention. The current study aimed to identify the developmental trajectories of PUI among adolescents, considering individual differences over time. And also explored how familial factors contributed to the identified trajectories, and the relationship between PUI changes over time and social, mental health, and academic functioning.MethodsA total of 1,149 adolescents (Mage = 15.82, SD = 0.61; 55.27% girls at Wave 1) participated in assessments at four time points, using 6-month assessment intervals.ResultsBased on a latent class growth model, three trajectories of PUI were identified: Low Decreasing, Moderate Increasing, and High Increasing groups. Multivariate logistic regression analyses suggested that inter-parental conflicts and childhood maltreatment served as negative familial predictors for the risk trajectories of PUI (i.e., Moderate Increasing and High Increasing groups). Additionally, adolescents in these two groups displayed more estranged interpersonal relationships, more mental health difficulties, and poorer academic functioning.Discussion and conclusionsIt is important to consider individual differences in understanding the developmental patterns of PUI among adolescents. Identifying family predictors and the behavioral outcome associated with groups with different developmental trajectories of PUI, which may help to understand better risk factors related to specific developmental patterns of PUI and its adverse correlates. The findings highlight a need to develop more specific effective intervention programs for individuals displaying different problematic developmental trajectories with PUI.

Using Bram Stoker’s Dracula as a textual tool, this essay will explore not only the authentication of the Self and its subsequent deconstruction when confronted by its Other, but will also discuss how such a confrontation and the search for authenticity and authority are fashioned and perpetuated in the construction of personal histories. Acknowledging this presence illuminates the larger implications of the anxieties surrounding the unstable construction of the Self and its complex, sometimes contradictory, relationship to its long-repressed Other(s). This essay will begin by examining the Self as a psychological construct that initially seeks the affirmation established by the existence of its mirroring double figure. The Gothic novel intuitively gives voice to the repressed and in so doing, confronts the Self with its uncanny double, a reflection which the Self perceives as a threat to its own existence. This engagement of the uncanny as a device of the Gothic transforms the familiar into the unfamiliar, and, consequently, the psychological authentication of identity experiences a series of oscillations between the Self and the Other that leads to an identity crisis. This confusion is rooted in the confrontation between two estranged figures struggling to establish one as the authentic Self.

Arundhati Roy's novel, The God of Small Things, is a complex portrayal of alienation and estrangement experienced by its characters within the socio-political milieu of postcolonial India. Roy skillfully exposes the impact of societal norms and caste divisions on personal relationships, resulting in profound emotional isolation and rupture within the family unit. This evocative narrative sheds light on the disempowerment and disenfranchisement experienced by the estranged and marginalized voices. From this point of view, considering the theories of alienation, this article analyzes the various forms of alienation and estrangement depicted in the novel and explores their underlying causes and consequences. The analysis delves into the theme of familial alienation, focusing on the forbidden love between fraternal twins Estha and Rahel, and the subsequent estrangement within their family. Furthermore, the article examines the characters' alienation from the political and cultural landscape of India. It explores how the colonial legacy, combined with the rigid social hierarchy, leads to the marginalization of certain groups and individuals, ultimately deepening their sense of estrangement. Additionally, through a close reading of the novel, this article reveals how Roy employs narrative techniques such as fragmented chronology and lyrical prose to mirror the characters' fragmented identities and fragmented society. It explores the ways in which alienation and estrangement manifest themselves in the novel, and how they are inextricably linked to broader social and historical forces.

The central nervous system effects of oral contraceptives (OCs) are not well-documented. In a set of 3 studies, we investigated a specific cognitive function, mental rotation, in healthy women currently using OCs for contraceptive purposes (n = 201) and in medication-free controls not using OCs (n = 44). Mental rotation was measured using a well-standardized and extensively validated psychometric test, the Vandenberg Mental Rotations Test (MRT). In an initial study (Study 1), current OC users (n = 63) were tested during the active or inactive phases of the contraceptive cycle in a parallel-groups design. Studies 2 and 3 were based on an archival dataset (n = 201 current OC users) that consisted of data on the MRT collected in real-time over a 30-year period and compiled for purposes of the present work. The OCs were combined formulations containing ethinyl estradiol (10-35 ug/day) plus a synthetic progestin. All 4 families of synthetic progestins historically used in OCs were represented in the dataset. Cognitive performance was evaluated during either active OC use (‘active phase’) or during the washout week of the contraceptive cycle (‘inactive phase’) when OC steroids are not used. The results showed a significant phase-of-cycle (POC) effect. Accuracy on the MRT was mildly diminished during the active phase of OC use, while scores on verbal fluency and speeded motor tasks were modestly improved. The POC effect was most evident in women using OCs that contained first- or second-generation progestins (the estrane family of progestins or OCs containing levonorgestrel), but not in women using OCs containing recently developed progestins and lower doses of ethinyl estradiol. Using independently established ratings of the estrogenic, androgenic, and progestogenic intensities of the different OC formulations, each brand of OC was classified according to its distinct endocrine profile. Multiple regression revealed that the effects of OC use on the MRT could be predicted based on the estrogenic strength of the contraceptives used. Estrogenic potency, not androgenic or anti-androgenic effects of the OC pill, may underlie the effects of OC usage on spatial cognition.

In post-socialist China, gender norms are marked by rising divorce rates (Kleinman et al.), shifting attitudes towards sex (Farrer; Yan), and a growing commercialisation of sex (Zheng). These phenomena have been understood as indicative of market reforms unhinging past gender norms. In the socialist period, the radical politics of the time moulded women as gender neutral even as state policies emphasised their feminine roles in maintaining marital harmony and stability (Evans). These ideas around domesticity bear strong resemblance to pre-socialist understandings of womanhood and family that anchored Chinese society before the Communists took power in 1949. In this pre-socialist understanding, women were categorised into a hierarchy that defined their rights as wives, mothers, concubines, and servants (Ebrey and Watson; Wolf and Witke). Women who transgressed these categories were regarded as potentially dangerous and powerful enough to break up families and shake the foundations of Chinese society (Ahern). This paper explores the extent to which understandings of Chinese femininity have been reconfigured in the context of China’s post-1979 development, particularly after the 2000s.The popular television dramas Chinese Style Divorce (2004, Divorce), Dwelling Narrowness (2009, Dwelling), and Divorce Lawyers (2014, Lawyers) are set against this socio-cultural backdrop. The production of these shows is regulated by the China State Administration of Radio, Film, and Television (SARFT), who has the power to grant or deny production and distribution permits. Post-production, the dramas are sold to state-owned television stations for distribution (Yu 36). Haiqing Yu summarises succinctly the state of Chinese media: “Chinese state manipulation and interference in the media market has seen the party-state media marketized but not weakened, media control decentralized but not reduced, and the media industry commercialized but not privatized” (42). Shot in one of the biggest cities in Shandong, Qingdao, Divorce focuses on Doctor Song Jianping and his schoolteacher wife Lin Xiaofeng and the conflicts between Song and Lin, who quits her job to become a stay-at-home mom after her husband secures a high-paying job in a foreign-invested hospital. Lin becomes paranoid and volatile, convinced that their divorced neighbour Xiao Li is having an affair with Song. Refusing to explain the situation, Song is willing to give her a divorce but fights over guardianship of their son. In the end, it is unconfirmed whether they reconcile or divorce. Divorce was recognised as TV Drama of the Year in 2004 and the two leads also won awards for their acting. Reruns of the show continue to air. According to Hui Faye Xiao, “It is reported that many college students viewed this TV show as a textbook on married life in urban settings” (118). Dwelling examines the issue of skyrocketing housing prices and the fates of the Guo sisters, Haizao and Haiping, who moved from rural China to the competitive economically advanced metropolis. Haiping is obsessed with buying an apartment while her younger sister becomes the mistress of a corrupt official, Song Siming. Both sisters receive favours from Song, which leads to Haiping’s success in purchasing a home. However, Haizao is less fortunate. She has a miscarriage and her uterus removed while Song dies in a car accident. Online responses from the audience praise Dwelling for its penetrating and realistic insights into the complex web of familial relationships navigated by Chinese people living in a China under transformation (Xiao, “Woju”). Dwelling was taken off the air when a SARFT official criticised the drama for violating state-endorsed “cultural standards” in its explicit discussions of sex and negative portrayals of government officials (Hung, “State” 156). However, the show continued to be streamed online and it has been viewed and downloaded more than 100 million times (Yu 34). In Lawyers, Luo Li and Chi Haidong are two competing divorce lawyers in Beijing who finally tie the knot. Chi was a happily married man before catching his wife with her lover. Newly divorced, he moves into the same apartment building as Luo and the drama focuses on a series of cases they handle, most of which involve extramarital affairs. Lawyers has been viewed more than 1.6 billion times online (v.qq.com) and received the China Huading award for “favourite television drama” in 2015. Although these dramas contain some conventional elements of domestic melodramas, such as extramarital affairs and domestic disputes, they differ from traditional Chinese television dramas because they do not focus on the common trope of fraught mother-in-law and daughter-in-law relationships.Centred on the politics of family ethics, these hugely popular dramas present the transformation in gender norms as a struggle between post-socialist and pre-socialist understandings of femininity. On the one hand, these dramas celebrate the emergence of a post-socialist femininity that is independent, economically successful, and sexually liberated, epitomising this new understanding of womanhood in the figures of single women and mistresses. On the other hand, the dramas portray these post-socialist women in perpetual conflict with wives and mothers who propound a pre-socialist form of femininity that is sexually conservative and defined by familial relationships, and is economically less viable in the market economy. Focusing on depictions of femininity in these dramas, this paper offers a comparative analysis into the extent to which gender norms have been reconfigured in post-socialist China. It approaches these television dramas as a pedagogical device (Brady) and pays particular attention to the ways through which different categories of women interrogated their rights as single women, mistresses, wives, and mothers. In doing so, it illuminates the politics through which a liberal post-socialist femininity unleashed by market transformation is controlled in order to protect the integrity of the family and maintain social order. Post-Socialist Femininity Unleashed: Single Women and Mistresses A woman’s identity is inextricably linked to her marital status in Chinese society. In pre-socialist China, women relied on men as providers and were expected to focus on contributing to her husband’s family (Ebrey and Watson; Wolf and Witke). This pre-socialist positioning of women within the private realm of the family, though reinterpreted, continued to resonate in the socialist period when women were expected to fulfil marital obligations as wives and participate in the public domain as revolutionaries (Evans). While the pressure to marry has not disappeared in post-socialist China, as the derogatory term “leftover women” (single women over the age of 27) indicates, there are now more choices for single women living in metropolitan cities who are highly educated and financially independent. They can choose to remain single, get married, or become mistresses. Single women can be regarded as a threat to wives because the only thing holding them back from becoming mistresses is their morals. The 28-year-old “leftover woman” Luo Li (Lawyers) is presented as morally superior to single women who choose to become mistresses (Luo Meiyuan and Shi Jiang) and therefore deserving of a happy ending because she breaks up with her boss as soon as she discovers he is married. Luo Li quits to set up a law firm with her friend Tang Meiyu. Both women are beautiful, articulate, intelligent, and sexually liberated, symbolising unleashed post-socialist femininity. Part of the comic relief in Lawyers is the subplot of Luo’s mother trying to introduce her to “eligible” bachelors such as the “PhD man” (Episodes 20–21). Luo is unwilling to lower her standards to escape the stigma of being a “leftover woman” and she is rewarded for adhering to her ideals in the end when she convinces the marriage-phobic Chi Haidong to marry her after she rejects a marriage proposal from her newly divorced ex-lover. While Luo Li refuses to remain a mistress, many women do not subscribe to her worldview. Mistresses have existed throughout Chinese history in the form of concubines and courtesans. A wealthy and powerful man was expected to have concubines, who were usually from lower socio-economic backgrounds (Ebrey and Watson; Liu). Mistresses, now referred to as xiaosan, have become a heated topic in post-socialist China where they are regarded as having the power to destroy families by transgressing moral boundaries. Some argue that the phenomenon is a result of the market-driven economy where women who desire a financially stable life use their sexuality to seek rich married men who lust for younger mistresses as symbols of power. Ruth Y.Y. Hung characterises the xiaosan phenomenon as a “horrendous sex trade [that is] a marker of neoliberal market economies in the new PRC” (“Imagination” 100). A comparison of the three dramas reveals a transformation in the depiction of mistresses over the last decade. While Xiao Li (Divorce) is never “confirmed” as Song Jianping’s mistress, she flirts with him and crosses the boundaries of a professional relationship, posing a threat to the stability of Song’s family life. Although Haizao (Dwelling) is university-educated and has a stable, if low-paying job, she chooses to break up with her earnest caring fiancé to be the mistress of the middle-aged Song Siming who offers her material benefits in the form of “loans” she knows she will never be able to repay, a fancy apartment to live in, and other “gifts” such as dining at expensive restaurants and shopping at big malls. While the fresh-faced Haizao exhibits a physical transformation after becoming Song’s mistress, demonstrated through her newly permed hair coupled with an expensive red coat, mistresses in Lawyers do not change in this way. Dong Dahai’s mistress, the voluptuous Luo Meiyuan is already a successful career woman who flaunts her perfect makeup, long wavy hair, and body-hugging dresses (Episodes 12–26). She exudes sexual confidence but her relationship is not predicated on receiving financial favours in return for sexual ones. She tells Dong’s wife that the only “third person” in a relationship is the “unloved” one (Episode 15). Another mistress who challenges old ideas of the power dynamic of the rich man and financially reliant young woman is the divorced Shi Jiang, Tang Meiyu’s former classmate, who becomes the mistress of Tang’s husband (Cao Qiankun) without any moral qualms, even though she knows that her friend is pregnant with his child. A powerful businesswoman, Shi is the owner of a high-end bar that Cao frequents after losing his job. Unable to tell his wife the truth, he spends most days wandering around and is unable to resist Shi’s advances because she claims to have loved him since their university days and that she understands him. In this relationship, Shi has taken on the role traditionally assigned to men: she is the affluent powerful one who is able to manipulate the downtrodden unemployed man by “lending” him money in his time of need, offering him a job at her bar (Episode 17), and eventually finding him a new job through her connections (Episodes 23–24). When Cao leaves home after Tang finds out about the affair, Shi provides him with a place to stay (Episode 34). Because the viewers are positioned to root for Tang due to her role as the female lead’s best friend, Shi is immediately set up as one of the villains, although she is portrayed in a more sympathetic light after she reveals to Cao that she was forced to give up her son to her ex-husband in America (who cheated on her) in order to finalise her divorce (Episode 29).The portrayal of different mistresses in Lawyers signals a transformation in the representation of gender compared to Divorce and Dwelling, because the women are less naïve than Haizao, financially well-off because of their business acumen, and much more outspoken and determined to fight for what they want. On the surface these women are depicted as more liberated and free from gender hierarchies and sexual oppression. Hung describes xiaosan as “an active if constrained agent . . . whose new mode of life has become revealingly defensible and publicly acceptable in socioeconomic terms that reflect the moral changes that follow economic reforms” (“State” 166). However, the closure of these storylines suggest that although more complex reasons for becoming a mistress have been explored in the new drama, mistresses are still regarded as a threat to social stability and therefore punished, challenging Hung’s argument about the “acceptability” of mistresses in post-socialist China. Post-Socialist Femininity Restrained: Wives and MothersCountering these liberal forms of post-socialist femininity are portrayals of righteous wives and exemplary mothers. These depictions articulate a moral positioning grounded in pre-socialist and socialist understandings of a woman’s place in Chinese society. These portrayals of moral women check the transgressive powers of single women and mistresses with the potential to break families up. More importantly, they remind the audience of desired gender norms that retain the integrity of the family and anchor a society undergoing rapid transformation.The three dramas portray wives who are stridently righteous in their confrontations with women they perceive as a threat to their families. These women find moral justification for the violence they inflict on transgressors from cultural understandings of their rights as wives. Lin Xiaofeng (Divorce) repeatedly challenges Xiao Li to explain the “logic” underlying her actions when she discovers that Xiao accompanied Song Jianping to a wedding (Episode 14). The “logic” Lin refers to is a cultural understanding that it is her right as wife to accompany Song to public events and not Xiao’s. By transgressing this moral boundary, Xiao accords Lin the moral authority to cast doubt on her abilities as a doctor in a public confrontation. It also provides moral justification for Lin to slap Xiao when she suggests that Lin is an embarrassment to her husband, an argument that underscores Lin’s failure and challenges her moral authority as wife. Jiang Miaomiao (Dwelling) draws on similar cultural understandings when she appears at the apartment Haizao shares with Song Siming (Episode 33). Jiang positions herself in the traditional role of a wife as a household manager (Ebrey) whose responsibilities include paying Song’s mistresses. She puts Haizao into a subordinate position by arguing that since Haizao is less than a mistress and slightly better than a prostitute, she is not worth the money Song has given her. When Haizao refuses to return the money a tussle ensues, causing Haizao to have a miscarriage. Likewise, Miao Jinxiu (Lawyers) draws on similar cultural understandings of a wife’s position when she laments popular arguments that depict mistresses such as Luo Meiyuan as usurping the superior position of wives like herself who are less attractive and able to navigate the market economy. Miao describes these arguments as “inverting black into white” (Episode 19). She publicly humiliates Luo by throwing paint on her at a charity event (Episode 17) and covers Luo’s car with posters labelling Luo a “slut,” “prostitute,” and “shameless” (Episode 18). Miao succeeds in “winning” her husband back. The public violence Miao inflicts on Luo and her success in protecting her marriage are struggles to reinforce the boundaries defining the categories of wife and mistress as these limits become increasingly challenged in China. In contrast to the violent strategies that Lin, Jiang, and Miao adopt, Tang Meiyu resists Shi Jiang’s destructive powers by reminding her errant husband of the emotional warmth of their family. She asks him, “Do you still remember telling me what the nicest sound is at home?” For Cao, the best sounds are Tang’s laughter, their baby’s cries, the sound of the washing machine, and the flushing of their leaky toilet (Episode 43). The couple reconciles and even wins a lottery that cements their “happy ending.” By highlighting the warmth of their family, Tang reminds Cao of her rightful place as wife, restrains Shi from breaking up the couple, and protects the integrity of the family. It is by drawing on deeply entrenched cultural understandings of the rights of wives that these women find the moral authority to challenge, restrain, and control the transgressive powers of mistresses and single women. The dramas’ portrayals of mothers further reinforce the sense that there is a need to restrain liberal forms of post-socialist femininity embodied by errant daughters who transgress the moral boundaries of the family. Lin Xiaofeng’s mother (Divorce) assumes the role of the forgiving wife and mother. She not only forgives Lin’s father for having an affair but raises Lin, her husband’s love child, as her own (Episode 23). On her deathbed, she articulates the values underlying her acceptance of this transgression, namely that one needs to be “a little kinder, more tolerant, and a little muddleheaded” when dealing with matters of the family. Her forgiveness bears fruit in the form of the warm companionship and support she enjoys with Lin’s father. This sends a strong pedagogical message to the audience that it is possible for a marriage to remain intact if one is willing to forgive. In contrast, Haizao’s mother (Dwelling) adopts the role of the disciplinary mother. She attempts to beat Haizao with a coat hanger when she finds out that her daughter is pregnant with Song Siming’s child (Episode 31). She describes Haizao’s decision as “the wrong path” and is emphatic that abortion is the only way to right this wrong. She argues that abortion will allow her daughter to start life anew in a relationship she describes as “open and aboveboard,” which will culminate in marriage. When Haizao rejects her mother’s disciplining, her lover dies in a car accident and she has a miscarriage. She loses her ability to speak for two months after these double tragedies and pays the ultimate price, losing her reproductive abilities. Luo Li’s mother (Lawyers), Li Chunhua, extends this pedagogical approach by adopting the role of public counsellor as a talk show host. Li describes Luo’s profession as “wicked” because it focuses on separating the family (Episode 9). Instead, she promotes reconciliation as an alternative. She counsels couples to remain together by propounding traditional family values, such as the need for daughters-in-law to consider the filial obligations of sons when managing their relationship with their mothers-in-law (Episode 25). Her rising ratings and the effectiveness of her strategy in bringing estranged couples like Miao Jinxiu and Dong Dahai back together (Episode 26) challenges the transgressive powers of mistresses by preventing the separation of families. More importantly, as with Haizao’s and Lin’s mothers, the moral force of Li’s position and the alternatives to divorce that she suggests draw on pre-socialist and socialist understandings of family values that underscore the sanctity of marriage to the audience. By reminding errant daughters of deeply embedded cultural standards of what it means to be a woman in Chinese society, these mothers are moral exemplars who restrain the potentiality of daughters becoming mistresses. ConclusionMarket reforms have led to a transformation in understandings of womanhood in post-socialist China. Depictions of mistresses and single women as independent, economically successful, and sexually liberated underscores the emergence of liberal forms of post-socialist femininity. Although adept at navigating the new market economy, these types of post-socialist women threaten the integrity of the family and need to be controlled. Moral arguments articulated by wives and mothers restrain the potentially destructive powers of post-socialist womanhood by drawing on deeply embedded understandings of the rights of women shaped in pre-socialist China. It is by disciplining liberal forms of post-socialist femininity such that they fit back into deeply embedded gender hierarchies that social order is restored. By illuminating the moral politics undergirding relationships between women in post-socialist China, the dramas discussed underscore the continued significance of television as a pedagogical device through which desired gender norms are popularised. These portrayals of the struggles between liberal forms of post-socialist femininity and conservative pre-socialist understandings of womanhood as lived in everyday life serve to communicate the importance of protecting the integrity of the family and maintaining social stability in order for China to continue to pursue development. ReferencesAhern, Emily. “The Power and Pollution of Chinese Women.” Women in Chinese Society. Eds. Margery Wolf et al. Stanford: Stanford UP, 1975. 193–214. Brady, Anne-Marie. Marketing Dictatorship: Propaganda and Thought Work in Contemporary China. Lanham: Rowman & Littlefield, 2007. China Huading Award. “Top 100 TV Series Satisfaction Survey.” 9 Aug. 2015. Chinese Style Divorce. Writ. Wang Hailing. Dir. Shen Yan. Beijing Jindun Xintong Film & Television Culture, 2004. Divorce Lawyers. Writ. Chen Tong. Dir. Yang Wenjun. JSTV, 2014. Dwelling Narrowness. Writ. Liu Liu, Teng Huatao, Cao Dun. Dir. Teng Huatao. Shanghai Media Group, 2009. Ebrey, Patricia. The Inner Quarters: Marriage and the Lives of Chinese Women in the Sung Period. Berkeley: U of California P, 1993.Ebrey, Patricia, and Rubie Watson, eds. Marriage and Inequality in Chinese Society. Berkeley: U of California P, 1991. Evans, Harriet. Women and Sexuality in China: Dominant Discourses of Female Sexuality since 1949. Cambridge: Polity Press, 1997. Farrer, James. Opening Up: Youth Sex Culture and Market Reform in Shanghai. Chicago: U of Chicago P, 2002. Hung, Ruth Y.Y. “The State and the Market: Chinese TV Serials and the Case of Woju (Dwelling Narrowness).” boundary 2 38.2 (2011): 155–187. ———. “Imagination in the Box: Woju’s Realism and the Representation of Xiaosan.” Television, Sex and Society: Analyzing Contemporary Representations. Eds. Basil Glynn et al. New York: Continuum, 2012. 89–105. Kleinman, Arthur, et al. “Introduction: Remaking the Moral Person in a New China.” Deep China: What Anthropology and Psychiatry Tell Us about China Today. Eds. Arthur Kleinman et al. Berkeley: U of California P, 2011. 1–35.Liu, Jieyu. “Gender and Sexuality.” Understanding Chinese Society. 2nd ed. Ed. Xiaowei Zang. London: Routledge, 2016. 53–66. Wolf, Margery, and Roxane Witke, eds. Women in Chinese Society. Stanford: Stanford UP, 1975. Xiao, Fuxing. “Woju Is a Sting Aimed at Reality.” ChinaNews.com.cn, 19 Nov. 2009. Xiao, Hui Faye. Marital Strife in Contemporary Chinese Literature and Visual Culture. Seattle: U of Washington P, 2014. Yu, Haiqing. “Dwelling Narrowness: Chinese Media and Their Disingenuous Neoliberal Logic.” Continuum 25.1 (2011): 33–46. Yan, Yunxiang. Private Life under Socialism: Love, Intimacy, and Family Change in a Chinese Village, 1949–1999. Stanford: Stanford UP, 2003. Zheng, Tiantian. Red Lights: The Lives of Sex Workers in Postsocialist China. Minneapolis: U of Minnesota P, 2009.

Photo by National Cancer Institute on Unsplash INTRODUCTION Gift-giving by patients or their families to physicians has happened since there were patients and physicians, and in many places, it’s still quite common. It’s also potentially problematic, and the why and how of it offer important insight into the physician-patient relationship and human relationships more broadly. Yet ethicists, regulators, and the public have not paid much systematic attention. In the United States, no federal or state legislation directly addresses it. Only in the past two decades did the American Medical Association (AMA) release guidance to physicians about it. That guidance, which permits physicians to accept certain gifts by certain patients under certain circumstances, namely, when it will not influence their medical judgment or cause hardship to the gift-giver, is vague and incomplete – indeed, it’s all of 200 words.[1] Other physician professional organizations have little to add.[2] A few academics and opinion columnists have studied or reflected on the psychology of gift-giving and -receiving and recommended everything from categorical rejection of patient gifts[3] to erring on the side of accepting them, provided they are of modest value, and the motivation behind them can be discerned.[4] However, insufficient attention has been paid to the when and where of those gifts or the significance of clinic-, hospital- or other systems-level ethical safeguards. ANALYSIS When deciding whether they will accept a gift from a patient or their family, physicians must balance the possibility that the gift could cloud medical judgment, lead to favoritism, exploitation, and slippery slopes, or pressure other patients to give, and perhaps even debase the meaning of medical treatment, against the prospect that gift-giving could increase patient trust and satisfaction, as well as empower patients and respect their autonomy and culture.[5] Performing this harm-benefit calculation case by case is challenging and time-consuming. Unsurprisingly, many physicians opt simply to tell would-be gift-giving patients that they appreciate the sentiment, but, as a rule, they accept no gifts. I submit many physicians do this also because they are unaware of how meaningful giving a gift can be for patients or anyone in a disadvantaged position with respect to the gift recipient. They may also not know that there are simple accountability mechanisms they can institute that may prevent many of the possible adverse consequences of gift-giving and -receiving in the context of the physician-patient or physician-patient-family relationship. Unfortunately, many instances in which accepting a gift would have led to net benefit are foregone. It is my belief a consensus could quickly be formed about which types of gifts would clearly be wrong to accept. Few would defend the physician who agrees to use a patient’s villa in the Bahamas or welcomes expensive jewelry or lewd photos. The timing and intent of a gift also matter. Few would forgive the physician who accepted even a modestly valuable voucher to eat at a patient’s restaurant while their eligibility for transplant was being debated or after they had run out of opioid painkillers and were denied a prescription renewal. On the other hand, I doubt even Charles Weijer or the College of Physicians and Surgeons of Prince Edward Island, which views accepting gifts from patients as “boundary crossing,”[6] would demand an orthopedic surgeon turn down the happy picture a pediatric patient drew after recovering from a hip injury and resuming sports. They are also unlikely to criticize an oncology team that graciously receives a fruitcake baked by the sister of an elderly cancer patient after the decision was made and agreed to, around Christmastime, not to initiate another round of chemotherapy. These unlikely refusals may be because rejecting those gifts, all things considered, would seem cruel. But it might also be because there is disagreement about what constitutes a gift: whether it must be a tangible object (are heartfelt thank-yous and hugs not also “gifts”?) or whether it must be something that requires the physician actively do something, e.g., get on a plane. These disagreements about definitions may also partially underlie disagreements about practice. Suppose a patient in a sparsely populated, heavily wooded part of Maine takes it upon himself to offer a sack of apples from his orchard to his internist, who regularly waives fees for those who cannot pay them or will make a house call at any time of the night. In that case, the internist may not consider the apples a gift. He may not think of them as payment or re-payment either. They may exist in some in-between category, much like the knitted slippers brought in by a patient in whose culture “thank you” is seldom said. But clearly, some things are widely perceived as gifts or to have substantial gift-like character. Should they, at least, be rejected? I don’t think so. The act of gift-giving and -receiving can be a sort of ritual and gradually lead to trust and closeness.[7] Perhaps a shy patient whose wife previously sent chocolates to his physician around Christmastime will come to see the physician as a part of his extended family. Perhaps he needs to do so to feel comfortable talking about his erectile dysfunction. Gifts can be expressions of caring.[8] Perhaps an elderly Texan patient imagines her younger physician, whom she has known for thirty years and often sees at the grocery store, as her son and asks to prepare a homecoming mum (traditionally a chrysanthemum flower corsage) for his children’s school dance. Perhaps doing so will give her purpose, make her feel useful, as all her own children have moved away. Giving gifts may also provide patients with a sense of control and help them feel as if less of a power imbalance exists between them and their physician. Perhaps a young judge, who is not used to not being in control, and was previously misdiagnosed with rheumatoid arthritis, is now struggling to come to terms with his Lupus. Perhaps giving the physician who made the correct diagnosis a moderately-priced bottle of scotch restores his confidence or sense of pride to. Gifts are also undoubtedly important to the recipient. When medical providers receive a gift, they may interpret it as a sign that they are valued. While it would be wrong to practice medicine to receive gifts or expect them, there are times, like when ERs and ICUs are overwhelmed because of a viral pandemic,[9] which threatens the will to continue working, and most anything (within reason) that bolsters resolve can be considered good. There is also no obvious distinction between the satisfaction physicians normally receive on seeing their patients recover or being thanked or smiled at and what they feel when they receive a small or “token” gift, like a plate of homemade cookies. The point is that the physician-patient relationship is a human one. Many advocate it should be personal, that physicians should be emotionally invested in their patients, care about and have compassion for them in ways that professional oaths do not fully capture.[10] This dynamic is particularly important in primary care or when the physician-patient relationship continues for long periods. According to one Israeli study, many patients even wish for a relationship with their physician akin to friendship. Those who felt they had such a relationship were more satisfied with their care than those who believed the relationship was business-like.[11] The precedent for this “friendship between unequals” goes back at least to the time of Erasmus, some five hundred years ago.[12] There may be good reasons for physicians to draw the line before friendship, but if accepting certain gifts builds intimacy, and that intimacy does not cross over into an inappropriate relationship, e.g., a sexual or romantic relationship, and if it has the chance to improve healthcare outcomes through improved mood or early disclosure of problems, I think it should be done. Physicians have a prima facie duty to do good for their patients.[13] Most physicians want to do good for their patients and respect their traditions and preferences. I suspect that accepting the gifts from the patients in the examples above would do a lot of good, or at least that rejecting them could do significant harm, including making them or their families feel estranged from the medical community, impeding future care. Physicians might be more comfortable accepting gifts if receiving gifts would not subject them to scrutiny or penalty. They also may feel better if they knew that receiving gifts would not harm their patients and that rejecting gifts might. They should document all gifts they receive.[14] This will enable them to detect if gifts from a particular patient are increasing in frequency or lavishness or changing markedly in character, which could warrant attention. I maintain this “Gift Log” should be maintained in common with everyone at the clinic or in the relevant hospital department and potentially made available to hospital administration for audit. Investigation might be necessary if a gift is given (and accepted) with no explicable context, e.g., not near holiday season or after a treatment milestone is achieved. When possible, gifts should be shared communally, such as placing fruit baskets or chocolates in the staff room. Other gifts, like artwork, can be displayed on the walls. Others should be encouraged to hold physicians accountable if they feel patients who have given gifts receive preferential treatment, including something as seemingly small as priority for appointment bookings. Appearances matter and even the appearance of impropriety can affect the public’s trust in medicine. The culture of medicine has already changed such that nurses now reproach physicians they feel violate the standard of care,[15] and this would be an extension of that trend. Depending on the set-up of the practice, a staff member can be designated for receiving gifts and politely declining those that ought to be declined. Staff members should tell patients, who give gifts in full view of other patients, that they cannot do so in the future. Physicians can politely rebuff patients who wish to give inappropriate gifts, or gifts at inappropriate times and suggest they donate to charity instead. Medical practices and hospitals should develop a gift policy in consultation with staff and patients to avoid needlessly rejecting gifts that benefit both doctor and patient and to avoid pressuring patients into giving gifts. The policy should be flexible to account for the crucial human element in any provider-patient relationship and the cultural nuances of any practice setting. Psychiatrists, who work with particularly vulnerable patients, may need to be more vigilant when accepting gifts.[16] CONCLUSION Though we tend to think health innovation occurs in urban medical centers and spreads outward, there may be something big-city physicians can learn from their rural colleagues about personalized patient-physician relationships. The value of gifts is only one example. Normalizing the acceptance of patient gifts in appropriate restricted circumstances has the added benefit of shining a spotlight on the acceptance of patient gifts in dubious ones. By bringing an already fairly common practice into the open and talking about it, we can create policies that respect patients as persons, prevent abuse, and deconstruct the stereotype of the austere and detached physician. While there is no reason to think that gift-giving would get out of control if appropriate safeguards are put in place, the medical community can always re-evaluate after a period, or an individual medical practice can re-evaluate based on the circumstances of their practice environment. Gift-giving, especially when gifts are of small monetary value, should be recognized as a culturally appropriate gesture with meaning far beyond that monetary value. It is best governed by reasonable gift-giving policies, not banned altogether. - [1] Council on Ethical and Judicial Affairs. “Ethics of Patient-Physician Relationships.” In AMA Code of Medical Ethics, 11. Chicago: American Medical Association, 2021. https://www.ama-assn.org/sites/ama-assn.org/files/corp/media-browser/code-of-medical-ethics-chapter-1.pdf. [2] Sulmasy, Lois Snyder, and Thomas A. Bledsoe. “American College of Physicians Ethics Manual.” Annals of Internal Medicine 170, no. 2_Supplement (January 15, 2019): S1–32. https://doi.org/10.7326/M18-2160; Committee on Bioethics. “Pediatrician-Family-Patient Relationships: Managing the Boundaries.” Pediatrics 124, no. 6 (December 1, 2009): 1685–88. https://doi.org/10.1542/peds.2009-2147. [3] Weijer, Charles. “No: Gifts Debase the True Value of Care.” Western Journal of Medicine 175, no. 2 (August 2001): 77. [4] Lyckholm, Laurie J. “Should Physicians Accept Gifts From Patients?” JAMA 280, no. 22 (December 9, 1998): 1944–46. https://doi.org/10.1001/jama.280.22.1944; Spence, Sean A. “Patients Bearing Gifts: Are There Strings Attached?” BMJ 331, no. 7531 (December 22, 2005): 1527–29. https://doi.org/10.1136/bmj.331.7531.1527; Gaufberg, Elizabeth. “Should Physicians Accept Gifts from Patients?” American Family Physician 76, no. 3 (August 1, 2007): 437; Caddell, Andrew, and Lara Hazelton. “Accepting Gifts from Patients.” Canadian Family Physician 59, no. 12 (December 2013): 1259–60. [5] See above commentators and Drew, Jennifer, John D. Stoeckle, and J. Andrew Billings. “Tips, Status and Sacrifice: Gift Giving in the Doctor-Patient Relationship.” Social Science & Medicine 17, no. 7 (January 1, 1983): 399–404. https://doi.org/10.1016/0277-9536(83)90343-X. [6] College of Physicians and Surgeons of Prince Edward Island. “Respecting Boundaries.” Accessed April 4, 2021. https://cpspei.ca/respecting-boundaries/. [7] The Atlantic’s Marketing Team. “What Gifting Rituals from Around the Globe Reveal About Human Nature.” The Atlantic, 2018. https://www.theatlantic.com/sponsored/hennessy-2018/what-gifting-rituals-around-globe-reveal-about-human-nature/2044/. [8] Parker-Pope, Tara. “A Gift That Gives Right Back? The Giving Itself.” The New York Times, December 11, 2007, sec. Health. https://www.nytimes.com/2007/12/11/health/11well.html. [9] Harlan, Chico, and Stefano Pitrelli. “As Coronavirus Cases Grow, Hospitals in Northern Italy Are Running out of Beds.” Washington Post. Accessed April 4, 2021. https://www.washingtonpost.com/world/europe/italy-coronavirus-patients-lombardy-hospitals/2020/03/12/36041dc6-63ce-11ea-8a8e-5c5336b32760_story.html. [10] Frankel, Richard M. “Emotion and the Physician-Patient Relationship.” Motivation and Emotion 19, no. 3 (September 1, 1995): 163–73. https://doi.org/10.1007/BF02250509. [11] Magnezi, Racheli, Lisa Carroll Bergman, and Sara Urowitz. “Would Your Patient Prefer to Be Considered Your Friend? Patient Preferences in Physician Relationships.” Health Education & Behavior 42, no. 2 (April 1, 2015): 210–19. https://doi.org/10.1177/1090198114547814. [12] Albury, W. R., and G. M. Weisz. “The Medical Ethics of Erasmus and the Physician-Patient Relationship.” Medical Humanities 27, no. 1 (June 2001): 35–41. https://doi.org/10.1136/mh.27.1.35. [13] Beauchamp, Tom L., and James F. Childress. Principles of Biomedical Ethics. 7th edition. New York: Oxford University Press, 2012. [14] Caddell and Hazelton, 2013. [15] See, e.g. Peplau, Hildegard E. “A Glance Back in Time: Nurse-Doctor Relationships.” Nursing Forum 34, no. 3 (1999): 31–35. https://doi.org/10.1111/j.1744-6198.1999.tb00991.x and Ahmad, Ahmir. “The Doctor-Nurse Relationship: Time for Change?” British Journal of Hospital Medicine (2005), September 27, 2013. https://doi.org/10.12968/hmed.2009.70.Sup4.41642. [16] Hundert, Edward M. “Looking a Gift Horse in the Mouth: The Ethics of Gift-Giving in Psychiatry.” Harvard Review of Psychiatry 6, no. 2 (January 1, 1998): 114–17. https://doi.org/10.3109/10673229809000319.

We'd eat at Cahill's, Cahill's Family Restaurants I believe they were called, and quite plushy looking ... . At Cahill's we'd eat Viennese Schnitzel, with potato salad and some nice red cabbage salad, sort of pickled ... . Even more exotic was Chicken Maryland, served with a banana and a slice of pineapple in batter. It cost 7s 6d. -- Marion Halligan (11) We migrated in the sixties. Born in Cape Town, I was raised in the heart of Jewish Bondi. The flavours of my youth? Probably equal parts peri-peri, horseradish and chicken booster, not bouquet garni. My introduction to what was 'Australian' food was had in restaurants. And yes, I remember Cahill's, though I can't tell you when exactly, or how much things cost. Mid-sixties. I knew, even then, that there were better restaurants, like the places Dad used to take us with checked tablecloths and bottles with candles dripping wax and fish nets everywhere. His favourites were Mother's Cellar and The Gap at Watson's Bay. I think it's still there. This was before they built Australia Square and Dad became obsessed with the Summit, and of course the Blue Angel, where we never doubted that the lobsters were live. Favourite dishes? I would only eat 'chicken in a basket' or spaghetti bolognaise; well, I was very young, and prone to tears. I can remember my father, losing patience and insisting, "you have a basket for the bread, just put the bloody chicken in it". I can't even remember what it was, probably the same Chicken Maryland Halligan mentions, or a cousin. Fried chicken with a battered pineapple ring and chips of course, sometimes magically grated to form a lattice. I know I enjoyed going out to eat but all meals held the prospect of tension. Visser says the tension arises from the prospect of ending up as a main course. In my case, a mere hors d'œuvre for my sarcastic oldest brother. I was the youngest and unsure how to get the best, the most, as much, or even what I wanted. I wouldn't order until I had read the whole menu, which took long enough even when it wasn't in French or Italian. The menu rarely helped me, rather it served to frustrate my entire family because they knew I was going to order spaghetti or chicken anyway, but that made no difference, the menu had to be read before ordering, and no amount of harassment could convince me otherwise. I love the thought of that child, and her passionate sense of propriety. On special occasions Dad would order Spumante and we would all have a glass, and I felt terribly sophisticated; fortunately the experience doesn't seem to have permanently damaged my palate. Spumante reminded Dad of Italy, the war, you know. Granny used to refer to this as "Henry's trip to Europe". My Dad loved the war, and I'm sure it's not all rosy nostalgia because it was the only time he got away from his family. He drove a truck and didn't have to kill anybody and all we ever heard about was the mud, the black market and the girls. So a glass of cheap, sweet fizzy brought it all back, every time, and who am I to scoff, when the merest whiff of retsina and I'm floating in the bath-flat Aegean under a hot blue sky with anybody called Jani? Cahill's, meanwhile, was in the city, in the days when you 'went to town'. Going to town was always a treat but it depended largely on with whom and why. With Mum it meant serious shopping, and though there was the promise of lunch at David Jones Cafeteria, was it worth the endless hours of torture trying on shoes that were too small and school uniforms which were too big, but of course I would grow into them? And how could a pie with sauce in a plastic packet have been a treat? Going to town with Nana was a different story. It was with some expectation that we would descend into the air-conditioned red-walled cavern that was Cahill's. What I remember about Cahill's was the occasion, and the fish and chips. Nana spent her childhood in a Dickensian orphanage and her adulthood in the North of England, waiting for my grandfather to pick a winner, so I imagine that she felt comfortable with what she knew. That she always ordered fish and chips is only strange because Nana was famous for her fish and chips, perhaps she liked to compare. And I really shouldn't find it odd when I find it difficult to order anything other than fritto misto; in two generations we've progressed to "trefe"1 but not past the deep fryer. So I'm sure that I ordered fish and chips too, or perhaps I ate some of hers, because that was the only thing to do, otherwise she would eat one piece, then look around before coughing theatrically into a serviette which she would then drop, casually, over the other piece and put it in her bag. It was absolutely awful, and we grandchildren loved it when she did that. The other thing I have to say about fish and chips is that we Jews like to eat fried fish cold, but then we don't batter the fish, just flour and egg. I suppose it forms a batter anyway but it doesn't separate from the fish, and we like a solid fish, say kingfish, while Australians seem to go for thinner fillets encased in oily batter. Cahill's did something in between. To follow, tea for Nana, while I always ate fruit salad and ice cream; this I also used to eat on our Saturday afternoon excursions to the 'Cross' which Nana said reminded her of Paris, because it was full of 'artists' like herself. So Nana would sip her tea while I ate my tinned fruit salad and we enjoyed each other and the world, and what a delight for a chatty little girl, the undivided attention of such a beloved adult. I do believe that I will never feel as grown up, ever again, as I did when I was a little girl, out for lunch with my Nana. So as you see I have a sentimental attachment to fish and chips. Their cooking and consumption have flavoured my childhood and possibly yours. The association of fish and chips with that Hanson woman2 is therefore particularly galling, and yet also pertinent. I've never believed that it's just a coincidence that she is purveyor of fish and chips; after all, fish and chips are emblematic of 'Englishness'. Hanson wants Australians to maintain their cultural identification with the mother country, she could hardly have achieved her profile were she the proprietor of a noodle shop. So as you see I have a sentimental attachment to fish and chips. Their cooking and consumption have flavoured my childhood and possibly yours. The association of fish and chips with that Hanson woman2 is therefore particularly galling, and yet also pertinent. I've never believed that it's just a coincidence that she is purveyor of fish and chips; after all, fish and chips are emblematic of 'Englishness'. Hanson wants Australians to maintain their cultural identification with the mother country, she could hardly have achieved her profile were she the proprietor of a noodle shop. Here lies the Great Divide and I fear that I may be part of the problem, not the solution. I am hoist on my hybrid petard, uncomfortably, because much as I dislike elitist Epicureanism I have seen that the reality of what we eat in this country is not always pretty. And all the best efforts of the proselytising 'foodie' media are falling on deaf or already converted ears. Back in the mother country, this battleground is already well trod: there remains something shamefaced about the acceptance of fish and chips as a component of 'Englishness' among the 'better classes' ... . This set of perceptions attaches fish and chips to potent patriotic images of land, countryside, industrial might ... and above all, the notion of Britain as a gallant seafaring notion whose little ships do battle with the elements and the foreign enemy to feed and protect the people. (Walton 2) I see Pauline, wrapped in the flag, battered hake in upraised hand ... and let's not forget that fish and chips were one of our first fast foods, at a time when there was little respite for women, often providing the only hot meal of the day, particularly for workers. Of course the practice was seen to be harmful by health care professionals. The consumption of food prepared outside the home was read as poor mothering, a breakdown in the process of policing of 'proper' families and of course no-one is sure just what sort of mother Pauline is. She appears to be estranged from her older children, a case of one Chiko Roll too many? The irony of fish and chips and Englishness is that, according to Walton, fish and chips also symbolise cultural diversity: viewed in other moods and seen from other angles, of course, the image and associations of fish and chips could be very different. They expressed ethnic diversity as well as simplistic national solidarity, from the strong East End Jewish element in the early days of fish frying in London, through the strong Italian presence in the trade from the turn of the century, in urban Scotland and Ireland especially, to the growing importance of the Chinese and Greek Cypriots in the post-Second World War decades. (2) So fish and chips have played a significant role for a number of ethnic groups. They're ours, not hers. But I'm still troubled, I need to tell the gastronomic mafia that Pacific Rim cuisine won't be Oz food until a significant number of Australians are eating it, and I'm afraid "mainstream Australia, out there" is eating extremely boring food. Could it be that the resentment against Asians is because their food is just so much better? Footnotes 1. trefe: (yiddish) animals, seafood or insects considered impure, abomination, not to be eaten under any circumstances, notably pig and shellfish. 2. Pauline Hanson was elected to the Australian Federal Parliament as an independent candidate in 1996, and soon made her presence known with outspoken comments about Aborigines, (mainly Asian) migrants, and welfare recipients [ed.]. 3. Stephanie Alexander is a noted Australian food writer and restaurateur, and her A Shared Table is the latest of a plethora of Australian television series celebrating our gastronomic abundance. References Halligan,Marion. Eat My Words. Sydney: Collins/Angus and Robertson, 1990. Visser, Margaret. The Rituals of Dinner. New York: Grove/Weidenfeld, 1991. Walton, John K. Fish and Chips and the British Working Class: 1870-1940. Leicester: Leicester UP, 1992. Citation reference for this article MLA style: Felicity Newman. "'You Have a Basket for the Bread, Just Put the Bloody Chicken in It'." M/C: A Journal of Media and Culture 2.7 (1999). [your date of access] <http://www.uq.edu.au/mc/9910/basket.php>. Chicago style: Felicity Newman, "'You Have a Basket for the Bread, Just Put the Bloody Chicken in It'," M/C: A Journal of Media and Culture 2, no. 7 (1999), <http://www.uq.edu.au/mc/9910/basket.php> ([your date of access]). APA style: Felicity Newman. (1999) "You have a basket for the bread, just put the bloody chicken in it". M/C: A Journal of Media and Culture 2(7). <http://www.uq.edu.au/mc/9910/basket.php> ([your date of access]).

“Language is inseparable from the world that provokes it”-- Don DeLillo, “In the Ruins of the Future”The attacks of 9/11 generated a public discourse of suspicion, with Osama bin Laden occupying the role of the quintessential “most wanted” for nearly a decade, before being captured and killed in May 2011. In the novel, Falling Man (DeLillo), set shortly after the attacks of September 11, Justin, the protagonist’s son, and his friends, the two Siblings, spend much of their time at the window of the Siblings’ New York apartment, “searching the skies for Bill Lawton” (74). Mishearing bin Laden’s name on the news, Robert, the younger of the Siblings, has “never adjusted his original sense of what he was hearing” (73), and so the “myth of Bill Lawton” (74) is created. In this paper, I draw on postclassical, cognitive narratology to “defamiliarise” processes undertaken by both narrator and reader (Palmer 28) in order to explore how narrative elements impact on readers’ and characters’ perceptions of the terrorist. My focus on select episodes within the novel “pursue[s] the author’s means of controlling his reader” (Booth i), and I refer to a generic reader to identify a certain intuitive reaction to the text. Assuming that “the written text imposes certain limits on its unwritten implications” (Iser 281), I trace a path from the uttered or printed word, through the reading act, to the process of meaning-making. I demonstrate how renaming the terrorist, and other language games, challenge the notion that terror can be synonymous with a locatable, destructible source by activating a suspicion towards the text in particular, and towards language in general.Falling Man tells the story of Keith who, after surviving the attacks on the World Trade Centre, shows up injured and disoriented at the apartment of his estranged wife, Lianne, and their son, Justin. The narrative, set at different periods between the day of the attacks and three years later, focuses on Keith’s and Lianne’s lives as they attempt to deal, in their own ways, with the trauma of the attacks and with the unexpected reunion of their small family. Keith disappears into games of poker and has a brief relationship with another survivor, while Lianne searches for answers in the writings of Alzheimer sufferers, in places of worship, and in conversations with her mother, Nina, and her mother’s partner, Martin, a German art-dealer with a questionable past. Each of the novel’s three parts also contains a short narrative from the perspective of Hammad, a fictional terrorist, starting with his early days in a European cell under the leadership of the real terrorist, Mohamed Atta, through the group’s activities in Florida, to his final moments aboard the plane that crashes into the World Trade Centre. DeLillo’s work is noted for treating language as central to society and culture (Weinstein). In this personalised narrative of post-9/11, DeLillo’s choices reflect his “refusal to reproduce the mass media’s representations of 9/11 the reader is used to” (Grossinger 85). This refusal is manifest not so much in an absence of well-known, mediated images or concepts, but in the reshaping and re-presenting of these images so that they appear unexpected, new, and personal (Apitzch). A notable example of such re-presentation is the Falling Man of the title, who is introduced, surprisingly, not as the man depicted in the famous photograph by Richard Drew (Leps), but a performance artist who uses the name Falling Man when staging his falls from various New York buildings. Not until the final two sentences of the novel does DeLillo fully admit the image into the narrative, and even then only as Keith’s private vision from the Tower: “Then he saw a shirt come down out of the sky. He walked and saw it fall, arms waving like nothing in this life” (246). The bin Laden/Bill Lawton substitution shows a similar rejection of recycled concepts and enables a renewed perspective towards the idea of bin Laden. Bill Lawton is first introduced as an anonymous “man” (17), later to be named Bill Lawton (73), and later still to be revealed as bin Laden mispronounced (73). The reader first learns of Bill Lawton in a conversation between Lianne and the Siblings’ mother, Isabel, who is worried about the children’s preoccupation at the window:“It has something to do with this man.”“What man?”“This name. You’ve heard it.”“This name,” Lianne said.“Isn’t this the name they sort of mumble back and forth? My kids totally don’t want to discuss the matter. Katie enforces the thing. She basically inspires fear in her brother. I thought maybe you would know something.”“I don’t think so.”“Like Justin says nothing about any of this?”“No. What man?”“What man? Exactly,” Isabel said. (17)If “the piling up of data [...] fulfils a function in the construction of an image” (Bal 85), a delayed unravelling of the bin Laden identity distorts this data-piling so that by the time the reader learns of the Bill Lawton/bin Laden link, an image of a man is already established as separate from, and potentially exclusive of, his historical identity. The segment beginning immediately after Isabel’s comment, “What man? Exactly” (17), refers to another, unidentified man with the pronoun “he” (18), as if to further sway the reader’s attention from the subject of that man’s identity. Fludernik notes that “language games” are a key feature of the postmodern text (Towards 221), adding that “techniques of linguistic emasculation serve implicitly to question a simple and naive view of the representational potential of language” (225). I propose that, in Falling Man, bin Laden is emasculated by the Bill Lawton misnomer, and is thereby conceptualised as two entities, one historical and one fictional. The name-switch activates what psychologists refer to as a “dual-process,” conscious and unconscious, that forms the reader’s experience of the narrative (Gerrig 37), creating a cognitive dissonance between the two. Much like Wittgenstein’s duck-rabbit drawing, bin Laden and Bill Lawton exist as two separate entities, occupying the same space of the idea of bin Laden, but demanding to be viewed singularly for the process of recognition to take place. Such distortion of a well-known figure conveys the sense that, in this novel, “all identities are either confused [...] or double [...] or merging [...] or failing” (Kauffman 371), or, occasionally, doing all these things simultaneously.A similar cognitive process is triggered by the introduction of aliases for all three characters that head each of the novel’s three parts. Ernst Hechinger is revealed as Martin Ridnour’s former, ‘terrorist’ identity (DeLillo, Falling 86), and performance artist David Janiak (180) as the Falling Man’s everyday name. But the bin Laden/Bill Lawton switch offers an overt juxtaposition of the historical with the fictional or, as Žižek would have it, “the Raw real” with the “virtual” (387), and allows the mutated bin Laden/Bill Lawton figure to shift, in the mind of the reader, between the two worlds, as well as form a new, blended entity.At this point, it is important to notice that two, interconnected, forms of suspicion exist in the novel. The first is invoked in the story-level towards various terrorist-characters such as Bill Lawton, Hammad, and Martin. The second form is activated when various elements within the narrative prompt the reader to treat the text itself as suspicious, triggering in the reader a cognitive reaction that mirrors that of the narrated character. One example is the “halting process” (Leps) that is forced on the reader when attempting to manoeuvre through the narrative’s anachronical arrangement that mirrors Keith’s mental perception of time and memory. Another such narrative device is the use of “unheralded pronouns” (Gerrig 50), when ‘he’ or ‘she’ is used ambiguously, often at the beginning of a chapter or segment. The use of pronouns in narrative must adhere to strict grammatical rules (Fludernik, Introduction) and when these rules are ignored, the reading pattern is affected. First, the reader of Falling Man is immersed within an element in the story, then becomes puzzled about the identity of a character, and finally re-reads the passage to gain clarity. The reader, after a while, distances somewhat from the text, scanning for alternative possibilities and approaching interpretation with a tentative sense of doubt.The conversation between the two mothers, the Bill Lawton/bin Laden split, and the use of unheralded pronouns also destabilises the relationship between person and name, and appears to create a world in which “personality has disintegrated into a mere semiotic mark” (Versluys 21). Keith’s obsession with correcting the spelling of his surname, Neudecker, “because it wasn’t him, with the name misspelled” (DeLillo, Falling 31), Lianne’s fondness of the philosopher Kierkegaard, “right down to the spelling of his name. The hard Scandian k’s and lovely doubled a” (118), her consideration of “Marko [...] with a k, whatever that might signify” (119), and Rumsey, who is told that “everything in his life would be different [...] if one letter in his name was different” (149), are a few examples of the text’s semiotic emphasis. But, while Versluys sees this tendency as emblematic of the novel’s portrayal of a decline in humanity, I suggest that the text’s preoccupation with the shape and constitution of words may work to “de-automatise” (Margolin 66) the relationship between sign and perception, rather than to denigrate the signified human. With the renamed terrorist, the reader comes to doubt not only the printed text, but also his or her automatic response to “bin Laden” as a “brand, a sort of logo which identifies and personalises the evil” (Chomsky, September 36). Bill Lawton, according to Justin, speaks in monosyllables (102), a language Justin chooses, for a time, for his own speech (66), and this also contributes to the de-automatisation of the text. The language game, in which a speaker must only use words with one syllable, began as a classroom activity “designed to teach the children something about the structure of words and the discipline required to frame clear thoughts” (66). The game also gives players, and readers, an embodied understanding of what Genette calls the gap between “being and saying” (93) that is inevitable in the production of language and narrative. Justin, who continues to play the game outside the classroom, because “it helps [him] go slow when [he] thinks” (66), finds comfort in the silent pauses that are afforded by widening the gap between thought and utterance. History in Falling Man is a collection of the private narratives of survivors, families, terrorists, artists, and the host of people that are affected by the attacks of 9/11. Justin’s character, with the linguistic and psychic code of a child, represents the way in which all participants, to some extent, choose their own antagonist, language, plot, and sequence to personalise this mega-public event. He insists that the towers did not collapse (72), but that they will, “this time coming” (102); Bill Lawton, for Justin, “has a long beard [...] speaks thirteen languages but not English except to his wives [and] has the power to poison what we eat” (74). Despite being confronted with the factual inaccuracies of his narrative, Justin resists editing his version precisely because these inaccuracies form his own, non-mediated, authentic account. They are, in a sense, a work of fiction and, paradoxically, more ‘real’ because of that. “We want to pass beyond the limits of safe understandings”, thinks Lianne, “and what better way to do it than through make-believe” (63). I have so far shown how narrative elements create a suspicion in the way characters operate within their surrounding universe, in the reader’s attitude towards the text, and, more implicitly, in the power of language to accurately represent a personal reality. Within the context of the novel’s historical setting—the period following the 9/11 attacks—the narration of the terrorist figure, as represented in Bill Lawton, Hammad, Martin, and others, may function as a response to the “binarism” of Bush’s proposal (Butler 2), epitomised in his “either you are with us, or you are with the terrorists” (Silberstein 14) approach. Within the novel’s universe, its narration of terrorist-characters works to free discourse from superficial categorisations and to provide “a counterdiscourse to the prevailing nationalistic interpretations” (Versluys 23) of the events of 9/11 by de-automatising a response to “us” and “them.” In his essay published shortly after the attacks, DeLillo notes that “the sense of disarticulation we hear in the term ‘Us and Them’ has never been so striking, at either end” (“Ruins”), and while he draws distinctions, in the same essay, with technology on ‘our’ side and religious fanaticism on ‘their’ side, I believe that the novel is less settled on the subject. The Anglicisation of bin Laden’s name, for example, suggests that Bush’s either-or-ism is, at least partially, an arbitrary linguistic construct. At a time when some social commentators have highlighted the similarity in the definitions of “terror” and “counter terror” (Chomsky, “Commentary” 610), the Bill Lawton ‘error’ works to illustrate how easily language can destabilise our perception of what is familiar/strange, us/them, terror/counter-terror, victim/perpetrator. In the renaming of the notorious terrorist, “the familiar name is transposed on the mass murderer, but in return the attributes of the mass murderer are transposed on one very like us” (Conte 570), and this reciprocal relationship forms an imagined evil that is no longer so easily locatable within the prevailing political discourse. As the novel contextualises 9/11 within a greater historical narrative (Leps), in which characters like Martin represent “our” form of militant activism (Duvall), we are invited to perceive a possibility that the terrorist could be, like Martin, “one of ours […] godless, Western, white” (DeLillo, Falling 195).Further, the idea that the suspect exists, almost literally, within ‘us’, the victims, is reflected in the structure of the narrative itself. This suggests a more fluid relationship between terrorist and victim than is offered by common categorisations that, for some, “mislead and confuse the mind, which is trying to make sense of a disorderly reality” (Said 12). Hammad is visited in three short separate sections; “on Marienstrasse” (77-83), “in Nokomis” (171-178), and “the Hudson corridor” (237-239), at the end of each of the novel’s three parts. Hammad’s narrative is segmented within Keith’s and Lianne’s tale like an invisible yet pervasive reminder that the terrorist is inseparable from the lives of the victims, habituating the same terrains, and crafted by the same omniscient powers that compose the victims’ narrative. The penetration of the terrorist into ‘our’ narrative is also perceptible in the physical osmosis between terrorist and victim, as the body of the injured victim hosts fragments of the dead terrorist’s flesh. The portrayal of the body, in some post 9/11 novels, as “a vulnerable site of trauma” (Bird, 561), is evident in the following passage, where a physician explains to Keith the post-bombing condition termed “organic shrapnel”:The bomber is blown to bits, literally bits and pieces, and fragments of flesh and bone come flying outwards with such force and velocity that they get wedged, they get trapped in the body of anyone who’s in striking range...A student is sitting in a cafe. She survives the attack. Then, months later, they find these little, like, pellets of flesh, human flesh that got driven into the skin. (16)For Keith, the dead terrorist’s flesh, lodged under living human skin, confirms the malignancy of his emotional and physical injury, and suggests a “consciousness occupied by terror” (Apitzch 95), not unlike Justin’s consciousness, occupied from within by the “secret” (DeLillo, Falling 101) of Bill Lawton.The macabre bond between terrorist and victim is fully realised in the novel’s final pages, when Hammad’s death intersects, temporally, with the beginning of Keith’s story, and the two bodies almost literally collide as Hammad’s jet crashes into Keith’s office building. Unlike Hammad’s earlier and clearly framed narratives, his final interruption dissolves into Keith’s story with such cinematic seamlessness as to make the two narratives almost indistinguishable from one another. Hammad’s perspective concludes on board the jet, as “something fell off the counter in the galley. He fastened his seatbelt” (239), followed immediately by “a bottle fell off the counter in the galley, on the other side of the aisle, and he watched it roll this way and that” (239). The ambiguous use of the pronoun “he,” once again, and the twin bottles in the galleys create a moment of confusion and force a re-reading to establish that, in fact, there are two different bottles, in two galleys; one on board the plane and the other inside the World Trade Centre. Victim and terrorist, then, share a common fate as acting agents in a single governing narrative that implicates both lives.Finally, Žižek warns that “whenever we encounter such a purely evil on the Outside, [...] we should recognise the distilled version of our own self” (387). DeLillo assimilates this proposition into the fabric of Falling Man by crafting a language that renegotiates the division between ‘out’ and ‘in,’ creating a fictional antagonist in Bill Lawton that continues to lurk outside the symbolic window long after the demise of his historical double. Some have read this novel as offering a more relative perspective on terrorism (Duvall). However, like Leps, I find that DeLillo here tries to “provoke thoughtful stillness rather than secure truths” (185), and this stillness is conveyed in a language that meditates, with the reader, on its own role in constructing precarious concepts such as ‘us’ and ‘them.’ When proposing that terror, in Falling Man, can be found within ‘us,’ linguistically, historically, and even physically, I must also add that DeLillo’s ‘us’ is an imagined sphere that stands in opposition to a ‘them’ world in which “things [are] clearly defined” (DeLillo, Falling 83). Within this sphere, where “total silence” is seen as a form of spiritual progress (101), one is reminded to approach narrative and, by implication, life, with a sense of mindful attention; “to hear”, like Keith, “what is always there” (225), and to look, as Nina does, for “something deeper than things or shapes of things” (111).ReferencesApitzch, Julia. "The Art of Terror – the Terror of Art: Delillo's Still Life of 9/11, Giorgio Morandi, Gerhard Richter, and Performance Art." Terrorism, Media, and the Ethics of Fiction: Transatlantic Perspectives on Don DeLillo. Eds. Peter Schneck and Philipp Schweighauser. London: Continuum [EBL access record], 2010. 93–110.Bal, Mieke. Narratology: Introduction to the Theory of Narratology. Toronto: U of Toronto P, 1985.Bird, Benjamin. "History, Emotion, and the Body: Mourning in Post-9/11 Fiction." Literature Compass 4.3 (2007): 561–75.Booth, Wayne C. The Rhetoric of Fiction. Chicago: U of Chicago P, 1961.Butler, Judith. Precarious Life: The Powers of Mourning and Violence. New York: Verso, 2004.Chomsky, Noam. "Commentary Moral Truisms, Empirical Evidence, and Foreign Policy." Review of International Studies 29.4 (2003): 605–20.---. September 11. Crows Nest, NSW: Allen & Unwin, 2002.Conte, Joseph Mark. "Don Delillo’s Falling Man and the Age of Terror." MFS Modern Fiction Studies 57.3 (2011): 557–83.DeLillo, Don. Falling Man. London: Picador, 2007.---. "In the Ruins of the Future." The Guardian (22 December, 2001). ‹http://www.guardian.co.uk/books/2001/dec/22/fiction.dondelillo›.Duvall, John N. & Marzec, Robert P. "Narrating 9/11." MFS Modern Fiction Studies 57.3 (2011): 381–400.Fludernik, Monika. An Introduction to Narratology. Taylor & Francis [EBL access record], 2009.---. Towards a 'Natural' Narratology. Routledge, [EBL access record], 1996.Genette, Gerard. Figures of Literary Discourse. New York: Columbia U P, 1982.Gerrig, Richard J. "Conscious and Unconscious Processes in Reader's Narrative Experiences." Current Trends in Narratology. Ed. Greta Olson. Berlin: De Gruyter [EBL access record], 2011. 37–60.Grossinger, Leif. "Public Image and Self-Representation: Don Delillo's Artists and Terrorists in Postmodern Mass Society." Terrorism, Media, and the Ethics of Fiction: Transatlantic Perspectives on Don DeLillo. Eds. Peter Schneck and Philipp Schweighauser. London: Continuum [EBL access record], 2010. 81–92.Iser, Wolfgang. "The Reading Process: A Phenomenological Approach." New Literary History 3.2 (1972): 279–99.Kauffman, Linda S. "The Wake of Terror: Don Delillo's in the Ruins of the Future, Baadermeinhof, and Falling Man." Modern Fiction Studies 54.2 (2008): 353–77.Leps, Marie-Christine. "Falling Man: Performing Fiction." Terrorism, Media, and the Ethics of Fiction: Transatlantic Perspectives on Don DeLillo. Eds. Peter Schneck and Philipp Schweighauser. London: Continuum [EBL access record], 2010. 184–203.Margolin, Uri. "(Mis)Perceiving to Good Aesthetic and Cognitive Effect." Current Trends in Narratology. Ed. Greta Olson. Berlin: De Gruyter [EBL access record], 2011. 61–78.Palmer, Alan. "The Construction of Fictional Minds." Narrative 10.1 (2002): 28–46.Said, Edward W. "The Clash of Ignorance." The Nation 273.12 (2001): 11–13.Silberstein, Sandra. War of Words : Language Politics and 9/11. Taylor & Francis e-Library, 2004.Versluys, Kristiaan. Out of the Blue: September 11 and the Novel. New York: Columbia U P, 2009.Weinstein, Arnold. Nobody's Home: Speech, Self and Place in American Fiction from Hawthorne to DeLillo. Oxford U P [EBL Access Record], 1993.Žižek, Slavoj. "Welcome to the Desert of the Real!" The South Atlantic Quarterly 101.2 (2002): 385–89.

IntroductionThe 2009 American film Trash Humpers, directed by Harmony Korine, was released at a time when the hipster had become a ubiquitous concept, entering into the common vernacular of numerous cultures throughout the world, and gaining significant press, social media and academic attention (see Žižek; Arsel and Thompson; Greif et al.; Stahl; Ouellette; Reeve; Schiermer; Maly and Varis). Trash Humpers emerged soon after the 2008 Global Financial Crisis triggered Occupy movements in numerous cities, aided by social media platforms, reported on by blogs such as Gawker, and stylized by multi-national youth-subculture brands such as Vice, American Apparel, Urban Outfitters and a plethora of localised variants.Korine’s film, which is made to resemble found VHS footage of old-aged vandals, epitomises the ironic, retro stylizations and “counterculture-meets-kitsch” aesthetics so familiar to hipster culture. As a creative stereotype from 1940s and ‘50s jazz and beatnik subcultures, the hipster re-emerged in the twenty-first century as a negative embodiment of alternative culture in the age of the Internet. As well as plumbing the recent past for things not yet incorporated into contemporary marketing mechanisms, the hipster also signifies the blurring of irony and authenticity. Such “outsiderness as insiderness” postures can be regarded as a continuation of the marginality-from-the-centre logic of cool capitalism that emerged after World War Two. Particularly between 2007 and 2015, the post-postmodern concept of the hipster was a resonant cultural trope in Western and non-Western cultures alike, coinciding with the normalisation of the new digital terrain and the establishment of mobile social media as an integral aspect of many people’s daily lives. While Korine’s 79-minute feature could be thought of as following in the schlocky footsteps of the likes of Rob Zombie’s The Devil’s Rejects (2006), it is decidedly more arthouse, and more attuned to the influence of contemporary alternative media brands and independent film history alike – as if the love child of Jack Smith’s Flaming Creatures (1963) and Vice Video, the latter having been labelled as “devil-may-care hipsterism” (Carr). Upon release, Trash Humpers was described by Gene McHugh as “a mildly hip take on Jackass”; by Mike D’Angelo as “an empty hipster pose”; and by Aaron Hillis as either “the work of an insincere hipster or an eccentric provocateur”. Lacking any semblance of a conventional plot, Trash Humpers essentially revolves around four elderly-looking protagonists – three men and a woman – who document themselves with a low-quality video camera as they go about behaving badly in the suburbs of Nashville, Tennessee, where Korine still lives. They cackle eerily to themselves as they try to stave off boredom, masturbating frantically on rubbish bins, defecating and drinking alcohol in public, fellating foliage, smashing televisions, playing ten-pin bowling, lighting firecrackers and telling gay “hate” jokes to camera with no punchlines. In one purposefully undramatic scene half-way through the film, the humpers are shown in the aftermath of an attack on a man wearing a French maid’s outfit; he lies dead in a pool of blood on their kitchen floor with a hammer at his feet. The humpers are consummate “bad” performers in every sense of the term, and they are joined by a range of other, apparently lower-class, misfits with whom they stage tap dance routines and repetitively sing nursery-rhyme-styled raps such as: “make it, make it, don’t break it; make it, make it, don’t fake it; make it, make it, don’t take it”, which acts as a surrogate theme song for the film. Korine sometimes depicts his main characters on crutches or in a wheelchair, and a baby doll is never too far away from the action, as a silent and Surrealist witness to their weird, sinister and sometimes very funny exploits. The film cuts from scene to scene as if edited on a video recorder, utilising in-house VHS titling sequences, audio glitches and video static to create the sense that one is engaging voyeuristically with a found video document rather than a scripted movie. Mainstream AlternativesAs a viewer of Trash Humpers, one has to try hard to suspend disbelief if one is to see the humpers as genuine geriatric peeping Toms rather than as hipsters in old-man masks trying to be rebellious. However, as Korine’s earlier films such as Gummo (1997) attest, he clearly delights in blurring the line between failure and transcendence, or, in this case, between pretentious art-school bravado and authentic redneck ennui. As noted in a review by Jeannette Catsoulis, writing for the New York Times: “Much of this is just so much juvenile posturing, but every so often the screen freezes into something approximating beauty: a blurry, spaced-out, yellow-green landscape, as alien as an ancient photograph”. Korine has made a career out of generating this wavering uncertainty in his work, polarising audiences with a mix of critical, cinema-verité styles and cynical exploitations. His work has consistently revelled in ethical ambiguities, creating environments where teenagers take Ritalin for kicks, kill cats, wage war with their families and engage in acts of sexual deviancy – all of which are depicted with a photographer’s eye for the uncanny.The elusive and contradictory aspects of Korine’s work – at once ugly and beautiful, abstract and commercial, pessimistic and nostalgic – are evident not just in films such as Gummo, Julien Donkey Boy (1999) and Mister Lonely (2007) but also in his screenplay for Kids (1995), his performance-like appearances on The Tonight Show with David Letterman (1993-2015) and in publications such as A Crackup at the Race Riots (1998) and Pass the Bitch Chicken (2001). As well as these outputs, Korine is also a painter who is represented by Gagosian Gallery – one of the world’s leading art galleries – and he has directed numerous music videos, documentaries and commercials throughout his career. More than just update of the traditional figure of the auteur, Korine, instead, resembles a contemporary media artist whose avant-garde and grotesque treatments of Americana permeate almost everything he does. Korine wrote the screenplay for Kids when he was just 19, and subsequently built his reputation on the paradoxical mainstreaming of alternative culture in the 1990s. This is exemplified by the establishment of music and film genres such “alternative” and “independent”; the popularity of the slacker ethos attributed to Generation X; the increased visibility of alternative press zines; the birth of grunge in fashion and music; and the coining of “cool hunting” – a bottom-up market research phenomenon that aimed to discover new trends in urban subcultures for the purpose of mass marketing. Key to “alternative culture”, and its related categories such as “indie” and “arthouse”, is the idea of evoking artistic authenticity while covertly maintaining a parasitic relationship with the mainstream. As Holly Kruse notes in her account of the indie music scenes of the 1990s, which gained tremendous popularity in the wake of grunge bands such as Nirvana: without dominant, mainstream musics against which to react, independent music cannot be independent. Its existence depends upon dominant music structures and practices against which to define itself. Indie music has therefore been continually engaged in an economic and ideological struggle in which its ‘outsider’ status is re-examined, re-defined, and re-articulated to sets of musical practices. (Kruse 149)Alternative culture follows a similar, highly contentious, logic, appearing as a nebulous, authentic and artistic “other” whose exponents risk being entirely defined by the mainstream markets they profess to oppose. Kids was directed by the artist cum indie-director Larry Clark, who discovered Korine riding his skateboard with a group of friends in New York’s Washington Square in the early 1990s, before commissioning him to write a script. The then subcultural community of skating – which gained prominence in the 1990s amidst the increased visibility of “alternative sports” – provides an important backdrop to the film, which documents a group of disaffected New York teenagers at a time of the Aids crisis in America. Korine has been active in promoting the DIY ethos, creativity and anti-authoritarian branding of skate culture since this time – an industry that, in its attempts to maintain a non-mainstream profile while also being highly branded, has become emblematic of the category of “alternative culture”. Korine has undertaken commercial projects with an array skate-wear brands, but he is particularly associated with Supreme, a so-called “guerrilla fashion” label originating in 1994 that credits Clark and other 1990s indie darlings, and Korine cohorts, Chloë Sevigny and Terry Richardson, as former models and collaborators (Williams). The company is well known for its designer skateboard decks, its collaborations with prominent contemporary visual artists, its hip-hop branding and “inscrutable” web videos. It is also well known for its limited runs of new clothing lines, which help to stoke demand through one-offs – blending street-wear accessibility with the restricted-market and anti-authoritarian sensibility of avant-garde art.Of course, “alternative culture” poses a notorious conundrum for analysis, involving highly subjective demarcations of “mainstream” from “subversive” culture, not to mention “genuine subversion” from mere “corporate alternatives”. As Pierre Bourdieu has argued, the roots of alternative culture lie in the Western tradition of the avant-garde and the “aesthetic gaze” that developed in the nineteenth century (Field 36). In analysing the modernist notion of advanced cultural practice – where art is presented as an alternative to bourgeois academic taste and to the common realm of cultural commodities – Bourdieu proposed a distinction between two types of “fields”, or logics of cultural production. Alternative culture follows what Bourdieu called “the field of restricted production”, which adheres to “art for art’s sake” ideals, where audiences are targeted as if like-minded peers (Field 50). In contrast, the “field of large-scale production” reflects the commercial imperatives of mainstream culture, in which goods are produced for the general public at large. The latter field of large-scale production tends to service pre-established markets, operating in response to public demand. Furthermore, whereas success in the field of restricted production is often indirect, and latent – involving artists who create niche markets without making any concessions to those markets – success in the field of large-scale production is typically more immediate and quantifiable (Field 39). Here we can see that central to the branding of “alternative culture” is the perceived refusal to conform to popular taste and the logic of capitalism more generally is. As Supreme founder James Jebbia stated about his brand in a rare interview: “The less known the better” (Williams). On this, Bourdieu states that, in the field of restricted production, the fundamental principles of all ordinary economies are inversed to create a “loser wins” scenario (Field 39). Profit and cultural esteem become detrimental attributes in this context, potentially tainting the integrity and marginalisation on which alternative products depend. As one ironic hipster t-shirt puts it: “Nothing is any good if other people like it” (Diesel Sweeties).Trash HipstersIn abandoning linear narrative for rough assemblages of vignettes – or “moments” – recorded with an unsteady handheld camera, Trash Humpers positions itself in ironic opposition to mainstream filmmaking, refusing the narrative arcs and unwritten rules of Hollywood film, save for its opening and closing credits. Given Korine’s much publicized appreciation of cinema pioneers, we can understand Trash Humpers as paying homage to independent and DIY film history, including Jack Smith’s Flaming Creatures, William Eggleston’s Stranded in Canton (1973), Andy Warhol’s and Paul Morrissey’s Lonesome Cowboys (1967) and Trash (1970), and John Waters’s Pink Flamingos (1972), all of which jubilantly embraced the “bad” aesthetic of home movies. Posed as fantasized substitutions for mainstream movie-making, such works were also underwritten by the legitimacy of camp as a form of counter-culture critique, blurring parody and documentary to give voice to an array of non-mainstream and counter-cultural identities. The employment of camp in postmodern culture became known not merely as an aesthetic subversion of cultural mores but also as “a gesture of self-legitimation” (Derrida 290), its “failed seriousness” regarded as a critical response to the specific historical problem of being a “culturally over-saturated” subject (Sontag 288).The significant difference between Korine’s film and those of his 1970s-era forbears is precisely the attention he pays to the formal aspects of his medium, revelling in analogue editing glitches to the point of fetishism, in some cases lasting as long as the scenes themselves. Consciously working out-of-step with the media of his day, Trash Humpers in imbued with nostalgia from its very beginning. Whereas Smith, Eggleston, Warhol, Morrissey and Waters blurred fantasy and documentary in ways that raised the social and political identities of their subjects, Korine seems much more interested in “trash” as an aesthetic trope. In following this interest, he rightfully pays homage to the tropes of queer cinema, however, he conveniently leaves behind their underlying commentaries about (hetero-) normative culture. A sequence where the trash humpers visit a whorehouse and amuse themselves by smoking cigars and slapping the ample bottoms of prostitutes in G-strings confirms the heterosexual tenor of the film, which is reiterated throughout by numerous deadpan gay jokes and slurs.Trash Humpers can be understood precisely in terms of Korine’s desire to maintain the aesthetic imperatives of alternative culture, where formal experimentation and the subverting of mainstream genres can provide a certain amount of freedom from explicated meaning, and, in particular, from socio-political commentary. Bourdieu rightly points out how the pleasures of the aesthetic gaze often manifest themselves curiously as form of “deferred pleasure” (353) or “pleasure without enjoyment” (495), which corresponds to Immanuel Kant’s notion of the disinterested nature of aesthetic judgement. Aesthetic dispositions posed in the negative – as in the avant-garde artists who mined primitive and ugly cultural stereotypes – typically use as reference points “facile” or “vulgar” (393) working-class tropes that refer negatively to sensuous pleasure as their major criterion of judgment. For Bourdieu, the pleasures provided by the aesthetic gaze in such instances are not sensual pleasures so much as the pleasures of social distinction – signifying the author’s distance from taste as a form of gratification. Here, it is easy to see how the orgiastic central characters in Trash Humpers might be employed by Korine for a similar end-result. As noted by Jeremiah Kipp in a review of the film: “You don't ‘like’ a movie like Trash Humpers, but I’m very happy such films exist”. Propelled by aesthetic, rather than by social, questions of value, those that “get” the obscure works of alternative culture have a tendency to legitimize them on the basis of the high-degree of formal analysis skills they require. For Bourdieu, this obscures the fact that one’s aesthetic “‘eye’ is a product of history reproduced by education” – a privileged mode of looking, estranged from those unfamiliar with the internal logic of decoding presupposed by the very notion of “aesthetic enjoyment” (2).The rhetorical priority of alternative culture is, in Bourdieu’s terms, the “autonomous” perfection of the form rather than the “heteronomous” attempt to monopolise on it (Field 40). However, such distinctions are, in actuality, more nuanced than Bourdieu sometimes assumed. This is especially true in the context of global digital culture, which makes explicit how the same cultural signs can have vastly different meanings and motivations across different social contexts. This has arguably resulted in the destabilisation of prescriptive analyses of cultural taste, and has contributed to recent “post-critical” advances, in which academics such as Bruno Latour and Rita Felski advocate for cultural analyses and practices that promote relationality and attachment rather than suspicious (critical) dispositions towards marginal and popular subjects alike. Latour’s call for a move away from the “sledge hammer” of critique applies as much to cultural practice as it does to written analysis. Rather than maintaining hierarchical oppositions between authentic versus inauthentic taste, Latour understands culture – and the material world more generally – as having agency alongside, and with, that of the social world.Hipsters with No AlternativeIf, as Karl Spracklen suggests, alternativism is thought of “as a political project of resistance to capitalism, with communicative oppositionality as its defining feature” (254), it is clear that there has been a progressive waning in relevance of the category of “alternative culture” in the age of the Internet, which coincides with the triumph of so-called “neoliberal individualism” (258). To this end, Korine has lost some of his artistic credibility over the course of the 2000s. If viewed negatively, icons of 1990s alternative culture such as Korine can be seen as merely exploiting Dada-like techniques of mimetic exacerbation and symbolic détournement for the purpose of alternative, “arty” branding rather than pertaining to a counter-hegemonic cultural movement (Foster 31). It is within this context of heightened scepticism surrounding alternative culture that the hipster stereotype emerged in cultures throughout the world, as if a contested symbol of the aesthetic gaze in an era of neoliberal identity politics. Whatever the psychological motivations underpinning one’s use of the term, to call someone a hipster is typically to point out that their distinctive alternative or “arty” status appears overstated; their creative decisions considered as if a type of bathos. For detractors of alternative cultural producers such as Korine, he is trying too hard to be different, using the stylised codes of “alternative” to conceal what is essentially his cultural and political immaturity. The hipster – who is rarely ever self-identified – re-emerged in the 2000s to operate as a scapegoat for inauthentic markers of alternative culture, associated with men and women who appear to embrace Realpolitik, sincerity and authentic expressions of identity while remaining tethered to irony, autonomous aesthetics and self-design. Perhaps the real irony of the hipster is the pervasiveness of irony in contemporary culture. R. J Magill Jnr. has argued that “a certain cultural bitterness legitimated through trenchant disbelief” (xi) has come to define the dominant mode of political engagement in many societies since the early 2000s, in response to mass digital information, twenty-four-hour news cycles, and the climate of suspicion produced by information about terrorism threats. He analyses the prominence of political irony in American TV shows including The Daily Show with Jon Stewart, The Simpsons, South Park, The Chappelle Show and The Colbert Report but he also notes its pervasiveness as a twenty-first-century worldview – a distancing that “paradoxically and secretly preserves the ideals of sincerity, honesty and authenticity by momentarily belying its own appearance” (x). Crucially, then, the utterance “hipster” has come to signify instances when irony and aesthetic distance are perceived to have been taken too far, generating the most disdain from those for whom irony, aesthetic discernment and cultural connoisseurship still provide much-needed moments of disconnection from capitalist cultures drowning in commercial hyperbole and grave news hype. Korine himself has acknowledged that Spring Breakers (2013) – his follow-up feature film to Trash Humpers – was created in response to the notion that “alternative culture”, once a legitimate challenge to mainstream taste, had lost its oppositional power with the decentralization of digital culture. He states that he made Spring Breakers at a moment “when there’s no such thing as high or low, it’s all been exploded. There is no underground or above-ground, there’s nothing that’s alternative. We’re at a point of post-everything, so it’s all about finding the spirit inside, and the logic, and making your own connections” (Hawker). In this context, we can understand Trash Humpers as the last of the Korine films to be branded with the authenticity of alternative culture. In Spring Breakers Korine moved from the gritty low-fi sensibility of his previous films and adopted a more digital, light-filled and pastel-coloured palette. Focussing more conventionally on plot than ever before, Spring Breakers follows four college girls who hold up a restaurant in order to fund their spring break vacation. Critic Michael Chaiken noted that the film marks a shift in Korine’s career, from the alternative stylings of the pre-Internet generation to “the cultural heirs [of] the doomed protagonists of Kids: nineties babies, who grew up with the Internet, whose sensibilities have been shaped by the sweeping technological changes that have taken place in the interval between the Clinton and Obama eras” (33).By the end of the 2000s, an entire generation came of age having not experienced a time when the obscure films, music or art of the past took more effort to track down. Having been a key participant in the branding of alternative culture, Korine is in a good position to recall a different, pre-YouTube time – when cultural discernment was still caught up in the authenticity of artistic identity, and when one’s cultural tastes could still operate with a certain amount of freedom from sociological scrutiny. Such ideas seem a long way away from today’s cultural environments, which have been shaped not only by digital media’s promotion of cultural interconnection and mass information, but also by social media’s emphasis on mobilization and ethical awareness. ConclusionI should reiterate here that is not Korine’s lack of seriousness, or irony, alone that marks Trash Humpers as a response to the scepticism surrounding alternative culture symbolised by the figure of the hipster. It is, rather, that Korine’s mock-documentary about juvenile geriatrics works too hard to obscure its implicit social commentary, appearing driven to condemn contemporary capitalism’s exploitations of youthfulness only to divert such “uncool” critical commentaries through unsubtle formal distractions, visual poetics and “bad boy” avant-garde signifiers of authenticity. Before being bludgeoned to death, the unnamed man in the French maid’s outfit recites a poem on a bridge amidst a barrage of fire crackers let off by a nearby humper in a wheelchair. Although easily overlooked, it could, in fact, be a pivotal scene in the film. Spoken with mock high-art pretentions, the final lines of the poem are: So what? Why, I ask, why? Why castigate these creatures whose angelic features are bumping and grinding on trash? Are they not spawned by our greed? Are they not our true seed? Are they not what we’ve bought for our cash? We’ve created this lot, of the ooze and the rot, deliberately and unabashed. Whose orgiastic elation and one mission in creation is to savagely fornicate TRASH!Here, the character’s warning of capitalist overabundance is drowned out by the (aesthetic) shocks of the fire crackers, just as the stereotypical hipster’s ethical ideals are drowned out by their aesthetic excess. The scene also functions as a metaphor for the humpers themselves, whose elderly masks – embodiments of nostalgia – temporarily suspend their real socio-political identities for the sake of role-play. It is in this sense that Trash Humpers is too enamoured with its own artifices – including its anonymous “boys club” mentality – to suggest anything other than the aesthetic distance that has come to mark the failings of the “alternative culture” category. In such instances, alternative taste appears as a rhetorical posture, with Korine asking us to gawk knowingly at the hedonistic and destructive pleasures pursued by the humpers while factoring in, and accepting, our likely disapproval.ReferencesArsel, Zeynep, and Craig J. Thompson. “Demythologizing Consumption Practices: How Consumers Protect Their Field-Dependent Identity Investments from Devaluing Marketplace Myths.” Journal of Consumer Research 37.5 (2011): 791-806.Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. Cambridge: Harvard University Press, 1984.Bourdieu, Pierre. The Field of Cultural Production Essays on Art and Literature. Edited by Randal Johnson. London: Polity Press, 1993.Carr, David. “Its Edge Intact, Vice Is Chasing Hard News.” New York Times 24 Aug. 2014. 12 Nov. 2016 <https://www.nytimes.com/2014/08/25/business/media/its-edge-intact-vice-is-chasing-hard-news-.html>.Catsoulis, Jeannette. “Geriatric Delinquents, Rampaging through Suburbia.” New York Times 6 May 2010. 1` Nov. 2016 <http://www.nytimes.com/2010/05/07/movies/07trash.html>.Chaiken, Michael. “The Dream Life.” Film Comment (Mar./Apr. 2013): 30-33.D’Angelo, Mike. “Trash Humpers.” Not Coming 18 Sep. 2009. 12 Nov. 2016 <http://www.notcoming.com/reviews/trashhumpers>.Derrida, Jacques. Positions. London: Athlone, 1981.Diesel Sweeties. 1 Nov. 2016 <https://store.dieselsweeties.com/products/nothing-is-any-good-if-other-people-like-it-shirt>.Felski, Rita. The Limits of Critique. Chicago: University of Chicago Press, 2015.Greif, Mark. What Was the Hipster? A Sociological Investigation. New York: n+1 Foundation, 2010.Hawker, Philippa. “Telling Tales Out of School.” Sydney Morning Herald 4 May 2013. 12 Nov. 2016 <http://www.smh.com.au/entertainment/movies/telling-tales-out-of-school-20130503-2ixc3.html>.Hillis, Aaron. “Harmony Korine on Trash Humpers.” IFC 6 May 2009. 12 Nov. 2016 <http://www.ifc.com/2010/05/harmony-korine-2>.Jay Magill Jr., R. Chic Ironic Bitterness. Ann Arbor: University of Michigan Press, 2007.Kipp, Jeremiah. “Clean Off the Dirt, Scrape Off the Blood: An Interview with Trash Humpers Director Harmony Korine.” Slant Magazine 18 Mar. 2011. 1 Nov. 2016 <http://www.slantmagazine.com/house/article/clean-off-the-dirt-scrape-off-the-blood-an-interview-with-trash-humpers-director-harmony-korine>.Latour, Bruno. “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern.” Critical Inquiry 30.2 (2004): 225-248.Maly, Ico, and Varis, Piia. “The 21st-Century Hipster: On Micro-Populations in Times of Superdiversity.” European Journal of Cultural Studies 19.6 (2016): 637–653.McHugh, Gene. “Monday May 10th 2010.” Post Internet. New York: Lulu Press, 2010.Ouellette, Marc. “‘I Know It When I See It’: Style, Simulation and the ‘Short-Circuit Sign’.” Semiotic Review 3 (2013): 1–15.Reeve, Michael. “The Hipster as the Postmodern Dandy: Towards an Extensive Study.” 2013. 12 Nov. 2016. <http://www.academia.edu/3589528/The_hipster_as_the_postmodern_dandy_towards_an_extensive_study>.Schiermer, Bjørn. “Late-Modern Hipsters: New Tendencies in Popular Culture.” Acta Sociologica 57.2 (2014): 167–181.Sontag, Susan. “Notes on Camp.” Against Interpretation. New York: Octagon, 1964/1982. 275-92. Stahl, Geoff. “Mile-End Hipsters and the Unmasking of Montreal’s Proletaroid Intelligentsia; Or How a Bohemia Becomes BOHO.” Adam Art Gallery, Apr. 2010. 12 May 2015 <http://www.adamartgallery.org.nz/wp-content/uploads/2010/04/adamartgallery_vuwsalecture_geoffstahl.pdf>.Williams, Alex. “Guerrilla Fashion: The Story of Supreme.” New York Times 21 Nov. 2012. 1 Nov. 2016 <http://www.nytimes.com/2012/11/22/fashion/guerrilla-fashion-the-story-of-supreme.html>.Žižek, Slavoj. “L’Etat d’Hipster.” Rhinocerotique. Trans. Henry Brulard. Sep. 2009. 3-10.

The rise of expertise in the lives of women is a complex and prolonged process that began when the old networks through which women had learned from each other were being discredited or destroyed (Ehrenreich and English). Enclosed spaces of expert power formed separately from political control, market logistics and the pressures exerted by their subjects (Rose and Miller). This, however, was not a question of imposing expertise on women and forcing them to adhere to expert proclamations: “the experts could not have triumphed had not so many women welcomed them, sought them out, and … organised to promote their influence” (Ehrenreich and English 28). Women’s continuing enthusiasm for self-help books – and it is mainly women who buy them (Wood) – attests to the fact that they are still welcoming expertise into their lives. This paper argues that a major factor in the popularity of self-help is the reversal of the conventional ‘priestly’ relationship and ethic of confession, in a process of conversion that relies on the enthusiasm and active participation of the reader.Miller and Rose outline four ways in which human behaviour can be transformed: regulation (enmeshing people in a code of standards); captivation (seducing people with charm or charisma); education (training, convincing or persuading people); and conversion (transforming personhood, and ways of experiencing the world so that people understand themselves in fundamentally new ways). Of these four ways of acting upon others, it is conversion that is the most potent, because it changes people at the level of their own subjectivity – “personhood itself is remade” (Miller and Rose 35). While theories of conversion cannot be adequately discussed here, one aspect held in common by theories of religious conversion as well as those from psychological studies of ‘brainwashing’ is enthusiasm. Rambo’s analysis of the stages of religious conversion, for example, includes ‘questing’ in an active and engaged way, and a probable encounter with a passionately enthusiastic believer. Melia and Ryder, in their study of ‘brainwashing,’ state that two of the end stages of conversion are euphoria and proselytising – a point to which I will return in the conclusion. In order for a conversion to occur, then, the reader must be not only intellectually convinced of the truth, but must feel it is an important or vital truth, a truth she needs – in short, the reader must be enthused. The popularity of self-help books coincides with the rise of psy expertise more generally (Rose, "Identity"; Inventing), but self-help putatively offers escape from the experts, whilst simultaneously immersing its readers in expertise. Readers of self-help view themselves as reading sceptically (Simonds), interpretively (Rosenblatt) and resistingly (Fetterly, Rowe). They choose to read books as an educational activity (Dolby), rather than attending counselling or psychotherapy sessions in which they might be subject to manipulation, domination and control by a therapist (Simonds). I have discussed the nature of the advice in relationship manuals elsewhere (Hazleden, "Relationship"; "Pathology"), but the intention of this paper is to investigate the ways in which the authors attempt to enthuse and convert the reader.Best-Selling ExpertiseIn common with other best-selling genres, popular relationship manuals begin trying to enthuse the reader on the covers, which are intended to attract the reader, to establish the professional – or ‘priestly’ – credentials of the author and to assert the merit of the book, presenting the authors as experienced professionally-qualified experts, and advertising their bestseller status. These factors form part of the marketing ‘buzz’ or collective enthusiasm about a particular author or book.As part of the process of establishing themselves in the priestly role, the authors emphasise their professional qualifications and experience. Most authors use the title ‘Dr’ on the cover (Hendrix, McGraw, Forward, Gray, Cowan and Kinder, Schlessinger) or ‘PhD’ after their names (Vedral, DeAngelis, Spezzano). Further claims on the covers include assertions of the prominence of the authors in their field. Typical are DeAngelis’s claim to being “America’s foremost relationships expert,” and Hendrix’s claim to being “the world’s leading marital therapist.” Clinical and professional experience is mentioned, such as Spezzano’s “twenty-three years of counseling experience” (1) and Forward’s experience as “a consultant in many southern California Medical and psychiatric facilities” (iii). The cover of Spezzano’s book claims that he is a “therapist, seminar leader, author, lecturer and visionary leader.” McGraw emphasises his formal qualifications throughout his book, saying, “I had more degrees than a thermometer” (McGraw 6), and he refers to himself throughout as “Dr. Phil,” much like “Dr Laura” (Schlessinger). Facts and SecretsThe authors claim their ideas are based on clinical practice, research, and evidence. One author claims, “In this book, there is a wealth of tried and accurate information, which has worked for thousands of people in my therapeutic practice and seminars over the last two decades” (Spezzano 1). Another claims that he “worked with hundreds of couples in private practice and thousands more in workshops and seminars” and subsequently based his ideas on “research and clinical observations” (Hendrix xviii). Dowling refers to “four years of research … interviewing professionals who work with and study women.” She went to all this trouble because, she assures us, “I wanted facts” (Dowling, dust-jacket, 30).All this is in order to assure the reader of the relevance and build her enthusiasm about the importance of the book. McGraw (226) says he “reviewed case histories of literally thousands and thousands of couples” in order “to choose the right topics” for his book. Spezzano (7) claims that his psychological exercises come from clinical experience, but “more importantly, I have tested them all personally. Now I offer them to you.” This notion of being in possession of important new knowledge of which the reader is unaware is common, and expressed most succinctly by McGraw (15): “I have learned what you know and, more important, what you don't know.” This knowledge may be referred to as ‘secret’ (e.g. DeAngelis), or ‘hidden’ (e.g. Dowling) or as a recent discovery. Readers seem to accept this – they often assume that self-help books spring ‘naturally’ from clinical investigation as new information is ‘discovered’ about the human psyche (Lichterman 432).The Altruistic AuthorOn the assumption that readers will be familiar with other self-help books, some authors find it necessary to explain why they felt motivated to write one themselves. Usually these take the form of a kind of altruistic enthusiasm to share their great discoveries. Cowan and Kinder (xiv) claim that “one of the wonderful, intrinsic rewards of working with someone in individual psychotherapy is the rich and intense relationship that is established, [but] one of the frustrations of individual work is that in a whole lifetime it is impossible to touch more than a few people.” Morgan (26) assures us that “the results of applying certain principles to my marriage were so revolutionary that I had to pass them on in the four lesson Total Woman course, and now in this book.”The authors justify their own addition to an overcrowded genre by delineating what is distinctive about their own book, or what other “books, articles and surveys missed” (Dowling 30) or misinterpreted. Beattie (98-102) devotes several pages to a discussion of Dowling to assert that Dowling’s ‘Cinderella Complex’ is more accurately known as ‘codependency.’ The authors of another book admit that their ideas are not new, but claim to make a unique contribution because they are “writing from a much-needed male point of view” (Cowan and Kinder, back cover). Similarly, Gray suggests “many books are one-sided and unfortunately reinforce mistrust and resentment toward the opposite sex.” This meant that “a definitive guide was needed for understanding how healthy men and women are different,” and he promises “This book provides that vision” (Gray 4,7).Some authors are vehement in attacking other experts’ books as “gripe sessions,” “gobbledegook” (Schlessinger 51, 87), or “ridiculous” (Vedral 282). McGraw (9) writes “it is amazing to me how this country is overflowing with marital therapists, psychiatrists and psychologists, counselors, healers, advice columnists, and self-help authors – and their approach to relationships is usually so embarrassing that I want to turn my head in shame.” His own book, by contrast, will be quite different from anything the reader has heard before, because “it differs from what relationship ‘experts’ tell you” (McGraw 45).Confessions of an Author Because the authors are writing about intimate relationships, they are also keen to establish their credentials on a more personal level. “Loving, losing, learning the lessons, and reloving have been my path” (Carter-Scott 247-248), says one, and another asserts that, “It’s taken me a long time to understand men. It’s been a difficult and often painful journey and I’ve made a lot of mistakes along the way in my own relationships” (DeAngelis xvi). The authors are even keen to admit the mistakes they made in their previous relationships. Gray says, “In my previous relationships, I had become indifferent and unloving at difficult times … As a result, my first marriage had been very painful and difficult” (Gray 2). Others describe the feelings of disappointment with their marriages: We gradually changed. I was amazed to realize that Charlie had stopped talking. He had become distant and preoccupied. … Each evening, when Charlie walked in the front door after work, a cloud of gloom and tension floated in with him. That cloud was almost tangible. … this tension cloud permeated our home atmosphere … there was a barrier between us. (Morgan 18)Doyle (14) tells a similar tale: “While my intentions were good, I was clearly on the road to marital hell. … I was becoming estranged from the man who had once made me so happy. Our marriage was in serious trouble and it had only been four years since we’d taken our vows.” The authors relate the bewilderment they felt in these failing relationships: “My confusion about the psychology of love relationships was compounded when I began to have problems with my own marriage. … we gave our marriage eight years of intensive examination, working with numerous therapists. Nothing seemed to help” (Hendrix xvii).Even the process of writing the relationship manual itself can be uncomfortable: This was the hardest and most painful chapter for me to write, because it hit so close to home … I sat down at my computer, typed out the title of this chapter, and burst into tears. … It was the pain of my own broken heart. (DeAngelis 74)The Worthlessness of ExpertiseThus, the authors present their confessional tales in which they have learned important lessons through their own suffering, through the experience of life itself, and not through the intervention of any form of external or professional expertise. Furthermore, they highlight the failure of their professional training. Susan Forward (4) draws a comparison between her professional life as a relationship counsellor and the “Susan who went home at night and twisted herself into a pretzel trying to keep her husband from yelling at her.” McGraw tells of a time when he was counselling a couple, and: Suddenly all I could hear myself saying was blah, blah, blah. Blah, blah, blah, blah. As I sat there, I asked myself, ‘Has anybody noticed over the last fifty years that this crap doesn’t work? Has it occurred to anyone that the vast majority of these couples aren’t getting any better? (McGraw 6)The authors go to some lengths to demonstrate that their new-found knowledge is unlike anything else, and are even prepared to mention the apparent contradiction between the role the author already held as a relationship expert (before they made their important discoveries) and the failure of their own relationships (the implication being that these relationships failed because the authors themselves were not yet beneficiaries of the wisdom contained in their latest books). Gray, for example, talking about his “painful and difficult” first marriage (2), and DeAngelis, bemoaning her “mistakes” (xvi), allude to the failure of their marriage to each other, at a time when both were already well-known relationship experts. Hendrix (xvii) says: As I sat in the divorce court waiting to see the judge, I felt like a double failure, a failure as a husband and as a therapist. That very afternoon I was scheduled to teach a course on marriage and the family, and the next day, as usual, I had several couples to counsel. Despite my professional training, I felt just as confused and defeated as the other men and women who were sitting beside me.Thus the authors present the knowledge they have gained from their experiences as being unavailable through professional marital therapy, relationship counselling, and other self-help books. Rather, the advice they impart is presented as the hard-won outcome of a long and painful process of personal discovery.Peace and PassionOnce the uniqueness of the advice is established, the authors attempt to enthuse the reader by describing the effects of following it. Norwood (Women 4) says her programme led to “the most rewarding years of my life,” and Forward (10) says she “discovered enormous amounts of creativity and energy in myself that hadn't been available to me before.” Gray (268) asserts that, following his discoveries “I personally experienced this inner transformation,” and DeAngelis (126) claims “I am compassionate where I used to be critical; I am patient where I used to be judgmental.” Doyle (23) says, “practicing the principles described in this book has transformed my marriage into a passionate, romantic union.” Similarly, in discussing the effects of her ideas on her marriage, Morgan (26) speaks of “This brand new love between us” that “has given us a brand new life together.” Having established the success of their ideas and techniques on their own lives, the authors go on to relate stories about their successful application to the lives and relationships of their clients. One author writes that “When I began implementing my ideas … The divorce rate in my practice sharply declined, and the couples … reported a much deeper satisfaction in their marriages” (Hendrix xix). Another claims “Repeatedly I have heard people say that they have benefited more from this new understanding of relationships than from years of therapy” (Gray 7). Morgan, describing the effects of her ‘Total Woman’ classes, says: Attending one of the first classes in Miami were wives of the Miami Dolphin football players … it is interesting to note that their team won every game that next season and became the world champions! … Gals, I wouldn’t dream of taking credit for the Superbowl … (Morgan 188)In case we are still unconvinced, the authors include praise and thanks from their inspired clients: “My life has become exciting and wonderful. Thank you,” writes one (Vedral 308). Gray (6) talks of the “thousands of inspirational comments that people have shared” about his advice. Vedral (307) says “I have received thousands of letters from women … thanking me for shining a beam of light on their situations.” If these clients have transformed their lives, the authors claim, so can the reader. They promise that the future will be “exceptional” (Friedman 242) and “wonderful” (Norwood, Women 257). It will consist of “self fulfilment, love, and joy” (Norwood, Women 26), “peace and joy” (Hendrix xx), “freedom and a lifetime of healing, hope and happiness” (Beattie), “peace, relief, joy, and passion that you will never find any other way” (Doyle 62) – in short, “happiness for the rest of your life” (Spezzano 77).SummaryIn order to effect the conversion of their readers, the authors seek to create enthusiasm about their books. First, they appeal to the modern tradition of credentialism, making claims about their formal professional qualifications and experience. This establishes them as credible ‘priests.’ Then they make calculable, factual, evidence-based claims concerning the number of books they have sold, and appeal to the epistemological authority of the methodology involved in establishing the findings of their books. They provide evidence of the efficacy of their own unique methods by relating the success of their ideas when applied to their own lives and relationships, and those of their clients and their readers. The authors also go to some lengths to establish that they have personal experience of relationship problems, especially those the reader is currently presumed to be experiencing. This establishes the ‘empathy’ essential to Rogerian therapy (Rogers), and an informal claim to lay knowledge or insight. In telling their own personal stories, the authors establish an ethic of confession, in which the truth of oneself is sought, unearthed and revealed in “the infinite task of extracting from the depths of oneself, in between the words, a truth which the very form of the confession holds out like a shimmering mirage” (Foucault, History 59). At the same time, by claiming that their qualifications were not helpful in solving these personal difficulties, the authors assert that much of their professional training was useless or even harmful, suggesting that they are aware of a general scepticism towards experts (cf. Beck, Giddens), and share these doubts. By implying that it is other experts who are perhaps not to be trusted, they distinguish their own work from anything offered by other relationship experts, thereby circumventing “the paradox of self-help books’ existence” (Cheery) and proliferation. Thus, the authors present their motives as altruistic, whilst perhaps questioning the motives of others. Their own book, they promise, will be the one (finally) that brings a future of peace, passion and joy. Conversion, Enthusiasm and the Reversal of the Priestly RelationshipAlthough power relations between authors and readers are complex, self-help is evidence of power in one of its most efficacious forms – that of conversion. This is a relationship into which one enters voluntarily and enthusiastically, in the name of oneself, for the benefit of oneself. Such power enthuses, persuades, incites, invites, provokes and entices, and it is therefore a strongly subjectifying power, and most especially so because the relationship of the reader to the author is one of choice. Because the reader can choose between authors, and skip or skim sections, she can concentrate on the parts of the therapeutic diagnosis that she believes specifically apply to her. For example, Grodin (414) found it was common for a reader to attach excerpts from a book to a bathroom mirror or kitchen cabinet, and to re-read and underline sections of a book that seemed most relevant. In this way, through her enthusiastic participation, the reader becomes her own expert, her own therapist, in control of certain aspects of the encounter, which nonetheless must always take place on psy terms.In many conversion studies, the final stage involves the assimilation and embodiment of new practices (e.g. Paloutzian et al. 1072), whereby the convert employs or utilises her new truths. I argue that in self-help books, this stage occurs in the reversal of the ‘priestly’ relationship. The ‘priestly’ relationship between client and therapist, is one in which in which the therapist remains mysterious while the client confesses and is known (Rose, "Power"). In the self-help book, however, this relationship is reversed. The authors confess their own ‘sins’ and imperfections, by relating their own disastrous experiences in relationships and wrong-thinking. They are, of course, themselves enthusiastic converts, who are enmeshed within the power that they exercise (cf. Foucault History; Discipline), as these confessions illustrate. The reader is encouraged to go through this process of confession as well, but she is expected to do so privately, and to play the role of priest and confessor to herself. Thus, in a reversal of the priestly relationship, the person who ‘is knowledge’ within the book itself is the author. It is only if the reader takes up the invitation to perform for herself the priestly role that she will become an object of knowledge – and even then, only to herself, albeit through a psy diagnostic gaze provided for her. Of course, this instance of confession to the self still places the individual “in a network of relations of power with those who claim to be able to extract the truth of these confessions through their possession of the keys to interpretation” (Dreyfus and Rabinow 174), but the keys to interpretation are provided to the reader by the author, and left with her for her own safekeeping and future use. As mentioned in the introduction, conversion involves questing in an active and engaged way, and may involve joy and proselytising. Because the relationship must be one of active participation, the enthusiasm of the reader to apply these truths to her own self-understanding is critical. Indeed, the convert is, by her very nature, an enthusiast.ConclusionSelf-help books seek to bring about a transformation of subjectivity from powerlessness to active goal-setting, personal improvement and achievement. This is achieved by a process of conversion that produces particular choices and types of identity, new subjectivities remade through the production of new ethical truths. Self-help discourses endow individuals with new enthusiasms, aptitudes and qualities – and these can then be passed on to others. Indeed, the self-help reader is invited, by means of the author’s confessions, to become, in a limited way, the author’s own therapist – ie, she is invited to perform an examination of the author’s (past) mistakes, to diagnose the author’s (past) condition and to prescribe an appropriate (retrospective) cure for this condition. Through the process of diagnosing the author and the author’s clients, using the psy gaze provided by the author, the reader is rendered an expert in therapeutic wisdom and is converted to a new belief system in which she will become an enthusiastic participant in her own subjectification. ReferencesBeattie, M. 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