Gotowa bibliografia na temat „Bet Rivkah (France)”

Abstract The familiar face of empires is external intervention as opposed to local culture. We follow Michel Onfray's thesis about the oracular illusion when one more individual or country tries to avoid the fulfillment of a nefarious prediction, which materializes as a catastrophe. Algeria conquered in 1830 was incorporated into French territory. In 1954 the FLN rebelled, and in 1961, General Charles de Gaulle negotiated the independence of Algeria, causing the disastrous departure of 750,000 French settlers and the death of French supporters. From 1962 to 2021, the withdrawals of imperial powers from their colonies, France from Algeria, the United States in Afghanistan, resulted in catastrophes and uncertainties. The imperial power of the United States aimed to defeat its bipolar antagonist, the USSR when it invaded Afghanistan. They conducted an inconsequential policy to beat their rival, arming and financing the Taliban's victorious resistance, the freedom fighters. The oracular illusion led the United States to support the future antagonist, Islamic fundamentalism, destined for the world caliphate. After the departure of the USSR, American power despised the Taliban, who harbored al Qaeda, leading to 9/11. In 2001 the United States invaded Afghanistan and abandoned it after 20 years of war without the precaution of obtaining plans or safeguards for the government in Kabul. After the disastrous retreat, the victorious Taliban demonstrated, like the FLN in Algeria, the fulfillment of the oracular illusion.

Photo by 40492788 © Juan Moyano | Dreamstime.com INTRODUCTION Ever received a prescription for Xanax? You can bet that there was a record of it made in a digital database. Prescription Drug Monitoring Programs (PDMPs) contain detailed information about which controlled medications physicians prescribe individuals, including where, when, how much, by whom, and more. The programs allow physicians to glimpse into the life of each patient that visits them — sometimes before a single word is exchanged between them. Every state has a PDMP, and many states share the data they collect through it.[1] Lately, I have been concerned with the application of these databases in the context of addiction management. In the United States, overdose deaths in a twelve-month period leading to May 2020 involving fentanyl alone increased 38 percent over the same period the previous year.[2] Regrettably, I lost a partner to addiction. I have seen the difficulties those struggling with substance use go through — the shame, the guilt, and the roadblocks to positive change. But perhaps the most frustrating part has been the treatment they endure by others who brand them with a scarlet letter. Unfortunately, this can sometimes include healthcare professionals. ANALYSIS My central concern revolves around the lack of an informed consent requirement before entering prescription data into the PDMP when the reason given for the prescription is addiction management. Our community already stigmatizes those struggling with substance use disorder. The thought of having their prescriptions recorded rightly makes many of them feel uneasy. In the past, federal patient confidentiality guidelines prohibited recording narcotic prescription data in the PDMP in these contexts for this very reason.[3] However, in 2020, this restriction was revised, paving the way for healthcare practitioners to have access to medication history. Narcotics officers may also have access to the PDMP data and have raided dispensing practices. Their access varies by state and may require a warrant or court order.[4] Permitting access to sensitive prescription information can put patients in a position to be further alienated by their healthcare providers and it can impact access to healthcare. According to a recent study by the University of Michigan, having an active opioid prescription in your medical history is enough to deter 40 percent of primary care practices from accepting you as a patient.[5] Additionally, if medical professionals are hesitant to see patients who have legitimate opioid prescriptions, it stands to reason that patients who have prescriptions primarily known for addiction management will not fare much better. Studies suggest that those with prescription access cut off are twice as likely to turn to heroin.[6] Some die by overdose or suicide.[7] To be fair, the current regulations do exhibit some regard for privacy. If patients receive medication through Federal “Part II” programs, their consent is required to record the prescription in the PDMP.[8] Unfortunately, many prescriptions are dispensed by private healthcare providers or sent to local pharmacies. When this is so, the consent requirement does not apply, making the privacy provision extensionally short-sighted. I can understand why the healthcare and law enforcement communities would want easy access to prescription data. A central mission of the PDMP is to curb the diversion of controlled substances to nonprescription users and to help doctors better coordinate patient care. By curbing the diversion of opioid drugs specifically, it is thought that the rate of fatality related to opioid substances will also decline. If we monitor other opioid drugs like oxycodone so closely, we could monitor medications that manage addiction, such as Suboxone. But the parallel between the two is not easily drawn. To be clear, addiction management medication like suboxone does not work on the opioid receptors to the same extent and in the same way that conventional opioids do.[9] Those that take suboxone for addiction frequently do not report feeling recreational effects. The medication has a ceiling effect where the receptors the substance targets become too saturated to allow for further effect, making abuse less likely. Lastly, the medication tends to outcompete rival opioids from occupying those receptors of the brain. Users often report that taking suboxone will inhibit them from feeling the effects of illicit opioids. Characteristics like this make it harder to see why we should be as worried about the diversion of suboxone as diversion of other opioids like OxyContin. Even when suboxone is diverted, studies suggest that it is diverted to those with opioid addiction who wish to manage their withdrawals – exactly those whom we would want suboxone to be reaching – rather than those who are looking to abuse the medication.[10] In areas without major barriers to suboxone prescription, opioid death and addiction rates have fallen at a dramatic rate. In France, where there are no special waivers or provisions required for doctors to dispense suboxone, opioid overdose deaths have fallen by 79 percent since 1995.[11] CONCLUSION An informed consent requirement would allow those people trying to address their own drug misuse to maintain some privacy. As providing the data to practitioners has proven to disenfranchise some patients who have trouble finding care and could even expose them to law enforcement, it makes sense that some patients would not want to participate in PDMPs. The ability to opt out and the requirement of informed consent to opt in would give patients more control over their data. There are good reasons, then, to amend regulations at state and federal levels to exclude addiction related medication from the PDMP without explicit and informed consent from the patient. - [1] PDMP TTAC. Accessed May 2, 2023. “PDMP Interstate Partners.” PDMP Assist. https://www.pdmpassist.org/Policies/Maps/PDMPInterstatePartners. [2] CDC. 2020. “Overdose Deaths Accelerating During Covid-19.” [3] ASAM. 2018. “Public Policy Statement on Prescription Drug Monitoring Programs (PDMPs)” [4] Substance Abuse and Mental Health Services Administration (SAMHSA), U.S. Department of Health and Human Services (HHS). 2020. “Confidentiality of Substance Use Disorder Patient Records.” See also: PDMP TTAC. Accessed May 2, 2023. “PDMPs Authorized and Engaged in Sending Solicited and Unsolicited Reports to Law Enforcement Entities”. PDMP Assist. https://www.pdmpassist.org/pdf/Law_Enforcement_Entity_Table.pdf [5] Lagisetty, et. al. 2019. “Access to Primary Care Clinics for Patients with Chronic Pain Receiving Opioids” [6] Binswanger, et. al. 2020. “The Association between Opioid Discontinuation and Heroin Use: A Nested Case-Control Study” [7] Oliva, et. al. 2020. “Associations between stopping prescriptions for opioids, length of opioid treatment, and overdose or suicide deaths in US veterans: observational evaluation.” [8] Federal guidelines: 42 CFR Part II. 2021. “PART 2 - CONFIDENTIALITY OF SUBSTANCE USE DISORDER PATIENT RECORDS” [9] U.S. Department of Health and Human Services, Substance Abuse and Mental Health Service Administration Center for Substance Abuse Treatment. 2004. “TIP 40.” [10] Fiscella, et al. 2018. “Buprenorphine Deregulation and Mainstreaming Treatment for Opioid Use Disorder.” [11] Auriacombe, et al. 2004. “French field experience with buprenorphine.”

Food is not a trifling matter on Japanese television. More visible than such cultural staples as sumo and enka, food-related talk abounds. Aired year-round and positioned on every channel in every time period throughout the broadcast day, the lenses of food shows are calibrated at a wider angle than heavily-trafficked samurai dramas, beisboru or music shows. Simply, more aspects of everyday life, social history and cultural values pass through food programming. The array of shows work to reproduce traditional Japanese cuisine and cultural mores, educating viewers about regional customs and history. They also teach viewers about the "peculiar" practices of far-away countries. Thus, food shows engage globalisation and assist the integration of outside influences and lifestyles in Japan. However, food-talk is also about nihonjinron -- the uniqueness of Japanese culture1. As such, it tends toward cultural nationalism2. Food-talk is often framed in the context of competition and teaches viewers about planning and aesthetics, imparting class values and a consumption ethic. Food discourse is also inevitably about the reproduction of popular culture. Whether it is Jackie Chan plugging a new movie on a "guess the price" food show or a group of celebs are taking a day-trip to a resort town, food-mediated discourse enables the cultural industry and the national economy to persist -- even expand. To offer a taste of the array of cultural discourse that flows through food, this article serves up an ideal week of Japanese TV programming. Competition for Kisses: Over-Cooked Idols and Half-Baked Sexuality Monday, 10:00 p.m.: SMAP x SMAP SMAP is one of the longest-running, most successful male idol groups in Japan. At least one of their members can be found on TV every day. On this variety show, all five appear. One segment is called "Bistro SMAP" where the leader of the group, Nakai-kun, ushers a (almost always) female guest into his establishment and inquires what she would like to eat. She states her preference and the other four SMAP members (in teams of two) begin preparing the meal. Nakai entertains the guest on a dais overlooking the cooking crews. While the food is being prepared he asks standard questions about the talento's career; "how did you get in this business", "what are your favorite memories", "tell us about your recent work" -- the sort of banal banter that fills many cooking shows. Next, Nakai leads the guest into the kitchen and introduces her to the cooks. Finally, she samples both culinary efforts with the camera catching the reactions of anguish or glee from the opposing team. Each team then tastes the other group's dish. Unlike many food shows, the boys eat without savoring the food. The impression conveyed is that these are everyday boys -- not mega CD-selling pop idols with multiple product endorsements, commercials and television commitments. Finally, the moment of truth arrives: which meal is best. The winners jump for joy, the losers stagger in disappointment. The reason: the winners receive a kiss from the judge (on an agreed-upon innocuous body part). Food as entrée into discourse on sexuality. But, there is more than mere sex in the works, here. For, with each collected kiss, a set of red lips is affixed to the side of the chef's white cap. Conquests. After some months the kisses are tallied and the SMAPster with the most lips wins a prize. Food begets sexuality which begets measures of skill which begets material success. Food is but a prop in managing each idol's image. Putting a Price-tag on Taste (Or: Food as Leveller) Tuesday 8:00 p.m.: Ninki mono de ikou (Let's Go with the Popular People) An idol's image is an essential aspect of this show. The ostensible purpose is to observe five famous people appraising a series of paired items -- each seemingly identical. Which is authentic and which is a bargain-basement copy? One suspects, though, that the deeper aim is to reveal just how unsophisticated, bumbling and downright stupid "talento" can be. Items include guitars, calligraphy, baseball gloves and photographs. During evaluation, the audience is exposed to the history, use and finer points of each object, as well as the guest's decision-making process (via hidden camera). Every week at least one food item is presented: pasta, cat food, seaweed, steak. During wine week contestants smelled, tasted, swirled and regarded the brew's hue. One compared the sound each glass made, while another poured the wines on a napkin to inspect patterns of dispersion! Guests' reasoning and behaviors are monitored from a control booth by two very opinionated hosts. One effect of the recurrent criticism is a levelling -- stars are no more (and often much less) competent (and sacrosanct) than the audience. Technique, Preparation and Procedure? Old Values Give Way to New Wednesday 9:00: Tonerus no nama de daradara ikasette (Tunnels' Allow Us to Go Aimlessly, as We Are) This is one of two prime time shows featuring the comedy team "Tunnels"3. In this show both members of the duo engage in challenging themselves, one another and select members of their regular "team" to master a craft. Last year it was ballet and flamenco dance. This month: karate, soccer and cooking. Ishibashi Takaaki (or "Taka-san") and his new foil (a ne'er-do-well former Yomiuri Giants baseball player) Sadaoka Hiyoshi, are being taught by a master chef. The emphasis is on technique and process: learning theki (the aura, the essence) of cooking. After taking copious notes both men are left on their own to prepare a meal, then present it to a young femaletalento, who selects her favorite. In one segment, the men learned how to prepare croquette -- striving to master the proper procedure for flouring, egg-beating, breading, heating oil, frying and draining. In the most recent episode, Taka prepared his shortcake to perfection, impressing even the sensei. Sadaoka, who is slow on the uptake and tends to be lax, took poor notes and clearly botched his effort. Nonetheless, the talento chose Sadaoka's version because it was different. Certain he was going to win, Taka fell into profound shock. For years a popular host of youth-oriented shows, he concluded: "I guess I just don't understand today's young people". In Japanese television, just as in life, it seems there is no accounting for taste. More, whatever taste once was, it certainly has changed. "We Japanese": Messages of Distinctiveness (Or: Old Values NEVER Die) Thursday, 9:00 p.m.: Douchi no ryori shiou: (Which One? Cooking Show) By contrast, on this night viewers are served procedure, craft and the eternal order of things. Above all, validation of Japanese culinary instincts and traditions. Like many Japanese cooking showsDouchi involves competition between rival foods to win the hearts of a panel of seven singers, actors, writers and athletes.Douchi's difference is that two hosts front for rival dishes, seeking to sway the panel during the in-studio preparation. The dishes are prepared by chefs fromTsuji ryori kyoshitsu, a major cooking academy in Osaka, and are generally comparable (for instance, beef curry versus beef stew). On the surface Douchi is a standard infotainment show. Video tours of places and ingredients associated with the dish entertain the audience and assist in making the guests' decisions more agonising. Two seating areas are situated in front of each chef and panellists are given a number of opportunities to switch sides. Much playful bantering, impassioned appeals and mock intimidation transpire throughout the show. It is not uncommon for the show to pit a foreign against a domestic dish; and most often the indigenous food prevails. For, despite the recent "internationalisation" of Japanese society, many Japanese have little changed from the "we-stick-with-what-we-know-best" attitude that is a Japanese hallmark. Ironically, this message came across most clearly in a recent show pitting spaghetti and meat balls against tarako supagetei (spicy fish eggs and flaked seaweed over Italian noodles) -- a Japanese favorite. One guest, former American, now current Japanese Grand Sumo Champion, Akebono, insisted from the outset that he preferred the Italian version because "it's what my momma always cooked for me". Similarly the three Japanese who settled on tarako did so without so much as a sample or qualm. "Nothing could taste better than tarako" one pronounced even before beginning. A clear message in Douchi is that Japanese food is distinct, special, irreplaceable and (if you're not opposed by a 200 kilogram giant) unbeatable. Society as War: Reifying the Strong and Powerful Friday, 11:00 p.m.: Ryori no tetsujin. (The Ironmen of Cooking) Like sumo this show throws the weak into the ring with the strong for the amusement of the audience. The weak in this case being an outsider who runs his own restaurant. Usually the challengers are Japanese or else operate in Japan, though occasionally they come from overseas (Canada, America, France, Italy). Almost without exception they are men. The "ironmen" are four famous Japanese chefs who specialise in a particular cuisine (Japanese, Chinese, French and Italian). The contest has very strict rules. The challenger can choose which chef he will battle. Both are provided with fully-equipped kitchens positioned on a sprawling sound stage. They must prepare a full-course meal for four celebrity judges within a set time frame. Only prior to the start are they informed of which one key ingredient must be used in every course. It could be crab, onion, radish, pears -- just about any food imaginable. The contestants must finish within the time limit and satisfy the judges in terms of planning, creativity, composition, aesthetics and taste. In the event of a tie, a one course playoff results. The show is played like a sports contest, with a reporter and cameras wading into the trenches, conducting interviews and play-by-play commentary. Jump-cut editing quickens the pace of the show and the running clock adds a dimension of suspense and excitement. Consistent with one message encoded in Japanese history, it is very hard to defeat the big power. Although the ironmen are not weekly winners, their consistency in defeating challengers works to perpetuate the deep-seated cultural myth4. Food Makes the Man Saturday 12:00: Merenge no kimochi (Feelings like Meringue) Relative to the full-scale carnage of Friday night, Saturdays are positively quiescent. Two shows -- one at noon, the other at 11:30 p.m. -- employ food as medium through which intimate glimpses of an idol's life are gleaned.Merenge's title makes no bones about its purpose: it unabashedly promises fluff. In likening mood to food -- and particularly in the day-trip depicted here -- we are reminded of the Puffy's famous ditty about eating crab: "taking the car out for a spin with a caramel spirit ... let's go eat crab!"Merengue treats food as a state of mind, a many-pronged road to inner peace. To keep it fluffy,Merenge is hosted by three attractive women whose job it is to act frivolous and idly chat with idols. The show's centrepiece is a segment where the male guest introduces his favorite (or most cookable) recipe. In-between cutting, beating, grating, simmering, ladling, baking and serving, the audience is entertained and their idol's true inner character is revealed. Continuity Editing Running throughout the day, every day, on all (but the two public) stations, is advertising. Ads are often used as a device to heighten tension or underscore the food show's major themes, for it is always just before the denouement (a judge's decision, the delivery of a story's punch-line or a final tally) that an ad interrupts. Ads, however, are not necessarily departures from the world of food, as a large proportion of them are devoted to edibles. In this way, they underscore food's intimate relationship to economy -- a point that certain cooking shows make with their tie-in goods for sale or maps to, menus of and prices for the featured restaurants. While a considerable amount of primary ad discourse is centred on food (alcoholic and non-alcoholic beverages, coffees, sodas, instant or packaged items), it is ersatz food (vitamin-enriched waters, energy drinks, sugarless gums and food supplements) which has recently come to dominate ad space. Embedded in this commercial discourse are deeper social themes such as health, diet, body, sexuality and even death5. Underscoring the larger point: in Japan, if it is television you are tuned into, food-mediated discourse is inescapable. Food for Conclusion The question remains: "why food?" What is it that qualifies food as a suitable source and medium for filtering the raw material of popular culture? For one, food is something that all Japanese share in common. It is an essential part of daily life. Beyond that, though, the legacy of the not-so-distant past -- embedded in the consciousness of nearly a third of the population -- is food shortages giving rise to overwhelming abundance. Within less than a generation's time Japanese have been transported from famine (when roasted potatoes were considered a meal and chocolate was an unimaginable luxury) to excess (where McDonald's is a common daily meal, scores of canned drink options can be found on every street corner, and yesterday's leftover 7-Eleven bentos are tossed). Because of food's history, its place in Japanese folklore, its ubiquity, its easy availability, and its penetration into many aspects of everyday life, TV's food-talk is of interest to almost all viewers. Moreover, because it is a part of the structure of every viewer's life, it serves as a fathomable conduit for all manner of other talk. To invoke information theory, there is very little noise on the channel when food is involved6. For this reason food is a convenient vehicle for information transmission on Japanese television. Food serves as a comfortable podium from which to educate, entertain, assist social reproduction and further cultural production. Footnotes 1. For an excellent treatment of this ethic, see P.N. Dale, The Myth of Japanese Uniqueness. London: Routledge, 1986. 2. A predilection I have discerned in other Japanese media, such as commercials. See my "The Color of Difference: Critiquing Cultural Convergence via Television Advertising", Interdisciplinary Information Sciences 5.1 (March 1999): 15-36. 3. The other, also a cooking show which we won't cover here, appears on Thursdays and is called Tunnerusu no minasan no okage deshita. ("Tunnels' Because of Everyone"). It involves two guests -- a male and female -- whose job it is to guess which of 4 prepared dishes includes one item that the other guest absolutely detests. There is more than a bit of sadism in this show as, in-between casual conversation, the guest is forced to continually eat something that turns his or her stomach -- all the while smiling and pretending s/he loves it. In many ways this suits the Japanese cultural value of gaman, of bearing up under intolerable conditions. 4. After 300-plus airings, the tetsujin show is just now being put to bed for good. It closes with the four iron men pairing off and doing battle against one another. Although Chinese food won out over Japanese in the semi-final, the larger message -- that four Japanese cooks will do battle to determine the true iron chef -- goes a certain way toward reifying the notion of "we Japanese" supported in so many other cooking shows. 5. An analysis of such secondary discourse can be found in my "The Commercialized Body: A Comparative Study of Culture and Values". Interdisciplinary Information Sciences 2.2 (September 1996): 199-215. 6. The concept is derived from C. Shannon and W. Weaver, The Mathematical Theory of Communication. Urbana, Ill.: University of Illinois Press, 1949. Citation reference for this article MLA style: Todd Holden. "'And Now for the Main (Dis)course...': Or, Food as Entrée in Contemporary Japanese Television." M/C: A Journal of Media and Culture 2.7 (1999). [your date of access] <http://www.uq.edu.au/mc/9910/entree.php>. Chicago style: Todd Holden, "'And Now for the Main (Dis)course...': Or, Food as Entrée in Contemporary Japanese Television," M/C: A Journal of Media and Culture 2, no. 7 (1999), <http://www.uq.edu.au/mc/9910/entree.php> ([your date of access]). APA style: Todd Holden. (1999) "And now for the main (dis)course...": or, food as entrée in contemporary Japanese television. M/C: A Journal of Media and Culture 2(7). <http://www.uq.edu.au/mc/9910/entree.php> ([your date of access]).

The Harry Potter (HP) Fan Fiction (FF) phenomenon offers an opportunity to explore the nature of fame and the work of fans (including the second author, a participant observer) in creating and circulating cultural products within fan communities. Matt Hills comments (xi) that “fandom is not simply a ‘thing’ that can be picked over analytically. It is also always performative; by which I mean that it is an identity which is (dis-)claimed, and which performs cultural work”. This paper explores the cultural work of fandom in relation to FF and fame. The global HP phenomenon – in which FF lists are a small part – has made creator J K Rowling richer than the Queen of England, according to the 2003 ‘Sunday Times Rich List’. The books (five so far) and the films (three) continue to accelerate the growth in Rowling’s fortune, which quadrupled from 2001-3: an incredible success for an author unknown before the publication of Harry Potter and the Philosopher’s Stone in 1997. Even the on-screen HP lead actor, Daniel Radcliffe, is now Britain’s second wealthiest teenager (after England’s Prince Harry). There are other globally successful books, such as the Lord of the Rings trilogy, and the Narnia collection, but neither of these series has experienced the momentum of the HP rise to fame. (See Endnote for an indication of the scale of fan involvement with HP FF, compared with Lord of the Rings.) Contemporary ‘Fame’ has been critically defined in relation to the western mass media’s requirement for ‘entertaining’ content, and the production and circulation of celebrity as opposed to ‘hard news’(Turner, Bonner and Marshall). The current perception is that an army of publicists and spin doctors are usually necessary, but not sufficient, to create and nurture global fame. Yet the HP phenomenon started out with no greater publicity investment than that garnered by any other promising first novelist: and given the status of HP as children’s publishing, it was probably less hyped than equivalent adult-audience publications. So are there particular characteristics of HP and his creator that predisposed the series and its author to become famous? And how does the fame status relate to fans’ incorporation of these cultural materials into their lives? Accepting that it is no more possible to predict the future fame of an author or (fictional) character than it is to predict the future financial success of a book, film or album, there is a range of features of the HP phenomenon that, in hindsight, helped accelerate the fame momentum, creating what has become in hindsight an unparalleled global media property. J K Rowling’s personal story – in the hands of her publicity machine – itself constituted a magical myth: the struggling single mother writing away (in longhand) in a Scottish café, snatching odd moments to construct the first book while her infant daughter slept. (Comparatively little attention was paid by the marketers to the author’s professional training and status as a teacher, or to Rowling’s own admission that the first book, and the outline for the series, took five years to write.) Rowling’s name itself, with no self-evident gender attribution, was also indicative of ambiguity and mystery. The back-story to HP, therefore, became one of a quintessentially romantic endeavour – the struggle to write against the odds. Publicity relating to the ‘starving in a garret’ background is not sufficient to explain the HP/Rowling grip on the popular imagination, however. Instead it is arguable that the growth of HP fame and fandom is directly related to the growth of the Internet and to the middle class readers’ Internet access. If the production of celebrity is a major project of the conventional mass media, the HP phenomenon is a harbinger of the hyper-fame that can be generated through the combined efforts of the mass media and online fan communities. The implication of this – evident in new online viral marketing techniques (Kirby), is that publicists need to pique cyber-interest as well as work with the mass media in the construction of celebrity. As the cheer-leaders for online viral marketing make the argument, the technique “provides the missing link between the [bottom-up] word-of-mouth approach and the top-down, advertainment approach”. Which is not to say that the initial HP success was a function of online viral marketing: rather, the marketers learned their trade by analysing the magnifier impact that the online fan communities had upon the exponential growth of the HP phenomenon. This cyber-impact is based both on enhanced connectivity – the bottom-up, word-of-mouth dynamic, and on the individual’s need to assume an identity (albeit fluid) to participate effectively in online community. Critiquing the notion that the computer is an identity machine, Streeter focuses upon (649) “identities that people have brought to computers from the culture at large”. He does not deal in any depth with FF, but suggests (651) that “what the Internet is and will come to be, then, is partly a matter of who we expect to be when we sit down to use it”. What happens when fans sit down to use the Internet, and is there a particular reason why the Internet should be of importance to the rise and rise of HP fame? From the point of view of one of us, HP was born at more or less the same time as she was. Eleven years old in the first book, published in 1997, Potter’s putative birth year might be set in 1986 – in line with many of the original HP readership, and the publisher’s target market. At the point that this cohort was first spellbound by Potter, 1998-9, they were also on the brink of discovering the Internet. In Australia and many western nations, over half of (two-parent) families with school-aged children were online by the end of 2000 (ABS). Potter would notionally have been 14: his fans a little younger but well primed for the ‘teeny-bopper’ years. Arguably, the only thing more famous than HP for that age-group, at that time, was the Internet itself. As knowledge of the Internet grew stories about it constituted both news and entertainment and circulated widely in the mass media: the uncertainty concerning new media, and their impact upon existing social structures, has – over time – precipitated a succession of moral panics … Established commercial media are not noted for their generosity to competitors, and it is unsurprising that many of the moral panics circulating about pornography on the Net, Internet stalking, Web addiction, hate sites etc are promulgated in the older media. (Green xxvii) Although the mass media may have successfully scared the impressionable, the Internet was not solely constructed as a site of moral panic. Prior to the general pervasiveness of the Internet in domestic space, P. David Marshall discusses multiple constructions of the computer – seen by parents as an educational tool which could help future-proof their children; but which their children were more like to conceptualise as a games machine, or (this was the greater fear) use for hacking. As the computer was to become a site for the battle ground between education, entertainment and power, so too the Internet was poised to be colonised by teenagers for a variety of purposes their parents would have preferred to prevent: chat, pornography, game-playing (among others). Fan communities thrive on the power of the individual fan to project themselves and their fan identity as part of an ongoing conversation. Further, in constructing the reasons behind what has happened in the HP narrative, and in speculating what is to come, fans are presenting themselves as identities with whom others might agree (positive affirmation) or disagree (offering the chance for engagement through exchange). The genuinely insightful fans, who apparently predict the plots before they’re published, may even be credited in their communities with inspiring J K Rowling’s muse. (The FF mythology is that J K Rowling dare not look at the FF sites in case she finds herself influenced.) Nancy Baym, commenting on a soap opera fan Usenet group (Usenet was an early 1990s precursor to discussion groups) notes that: The viewers’ relationship with characters, the viewers’ understanding of socioemotional experience, and soap opera’s narrative structure, in which moments of maximal suspense are always followed by temporal gaps, work together to ensure that fans will use the gaps during and between shows to discuss with one another possible outcomes and possible interpretations of what has been seen. (143) In HP terms the The Philosopher’s Stone constructed a fan knowledge that J K Rowling’s project entailed at least seven books (one for each year at Hogwarts School) and this offered plentiful opportunities to speculate upon the future direction and evolution of the HP characters. With each speculation, each posting, the individual fan can refine and extend their identity as a member of the FF community. The temporal gaps between the books and the films – coupled with the expanding possibilities of Internet communication – mean that fans can feel both creative and connected while circulating the cultural materials derived from their engagement with the HP ‘canon’. Canon is used to describe the HP oeuvre as approved by Rowling, her publishers, and her copyright assignees (for example, Warner Bros). In contrast, ‘fanon’ is the name used by fans to refer the body of work that results from their creative/subversive interactions with the core texts, such as “slash” (homo-erotic/romance) fiction. Differentiation between the two terms acknowledges the likelihood that J K Rowling or her assignees might not approve of fanon. The constructed identities of fans who deal solely with canon differ significantly from those who are engaged in fanon. The implicit (romantic) or explicit (full-action descriptions) sexualisation of HP FF is part of a complex identity play on behalf of both the writers and readers of FF. Further, given that the online communities are often nurtured and enriched by offline face to face exchanges with other participants, what an individual is prepared to read or not to read, or write or not write, says as much about that person’s public persona as does another’s overt consumption of pornography; or diet of art house films, in contrast to someone else’s enthusiasm for Friends. Hearn, Mandeville and Anthony argue that a “central assertion of postmodern views of consumption is that social identity can be interpreted as a function of consumption” (106), and few would disagree with them: herein lies the power of the brand. Noting that consumer culture centrally focuses upon harnessing ‘the desire to desire’, Streeter’s work (654, on the opening up of Internet connectivity) suggests a continuum from ‘desire provoked’; through anticipation, ‘excitement based on what people imagined would happen’; to a sense of ‘possibility’. All this was made more tantalising in terms of the ‘unpredictability’ of how cyberspace would eventually resolve itself (657). Thus a progression is posited from desire through to the thrill of comparing future possibilities with eventual outcomes. These forces clearly influence the HP FF phenomenon, where a section of HP fans have become impatient with the pace of the ‘official’/canon HP text. J K Rowling’s writing has slowed down to the point that Harry’s initial readership has overtaken him by several years. He’s about to enter his sixth year (of seven) at secondary school – his erstwhile-contemporaries have already left school or are about to graduate to University. HP is yet to have ‘a relationship’: his fans are engaged in some well-informed speculation as to a range of sexual possibilities which would likely take J K Rowling some light years from her marketers’ core readership. So the story is progressing more slowly than many fans would choose and with less spice than many would like (from the evidence of the web, at least). As indicated in the Endnote, the productivity of the fans, as they ‘fill in the gaps’ while waiting for the official narrative to resume, is prodigious. It may be that as the fans outstrip HP in their own social and emotional development they find his reactions in later books increasingly unbelievable, and/or out of character with the HP they felt they knew. Thus they develop an alternative ‘Harry’ in fanon. Some FF authors identify in advance which books they accept as canon, and which they have decided to ignore. For example, popular FF author Midnight Blue gives the setting of her evolving FF The Mirror of Maybe as “after Harry Potter and the Goblet of Fire and as an alternative to the events detailed in Harry Potter and the Order of the Phoenix, [this] is a Slash story involving Harry Potter and Severus Snape”. Some fans, tired of waiting for Rowling to get Harry grown up, ‘are doin’ it for themselves’. Alternatively, it may be that as they get older the first groups of HP fans are unwilling to relinquish their investment in the HP phenomenon, but are equally unwilling to align themselves uncritically with the anodyne story of the canon. Harry Potter, as Warner Bros licensed him, may be OK for pre-teens, but less cool for the older adolescent. The range of identities that can be constructed using the many online HP FF genres, however, permits wide scope for FF members to identify with dissident constructions of the HP narrative and helps to add to the momentum with which his fame increases. Latterly there is evidence that custodians of canon may be making subtle overtures to creators of fanon. Here, the viral marketers have a particular challenge – to embrace the huge market represented by fanon, while not disturbing those whose HP fandom is based upon the purity of canon. Some elements of fanon feel their discourses have been recognised within the evolving approved narrative . This sense within the fan community – that the holders of the canon have complimented them through an intertextual reference – is much prized and builds the momentum of the fame engagement (as has been demonstrated by Watson, with respect to the band ‘phish’). Specifically, Harry/Draco slash fans have delighted in the hint of a blown kiss from Draco Malfoy to Harry (as Draco sends Harry an origami bird/graffiti message in a Defence against the Dark Arts Class in Harry Potter and the Prisoner of Azkaban) as an acknowledgement of their cultural contribution to the development of the HP phenomenon. Streeter credits Raymond’s essay ‘The Cathedral and the Bazaar’ as offering a model for the incorporation of voluntary labour into the marketplace. Although Streeter’s example concerns the Open Source movement, derived from hacker culture, it has parallels with the prodigious creativity (and productivity) of the HP FF communities. Discussing the decision by Netscape to throw open the source code of its software in 1998, allowing those who use it to modify and improve it, Streeter comments that (659) “the core trope is to portray Linux-style software development like a bazaar, a real-life competitive marketplace”. The bazaar features a world of competing, yet complementary, small traders each displaying their skills and their wares for evaluation in terms of the product on offer. In contrast, “Microsoft-style software production is portrayed as hierarchical and centralised – and thus inefficient – like a cathedral”. Raymond identifies “ego satisfaction and reputation among other [peers]” as a specific socio-emotional benefit for volunteer participants (in Open Source development), going on to note: “Voluntary cultures that work this way are not actually uncommon [… for example] science fiction fandom, which unlike hackerdom has long explicitly recognized ‘egoboo’ (ego-boosting, or the enhancement of one’s reputation among other fans) as the basic drive behind volunteer activity”. This may also be a prime mover for FF engagement. Where fans have outgrown the anodyne canon they get added value through using the raw materials of the HP stories to construct fanon: establishing and building individual identities and communities through HP consumption practices in parallel with, but different from, those deemed acceptable for younger, more innocent, fans. The fame implicit in HP fandom is not only that of HP, the HP lead actor Daniel Radcliffe and HP’s creator J K Rowling; for some fans the famed ‘state or quality of being widely honoured and acclaimed’ can be realised through their participation in online fan culture – fans become famous and recognised within their own community for the quality of their work and the generosity of their sharing with others. The cultural capital circulated on the FF sites is both canon and fanon, a matter of some anxiety for the corporations that typically buy into and foster these mega-media products. As Jim Ward, Vice-President of Marketing for Lucasfilm comments about Star Wars fans (cited in Murray 11): “We love our fans. We want them to have fun. But if in fact someone is using our characters to create a story unto itself, that’s not in the spirit of what we think fandom is about. Fandom is about celebrating the story the way it is.” Slash fans would beg to differ, and for many FF readers and writers, the joy of engagement, and a significant engine for the growth of HP fame, is partly located in the creativity offered for readers and writers to fill in the gaps. Endnote HP FF ranges from posts on general FF sites (such as fanfiction.net >> books, where HP has 147,067 stories [on 4,490 pages of hotlinks] posted, compared with its nearest ‘rival’ Lord of the rings: with 33,189 FF stories). General FF sites exclude adult content, much of which is corralled into 18+ FF sites, such as Restrictedsection.org, set up when core material was expelled from general sites. As an example of one adult site, the Potter Slash Archive is selective (unlike fanfiction.net, for example) which means that only stories liked by the site team are displayed. Authors submitting work are asked to abide by a list of ‘compulsory parameters’, but ‘warnings’ fall under the category of ‘optional parameters’: “Please put a warning if your story contains content that may be offensive to some authors [sic], such as m/m sex, graphic sex or violence, violent sex, character death, major angst, BDSM, non-con (rape) etc”. Adult-content FF readers/writers embrace a range of unexpected genres – such as Twincest (incest within either of the two sets of twin characters in HP) and Weasleycest (incest within the Weasley clan) – in addition to mainstream romance/homo-erotica pairings, such as that between Harry Potter and Draco Malfoy. (NB: within the time frame 16 August – 4 October, Harry Potter FF writers had posted an additional 9,196 stories on the fanfiction.net site alone.) 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Houghton Mifflin. “Potlatch.” Encyclopedia of North American Indians. http://college.hmco.com/history/readerscomp/naind/html/ na_030900_potlatch.htm>. Kirby, Justin. “Brand Papers: Getting the Bug.” Brand Strategy July-August 2004. http://www.dmc.co.uk/pdf/BrandStrategy07-0804.pdf>. Marshall, P. David. “Technophobia: Video Games, Computer Hacks and Cybernetics.” Media International Australia 85 (Nov. 1997): 70-8. Murray, Simone. “Celebrating the Story the Way It Is: Cultural Studies, Corporate Media and the Contested Utility of Fandom.” Continuum 18.1 (2004): 7-25. Raymond, Eric S. The Cathedral and the Bazaar. 2000. http://www.catb.org/~esr/writings/cathedral-bazaar/cathedral-bazaar/ar01s11.html>. Streeter, Thomas. The Romantic Self and the Politics of Internet Commercialization. Cultural Studies 17.5 (2003): 648-68. Turner, Graeme, Frances Bonner, and P. David Marshall. Fame Games: The Production of Celebrity in Australia. Melbourne: Cambridge UP. Watson, Nessim. “Why We Argue about Virtual Community: A Case Study of the Phish.net Fan Community.” Virtual Culture: Identity and Communication in Cybersociety. Ed. Steven G. Jones. London: Sage, 1997. 102-32. Citation reference for this article MLA Style Green, Lelia, and Carmen Guinery. "Harry Potter and the Fan Fiction Phenomenon." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/14-green.php>. APA Style Green, L., and C. Guinery. (Nov. 2004) "Harry Potter and the Fan Fiction Phenomenon," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/14-green.php>.

Much of francophone Switzerland (the Romandie) was a region open to rival political powers. Savoy controlled the Chablais and the Vaud, but Burgundy had designs upon the Romandie, and so did France, both in respect of the Franche-Comté and eastwards across the Jura mountains to the county of Neuchâtel. Alsatian cities and western Swiss cities, principally Bern, in turn had western ambitions, whether active or reactive. The principal means of securing influence in this open landscape was the protective alliance (Burgrecht), granted to lords, ecclesiastical foundations, and towns in return for admission to citizenship in the cities, some of whom became in due course associated members of the Confederation. The many and renewed Burgrechte between Bern (and Fribourg) and Savoy came under strain, however, because the cities accepted Savoy subjects as citizens, latterly citizens of Geneva, over which Savoy asserted jurisdiction.

One thing which emerges as a consistent feature of Spanish Romantic drama, from Larra to Rivas, from Hartzenbusch to Zorrilla, is the contestatory exposition, normally by the male lead, of a radical and challenging prescription for a new understanding of love, life, and the world which is then defeated by external forces or, more commonly, is mitigated by the mediating figure of the heroine. Parallels with prevalent trends in the narratives of Spanish historiography evince an alluring seduction by the wiles of Enlightenment France before a return to the traditional Spanish fold is an obvious suggestion, but there are others. Espronceda’s student of Salamanca and his demise at the hands of the spectre of the past (past love, past Calderonian play, and uncompromising theocentric history) would certainly fit into this.

This chapter illustrates how Staël's analysis of the Jacobins' performance raises the question of the role she attributed, in the revolutionary process, to what she referred to as “the people” or “the nation.” On her account, if the mass of the people harbored the expectations that agitated French society, these shapeless aspirations acquired political significance only through the initiative of some active minority groups. The Revolution itself appeared to be the work of rival elites who pursued different political designs, each of them claiming to act according to the wishes of the whole nation. For Staël this interaction between the French people and its ruling elites was at best problematic. Because the country lacked a tradition of free government, in France the normal relations between a free nation and its elected representatives had not yet taken shape.

Plymouth Brethren are a larger Christian movement, including a dozen of different denominations. They originate from a 19th-century revival in the British Isles, around John Nelson Darby—regarded by some of the father of the evangelical fundamentalist movement—and others who dreamed to restore the purity of primitive Christianity. The revival eventually extended to Continental Europe, particularly Switzerland and Italy, and later France and Germany, as well as to United States, Canada, and China. While some lived this dream in ecumenical terms, those who would eventually be called Exclusive Brethren came to believe that true Christians should separate themselves from the corruption of existing denominations, and break bread in their assemblies only with those sharing their interpretation of the Bible. In turn, Exclusive Brethren fragmented into several rival denominations. The book, based on both historical research and participant observation of contemporary communities, presents the different branches of the Brethren, but focuses on a case study of the Plymouth Brethren Christian Church, one of the largest groups of the Exclusive Brethren. It discusses their beliefs, daily life, international school system, and charitable activities, mentioning also the controversies surrounding their practice of strict separation from those who are not part of their community, and the accusations brought against the Brethren by media and some former members within the framework of contemporary controversies about cults.

Abstract The Anglo-French conflict that came to be called the Hundred Years War was based on rival claims to land and leadership. The death of Charles VI of France in 1328 left a void in the French monarchy. The Capetian dynasty had ruled most of France since 987, but there was now no direct male heir. The best legal claim came from Edward III of England, grandson of Philip the Fair (1285-1314), but the French nobility could not conceive of a foreigner as king. Instead, they chose Philip VI Valois, ending the Capetian dynasty. Edward resisted this choice, not only because he wanted the throne for himself, but also because he was technically a vassal of the French king. Since he controlled some territory in France, he might be called on to obey his liege lord with actions detrimental to England. Further, the French had supported the Bruces of Scotland in their struggle for independence from the English. Finally, England coveted Flanders, nominally under French control but tied to England via the wool trade. Add to all this the traditional dislike the French and English have always harbored for each other, and war seemed inevitable.

This chapter begins by discussing the relationship between SF and what Daniel Bloom dubbed ‘cli-fi’. Cli-fi, it argues, is best understood as a sub-genre of SF and the crucial shift between the pre-history of climate fiction outlined in the previous chapter and this contemporary sub-genre has been the development of a near-consensus amongst scientists about the potentially disastrous effects of global warming. It proceeds to a critical account of how the notion of the Anthropocene was developed in the sciences, misrepresented in ecocriticism, and challenged in the social sciences by rival concepts, such as the Capitalocene and the Chthulucene. As an alternative, it proposes a sociology of literature derived from the work of Raymond Williams, Pierre Bourdieu and Franco Moretti. The chapter then proposes an ideal typology of climate fictions arranged around five measures of formal utopianism, which derive substantially from the work of Tom Moylan, and six measures of substantive response to climate change, derived from real-world discourse. This results in a grid of thirty logically possible types of climate fiction. The chapter concludes with a brief discussion of narrative strategies and tactics available to cli-fi, citing Nevil Shute’s nuclear doomsday novel On the Beach as a model.

Abstract On the eve of Spanish Civil War, neither the government nor the rebels could be sure which side the Basques of northern Spain would take. On the one hand the Basque Nationalists had been solidly supporting the reformers in government the previous few years, but they also were a staunchly Catholic population and the Church was solidly on the side of General Francisco Franco. The opening of the conflict on 18 July 1936 found the Basque military men in the north seizing rebellious soldiers and declaring their loyalty. Unfortunately for the government, it was questionable just how loyal the mainly conservative Basques would be to an administration that rapidly turned socialist. Unfortunately for the rebellious Nationalists, the Basques disliked anything resembling a military dictatorship, since the Republic had just recently granted them autonomy. There was hardly political unanimity in the northern provinces, however. The Basque Nationalists were dominant in the eastern provinces of Vizcaya and Guipozcoa. The province of Santander in the center was more socialist in its outlook, the labor movement Union General def Trabajadores (UGT) being the strongest party. The westernmost province of Asturias had an outlook that was almost completely communist, but was unwilling to take direction from any outside authority, including the government they fought for. This political strife was reflected in the region’s military performance, which was haphazard at best since rival units often refused to take orders from anyone else.

Abstract When the theatrical season of 1913–14 ended in mid-June, Americans were looking forward to another prosperous, carefree summer, months to come of comfortable, well-bred relaxation. Advertisements in leading newspapers and magazines promised no less. Elegant couples-carefully groomed men in tuxedos, white tie and tails, or impeccably tailored three-piece suits; attractively coiffed ladies in lovely, drapey gowns or becoming tea ensembles, and with their hairdos sometimes partially concealed by small, boxy hats, often startlingly punctuated by a single large feather-were featured in advertisement after advertisement, and not merely those for clothing. The Columbia Graphophone Company and its rival the Victor Talking Machine Company both depicted parties in huge, exquisitely furnished drawing rooms, with everyone listening attentively or dancing to the music from their large, horned instruments. This was, after all,. the era of “the Dancing Craze,” when America and much of the Western world went wild over tangos, fox-trots, grizzly bears, turkey trots, and similar ballroom dances. More sedentary people, just as sumptuously dressed, gathered around a Chickering piano. Even smoking Egyptian Deities, if you accepted the ads, required the finest attire. Publicity for Churchill’s showed a gilded, high-ceilinged main dining room and circling balconies filled to capacity with pictureperfect patrons. Its text proclaimed, “Here, in an atmosphere surcharged with the dash and spirit of Manhattan-buoyant, brilliant, scintillating-and suffused with refinement, one finds a phase of restaurant life representing the fashionable activities of New York at their zenith.” Making allowances for the oncoming heat, Arrow Shirts portrayed a handsome young man with well-combed, wavy hair playing pool-but with the jacket of his tuxedo removed. For those anxious to leave the city, sprawling, low-rising, frequently clapboarded resorts were framed by perfectly manicured lawns, serene lakes, and noble old trees. Their managements quietly assured interested readers of the best in boating, saddle horses, tennis, golf, and fishing. Regal, multi-stacked ocean liners were pictured sailing by Manhattan’s skyscrapers or steaming proudly along at sea. No hint was offered that some of these magnificent ships still carried passengers in steerage class. But those at whom these ads were aimed probably cared little about such matters. They were interested primarily in pursuing the good life-a good life which would also include starchily dressed evenings at the theatre once the new season opened. Then, on June 28, the Austrian Archduke Francis Ferdinand and his wife were assassinated at Sarajevo by a Serbian fanatic. Little more than a month later, World War I had erupted.