Artykuły w czasopismach na temat „Channing Club of Boston”

Despite the fact that the entire collection of Ralph WaldoEmerson’s sermons was published more than two decades ago, scholarlyinterest has so far been limited. By focusing on the particular themeof the relation between God and individual conscience, the presentarticle analyzes most of Emerson’s sermons on this particular topic.Emphasizing Emerson’s background in Boston-Unitarianism and histheological debt to William Ellery Channing, it is demonstrated howEmerson already in his sermons cherishes the idea of a living, directconnection between God and the soul. The fact that he inherits fromCalvinism the idea of God as moral perfection, leads him to regard theindividual’s conscience as the highest faculty and the place where Godprimarily speaks to man. Conscience also implies an obligation to judgefor yourself or having ‘self-trust’, and in this way the sermons reveal thetheological roots of the later Emerson’s concept of self-reliance.

ABSTRACT Previously unattributed items by Elizabeth Palmer Peabody appear in the Boston Observer, Christian Register, and Western Messenger in 1835. One side of Peabody revealed in these articles is of the experimental educator who not only was embroiled in the drama over Bronson Alcott’s teaching at the Temple School but apparently had stirred up a small controversy of her own the year prior to the publication of Conversations with Children on the Gospels (1836–37). There might be nothing quite remarkable about these transcripts except for the fact that, in one of her dialogues with her students, Peabody tells a graphically violent story about infanticide among Cuba’s enslaved population, comments that she later attempts to defend. Another side of Peabody that these writings reveal is the portrait of a young religious author inspired to write her own devotional literature. This takes the form of an early correspondence with William Ellery Channing. And there is even another side to Peabody represented in these writings. It is that of a moral instructor imparting her wisdom on the formation of moral character. Taken together, these publications are a significant addition to our knowledge of Peabody at a critical time in the transcendentalist period of her life.

Because late nineteenth-century American sport was connected to both immigrant assimilation and cultural prestige, this essay first describes Boston amateur athletics during the later nineteenth century. Ireland-born poet/lecturer/newspaper editor John Boyle O'Reilly (1844–90) provides an important example of social and intellectual class mobility from the perspective of an immigrant writer. We observe through O'Reilly's sporting experiences and literary career how the development of upper-class amateur athletics in Boston and the popularity of boxing among its Irish working classes gave him exceptional influence among both groups. His history of boxing, Ethics of Boxing and Manly Sport (1888), is examined in detail as a key statement on pugilism, masculinity, and American citizenship fame. This view of Boston's intellectual and physical cultures, observed from the standpoint of O'Reilly, a talented writer and a sort of literary counterpart of famed pugilist John L. Sullivan (his friend, occasional sparring partner, and fellow celebrity among the Irish American community), sheds light on newly available pathways to social mobility made possible by simultaneous engagement with literary and athletic cultures.

Usually considered an enrichment project for classrooms, the 4-H Embryology Project can also be modified for club or individual use. In it, young people use an incubator to grow avian embryos (inside fertile eggs) through the hatching process. Students learn basic biology and life science while they eagerly look forward to hatching chicks. This 5-page fact sheet describes the necessary equipment and other resources and provides tips and suggestions to increase the hatchability of fertile avian eggs. Written by Marcus Boston, Chris Decubellis, and Judith Levings, and published by the UF Department of 4-H Youth Development, April 2015. (Photo: Marcus Boston, UF/IFAS) 4H367/4H367: Getting Started in the 4-H Embryology Project: Tips for 4-H Agents and Teachers (ufl.edu)

Nineteenth-century American culinary and gastronomic magazines are an important resource for interested scholars. Unfortunately most are little known and somewhat elusive. In this article, we introduce and briefly describe ten such journals: Berney's Mystery of Living (1868); The Table (1873); American Cookery (1876); The Caterer (Philadelphia 1882); The Cooking Club (1895); Table Talk (1886); Hotel Monthly (1893); What To Eat (1896); Boston Cooking-School Magazine (1896); and The Caterer (San Francisco 1891).

PurposeThe purpose of the study is to examine the long-run convergence properties of condominium prices based on the ripple effect for five major US metropolitan areas (Boston, Chicago, Los Angeles, New York and San Francisco). Specifically, we test for both overall convergence in condominium prices and the possibility of distinct convergence clubs to ascertain the interdependence of geographically dispersed metropolitan condominium markets.Design/methodology/approachOur analysis uses two approaches to identify the convergence properties of condominium prices: the Lee and Strazicich (2003) unit root test with endogenous structural breaks and the Phillips and Sul (2007, 2009) time-varying nonlinear club convergence tests.FindingsThe Lee and Strazicich (2003) unit root tests identify two structural breaks in 2006 and 2008 with the rejection of the null hypothesis of a unit root and long-run convergence in condominium prices in the cases of Boston and New York. The Phillips and Sul (2007, 2009) club convergence test reveals the absence of overall convergence in condominium prices across all metropolitan areas, but the emergence of two distinct convergence clubs with clear geographical segmentation: on the east coast with Boston and New York and the west coast with Los Angeles and San Francisco while Chicago exhibits a non-converging path.Research limitations/implicationsThe results highlight the distinct geographical segmentation of metropolitan condominium markets, which provides useful information to local policymakers, financial institutions, real estate developers and real estate portfolio managers. The limitations of the research are the identification of the underlying sources for the convergence clubs identified due to the availability of monthly data for a number of potential variables.Practical implicationsThe absence of overall convergence in condominium prices, but the emergence of distinct convergence clubs that reflects the geographical segmentation of metropolitan condominium markets raises the potential for portfolio diversification.Originality/valueUnlike previous studies that have focused on single-family housing, this is the first study to examine the convergence of metropolitan area condominium prices.

Large outbreaks of giardiasis caused by person-to-person transmission, or a combination of transmission routes, have not previously been reported. A large, prolonged giardiasis outbreak affected families belonging to a country club in a suburb of Boston, Massachusetts, during June–December 2003. We conducted a retrospective cohort study to determine the source of this outbreak. Giardiasis-compatible illness was experienced by 149 (25%) respondents to a questionnaire, and was laboratory confirmed in 97 (65%) of these cases. Of the 30 primary cases, exposure to the children's pool at the country club was significantly associated with illness (risk ratio 3·3, 95% confidence interval 1·7–6·5). In addition, 105 secondary cases probably resulted from person-to-person spread; 14 cases did not report an onset date. This outbreak illustrates the potential for Giardia to spread through multiple modes of transmission, with a common-source outbreak caused by exposure to a contaminated water source resulting in subsequent prolonged propagation through person-to-person transmission in the community. This capacity for a common-source outbreak to continue propagation through secondary person-to-person spread has been reported with Shigella and Cryptosporidium and may also be a feature of other enteric pathogens having low infectious doses.

Abstract Correlation between histology and molecular subtypes in triple negative breast cancer Authors: Tabata Alves Domingos, MD; 1* Roberto Bonfim Pimenta Peixoto, MD; 1* Ashka Patel, BS1,2; Krishan Taneja, PhD; 1 Wendy Y. Chen, MD, MPH; 4,5,6 Elizabeth A. Mittendorf, MD, PhD; 5,6,7 Alexa Zimbalist, MS; 3 Elizabeth M. Cespedes Feliciano, ScD SM; 3 Deborah A. Dillon, MD 1,2 *equal contribution Author Affiliations 1. Department of Pathology, Brigham and Women’s Hospital, Boston, MA 02115 2. Breast Oncology, Dana-Farber Brigham Cancer Center, Boston, MA 02215 3. Division of Research, Kaiser Permanente Northern California, Oakland, CA 94612 4. Channing Division of Network Medicine, Brigham and Women’s Hospital, Boston, MA 02115 5. Department of Medical Oncology Dana Farber Cancer Institute, Boston, MA 02215 6. Harvard Medical School, Boston, MA 02215 7. Division of Breast Surgery, Brigham and Women’s Hospital, Boston, MA 02215 Background Recently defined molecular subtypes of triple negative breast cancer (TNBC) show distinct clinical outcomes and suggest new therapeutic targets but have not been integrated into current pathologic classification systems. Here, we describe the histopathologic features of TNBC according to four molecular subtypes: basal-like immune activated (BLIA), basal-like immune suppressed (BLIS), luminal androgen receptor (LAR) and mesenchymal (MES), classified using the NanoString BC360 gene expression assay. Methods Stage II and III invasive breast cancers were identified in the Kaiser Permanente (KP) clinical pathology archives (2005-2015) and triple negative status was determined from the KP Northern California Cancer Registry data on immunohistochemistry. Selected slides were reviewed by two pathologists who recorded key histopathologic features [histologic subtype, presence of apocrine, metaplastic or micropapillary features, nuclear grade, mitotic score, and Tumor Infiltrating Lymphocytes (TILs)] and marked the best tumor areas for molecular analysis. TILs were evaluated according to the guidelines of the International TILs Working Group. Cases were macrodissected and evaluated using the NanoString BC360 gene expression assay. Histologic features were then summarized according to molecular subtype. Results Of 72 TNBCs, 60 were classified as Basal-like (83.3%), 7 as HER2-enriched (9.7%) and 5 as Luminal A (6.9%). 41 cases were classified as BLIA (56.9%), 14 as BLIS (19.4%), 13 as LAR (18.0%) and 4 as MES (5.5%). Both BLIA and BLIS tumors showed uniformly high nuclear grade and high mitotic score but differed significantly in TILs (BLIA average 32% vs BLIS average 9%; p value< 0.001, t-test for mean difference in TILs). The majority of LAR cases (69%) showed apocrine differentiation, not present in any other molecular subtype (p value< 0.001, chi-square test for presence of apocrine differentiation). LAR cases showed high nuclear grade but a lower average mitotic score (average score of 2) compared with the basal-like subtypes. TILs in LAR tumors were intermediate (17%) between BLIA and BLIS tumors. Of the 4 MES cases, all showed high nuclear grade. TILs in the MES cases were also intermediate (14%) between BLIA and BLIS tumors. Other histologic features, including lobular subtype, metaplastic and micropapillary features were not associated with specific triple negative molecular subtypes. Conclusion TILs are high in the BLIA molecular subtype (average 32%), low in the BLIS subtype (average 9%) and intermediate in LAR (average 17%) and MES (average 14%) subtypes. Apocrine features, if present in a TNBC, are a strong predictor of LAR molecular subtype. The inclusion of TILs and apocrine features (both easily derived from H&E slides) in routine pathology reporting could improve the classification of TNBC and aid in the identification of patients more likely to respond to specific therapies for the BLIA, BLIS and LAR subtypes, especially in resource-limited settings. Citation Format: Tabata Alves Domingos, Roberto Bonfim Pimenta Peixoto, Ashka Patel, Krishan Taneja, Wendy Y. Chen, Elizabeth A. Mittendorf, Alexa Zimbalist, Elizabeth M. Cespedes Feliciano, Deborah A. Dillon. Correlation between histology and molecular subtypes in triple negative breast cancer [abstract]. In: Proceedings of the 2022 San Antonio Breast Cancer Symposium; 2022 Dec 6-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2023;83(5 Suppl):Abstract nr P4-09-04.

Abstract RM-042 is a broad-spectrum inhibitor of the active (GTP-bound) form of KRAS, HRAS, and NRAS, with affinity for both mutant and wild type (WT) variants (RASMULTI(ON)). Given that more than 90% of human pancreatic ductal adenocarcinoma (PDAC) cases are driven by activating mutations in KRAS, we assessed the therapeutic potential of RM-042 in a comprehensive range of PDAC models, including human and murine cell lines, human patient-derived organoids, human PDAC explants, subcutaneous and orthotopic cell-line or patient derived xenografts, syngeneic allografts, and genetically engineered mouse models. We observed broad and remarkable anti-tumor activity across these models following direct RAS inhibition by RM-042 at doses and concentrations that were tolerable in vivo. Analyses of tumor and normal tissues following RM-042 treatment revealed divergent cellular responses to RAS inhibition. While we observed anti-proliferative effects in both normal and tumor tissues, RAS-dependent tumors alone exhibited a susceptibility to cell death via apoptosis within hours of dosing. Finally, using single cell regulatory network analysis, we found that different subtypes of PDAC malignant epithelial cells responded in distinct ways to RAS inhibition by RM-042, resulting in an enrichment of the more differentiated gastro-intestinal lineage state (GLS) cellular subtype. Together, these data have significant implications for the clinical development of RAS inhibitors in the setting of PDAC. A related inhibitor, RMC-6236, is currently in early clinical evaluation (NCT05379985). Citation Format: Urszula N. Wasko, Jingjing Jiang, Lorenzo Tomassoni, Yingyun Wang, Bianca Lee, Margo Orlen, Kristina Drizyte-Miller, Marie Menard, Julien Dilly, Steven A. Sastra, Carmine F. Palermo, Stephanie Chang, Andrew J. Aguirre, Channing J. Der, Robert H. Vonderheide, Ben Z. Stanger, Andrea Califano, Mallika Singh, Kenneth P. Olive. Tumor-selective inhibition of active RAS in pancreatic ductal adenocarcinoma [abstract]. In: Proceedings of the AACR Special Conference in Cancer Research: Pancreatic Cancer; 2023 Sep 27-30; Boston, Massachusetts. Philadelphia (PA): AACR; Cancer Res 2024;84(2 Suppl):Abstract nr B101.

Care during mass casualty events (MCE) has improved during the last 15 years. Military and civilian collaboration has led to partnerships which augment the response to MCE. Much has been written about strategies to deliver care during an MCE, but there is little about how to transition back to normal operations after an event. A panel discussion entitled The Day(s) After: Lessons Learned from Trauma Team Management in the Aftermath of an Unexpected Mass Casualty Event at the 76th Annual American Association for the Surgery of Trauma meeting on September 13, 2017 brought together a cadre of military and civilian surgeons with experience in MCEs. The events described were the First Battle of Mogadishu (1993), the Second Battle of Fallujah (2004), the Bagram Detention Center Rocket Attack (2014), the Boston Marathon Bombing (2013), the Asiana Flight 214 Plane Crash (2013), the Baltimore Riots (2015), and the Orlando Pulse Night Club Shooting (2016). This article focuses on the lessons learned from military and civilian surgeons in the days after MCEs.

The students make their way through the world with sensitive compasses and gyroscopes that tell them also which neighborhoods in Brooklyn are homelike to them and which parts of Boston; which places have nothing to do with their lives (e.g., Staten Island and Paterson); where are the places to go after college (New York, San Francisco, Seattle, Boston, Washington); where they might spend summers; what styles and fashions signify; how to speak in what Basil Bernstein called the "elaborated code" of the middle class; how to place those who don't; how to avoid alienated labor by deploying credentials or creativity; and-- yes--whom to marry, should it come to such a pass. [...]most people don't so readily identify themselves by class as by gender or race, and perhaps don't even feel being working class or PMC the way they feel being white or male or straight or, especially, being Latino or black or female or gay--except of course when they are way out of their usual class habitat: a mechanic plunked down in the Century Club, say, or an English Professor at the Elks. [...]even such misadventures are not likely to endanger the displaced person, the way women and African Americans and gay men and others risk insult or violence in many venues. First generation college students, they had a big stake in believing anyone could make it in this country. [...]the ideology we take in with every breath has a lot to do with the many ways in which students at Wesleyan and at Middlesex Community College overlook or evade the hard reality of class.

Robert Rosenthal began his career in journalism at The New York Times, where he was a news assistant on the foreign desk and an editorial assistant on the Pulitzer-Prize winning Pentagon Papers project. He later worked at the Boston Globe, and for 22 years at the Philadelphia Inquirer, starting as a reporter and eventually becoming its executive editor in 1998. He became managing editor of the San Francisco Chronicle in late 2002, and joined the Center for Investigative Reporting as executive director in 2008. Rosenthal has won numerous awards, including the Overseas Press Club Award for magazine writing, the Sigma Delta Chi Award for distinguished foreign correspondence, and the National Association of Black Journalists Award for Third World Reporting. He was a Pulitzer Prize finalist in international reporting, and has been an adjunct professor at Columbia University Graduate School of Journalism and the University of California at Berkeley Graduate School of Journalism. The Australian Centre for Independent Journalism (ACIJ) invited Robert Rosenthal to speak about the transformational model of investigative journalism, which he has pioneered at the CIR, as the keynote speech at the ‘Back to the Source’ conference.

AbstractIn 1927 the Italian anarchists Nicola Sacco and Bartolomeo Vanzetti were executed in Boston following a murder trial that was widely denounced for its anti-labour and anti-immigrant bias. From 1921 the campaign to save the two men powerfully mobilised labour internationalism and triggered waves of protests across the world. This article examines the important contributions made by Irish and Irish-American radicals to the Sacco-Vanzetti campaign. Mary Donovan was a leading member of the Sacco-Vanzetti Defense Committee, and a second-generation Irish union organiser and member of Boston's James Connolly Club. In the 1920s she travelled to Ireland twice and appealed to Irish and Irish American labour to support the campaign. At the same time, Donovan and many of the activists considered here held ambiguous personal and political relationships with Ireland. Transnational Irish radicalism in the early-twentieth century is most commonly considered in nationalist terms. Taking a distinctly non-Irish cause – the Sacco-Vanzetti case of 1920–7 – allows us to look from a different perspective at the global Irish Revolution and reveals how radical labour currents reached into Irish and Irish-American circles during the revolutionary era, though the response to the campaign also indicates a receding internationalism in the immediate aftermath of Irish independence.

The present investigation was designed to 1) determine if atrial natriuretic-like peptides are present throughout the plant kingdom and 2) to determine if these peptides increase the flow of solute and/or water upward to leaves and flowers of plants. The 126-amino acid prohormone of atrial natriuretic factor (proANF)-(1-30), proANF-(31-67), and atrial natriuretic factor (ANF)-like peptides were present in the roots, stems, leaves, and flower petals of the more highly developed plants (Tracheophyta), with their highest concentrations being: Florida beauty > buddhist pine > Boston fern > rose = geranium = resurrection plant or club moss > Moses-in-the-cradle > Florida coontie. These peptides were also present in Bryophata (plants without vascular tissue or roots) and even in Euglena, flagellated chlorophyll-containing plants without leaves, stems, or roots. proANF-(1-30), proANF-(31-67), and proANF-(79-98) but not ANF (each at < 5.9 pg/ml) significantly increased (P < 0.001) the flow of colored water up stems, coloring their flowers 15-35 min earlier than the other one-half of the same flowers without exogenous peptide addition. These same peptides increased the rate of transpiration (i.e., loss of water from the leaves) and the absorption of solutions. High-performance gel permeation chromatography revealed that proANF-(1-30), proANF-(31-67), and ANF extracted from plants are very similar to their pure synthetic human sequences, with elution profiles and molecular weights of the plant extracts duplicating those of the pure synthetic peptides.

Two male-voice singing societies – the Metropolitan Liedertafel and the Melbourne Liedertafel – occupied prominent positions in the concert life of Melbourne during the prosperous 1880s. At this time the Metropolitan Liedertafel, formed in 1870, had between 80 and 100 performing members and regularly attracted audiences of over two thousand to its ‘Social Evenings for Ladies and Gentlemen’. A concert described as the ‘greatest gathering of its kind every [sic] seen in this city’, given at the recently completed Exhibition Buildings on 7 July 1881 and attended by the Princes Albert Victor and George, drew a crowd of between five and six thousand. The farewell concert given on 13 February 1882 for the Mendelssohn Quintette Club, visiting from Boston, had an audience of approximately two thousand, even though as one of the society's ‘smoke nights’, attendance was limited to men. The Metropolitan Liedertafel played host to a number of other visiting international musicians, including Henri Kowalski, August Wilhelmj, Carlotta Patti, Ernest de Munck, and, somewhat later, Sir Charles and Lady Hallé. In the early 1880s, the Metropolitan was identified as the city's leading musical society; an 1881 review in the Argus made so bold as to suggest that it was ‘the most successful association of its kind ever established here – or probably anywhere else’! This sentiment is reflected in a satirical piece in Town Talk in October 1881 in which the Metropolitan's conductor, Julius Herz, refers to himself, in a mock German accent, as ‘the subreme conductor of the greatest musical organisation in the vorld“.

Abstract Pancreatic ductal adenocarcinoma (PDAC) is characterized by KRAS- and autophagy-dependent growth. We and others recently demonstrated that inhibition of KRAS signaling through targeting the RAF-MEK-ERK kinase cascade resulted in further reliance on autophagy. We found that targeting this increased reliance on autophagy with the autophagy inhibitor hydroxychloroquine (HCQ)/chloroquine (CQ) together with MEK or ERK inhibition (MEKi, ERKi) synergistically blocked PDAC growth. These findings provided rationale for our initiation of Phase I/II clinical trials evaluating the combination of MEKi (binimetinib; NCT04132505) or ERKi (LY3214996; NCT04386057) with HCQ in PDAC. However, a limitation of this approach is that HCQ/CQ are not specific or potent autophagy inhibitors. Thus, we sought to identify a more efficacious autophagy inhibition strategy. To this end, we performed a CRISPR-Cas9 mediated genetic loss-of-function screen in PDAC cells to identify other targetable mediators of autophagy. We identified PIKfyve, a lipid kinase critical for the recycling dynamics of lysosomes, as an essential autophagy-related gene in PDAC cells. PIKfyve inhibition by the clinical candidate inhibitor apilimod resulted in potent reduction of autophagic flux and growth. Additionally, PIKfyve inhibition induced intracellular vacuolization. These PIKfyve-regulated vacuoles stained positive for the lysosomal marker, LAMP1, and exhibited reduced acidity and impaired cargo degradation. Importantly, PIKfyve inhibition prevented the increased autophagic flux we observed when we inhibited MEK with the clinical stage MEKi, mirdametinib. As a result, co-targeting MEK and PIKfyve led to synergistic impairment of PDAC cell proliferation. Similar results were observed following dual inhibition of KRAS and PIKfyve. We found the synergistic growth inhibition was due in part to a substantial induction of apoptosis unique to combination treatment. We then tested the combination of MEKi and PIKfyvei in a panel of patient derived PDAC organoids and observed a robust synergistic reduction in viability, suggesting this may be an efficacious therapeutic strategy for PDAC treatment. Future work includes in vivo studies, currently underway, to determine the efficacy of single agent PIKfyve inhibition, as well as efficacy studies assessing combined MEKi and PIKfyvei in orthotopic mouse models of PDAC. Taken together, these findings implicate PIKfyve as an effective anti-autophagy target when paired with RAS or ERK-MAPK pathway inhibition in pre-clinical models of pancreatic cancer. Citation Format: Jonathan M. DeLiberty, Mallory K. Roach, Noah L. Pieper, Kristina Drizyte-Miller, Elyse G. Schechter, Runying Yang, Channing J. Der, Adrienne D. Cox, Clint A. Stalnecker, Kirsten L. Bryant. Improving the efficacy of dual ERK-MAPK and autophagy inhibition as a therapeutic strategy for pancreatic ductal adenocarcinoma [abstract]. In: Proceedings of the AACR Special Conference in Cancer Research: Pancreatic Cancer; 2023 Sep 27-30; Boston, Massachusetts. Philadelphia (PA): AACR; Cancer Res 2024;84(2 Suppl):Abstract nr C047.

Abstract KRAS mutations (mt) occur in up to 98% of pancreatic ductal adenocarcinoma (PDAC) and represent a key initiating event in PDAC carcinogenesis. Therapeutic efforts targeting the RAS/RAF/MEK/ERK (MAPK) pathway with MEK-only inhibitors have been unsuccessful in substantially modifying PDAC prognosis. Thus, novel strategies are needed to overcome putative mechanisms of resistance to MEK inhibition such as focal adhesion kinase (FAK) pathway activation. Another hallmark of PDAC is its high stromal density, which is thought to limit the penetration of cytotoxic drugs and T cells into the tumor and has been shown to be correlated with FAK hyperactivation, altogether supporting co-targeting the MAPK and FAK pathways to achieve deep and durable responses for patients with PDAC. Avutometinib is a RAF/MEK clamp that potently inhibits MEK kinase activity and induces dominant negative RAF-MEK complexes preventing phosphorylation of MEK by ARAF, BRAF and CRAF. This unique mechanism allows avutometinib to block MEK signaling without the compensatory re-activation of MEK that appears to limit the efficacy of MEK-only inhibitors. Preclinically, avutometinib has shown strong anti-proliferative potency across tumor cell lines carrying KRAS mt including PDAC cell lines. Clinically, avutometinib in combination with the FAK inhibitor (FAKi) defactinib received breakthrough therapy designation for the treatment of patients with recurrent low-grade serous ovarian cancer. Here, we tested the combination of avutometinib and FAK inhibition with standard of care chemotherapy in PDAC mouse models. In a KRAS/p53 pancreatic cancer mouse model, we found that whereas the combination of avutometinib + FAKi induced tumor inhibition and increased survival, addition of chemotherapy (gemcitabine + paclitaxel as a surrogate for nab-paclitaxel) to avutometinib/FAKi induced tumor regression. These results support the ongoing clinical study of avutometinib and defactinib in combination with standard of care chemotherapy (gemcitabine/nab-paclitaxel) for patients with front-line metastatic PDAC (NCT05669482). Other combinations being explored preclinically include avutometinib with G12D inhibition (G12Di) in KRAS G12D PDAC, which accounts for 28% of patients with PDAC. In 3D culture, avutometinib was synergistic with the G12Di MRTX1133 in reducing viability of a panel of KRAS G12D PDAC cell lines. In mouse models, avutometinib enhanced anti-tumor efficacy of MRTX1133 in a KRAS G12D pancreatic cancer patient-derived xenograft model. Furthermore, in KRAS mt PDAC cell lines, avutometinib was synergistic with the autophagy inhibitors chloroquine or apilimod. Indeed, dual treatment with avutometinib + MRTX1333 synergistically decreased proliferation and increased autophagic flux in KRAS G12D PDAC cell lines, supporting testing the triple combination of avutometinib + G12Di + autophagy inhibitor in patients with KRAS G12D pancreatic cancers. In conclusion, we show that avutometinib is a unique RAF/MEK clamp with the potential to become the backbone of therapy for pancreatic cancers. Citation Format: Silvia Coma, Xiuting Liu, Noah L. Pieper, Wen-Hsuan Chang, Kirsten L. Bryant, Channing J. Der, David G. DeNardo, Jonathan A. Pachter. The RAF/MEK clamp avutometinib as the backbone of therapy for pancreatic cancer: Novel combinations with standard of care chemotherapy, FAK inhibitors, KRAS G12D inhibitors and/or autophagy inhibitors [abstract]. In: Proceedings of the AACR Special Conference in Cancer Research: Pancreatic Cancer; 2023 Sep 27-30; Boston, Massachusetts. Philadelphia (PA): AACR; Cancer Res 2024;84(2 Suppl):Abstract nr A091.

Daphne du Maurier’s 1938 novel Rebecca provides rich opportunities for the study of imaginary narrative spaces and the language associated with such spaces. The present study explores the linguistics of the imaginary narrative spaces in Rebecca, drawing upon three lines of linguistic research consistent with a Cognitive Linguistic approach: (i) an interest in understanding and appreciating ordinary readers’ actual responses (rather than merely relying upon “expert” readers’ responses), (ii) the construction of worlds or “spaces”, and (iii) the application of ideas from Cognitive Grammar. The study reveals a surprisingly intricate interplay of linguistic devices used in the construction of imaginary narrative spaces and the maintenance of such spaces in extended discourse. References Armitt, L. (2000). Contemporary women’s fiction and the fantastic. New York: St. Martin’s Press. Beauman, S. (2003). Afterword. In Daphne du Maurier’s Rebecca (pp. 429-441). London: Virago Press. Biber, D., Johansson, S., Leech, G., Conrad, S., & Finnegan, E. (Eds.) (1999). Longman grammar of spoken and written English. Harlow, UK: Pearson Education Limited. Birch, D. (2007). Addict of fantasy. The Times Literary Supplement, 5447-5448, 17-18. Dancygier, B. (2012). The language of stories: A cognitive approach. Cambridge: Cambridge University Press. Dancygier, B. (2017a). Introduction. In B. Dancygier (Ed.), The Cambridge handbook of cognitive linguistics (pp. 1-10). Cambridge: Cambridge University Press. Dancygier, B. (2017b). Cognitive Linguistics and the study of textual meaning. In B. Dancygier (Ed.) The Cambridge handbook of cognitive linguistics (pp. 607-622). Cambridge: Cambridge University Press. Du Maurier, D. (2012). Rebecca. London: Virago Press. Emmott, C. (1997). Narrative comprehension: A discourse perspective. Oxford: Oxford University Press. Evans, V., & Green, M. (2006). Cognitive linguistics: An introduction. Edinburgh: Edinburgh University Press. Fauconnier, G. (1985). Mental spaces: Aspects of meaning construction in natural language. Cambridge: Cambridge University Press. Forster, M. (1993). Daphne Du Maurier. London: Chatto & Windus. Gavins, J. (2007). Text world theory: An introduction. Edinburgh: Edinburgh University Press. Hadiyanto, H. (2010). The Freudian psychological phenomena and complexity in Daphne Du Maurier’s “Rebecca” (A psychological study of literature). LITE: Jurnal Bahasa, Sastra, Dan Budaya 6(1), 14-25. Available at: https://publikasi.dinus.ac.id/index.php/lite/article/ view/1348/1014. Harrison, C., Nuttall, L., Stockwell, P., & Yuan, W. (Eds.) (2014). Cognitive grammar in literature. Amsterdam & New York: John Benjamins. Harrison, C., & Stockwell, P. (2014). Cognitive poetics. In J. Littlemore and J. R. Taylor (Eds.), The Bloomsbury companion to cognitive linguistics (pp. 218-233). London: Bloomsbury. Horner, A., & Zlosnik, S. (1998). Writing, identity, and the Gothic imagination. London: Macmillian. Huddleston, R. (2002). The verb. In R. Huddleston & G. K. Pullum (Eds.), The Cambridge grammar of the English language (pp. 71-212). Cambridge: Cambridge University Press. Kelly, R. (1987). Daphne du Maurier. Boston: Twayne Publishers. Lakoff, G., & Turner, M. (1989). More than cool reason: A field guide to poetic metaphor. Chicago & London: The University of Chicago Press. Langacker, R. W. (1991). Foundations of cognitive grammar. Vol. II: Descriptive application. Stanford, CA: Stanford University Press. Leech, G. N. (1969). A linguistic guide to English poetry. London: Longman Group Limited. Margawati, P. (2010). A Freudian psychological issue of women characters in Daphne Du Maurier’s novel Rebecca. LANGUAGE CIRCLE: Journal of Language and Literature IV(2), 121-126. Available at: https://journal.unnes.ac.id/nju/index.php/LC/article/viewFile/900/839 Naszkowska, K. (2012). Living mirror: The representation of doubling identities in the British and Polish women’s literature (1846–1938). Doctoral dissertation, The University of Edinburgh. Palmer, F. R. (1974). The English verb. London: Longman Group Limited. Stockwell, P. (2002). Cognitive poetics: An introduction. London & New York: Routledge. Turner, M. (1996). The literary mind. New York & Oxford: Oxford University Press. Turner, M. (2015). Blending in language and communication. In E. Dąbrowska & D. Divjak (Eds.), Handbook of cognitive linguistics (pp. 211-232). Berlin & Boston: de Gruyter Mouton. Werth, P. (1999). Text worlds: Representing conceptual space in discourse (M. Short, Ed.). Harlow, UK: Longman. Wilde, O. (1996). The picture of Dorian Gray. In The complete Oscar Wilde: The complete stories, plays and poems of Oscar Wilde (pp. 11-161). New York: Quality Paperback Book Club. Winifrith, T. J. (1979). Daphne du Maurier. In J. Vinson (Ed.), Novelists and prose writers (Great writers of the English language) (pp. 354-357). New York: St. Martin’s Press.

Introduction: The population of adults with d-transposition of the great arteries (TGA) continue to grow. As this group has underlying neurocognitive impairment and longer-term neurovascular damage, advanced neuroimaging to identify markers for treatment is required. Diffusion (d)MRI tractography quantifies the structural integrity of white matter (WM) pathways in the brain - where lower FA (fractional anisotropy) and higher ADC (apparent diffusion coefficient) typify WM damage. The brain’s structural backbone is its rich club (RC), a set of highly interconnected regions established before birth and vital for effective cognitive function. Moreover, there are Feeder and Seeder subnetworks peripheral to the RC, which are thought to form later and may be more adaptive. Hypothesis: We hypothesize that adults with TGA have alterations in both the brain’s structural RC and in peripheral connections. Methods: Subjects were TGA adults from the Boston Circulatory Arrest Study (n = 25, mean age 28.46 ± 1.14yr) and Controls (n = 13, 28.35 ± 1.70). Multi-shell, high-angular resolution dMRI data were acquired and fitted with a multi-fiber model (Fig). After tractography, a connectome of the number of tracts connecting pairwise cortical regions was computed. A priori RC regions were bilateral superior frontal and parietal frontal gyri, precuneus, posterior cingulate and insular regions. Connections were grouped into subnetworks and mean FA and ADC computed. Results: Cohorts were age-matched (p=0.801, unpaired t-test). Overall, patients had lower FA and greater ADC than controls in all subnetworks. Group differences (unpaired t-tests) were significant in the RC (ADC p=0.029), Feeder subnetwork (FA p=0.041; ADC p=0.042), with trends in Seeder subnetworks (FA p=0.061; ADC p=0.062). Conclusions: Widespread WM alterations exist in adults with TGA not only in the brain’s most central system, but also connections feeding into the RC suggesting prenatal and adaptive changes.

AWARDSSome major international children’s literature awards have just been announced as I compile the news for this issue. Several of these have Canadian connections.2016 ALSC (Association for Library Service to Children) Book & Media Award WinnersJohn Newbery Medal"Last Stop on Market Street,” written by Matt de la Peña, illustrated by Christian Robinson and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Newbery Honor Books"The War that Saved My Life," written by Kimberly Brubaker Bradley and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Roller Girl,” written and illustrated by Victoria Jamieson and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Echo,” written by Pam Muñoz Ryan and published by Scholastic Press, an imprint of Scholastic Inc.Randolph Caldecott Medal"Finding Winnie: The True Story of the World’s Most Famous Bear," illustrated by Sophie Blackall, written by Lindsay Mattick and published by Little, Brown and Company, a division of Hachette Book Group, Inc.Caldecott Honor Books"Trombone Shorty," illustrated by Bryan Collier, written by Troy Andrews and published by Abrams Books for Young Readers, an imprint of ABRAMS“Waiting,” illustrated and written by Kevin Henkes, published by Greenwillow Books, an imprint of HarperCollins Publishers“Voice of Freedom Fannie Lou Hamer Spirit of the Civil Rights Movement,” illustrated by Ekua Holmes, written by Carole Boston Weatherford and published by Candlewick Press“Last Stop on Market Street,” illustrated by Christian Robinson, written by Matt de le Peña and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Laura Ingalls Wilder AwardJerry Pinkney -- His award-winning works include “The Lion and the Mouse,” recipient of the Caldecott Award in 2010. In addition, Pinkney has received five Caldecott Honor Awards, five Coretta Scott King Illustrator Awards, and four Coretta Scott King Illustrator Honors. 2017 May Hill Arbuthnot Honor Lecture AwardJacqueline Woodson will deliver the 2017 May Hill Arbuthnot Honor Lecture. Woodson is the 2014 National Book Award winner for her New York Times bestselling memoir, “Brown Girl Dreaming.” Mildred L. Batchelder Award“The Wonderful Fluffy Little Squishy,” published by Enchanted Lion Books, written and illustrated by Beatrice Alemagna, and translated from the French by Claudia Zoe BedrickBatchelder Honor Books“Adam and Thomas,” published by Seven Stories Press, written by Aharon Appelfeld, iIllustrated by Philippe Dumas and translated from the Hebrew by Jeffrey M. Green“Grandma Lives in a Perfume Village,” published by NorthSouth Books, an imprint of Nordsüd Verlag AG, written by Fang Suzhen, iIllustrated by Sonja Danowski and translated from the Chinese by Huang Xiumin“Written and Drawn by Henrietta,” published by TOON Books, an imprint of RAW Junior, LLC and written, illustrated, and translated from the Spanish by Liniers.Pura Belpre (Author) Award“Enchanted Air: Two Cultures, Two Wings: A Memoir," written by Margarita Engle and published by Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing DivisionBelpre (Author) Honor Books"The Smoking Mirror," written by David Bowles and published by IFWG Publishing, Inc."Mango, Abuela, and Me," written by Meg Medina, illustrated by Angela Dominguez and published by Candlewick PressPura Belpre (Illustrator) Award"The Drum Dream Girl," illustrated by Rafael López, written by Margarita Engle and published by Houghton Mifflin HarcourtBelpre (Illustrator) Honor Books"My Tata’s Remedies = Los remedios de mi tata,” iIllustrated by Antonio Castro L., written by Roni Capin Rivera-Ashford and published by Cinco Puntos Press“Mango, Abuela, and Me,” illustrated by Angela Dominguez, written by Meg Medina and published by Candlewick Press“Funny Bones: Posada and His Day of the Dead Calaveras,” illustrated and written by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSAndrew Carnegie Medal "That Is NOT a Good Idea," produced by Weston Woods Studios, Inc.Theodor Seuss Geisel Award"Don’t Throw It to Mo!" written by David A. Adler, illustrated by Sam Ricks and published by Penguin Young Readers, and imprint of Penguin Group (USA), LLCGeisel Honor Books "A Pig, a Fox, and a Box," written and illustrated by Jonathan Fenske and published by Penguin Young Readers, an Imprint of Penguin Group (USA) LLC"Supertruck," written and illustrated by Stephen Savage and published by A Neal Porter Book published by Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership"Waiting," written and illustrated by Kevin Henkes and published by Greenwillow Books, an imprint of HarperCollins Publishers.Odyssey Award"The War that Saved My Life," produced by Listening Library, an imprint of the Penguin Random House Audio Publishing Group, written by Kimberly Brubaker Bradley and narrated by Jayne EntwistleOdyssey Honor Audiobook"Echo," produced by Scholastic Audio / Paul R. Gagne, written by Pam Munoz Ryan and narrated by Mark Bramhall, David De Vries, MacLeod Andrews and Rebecca SolerRobert F. Sibert Informational Book Medal"Funny Bones: Posada and His Day of the Dead Calaveras,” written and illustrated by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSSibert Honor Books"Drowned City: Hurricane Katrina and New Orleans," written and illustrated by Don Brown and published by Houghton Mifflin Harcourt"The Boys Who Challenged Hitler: Knud Pedersen and the Churchill Club," by Phillip Hoose and published by Farrar Straus Giroux Books for Young Readers"Turning 15 on the Road to Freedom: My Story of the 1965 Selma Voting Rights March," written by Lynda Blackmon Lowery as told to Elspeth Leacock and Susan Buckley, illustrated by PJ Loughran and published by Dial Books, an imprint of Penguin Group (USA) LLC"Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement," written by Carole Boston Weatherford, illustrated by Ekua Holmes and published by Candlewick PressCONFERENCES & EVENTSThis 2016 is shaping up to be a busy year for those of us involved with Canadian children’s literature. To tantalize your appetite (and encourage you to get involved) here are some highlights:January:Vancouver Children’s Literature Roundtable event: A Celebration of BC’s Award Children’s Authors and Illustrators with special guests Rachel Hartman and the Children’s Literature Roundtables of Canada 2015 Information Book Award winners Margriet Ruurs & Katherine Gibson, January 27, 2016, 7 – 9 pm. Creekside Community Centre, 1 Athletes Way, Vancouver. Free to members and students.April:Wordpower programs from the Young Alberta Book Society feature teams of Albertan children’s literary artists touring to schools in rural areas. Thanks to the generous sponsorship of Cenovus Energy, schools unable to book artist visits due to prohibitive travel costs are able to participate.April 4-8: Wordpower South will send 8 artist teams to communities roughly between Drumheller and Medicine Hat. Artists include Karen Bass, Lorna Shultz-Nicholson, Bethany Ellis, Marty Chan, Mary Hays, Sigmund Brouwer, Carolyn Fisher, Natasha DeenApril 25-29: Wordpower North will have a team of 8 artists traveling among communities in north-eastern Alberta such as Fort MacKay, Conklin, Wabasca, Lac La Biche, Cold Lake, and Bonnyville. The artists include Kathy Jessup, Lois Donovan, Deborah Miller, David Poulsen, Gail de Vos, Karen Spafford-Fitz, Hazel Hutchins, Georgia Graham May: COMICS AND CONTEMPORARY LITERACY: May 2, 2016; 8:30am - 4:30pm at the Rozsa Centre, University of Calgary. This is a one day conference featuring presentations and a workshop by leading authors, scholars, and illustrators from the world of comics and graphic novels. This conference is the 5th in the annual 'Linguistic Diversity and Language Policy' series sponsored by the Chair, English as an Additional Language, Werklund School of Education, University of Calgary. Tom Ricento is the current Chair-holder. The conference is free and lunch is provided. Seating is limited, so register early. The four presenters are:Jillian Tamaki, illustrator for This One Summer, and winner of the Governor General's Award for children's illustration.Richard van Camp, best-selling author of The Lesser Blessed and Three Feathers, and member of the Dogrib Nation.Dr. Nick Sousanis, post-doctoral scholar, teacher and creator of the philosophical comic Unflattening.Dr. Bart Beaty, University of Calgary professor, acclaimed comics scholar and author of Comics vs. Art TD Canadian Children’s Book Week 2016. In 2016, the Canadian Children's Book Centre celebrates 40 years of bringing great Canadian children's books to young readers across the country and the annual TD Canadian Children’s Book Week will be occurring this May across Canada. The theme this year is the celebration of these 40 years of great books written, illustrated and published in Canada as well as stories that have been told over the years. The 2016 tour of storytellers, authors and illustrators and their area of travel are as follows:Alberta: Bob Graham, storyteller; Kate Jaimet, authorBritish Columbia (Interior region) Lisa Dalrymple, author; (Lower Mainland region) Graham Ross, illustrator; (Vancouver Island region) Wesley King, author; (Northern region, Rebecca Bender, author & illustrator.Manitoba: Angela Misri, author; Allison Van Diepen, authorNew Brunswick: Mary Ann Lippiatt, storytellerNewfoundland: Maureen Fergus, authorLabrador: Sharon Jennings, authorNorthwest Territories: Geneviève Després, illustratorNova Scotia: Judith Graves, authorNunavut: Gabrielle Grimard, illustratorOntario: Karen Autio, author; Marty Chan, author; Danika Dinsmore, author; Kallie George, author; Doretta Groenendyk, author & illustrator; Alison Hughes, author; Margriet Ruurs, author.Prince Edward Island: Wallace Edwards, author & illustratorQuebec (English-language tour): LM Falcone, author; Simon Rose, author; Kean Soo, author & illustrator; Robin Stevenson, author; and Tiffany Stone, author/poet.Saskatchewan: (Saskatoon and northern area) Donna Dudinsky, storyteller; (Moose Jaw/Regina and southern area) Sarah Ellis, authorYukon: Vicki Grant, author-----Gail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and comic books & graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta. She is the author of nine books on storytelling and folklore. Gail is also a professional storyteller who has taught the storytelling course at SLIS for over two decades.

This essay originates out of our shared interest in genres and media forms used for identity practices that do not cohere into a narrative or a fixed representation of who someone is. It takes the current heightened visibility of drag as a mode of performance that explicitly engages with identity as a product materialized—but not completed—by the ongoing process of performance. We consider the new drag, which we define below, as a form of playing with identity that combines bodily practices (comportment and use of voice) and adornment (make-up, clothing, wigs, and accessories) with an array of media (photography, live performance, social media and television). Given the limited space available, we will not be engaging with the propositions made during earlier feminist and queer thinking that drag is not inherently subversive and may reinscribe gender and race norms through their hyperbolic recitation (Butler 230-37; hooks 145-56). While we think there is much to be gained from revisiting these critiques in light of the changes in conceptualisations of gender in queer subcultures, we are not interested in framing drag as subversive or resistant in relation to the norms of masculinity and femininity. Instead, we follow Eve Sedgwick’s interest in reparative practices adopted by queer-identified subjects who must learn to survive in a hostile culture (“Paranoid”) and trace two lines of analysis we identify in drag’s new found visibility that demonstrate the reparative potential of automedia.At time of writing, RuPaul’s Drag Race (RPDR) has truly hit the big time. Pop icon Christina Aguilera was a guest judge for the first episode of its tenth season (Daw “Christina”), and the latest episode of RuPaul’s All-Stars season three spin-off show was the most-watched of any show in its network’s history (Crowley). RuPaul Charles, the producer and star of RPDR, has just been honoured with a star on the Hollywood Walk of Fame, decades after he began his career as a drag performer (Daw “RuPaul”). Drag queens are finally becoming part of American mainstream media and drag as an art form and a cultural practice is on its way to becoming part of discourse about gender and identity around the world, via powerful systems of digital mediation and distribution. RPDR’s success is a good way to think about how drag, a long-standing performance art form, is having a “break out” moment in popular culture. We argue here that RPDR is doing this within an automedia framework.What does automedia mean in the context of drag on television and social media? We understand automedia to be about the mediation of identity when identity is both a product of representation and a process that is continually becoming, expressed in the double meaning of the word “life” as biography and as process (Poletti “Queer Collages” 362; Poletti and Rak 6-7). In this essay we build on our shared interest in developing a critical mode that can respond to forms of automedia that explore “the possibility of identity in the absence of narration” (Rak 172). What might artists who work with predominantly non-narrative forms such as drag performance show us about the ongoing interconnection between technologies and subjectivities as they represent and think through what “life” looks like, on stage and off?Automedia names life as a process and a product that has the potential to queer temporality and normative forms of identification, what Jack Halberstam has called “queer time” (1). We understand Halberstam’s evocation of queer time as suitable for being thought through automedia because of their characterisation of queer as “a form of self-description in the past decade or so … [that] has the potential to open up new life narratives and alternative relations to time and space” (2). Queer time, Halberstam explains, comes from the collapse of the past and shaky relation to futurity gay men experienced during the height of the American AIDs crisis, but they also see queer time, significantly, as exceeding the terms of its arrival. Queer time could be about the “potentiality of a life unscripted by the conventions of family, inheritance, and child rearing” (2). Queer time, then, evokes the possibility of making a life narrative that does not have to follow a straight line or stay “on script,” and does not have to feature conventional milestones or touchstones in its unfolding. If queer time can be thought alongside automedia, within drag performances that are not about straight lives, narrative histories and straight time can come into view.Much has been written about drag as a performance that creates a public, for example, as part of a queer world-building project that shoots unpredictably through spaces beyond performance locations (Berlant and Warner 558). Halberstam’s shift to thinking of queer time as an opening of new life narratives and a different relation to time has similar potential when considering the work of RPDR as automedia, because the shift of drag performance away from clubs, parades and other queer spaces to television and the internet is accompanied by a concern, manifested in the work of RuPaul himself, with drag history and the management of drag memory. We argue that a concern with the relationship between time and identity in RPDR is an attempt to open up, through digital networked media, a queer understanding of time that is in relation to drag of the past, but not always in a linear way. The performances of season nine winner Sasha Velour, and Velour’s own preoccupation with drag history in her performances and art projects, is an indicator of the importance of connecting the twin senses of “life” as process and product found in automedia to performance and narration.The current visibility of drag in popular culture is characterised by a shifting relationship between drag and media: what was once a location-based, temporally specific form of performance which occurred in bars, has been radically changed through the increased contact between the media forms of performance, television and social media. While local drag queens are often the celebrities (or “superstars”) of their local subcultural scene, reality television (in the form of RPDR) and social media (particularly Instagram) have radically increased the visibility of some drag queens, turning them into international celebrities with hundreds of thousands of fans. These queens now speak to audiences far beyond their local communities, and to audiences who may not have any knowledge of the queer subcultures that have nurtured generations of drag performers. Under the auspices of RPDR, drag queens have gained a level of cultural visibility that produces fascinating, and complex, encounters between subcultural identity practices and mainstream media tropes. Amongst her many tasks—being fierce, flawless, hilarious, and able to turn out a consummate lip sync performance—the newly visible drag queen is also a teacher. Enacting RuPaul’s theory of identity from his song title—“We’re all born naked and the rest is drag” (“Born”)—drag queens who in some way embody or make use of RuPaul’s ideas have the potential to advance a queer perspective on identity as a process in keeping with Judith Butler’s influential theory of identity performativity (Butler 7-16). In so doing they can provide fresh insights into the social function of media platforms and their genres in the context of queer lives. They are what we call “new” drag queens, because of their access to technology and digital forms of image distribution. They can refer to classic drag queen performance culture, and they make use of classic drag performance as a genre, but their transnational media presence and access to more recent forms of identification to describe themselves, such as trans, genderqueer or nonbinary, mark their identity presentations and performance presences as a departure from other forms of drag.While there is clearly a lot to be said about drag’s “break out,” in this essay we focus on two elements of the “new media” drag that we think speak directly, and productively, to the larger question of how cultural critics can understand the connection between identity and mediation as mutually emergent phenomena. As a particularly striking practitioner of automediality, the new drag queen draws our attention to the way that drag performance is an automedial practice that creates “queer time” (Halberstam), making use of the changing status of camp as a practice for constructing, and mediating identity. In what follows we examine the statements about drag and the autobiographical statements presented by RuPaul Charles and Sasha Velour (the winner of RPDR Season Nine) to demonstrate automediality as a powerful practice for queer world-making and living.No One Ever Wins Snatch Game: RuPaul and TimeAs we have observed at the opening of this essay, queer time is an oppositional practice, a refusal of those who belong to queer communities to fall into step with straight ideas about history, futurity, reproduction and the heteronormative idea of family, and a way to understand how communities mark occasions, conceptualize the history and traditions of subcultures. Queer time has the potential to rethink daily living and history differently and to tell accounts of lives in a different way, to “open up new life narratives,” as Halberstam says (2). RuPaul Charles’s own life story could be understood as a way to open up new life narratives literally by constructing what a queer life and career could mean in the aftermath of the AIDS epidemic in the United States. His 1995 memoir, Lettin It All Hang Out, details RuPaul’s early career in 1980s Atlanta, Georgia and in New York as an often-difficult search for what would make him a star. RuPaul did not at first conceptualize himself as a drag star, but as a punk musician in Atlanta and then as part of the New York Club Kid community, which developed when New York clubs were in danger of closing because of fear of the AIDS epidemic (Flynn). RuPaul became adept at self-promotion and image-building while he was part of these rebellious punk and dance club subcultures that refused gender and lifestyle norms (Lettin 62-5). It might seem to be an unusual beginning for a drag star, but as RuPaul writes, “I always knew I was going to be star [but] I never thought it was going to be as a drag queen” (Lettin 64). There was no narrative of mainstream success that RuPaul—a gay, gender non-binary African-American man from the American Midwest—could follow.Since he was a drag performer too, RuPaul eventually “had an epiphany. Why couldn’t I [he] become a mainstream pop star in drag? Who said it couldn’t be done?” (Workin’ It 159). And he decided that rather than look for a model of success to follow, he would queer the mainstream model for success. As he observes, “I looked around at my favorite stars and realized that they were drag queens too. In fact every celebrity is a drag queen” (Lettin 129). Proceeding from the idea that all people are in fact drag artists—the source of RuPaul’s aformentioned catch-phrase and song title “We’re all born naked and the rest is drag” (“Born”), RuPaul moved the show business trajectory into queer time, making the “formula” for success the labour required of drag queens to create personae, entertain, promote themselves and make a successful living (and a life) in dangerous work environments—a process presented in his song “Supermodel” and its widely-cited lyric “You better work!” (“Supermodel”). The video for “Supermodel” shows RuPaul in his persona as Supermodel of the World, “working” as a performer and a member of the public in New York to underscore the different kinds of labour that is involved, and that this labour is necessary for anyone to become successful (“Supermodel” video).When RuPaul’s Drag Race began in 2010, RuPaul modelled the challenges in the show on his own career in an instance of automedia, where the non-narrative aspects of drag performance and contest challenges were connected to the performance of RuPaul’s own story. According to one of RuPaul’s friends who produces the show: “The first season, all the challenges were ‘Ru did this, so you did this.’ It was Ru’s philosophy” (Snetiker). As someone who was without models for success, RuPaul intends for RPDR to provide a model for others to follow. The goal of the show is the replication of RuPaul’s own career trajectory: the winners of RPDR are each crowned “America’s Next Drag Superstar,” because they have successfully learned from RuPaul’s own experiences so that they too can develop their careers as drag artists. This pattern has persisted on RPDR, where the contestants are often asked to participate in challenges that reflect RuPaul’s own struggles to become a star as a way to “train” them to develop their careers. Contestants have, like RuPaul himself, starred in low-budget films, played in a punk band, marketed their own perfume, commemorated the work of the New York Club Kids, and even planned the design and marketing of their own memoirs.RPDR contestants are also expected to know popular culture of the past and present, and they are judged on how well they understand their own “herstory” of the drag communities and queer culture. Snatch Game, a popular segment where contestants have to impersonate celebrities on a queer version of the Match Game series, is a double test. To succeed, contestants must understand how to impersonate celebrities past and present within a camp aesthetic. But the segment also tests how well drag queens understand the genre of game show television, a genre that no longer exists on television (except in the form of Wheel of Fortune or Jeopardy), and that many of the RPDR contestants are not old enough to have seen, performing witty taglines and off-the-cuff jokes they hope will land in a very tight time frame. Sasha Velour, the winner of season nine, won praise for her work in the Snatch Game segment in episode six because, acting on advice from RuPaul, she played Marlene Dietrich and not her first choice, queer theorist Judith Butler (RuPaul’s). Sasha Velour was able to make Dietrich, a queer icon known for her film work in the 1920-1940s, humorous in the game show context, showing that she understands queer history, and that she is a skilful impersonator who understands how to navigate a genre that is part of RuPaul’s own life story. The queer time of RuPaul’s narrative is transmitted to a skill set future drag stars need to use: a narrative of a life becomes part of performance. RPDR is, in this sense, automedia in action as queens make their personae “live,” perform part of RuPaul’s “life” story, and get to “live” on the show for another week if they are successful. The point of Snatch Game is how well a queen can perform, how good she is at entertaining and educating audiences, and how well she deals with an archaic genre, that of the television game show. No one ever “wins” Snatch Game because that is not the point of it. But those who win the Snatch Game challenge often go on to win RPDR, because they have demonstrated improvisational skill, comic timing, knowledge of RuPaul’s own life narrative touchstones and entertained the audience.Performative Agency: The Drag Performance as Resource for Queer LivingVelour’s embodied performance in the Snatch Game of the love and knowledge of popular culture associated with camp, and its importance to the art of drag, highlights the multifaceted use of media as a resource for identity practices that characterizes drag as a form of automedia. Crucially, it exemplifies the complex way that media forms are heavily cited and replayed in new combinations in order to say something real about the ways of living of a specific artist or person. Sasha Velour’s impersonation of Dietrich is not one in which Velour’s persona disappears: indeed, she is highly commended by RuPaul, and fans, because her embodiment of Dietrich in the anachronous media environment of the Snatch Game works to further Velour’s unique persona and skill as a drag artist. Velour queers time with her Dietrich in order to demonstrate her unique sensibility and identity. Thus, reality TV, silent film, cabaret, improvisation and visual presentation are brought together in an embodied performance that advances Velour’s specific form of drag and is taken as a strong marker of who Sasha Velour is.But what exactly is Sasha Velour doing when she clarifies her identity by dressing as Marlene Dietrich and improvises the diva’s answers to questions on a game show? This element of drag is clearly connected to the aesthetics of camp that have a long tradition in gay and queer culture. Original theories of camp theorized it as a practice of taste and interpretation (Sontag)—camp described a relationship to the objects of popular culture that was subversive because it celebrated the artificiality of aesthetic forms, and was therefore ironizing. However, this understanding of camp does not adequately describe its role in postmodern culture or how some queer subcultures cultivate the use media forms for identity practices (O’Neill 21). In her re-casting of camp, Eve Kosofsky Sedgwick argues:we need to [think of camp] not in terms of parody or even wit, but with more of an eye of its visceral, operatic power: the startling outcrops of overinvested erudition; the prodigal production of alternative histories; the ‘over’-attachment to fragmentary, marginal, waste, lost, or leftover cultural products; the richness of affective variety; and the irrepressible, cathartic fascination with ventriloquist forms of relation. (Sedgwick The Weather 66)This reframing of camp emphasises affect, attachment and forms of relation as ongoing processes for the making of queer life (a process), rather than as elements of queer identity (a product). For Sedgwick camp is a practice or process that mediates queerness in the context of a hostile mainstream media culture that does not connect queer ways of living with flourishing or positive outcomes (Sedgwick “Paranoid Reading” 28). In O’Neill’s account, camp does not involve attachment to the diva as a fixed identity whose characteristics can be adopted in irony or impersonation in which the individual disappears (16). Rather, it is the diva’s labour—her way of marshalling her talent to produce compelling performances, which come to be the hallmark of her career and identity—that is the site of queer identification. What RuPaul wittily refers to as a drag queen’s “charisma, uniqueness, nerve and talent” (the acronym is important), O’Neill refers to as the diva’s “performative agency”—the primary “power to perform” (16, emphasis in original). This is the positive power of camp as form of automediation for queer world making: media forms provide resources that queer subjects can draw on in assembling a performance of identity as modes of embodiment and ways of being that can be cited (the specific posture of Dietrich, for example, which Velour mimics) and in terms of the affect required to marshal the performance itself.When she was crowned the winner of season nine of RPDR, Sasha Velour emphasised the drag queen’s performative agency itself as a resource for queer identity practices. After being announced the winner, Velour said: “Let’s change shit up. Let’s get all inspired by all this beauty, all this beauty, and change the motherfucking world” (Queentheban). This narrative of the world-changing power of the beauty of drag refers to the visibility of the new drag queens, who through television and social media now have thousands of fans across the world. Yet, this narrative of the collective potential of drag is accompanied by Velour presenting her own autobiographical narrative that posits drag as an automedial practice whose “richness of affective variety” has been central to her coming to terms with the death of her mother from cancer. In interviews and in her magazine about drag (Velour: The Drag Magazine) Velour narrates the evolution of her drag and her identity as a “bald queen” whose signature look includes a clean-shaven head which is often unadorned or revealed in her performances as directly linked to her mother’s baldness brought on by treatment for cancer (WBUR).In an autobiographical photo-essay titled “Gone” published in Velour, Velour poses in a series of eight photographs which are accompanied by handwritten text reflecting on the role of drag in Velour’s grieving for her mother. In the introduction, the viewer is told that the “books and clothes” used in the photos belonged to Velour’s mother, Jane. The penultimate image shows Velour lying on grass in drag without a wig, looking up at the camera and is accompanied by nineteen statements elucidating what drag is, all of which are in keeping with Sedgwick’s reframing of camp practices as reparative strategies for queer lives: “Drag is for danger / Drag is for safety / Drag is for remembering / Drag is for recovering.” Affect, catharsis, and operatic power are narrated and visually rendered in the photo-essay, presenting drag as a highly personal form of automediation for Velour. The twentieth line defining drag appears on the final page, accompanied by a photograph of Velour from behind, her arms thrown back and tensile: “Drag is for dressing up / And this is my mother’s dress.”Taken together, Velour’s generic and highly personal descriptions of drag as a process and product that empowers individual and collective queer lives define drag as a form of automedia in which identity and living are a constant process of creativity and invention “where ideas about the self and what it means to live are tested, played with, rejected, and embraced” (Rak 177).Velour’s public statements and autobiographical works foreground how the power, investment, richness and catharsis encapsulated in drag performance offers an important antidote to the hostility to queer ways of being embodied by an assimilationist gay politics. In a recent interview, Velour commented on the increased visibility of her drag beyond her localised performances in “dive bars” in New York:When Drag Race came on television I feel like the gay community in general was focussed on […] dare I say, a kind of assimilation politics, showing straight people and the world at large that we are just like everyone else and I think drag offered a radical different saying [sic] and reminded people that there’s been this grand tradition of queer people and gay people saying ‘actually we’re fabulously different and this is why.’ (PopBuzz)Velour suggests that in its newly visible forms outside localised queer cultures, drag as a media spectacle offers an important alternative to the pressure for queer people to assimilate to dominant forms of living, those practices, forms of attachment and relation Halberstam associates with straight time.ConclusionThe queer time and performative agency enacted in drag provides a compelling example of non-narrative forms of identity work in which identity is continuously emerging through labour, innovation, and creativity (or—in RuPaul’s formulation—charisma, uniqueness, nerve and talent). This creativity draws on popular culture as a resource and site of history for queer identities, an evocation of queer time. The queer time of drag as a performance genre has an increasing presence in media forms such as television, social media and print media, bringing autobiographical performances and narratives by drag artists into new venues. This multiple remediation of drag recasts queer cultural practices beyond localised subcultural contexts into the broader media cultures in order to amplify and celebrate queerness as a form of difference, and differing, as automediality.ReferencesBerlant, Lauren, and Michael Warner. “Sex in Public.” Critical Inquiry 24.2 (Winter 1998): 547-566.Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. 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